ABSTRACT
Pigments from several prehistoric rock art painting samples were analysed through a multiproxy archaeometric approach. These studies consider the geological aspects, related with the availability of raw materials, cultural aspects, and characteristics related to conservation – the possibility to find only part of the originally used pigments (e.g., the inorganic components). One of the most interesting aspects of the various studies of rock art pigments is the selection and manipulation of raw materials.
The objective is to understand the technological innovations, essential for the development of human societies adaptation strategies, in particular the determination of the raw materials that were used in pigments and what changes have suffered; also questioning about the conservation aspects. The archaeometric analyses carried out, using different methods on pigment and ochre samples, showed that there are some elements that are recurrent (iron oxides, mainly hematite) and others that are specific in particular areas. Direct date cannot be obtained on rock art that is made with inorganic pigments. However, sampling and subsequent analysis have clearly shown that pigments were produced using tried and tested recipes that involved the use of sometimes organic binders.
These different techniques, in addition to identifying the composition and the methods of preparation of the pigments, also help with the management of measures of monitoring and conservation of sites with rock art paintings. Each rock art site has a unique microclimate that influences the conservation of pigments and substrates, so it is necessary to perform archaeometric studies at a local level in order to help decision regarding its preservation.
This Chapter explores the processes involved in the production of prehistoric paintings. The focus for discussion involves a number of rock-shelter sites that contain rock art within the western part of the Iberian Peninsula (Portugal), with particular reference to the sites that contain Schematic rock art, pretending to present all the chemical and mineralogical characteristics of sampled pigments from rock art sites in Portugal, and suggest that pigmentation was more than just applying paint to rock.
