Red Paint Research Articles

Blood type mystery

In ancient times there was blood a symbol of life flow and energy. It was believed that it gives strength. Red paint and wine were used in traditional rites.Blood type is able to tell a lot of interesting things about its "owner" facts. Having information about your own blood type can be better to understand yourself and your body. The purpose of the article. In Article studies on the history of medicine, which form new ones, are considered ideas about the formation of blood groups. The novelty of the study due to the fact that the idea of ​​blood groups from year to year replenished with new data, which encourages the historical sketch. Main part. With increasing population and changing the environment reduces the possibility to get meat food. As a result, this led to the emergence "Vegetarian" second blood group A. Resettlement of peoples in Europe is the reason for the predominance of people with the second blood group there at this time. It is believed that the homeland of the gene of the third group B is located in the foothills of the Himalayas, in present-day India and Pakistan. The fourth blood group AB arose as a result of mixing holders of gene A and carriers of gene B. Today only 6% Europeans have a fourth blood type, which is the youngest in ABO system. The uniqueness of this group in the inheritance of high immunological protection, which is manifested in resistance to autoimmune and allergic diseases. Conclusions. Evolution human is impossible without a systematic change in gene frequencies population. Is evolution continuing now? Thoughts sometimes contradictory. Some believe that man has reached the top evolutionary tree, others disagree with such conclusions.

Laser Discoloration in Acrylic Painting of Visual Art: Experiment and Modeling.

This study discloses a method for painting artwork using a CO2 laser. The continuous-wave laser beam, at a predetermined heat flux and a predetermined number of laser beam passes, mixes and displaces the plurality of colored polymer-based compositions, respectively, by way of melting and vaporizing them. Experiments showed a great accuracy of colors and designed patterns between the computer aided design (CAD) drawing and what was achieved after laser discoloration. It was found that lower values of power and speed provide sufficient energy and time to make a melt pool of colors and cause their vaporization from the surface. A detailed numerical simulation was performed to obtain a detailed understanding of the physics of laser interaction with paint using ABAQUS software. The comparative analysis indicated that the top layer of paint (including yellow and green colors) melted upon increasing cutting speed and employing one laser pass. For blue and red paints, two passes of lasers are required; in the case of red color, lower laser speed is also necessary to intensify the heat. This method can be applied for making art designs on each surface color because it is based on melting and vaporization using a laser.

Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger

Abstract In the 2011 superhero movie, Captain America: The First Avenger (produced by Marvel Studios, directed by Joe Johnston) the main opponent of the title character is a Nazi officer, Johann Schmidt, who turns out to be a kind of superhuman entity, the Red Skull. Throughout the movie, viewers can follow the process of him gradually leaving behind his identity as a Nazi officer, and presenting himself as the leader of the occult-high-tech terrorist organization, the Hydra. At a certain point we can see him visited by one of the scientists working for him, Doctor Zola, whom he puts wise to his plans. During the conversation a portrait is being painted of the Red Skull, but we cannot see his face, only that the artist uses a huge amount of red paint. In the background, excerpts of Wagner’s operas are being played, which is very unusual in a Marvel movie. The question is, should the viewer recognize the diegetic music and notice the possible reference to the painting Las Meninas by Velázquez? How the detection of these intermedial references and the awareness of the act of trespassing media borders would affect the semiotic processes of interpretation? And also, how would the more precise identification of the cited materials change the semiotic modality of intermediality here? The article tries to answer these questions by interpreting the scene and the role of the references in question within the entire film through the prism of intermedial semiotics.

