Lesedi #23

Page 69

crossed views from southern africa

Dateless Substance White Pigments in the Rock Art of Southern Africa

Alice Mullen Alice Mullen has an MSc in Archaeology from the University of the Witwatersrand and has worked as a Tracing Technician at the Rock Art Research Institute. She specialises in the applications of New Animisms to San ontologies of rock art.

It is received wisdom in southern African rock art research that white pigments do not adhere to the rock face as well as other colours, and when present, indicate a more recent date – this coming, in part, from observable red and yellow antelope bodies whose once-white necks and heads have faded or disappeared (Bachelor 1990 in Meiklejohn, 1995; Loubser, 1991; Lewis-Williams and Dowson, 1992; Pearce, 2006). There is no evidence, however, to pinpoint in time when this disappearance happens, nor the rate at which any attrition occurs. That visible white pigment signifies a relatively young age for paintings has become a particularly odd, yet pertinent, problem in research pertaining to ’contact’ rock art and the making of Bushman (San) history in southern Africa (Mazel, 1989, 1992, 1993; Dowson, 1993, 1994). In the south-eastern mountains of the MalotiDrakensberg is a category of paintings known as Significantly Differentiated Figures (SDFs) – human forms that are more detailed and larger than those around them (Blundell, 2004). These oversized anthropomorphs were considered a recent phenomenon, created within the last two thousand years (after contact with incoming farmer groups). The presence of white pigment, considered the most fleeting of pigments, was used as a proxy for recent production, based on sparse studies, some of which are described below. Developments in pigment characterization within southern Africa

(Bonneau et. al, 2014), however, have shown that at least three distinct types of white paint materials (calcite, gypsum and white clay) were used by Bushman painters. In addition, while no SDFs have been directly dated, some paintings associated with them have (Bonneau et al., 2017a, 2017b). These are for the most part shaded polychrome eland antelope which have white underparts, legs, heads and necks with black horns and hooves. Presuming that hoof, horn and white body parts were

Figure 1. Storm Shelter, the type site for ’Significantly Differentiated Figures’ (SDFs) mentioned in the text. ’A’ points towards a Large-Headed SDF; ’B’ points towards the black nose of an eland – directly dated to 2988-2381 cal. BP. Image: David Pearce.

Lesedi #23 | Carnets de terrain | IFAS-Recherche | Novembre 2020

69


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Bilan des recherches engagées depuis Mélanie Duval & Stéphane Hœrlé

0
page 80

Dateless substance. White Pigments in the Rock Art of Southern Africa Alice Mullen

16min
pages 69-73

La mise en tourisme des sites d’art rupestre dans le massif du Drakensberg

13min
pages 74-79

Le contexte performatif de l’art rupestre San David Witelson

16min
pages 64-68

Matières colorantes ferrugineuses, pigments de l’art rupestre et comportements des populations Later Stone Age à Leopard Cave (Erongo, Namibie) Guilhem Mauran

16min
pages 53-59

Rock Art in Mozambique: Hunter-Gatherers’ Space, Symbolism, and Tools Décio Muianga

9min
pages 60-63

Phytanthropes. Human-Plant Conflations in the Rock Art of Zimbabwe Stephen van den Heever

10min
pages 48-52

The Diversity of the Common. The Significance of Spatial Motif Variation in Studying Cultural Variability using Rock Art in Zimbabwe Ancila Nhamo

15min
pages 42-47

Matobo Rock Art in its Landscape. Understanding Role(s) of Rock Art in Later Stone Age Foragers Territoriality Léa Jobard

14min
pages 36-41

Introduction: The Rock Art of the Hunter-Gatherers of Southern Africa Léa Jobard, Carole Dudognon & Camille Bourdier

12min
pages 5-8

Introduction : L’art rupestre des chasseurs-collecteurs d’Afrique australe Léa Jobard, Carole Dudognon & Camille Bourdier

13min
pages 9-12

Silozwane, étude d’un palimpseste rupestre des Matobo Carole Dudognon

15min
pages 27-32

Approche interdisciplinaire de la paroi ornée. Pomongwe Cave et le programme MATOBART Camille Bourdier, Carole Dudognon, Millena Frouin, Ancila Nhamo, Todini Runganga & Stéphanie Touron

17min
pages 13-18

Les sous-sols de l’art rupestre à l’abri Pomongwe (Matobo, Zimbabwe) Guillaume Porraz, Precious Chiwara, Magnus M. Haaland, Joseph Matembo, Thubelile Mnkandla, Kelvin Machiwenyika, Todini Runganga, Chantal Tribolo, Aurore Val & Camille Bourdier

11min
pages 19-22

Rock Art Conservation: Floor Stabilisation at Nswatugi Rock Art Site, Matobo Hills Cultural Landscape Senzeni Khumalo, Charity Nyathi, Kelvin Machiwenyika & Todini Runganga

7min
pages 33-35

Diversity in Late Stone Age Art in Zimbabwe. An Elemental and Mineralogical Study of Pigments (Ochre) from Pomongwe Cave, Matobo Hills, Western Zimbabwe Jonathan Nhunzvi, Ancila Nhamo, Laure Dayet, Stéphanie Touron & Millena Frouin

9min
pages 23-26
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