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Global Rock Art – IFRAO 2009 – Serra da Capivara (PI, Brasil)

TECNOLOGÍA DE LA PRODUCCIÓN DE PIGMENTOS EN EL ARTE RUPESTRE EN COLOMBIA: MATERIALES Y ALTERACIONES JUDITH TRUJILLO TELLEZ1,2,3 CHRISTOPHE FALGUERES5, LUIZ OOSTERBEEK2,4, PIERLUIGI ROSINA2,4 judithtrujillotellez@hotmail.com 1.

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Grupo de Investigación de Arte Rupestre (GIPRI, Colombia) Instituto Terra e Memória –Grupo Cuaternario y Prehistoria, Grupo de Geociencia (uID73-Fundação para a Ciência e Tecnologia)”, Portugal Doctorado en Cuaternario, Materiales y Culturas UTAD, Portugal Instituto Politecnico de Tomar, Portugal.

Institute de Paleontologie Humaine, Muséum National d’Histoire Naturelle, París France.

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Localization

•Sabana de Bogotá 2600 m.

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OBJETIVES • Improve the studies of the conditions of pictorial elements in a rock art mural, that is, to know the materials that were used and their interactions with the open air.

• Leads up to the works about technology of pigments in the studied area, extending the descriptive possibilities of the conservation conditions of rock art.

• Open a route towards the conservation work, and constitute an essential way for the projected studies on dating.

Archaeometry of rock art paintings

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METHODOLOGY • Recording and Register of the place: Piedra de La Cuadricula.

• Infrared Spectrometry Analysis (Fourier Transformation) of some Pigments and Accretions of Rock Art Paintings of Piedra de La Cuadricula.

Archaeometry of rock art paintings

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CONTEXTS • Important researches about geology and paleoecology in the Sabana of Bogota (van der Hammen, Hooghiemstra, etc).

• Archaeological research in the Rock shelters of Tequendama (12 500 B.P. 2 500 B.P.). (Correal and van der Hammen). Other occupations in the zone until Spanish Conquest arrived. (Correal, Ardila, Botiva, Pinto, etc).

• Rock art research in Colombia, specially in the high plateau of Cundinamarca and Boyacá (GIPRI, Colombia).

Archaeometry of rock art paintings

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METHODOLOGY • Recording and Register La Piedra de La Cuadricula.

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Análisis de Espectrometría Infrarroja (IR) FourierTransformation • Infrared Rays interacts with the matter at the same frequency that the molecules vibratepermanently.

• This method is useful to identify the mineralogical components of the samples.

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Results “Raw Materia ”

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Pigments (1)

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Pigments (2)

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Pigments (3)

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Accretions

Monohydrocalcite (CaCO3H2O) Silicium Oxide (SiO2)

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Conclusions • Pigments – Raw Material: Mineral Clays – Heated Mineral Clays (~600°C) • Quantity, Preparation (Crushing, heating, cementing agents, recipes) • Different prehistoric uses of these materials (body paintings, mobiliar art, leather treatment, pottery)

Antropic Transformations

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Conclusions • Conservation – High Deterioration: Humidity, Micro and Macroflore – Accretions: Biomineralization • Silicium Oxide (SiO2) • Monohydrocalcite (CaCO3H2O) • Phosphates????

• Possible Dating in the future…

– Process since biological components to mineral transformations.

– Heated Raw Material (TL, OSL) de la produccion de 17 – Oxalates (AMS)Tecnología pinturas rupestres

To the future • Control of the time, and temperature to obtain different colors from mineral clays.

• Comparison and complementary the results with other kind of analysis (DRX, Electronic Microscope, FRX).

• Analysis of other colors of pigments.

• Dating the rock art paintings.

• Samples from Colombia, Portugal, Spain

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Thankfulness • Indigineous Rock Art Research Group GIPRI, Colombia • Colombian Institute of Anthropology • Centre de Spectroscopie Infrarouge del • Muséum National d’Histoire Naturelle de París (François Fröhlich Director).

judithtrujillotellez@hotmail.com Tecnología de la produccion de pinturas rupestres

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