Micro-Raman spectroscopy and complementary techniques applied for the analysis of rock art paintings at the archaeological locality La Angostura, lower valley of Chubut River (Patagonia, Argentina)

In this paper, we characterized for the first time the painting materials in rock art panels of the Patagonian archaeological locality La Angostura using a methodological approach that combined micro-Raman spectroscopy, attenuated total reflection Fourier Transform infrared spectroscopy, and X-ray fluorescence spectroscopy. In this way, we obtained detailed information on the red, green, and black pigments as well as on accessory minerals present in the paints. Hematite was the chromophore in the red paintings while celadonite and glauconite were identified in the green motifs. A manganese oxide, presumably pyrolusite, was characterized as the black pigment. The pigment compositions were also compared to those of natural sediments collected along the valley of the Chubut River, but the components of the red and green sediment samples differed from those present in the rock art paints. In the red motifs of two of the rock art panels, a relevant finding was the presence of gypsum and anhydrite as a priming layer of the corrugated rock support onto which the red paints were applied. This revealed a different painting technique in comparison to that at the other analyzed panels of La Angostura where paints were applied as thin layers on a smooth surface of the rock support. As far as we know, this is the first report on the identification of gypsum and anhydrite as components of a preparation layer in Patagonian rock art. This result contributes to the open discussion on the origin and function of calcium sulfate in rock art.

Application of red paint data library for the characterization of the manuscript from Grand Duchy of Lithuania

The data library collected investigating reconstructed red paints was successfully applied for the characterization for the first time of historical illuminated and rubricated manuscripts printed in the territory of the Grand Duchy of Lithuania. Two different red pigments (cinnabar and red lead) and three different binding media (fish glue, parchment glue, and gum Arabic) were identified in the manuscripts using SEM/EDX, FTIR, XRD and TG/DTG analysis methods. It is interesting to note, that according to the SEM/EDX results the red paints determined in the manuscripts were sufficiently pure without a large amount of impurities. The binding media in the original samples were easily identified using developed FTIR spectra of red paint with different binding media. The TG analysis showed that all TG curves of original samples were shifted toward the lower temperatures range. Finally, this work once again demonstrated the importance of using several analysis methods for the characterization of cultural heritage materials.

Study of the Red Iron Paints for Rubrics and Miniatures: Accelerated Aging and Analytical Data

In this study, the red iron paints used in ancient manuscripts for rubrics and miniatures were fabricated and investigated. The commercial three different iron pigments (red ochre (Fe2O3), red bolus (Fe2O3.xSiO2.yAl2O3), and hematite (Fe2O3)) and three binding media (gum Arabic, fish glue and parchment glue) were used for the preparation of analogous to historical red iron paints. The obtained model red iron paints were analyzed with the aim to create a short data library which could be used for the characterization of different model compositions of red paints as well as real historical and archaeological red paints. The obtained red paints and binding media were characterized using Fourier-transform infrared spectroscopy (FTIR), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDX), X-ray diffraction (XRD) analysis and thermal (TG/DSC) analysis techniques. The accelerated aging test was also applied for the analogous to historical red iron paints. These results are useful to develop red paint guidelines for the storage and display for improved conservation and accessibility of manuscripts.

РЕСТАВРАЦІЯ ТА ХІМІКО-ТЕХНОЛОГІЧНІ ДОСЛІДЖЕННЯ КАМ’ЯНОЇ СКУЛЬПТУРИ СВ. ЯНА НЕПОМУЦЬКОГО З СЕЛА ЧАБАРІВКА ВАСИЛЬКІВСЬКОГО Р-НУ ТЕРНОПІЛЬСЬКОЇ ОБЛ.

