Abstract
Since 2007, the research led on the Huaca Ventarron site has allowed investigators to discover outstanding wall paintings. These murals are one of the oldest examples of this artistic expression in the Andean area and American continent (4000 BP). Analyses have given indications on the materials and techniques used by the first painters, ancestors of a long pictorial tradition. Thanks to an archaeometric approach, combining observations and analysis (Optical Microscopy (OM), Scanning Electron Microscopy and Energy-dispersive X-ray Spectroscopy (SEM–EDS), X-ray Fluorescence (XRF) and Fourier Transform Infrared Spectroscopy (FTIR)), it was possible to characterize the colorant materials used in the two constructive sampled phases. These materials are mineral pigments, iron oxides, clays and natural earth, mixed in order to create a wide chromatic scale. Through this research we were able to obtain the first analytical data concerning such ancient mural paintings. It was very useful to comprehend the emergence of this artistic expression in Peru. These results open new research perspectives as well about the origins of Prehispanic pictorial technology as about conservation of wall-paintings in earthen architecture.
Highlights
Since 2007, the research led on the Huaca Ventarrón site has allowed investigators to discover outstanding wall paintings
The selected ones were prepared in epoxy resin, cut in crosssections in order to be studied with optical microscopy (OM)1 at 40 and 100 magnifications
The red and yellow chromogenic mineral belongs to an iron oxide (Fig. 7)—probably hematite (Fe2O3) for red and goethite (FeO(OH)) for yellow according to the Fourier Transform Infrared Spectroscopy (FTIR) results—mixed with clay like illite
Summary
Since 2007, the research led on the Huaca Ventarrón site has allowed investigators to discover outstanding wall paintings. These murals are one of the oldest examples of this artistic expression in the Andean area and American continent (4000 BP). The oldest phase was built over a rocky promontory marking the sacred character of its beginning as well as the orientation and distribution of the architectonic design. The broad Lambayeque Valley and the Reque River were visually controlled from the top of the temple. In this high area was placed the first ritual fire. On a wall at the south side of the fire, a representation of two fishes face to face in high relief without polychromy was discovered
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