Programmes > Par auteur > Haddab Lydia

Experimentation of rock art pigments in order to increase the m-FTIR spectrum databases of organic and inorganic paintings material
Sara Garcês  1, 2@  , Hugo Gomes  1@  , Lydia Haddab  3@  , Pedro Cura  1, 2, 4@  , Pierluigi Rosina  1, 5@  
1 : Quaternary and Prehistory Group of Geosciences Centre (u. ID73 – FCT)  (CGEO (u. ID73 – FCT))
2 : Earth and Memory Institute, (ITM) Mação  (ITM)  -  Site web
3 : Muséum National d\'Histoire Naturelle  (MNHN)  -  Site web
Museum National d'Histoire Naturelle
57, rue Cuvier - 75231 Paris Cedex 05 -  France
4 : Prehistoric Rock Art and the Sacred Tagus Valley Musem, Mação
5 : Polytechnic Institute of Tomar  (IPT)

An experimentation project in order to better understand the different shades of red and its chronological subdivisions of rock paintings from the Bovidian period, Central Sahara was made.

Within a prehistoric context the colour red/yellow/black/white have been the popular choice among artists. The use of red (and various shades of) is found on rock panels across most the world. Within several areas, artist considered the concept of producing polychrome images whereby allowing red and its various shades to create movement, proportion and perspective in their paintings. Currently knowledge shows that the artists were engaged in a process of mixing both organic and inorganic substances together in order to achieve the desired pigment colour. However, organic material is not easy to identify and m-FTIR (Micro-Fourier Transform Infrared Spectroscopy) is a technique that is being used due to the organic recognition possibilities that presents. The recipes used in the experimentation will update a database that will provide a better understand of the different shades of red and its stylistic subdivisions of rock art paintings from the Bovidian period in Central Sahara - 7327±25 BP (Ginette, 2006), as well as the identification and use of binders in recipes elsewhere. The sampled substances analyzed by m-FTIR contain different iron oxides and hydroxides (heated or not), charcoal, graphite, kaolin, olive oil, animal fat, cactus sap, egg yolk, human blood, and other materials. Through Archaeometry study, applying an experimentation approach, it will be possible to evaluate the organic binder substances used in the production of prehistoric pigments. The samples of inorganic and organic paintings recipes were used to create several m-FTIR spectrum databases that will assist the known data of the various constituents that are used in prehistoric rock-art paintings. 

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