The sculptural composition originates from the village of Chabarivka, Vasylkiv district, Ternopil region (since 2015). On the map of 1779-1783 by Friedrich von Mieg, the sculpture of St. John of Nepomuk is marked with a red cross, located in the eastern part of the village stretched along the road, opposite the manor. The road from Kopychyntsi to Husiatyn passed to the north of the settlement. On the map of the late nineteenth century the figure of St. John of Nepomuk is recorded on the south side of the street, in the eastern part of Chabarivka. Instead, the manor no longer exists, and the existing church does not yet exist. It is probable that in the first half of the 19th century the village community changed the location of the roadside sculptural composition. Since there is a carved coat of arms of Pilava on the stone pedestal of the figure, it is logical to say that the founder of the composition was a representative of the Potocki magnate family. Since the owner of Husiatyn and its environs during 1729-1732 was Stanislav Vladyslav Potocki, we can assume that it was at this time that the sculptural composition of St. John of Nepomuk was made. As a result of thermal studies, it was found that the samples taken from the surface of the figure and the pedestal contain organic surface contaminants. A sample taken from the surface of the pedestal revealed a significant amount of clay contaminants introduced to the surface of the stone by dust deposits. The results of thermal analysis are confirmed by X-ray fluorescence analysis. In the samples taken from the surface layer of the pedestal and the figure, the presence of elements Si, Al, Mg, K, Fe, which are part of the structure of layered silicates, was detected. The relative content of elements present in the structure of clay minerals is determined by the ratio of the areas of the bands of electronic transitions, which are manifested on the spectrum of samples at the corresponding characteristic energies. Based on these data, it can be argued that the surface layer of the pedestal contains more clay contaminants. Based on chemical and technological research, it can be argued that the surface layer of the pedestal contains more clay contaminants than the sculpture. Taking into account the results of historical, art and chemical-technological research, a program of restoration of the monument has been developed: Carrying out a visual and field inspection of the work; Execution of photofixation before completion of restoration works; Study of analogues of the image of St. John of Nepomuk; Execution of mechanical clearing; Extraction of salts from the structure of the stone by applying a compress of cellulose and distilled water; Carrying out of structural strengthening of a stone by the KSE300 Remmers preparation; Production of the lost lower part of a plinth from limestone, its installation on stainless steel cores and epoxy glue; Gluing of the reflected and saved parts to a sculpture on proper places. Gluing the saved left hand with epoxy glue; Making a plasticine model of the saint's head according to the proportions and collected analogues. Execution of a lump plaster form and formation of a head from an artificial stone; Mounting the head using a stainless steel anchor and polyester glue; Gradual addition of lost elements on the sculpture and pedestal with mineral restoration solution with the addition of pigments; Modeling of the neck and collar of St. John of Nepomuk with mineral solution; Execution of structural strengthening of a stone by an alcoholic solution of nanovap; Execution of structural strengthening of a stone by the KSE300 Remmers preparation; Coating the monument with a long-acting biocidal solution from Remmers; Double plastering of the monument with a solution of historical translucent azure and water water repellent by Remmers with the addition of pigments for stone tinting; Execution of final photofixation of a monument after the carried-out restoration actions. Chemical-technological studies confirm what was revealed by visual examination and microscope. During the restoration, a full range of measures was taken to stabilize the material structure of the sculptural composition. Remains of blue and red paints were found during the work. According to the results of X-ray fluorescence analysis, it was found that the staining was done in the XIX century. Instead, the primary staining was not detected. The performed chemical-technological researches have formulated a restoration map, will allow in the following works to define more precisely mineral composition of a stone and the author's color decision of a work of art. After the completion of the restoration works, the sculptural composition acquired artistic integrity and received a sacred meaning. Similar works of art located on the territory of Ukraine need to be preserved and restored, as they form a valuable cultural landscape of historical settlements.

