Abstract
Rock art deteriorates because of both environmental factors and visitor erosion which affect its conservation and, therefore, its study. Graphic recording carried out in the past is sometimes the only recorded evidence for what once existed. However, the graphic record also presents problems of preservation on the long-term, a problem particularly highlighted on modern color photographic materials. In this paper we deal with new approaches to solve this problem. We illustrate our work with the photographic collection about Levantine rock art, which belongs to the CSIC, and is held in the Department of Prehistory of Centro de Estudios Historicos. Two methods are highlighted: the use of the new Kodak Photo CD system, and the multiband Digital Imaging analysis.
Highlights
Rock art deteriorates because of both environmental factors and visitor erosion which affect its conservation and, its study
The graphic record presents problems of preservation on the long-term, a problem highlighted on modern color photographic materials
We illustrate our work with the photographic collection about Levantine rock art, which belongs to the CSIC, and is held in the Department of Prehistory of Centro de Estudios Históricos
Summary
En la pintura rupestre hay que discriminar el pigmento, compuesto por elementos orgánicos e inorgánicos, del soporte que, en la mayor parte de los casos, son rocas de naturaleza calcárea (calizas). Circunstancias que distorsionan la diferenciación visual de los dos componentes básicos del estudio artístico y estilístico en proporciones que son desconocidas, pero cuyo comportamiento espectral debe ser discriminado para una adecuada identificación e interpretación de los elementos pictóricos. La ubicación mayoritaria de estas pinturas es en abrigos u oquedades de naturaleza caliza formadas por procesos erosivos naturales, aunque también aparecen en otros soportes como areniscas (Benito et alii, 199192). A pesar de la variación de la reflectancia en las rocas segiin su composición en minerales básicos parece claro que presentan siempre un máximo de diferenciación (Fig. 2) (3) entre los 550-650 nanómetros (nm) dentro del espectro visible y alrededor de 900-1000 nm en el infrarrojo (Scanvic, 1989). Además podemos encontrarnos situaciones en las que aparezcan costras que cubran de forma masiva o milimétrica los dibujos, microorganismos que hayan colonizado tanto el soporte como las pinturas, o filtraciones de agua sobre la
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