Do Better Now

Do Better Now Michelle N. Huang (bio) On June 10, 2020, as protestors streamed into the streets in the wake of George Floyd's murder by the Minneapolis Police Department and in support of Black Lives Matter, the statue of Christopher Columbus that stood [End Page 303] in Boston's North End was decapitated. His headless body was put in storage indefinitely, pending further review by city officials. It was not the first time Columbus had lost his head—it had been taken earlier in 2006, and in 2015, the statue was drenched in red paint and tagged "Black Lives Matter."1 Largely missing from discussions of the statue's purported cultural significance was its relative newness—that it was erected in 1979, less than five years after the Fall of Saigon, by pro-Vietnam War activists and the Knights of Columbus. Just as Confederate statues are new—not old—monuments to racism raised during Jim Crow and the Civil Rights era, the Columbus statue spun a new mythos, one that bound America's "origins" to its imperialist projects abroad.2 That Vietnam was called "Indian country" by American soldiers deployed there starkly manifests how Vietnamese, Lao, and Cambodian death was patterned on the murder of Native Americans.3 Further, bringing BLM into relation with the Columbus statue also reminds us that many modern warfare tactics and weaponry used by the police to brutalize Black bodies were learned from America's wars abroad—one infamous example is Chicago Police Department Commander Jon Burge's use of electric shock, mock execution, and suffocation to coerce confessions from over two hundred Black and Brown incarcerated people from 1972 to 1991. In particular, Burge's method of electroshocking prisoners bears more than a family resemblance to the "Bell telephone hour," a practice whereby American troops jolted Vietnamese captives using a hand-cranked army field phone.4 I confess an allergy to the word "new," because it so often disavows the animating presence of the past. The Boston Columbus statue is only one small figuration of America's intersecting imperialisms. Its amalgamated Cold War/Columbian context also situates Franny Choi's poem "The World Keeps Ending, and the World Goes On" (2019).5 Choi's speaker locates her readers in post-apocalyptic times—"the apocalypse began / when Columbus praised God and lowered his anchor" (286). As Indigenous philosopher Kyle Powys Whyte (Potawatomi) reminds us, "Anishinaabek already inhabit what our ancestors would have understood as a dystopian future," a world degraded by settler colonialism's cultural and environmental destruction.6 But Columbus's "discovery" is not the only apocalypse: pointedly without dates, Choi's poem interlaces domestic American violence with conquest abroad. The anaphoric repetition of "There was" traces the repetition of racist, imperialist American logics that crisscross the world, from the Dakota Access Pipeline ("the apocalypse of pipelines legislating their way / through sacred water") to chattel slavery ("the apocalypse / of dogs and slave catchers whose faces glowed by lantern-light") to refugee crises ("the apocalypse of boats") to illegal abortion ("Coat hanger apocalypse"). Interleaved are the conditions of the speaker's family's diasporic displacement during the [End Page 304] Korean War: "There was the apocalypse of the leaving, and the having left— / of my mother unsticking herself from her mother's grave as the plane / barreled down the runway." These constellated apocalypses add up: we have already lost the world, many times. In her work on post-apocalyptic fiction, Heather J. Hicks enumerates some of its generic conventions, among them "ragged bands of survivors," "defunct technologies," "poignant yearning for a lost civilization," and "extreme violence."7 Taking Choi's poem and Whyte's provocation about ancestral dystopia into consideration, it is clear that minoritized people have already been living in post-apocalyptic times. This is a sentiment Chang-rae Lee affirms when he writes that immigrant narratives are "essentially dystopian in nature; for what does such a fiction describe if not a world in which the beliefs and practices are unfamiliar and sometimes backward, in which the morality is skewed, and whose every civil contour feels wrong, if only to its newly arrived hero, who must venture into and negotiate his way through...

Issues of the Preservation and Conservation of the Petroglyph in the Khoid Tsenkher Cave

The Khoid Tsenkher Cave is located 28 km away from the center of Mankhan soum, Khovd province in Mongolia. The cave contains about 40,000-year-old petroglyphs. A variety of animals were depicted on the surface of the rocks, such as ostriches, camels, lions, elephants, and buffaloes in red and light brown paints. These images prove the existence of the animals that became extinct a long time ago. These petroglyphs play an important role in the research of the history and culture of the Paleolithic period of the world due to its visual content and design methods. Unfortunately, 64 images and symbols were faded and became unknown due to the wrong action of the people and new carvings have been created on them. The cave is visited by about 5,000 international and domestic tourists a year, but they cannot actually see the main attraction and do not have the chance to understand its great value. Therefore, there is an opportunity to develop tourism by involving local people in the preservation and conservation process of the cave and its historical and cultural monuments.

Observation of Damage of Cotton Fiber in the Processes of Blowing, Cleaning and Carding

The quality of the produced yarn mainly depends on the properties of the raw material, its preparation for spinning, the condition of the equipment, and the preservation of the natural quality of cotton fiber during processing. The question of the number of defects in cotton fiber and their total content is a very important issue for cotton spinning. The non-standardized number of defects in the raw material reduces the quality indicators and yarn yield, which requires additional technological processes; therefore, on the part of production, the requirements for reducing the share of cotton fiber defects are constantly increasing. During processing in blowing and cleaning units and on carding machines, the cotton fiber is mechanically damaged. To observation the damaged fibers, we used the Congo-Roth red paint according to the method of Ch. Dore. Despite the carding is considered the last stage in the process of cleaning the fibers from impurities and defects in the spinning system, 30% of impurities and fiber defects still remain on the card sliver. Besides, it should be noted the carding machine is also considered an additional occurrence of defects, in particular (neps), which reduce the quality indicators of the card sliver and the finished product.

Appraisal

Appraisal Elizabeth Onusko (bio) Keywords Elizabeth, Onusko, violence against women, assault, doctor, mythology, Persephone I felt like I shouldn't call it assaultbecause he didn't touch meroughly enough to bruise my skin, didn'tremove my clothes, didn'thold me down. The bodily harmthe word implieshappened only in my mind,the pressure of his handas it groped my thighconveying what he could have done to mehad we not been around other people,had I not subsequentlydisappeared from his life.Long after, a doctorreferenced my trauma, and I,disassociated from the idea of myselfas having endured anysuch thing, thought of itas a garnet, which I held upand turned slowly, trying to findflaws. It was the deep redof oxidized blood,of burning embers.Fire-eyes, the Greeks had called them.To the Romans, they had resembledpomegranate seeds.The surface of this stone was pristine,but inside, trapped between crystals,were tiny needles of hematite,a mineral that millennia agowas ground into pigmentand painted on cave walls.Stories like mine are just as old. [End Page 254] I used to hate the myth of Persephoneand her abduction into the underworld.How powerless she'd been, how naïveto eat the seeds he'd given herand expect she could leave that place,never to return.I blamed her for it. [End Page 255] Elizabeth Onusko elizabeth onusko is the author of Portrait of the Future with Trapdoor (Red Paint Hill, 2016). Her poems have appeared or are forthcoming in The Sun, Bennington Review, The Southeast Review, Poetry Northwest, and Washington Square Review, among others. She edits Foundry, and her website is elizabethonusko.com. Copyright © 2021 The Massachusetts Review, Inc.

İzmir’de bir Osmanlı dönemi konağının tavan ve duvar resimlerinin yapım tekniği ve malzeme özellikleri

Kültür varlıklarımızın en hassas bileşenlerinden olan duvar resimlerinin korunmasında, resimlerin özgün malzeme özellikleri ve yapım tekniğinin belirlenmesi önemli aşamalardan biridir. Bu çalışma kapsamında İzmir Bayraklı’da yer alan Yahya Hayati Paşa Konağı’nın duvar ve tavan resimlerinin yapım tekniği ve malzeme özellikleri 2010 yılında yapıya ağır hasar veren yangın öncesinde alınan örnekler üzerinde gerçekleştirilen analizler ile belirlenmiştir. Duvar resimlerinin sıva ve astar tabakalarının, boyayı oluşturan bağlayıcı malzeme ile pigmentlerin mikro-yapısal özellikleri, mineralojik ve kimyasal kompozisyonları; optik mikroskop, kızılötesi spektroskopisi, X ışınları kırınım cihazı (XRD) ve EDS üniteli taramalı elektron mikroskobu kullanılarak tespit edilmiştir. Çalışma, resimlerin kireç sıva üzerinde yer alan organik bağlayıcı ve çeşitli beyaz pigmentlerden oluşan hazırlık tabakaları üzerinde yağlı boya tekniği ile uygulandığını göstermiştir. Resimlerin yapımında bitkisel yağın rengini beyazlatmak amacıyla çinko oksit (ZnO), kurşun beyazı (PbCO3) ve baryum beyazı (BaSO4) kullanıldığı belirlenmiştir. Resimlerin yapımında kırmızı için vermiyon (HgS), mavi için ultramarin (Na6-10Al6Si6O24S2-4), yeşil için zümrüt yeşili (3Cu(AsO2)2.Cu(CH3COO)2) ve kahverengi için kırmızı okra (Fe2O3, kil mineralleri) kullanıldığı tespit edilmiştir. Bu ana pigmentler dışında, dolgu malzemesi olarak kullanılan baryum beyazı (BaSO4) ve kurşun kırmızısı pigmentinin (Pb3O4) bozulma ürünlerinden biri olan anglezit (PbSO4) tespit edilmiştir. Çalışma, yanarak yok olmuş bir kültür varlığının süslemelerinin yapım tekniği ve malzeme özelliklerinin belgelenmesi ile yapının onarımı aşamasına veri oluşturacaktır.

Artefacts from Ban Chiang, Thailand: pottery with hematite-red geometric patterns

Abstract Ban Chiang () is an extensively studied archeological site in Northeast Thailand, Udon Thani Province, which became a UNESCO world heritage in 1992. Depending on their production period ceramic artefacts show characteristic patterns at the surface which may be interpreted as iconographic motifs for the site. Two ceramic samples, excavated in 2003, from different periods were re-investigated, previously studied by Tanthanuch W., Pattanasiriwisawa W., Somphon W., Srilomsak S. Synchrotron studies of Ban Chiang ancient pottery. Suranaree J. Sci Technol. 2011, 18, 15–28 who focussed on thermal firing and redox-conditions. Shards selected for this study were sample 5412-S6E15 dated from Bronze Age (ca. 1000–300 BC) with yellow-brown, paint-free surface and a younger sample 8027 from Iron Age (ca. 300 BC–200 AD) with red painted design carrying pictorial patterns typical for the Ban Chiang ceramics. The surface material and colour of both shards was studied in detail using optical reflectance, FTIR spectroscopy and X-ray powder diffraction. Thin sections were used to determine the thickness of the red paint and the elemental composition of the surface using an electron microprobe. Chemical composition of sample 5412-S6E15 consists as oxides of elements mainly of SiO2 and Al2O3 (representing ca. 59 and 20 wt. %) and that of the red colour of the youngest sample 8027 consists mainly of SiO2, Al2O3 and Fe2O3 (representing ca. 52, 13 and 13 wt. %), the average composition adjacent to the red painted area has ca. 72 wt. % SiO2, ca. 10 wt. % Al2O3 and only 2 wt. % Fe2O3. X-ray powder diffraction, FTIR spectroscopy and optical reflectance measurements confirm hematite in the mineralogical composition of the red pigment of shard 8027.

From model to artefact: Versatile characterization of cinnabar, red lead and realgar red paints for rubrics and miniatures

This study focuses on the characterization of cinnabar, red lead and realgar paints, since the red colour was very often used for the illuminations and rubrics of medieval manuscript. The commercial pigments (cinnabar (HgS), red lead (Pb3O4), realgar (As4S4)) and binding media (gum Arabic, fish and parchment glue) were used for the preparation of analogous to historical paints. This work is on-going and at this stage, the resulting red paint samples were analysed to create a short data library that could be used to describe the various red paints and their compositions. The obtained paints were characterized before and after accelerated aging using Fourier-transform infrared spectroscopy (FTIR), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDX), X-ray diffraction (XRD) and thermal (TG/DSC) analysis techniques. These results of versatile characterization are useful to develop red paint guidelines for the storage and how they affect current and future conservation of these objects.

Execution technique and pigment characteristics of decorative wall from 17th CE Chatta Chowk, Red Fort Complex, New Delhi

The decorative wall painting from 17 th CE Chatta Chowk was investigated to study the composition and characteristics of the pigment used in the decorative arts. The pigments were examined by thin cross-sections, High-Resolution X-ray diffraction (HR-XRD) analysis, Fourier-transform infrared spectroscopy (FTIR) and, portable Raman spectrometry. Besides, gas chromatograph-mass spectrometry (GC-MS) was used for identifying pigment binders. Analysis results showed the stratigraphy of the paint layer applied over fine lime plaster in a well-controlled manner mixed with binders according to the secco technique. The identified pigments for red paint layers were attributed to the mixture of hematite (Fe 2 O 3 ), cinnabar (HgS) and cadmium sulfide (CdS). The utilization of admixture of mercury, iron and cadmium compounds has served as a clear evidence in order specific tones on the painted surfaces. The green paint layer was attributed to green earth (celadonite) through vibrational features, differentiating from glauconite spectra. The GC-MS analysis of the pigment showed the use of fats, waxes and drying oils as binders.

Memory production, vandalism, violence: Civil society and lessons from a short life of a monument to Stalin

Memory production, vandalism, violence: Civil society and lessons from a short life of a monument to Stalin

Study of the Composition of Pigments on the Surface of the Statuette from the Paleolithic Site of Kostenki 1 by Infrared Reflectance Spectroscopy

Using IR reflectance spectroscopy, we studied the structural and chemical composition of the colored layer located on the surface of a female figurine made of a mammoth tusk from the East Gravettian site of Kostenki 1, layer I, aged 23 000–21 000 years. The site is located in the Kostenki village of the Khokholsky district of the Voronezh oblast of Russia. The figurine was at the bottom of the storage pit; there are the remains of red paint on it. The paint layer on the figure consists of alumina and gypsum; the coloring pigments are mainly iron oxides. The data obtained suggest that the technology used by the Paleolithic artist when painting the figurine of the Paleolithic Venus included the stage of preliminary preparation of the surface, that is, priming the treated surface with gypsum.

Compositional study of slips and paintings in San José and Santa María pottery (Yocavil valley, Northwest Argentina): an approach by non-destructive and complementary techniques

From a multidisciplinary perspective, we propose a first comparative study on the pigments of archeological pottery San Jose and Santa Maria of Yocavil valley, Province of Catamarca, Northwest Argentina (ca. S XI–XVI AD). Both stylistic sets share a color palette in which the black, red and cream tones are structured. Considering that we are handling objects of cultural heritage, an analysis strategy was developed that combines non-destructive techniques (XRFp and XRD) and minimally destructive sampling methods with other techniques (EDS and micro-Raman spectroscopy) for the characterization of elements and crystalline phases in pigments. The results show not only some shared features—as hematite in red paints and cream slips resulting from a low-iron clay base preparation—but also some diversity in the composition of the pigments—as presence of rutile in some red paints and pyrolusite or series of solid solutions in the system manganese–iron oxides in black pigments.

Исследование состава пигментов на поверхности женской статуэтки с палеолитической стоянки Костенки 1 методом инфракрасной спектроскопии отражения

The structural and chemical composition of the colored layer located on the surface of a female statuette made of a mammoth tusk from the East Gravettian site of Kostenka 1, layer I, age of 23-21 thousand years, was studied using the IR reflection spectroscopy method. The site is located on the territory of the village of Kostenka in Khokholsky district of Voronezh region of Russia. The statuette was at the bottom of a storage pit with remnants of red paint. The paint layer on the figure consists of alumina and gypsum, the coloring pigments are mainly iron oxides. The obtained data allow to suggest that the technology used by the Paleolithic artist in painting the statuette of the Paleolithic Venus included a stage of preliminary preparation of the surface — priming of the treated surface using gypsum.

The colors of San José pottery from Yocavil valley, Argentine Northwest. Strategy for the characterization of archaeological pigments using non-destructive techniques

Archaeological objects require the design of non-destructive strategies for their study since they are part of the cultural heritage. In this work, we present a characterization strategy that minimizes the risk of damage on the archaeological materials investigated, combining portable X-ray fluorescence spectroscopy to perform elemental analysis and X-ray diffraction to detect crystalline compounds. To confirm the obtained results, we used scanning electron microscopy coupled with an energy-dispersive X-ray spectrometer to perform elemental determination and micro-Raman spectroscopy to study crystalline and amorphous compounds. Using this strategy, we study the composition of paints and slips of different colors –cream, black and red– used by the old potters of the Yocavil valley (Catamarca Province, Argentine) to produce “San José” ceramics (ca. S XI-XIII AD). The results indicate that there are certain regularities –as hematite in red paints– but also some variability in the composition of the pigments of different fragments –as series of solid solution in the system manganese-iron oxides in black pigments–. In addition, post depositional compounds as gypsum and calcite were found in some cases.