dc.contributor.author |
Prinsloo, Linda Charlotta
|
|
dc.contributor.author |
Tournié, Aurélie
|
|
dc.contributor.author |
Colomban, Philippe
|
|
dc.contributor.author |
Paris, Céline
|
|
dc.contributor.author |
Bassett, Stephen T.
|
|
dc.date.accessioned |
2014-11-04T09:08:56Z |
|
dc.date.available |
2014-11-04T09:08:56Z |
|
dc.date.issued |
2013-07 |
|
dc.description.abstract |
Vibrational spectroscopy (Raman and FTIR) has played an important role in identifying pigments, substrata
and deterioration products in rock art studies worldwide: in the laboratory and on-site. However,
the detection of organic binders and carrying agents has so far been scarce and the quality of many
spectra recorded on-site inadequate. In this study, possible pigments (charcoal, ochre, raptor faeces,
thermally treated ostrich egg shell, etc.), binders (fat, egg, blood) and carrying agents (saliva, gall, egg,
water) were selected based on artistic considerations and analysed with FTIR and Raman (514.6 and
785 nm excitation, both available in mobile instruments) spectroscopy in order to determine usable
marker bands for each ingredient. The resultant marker bands were then used to analyse five ten year old
San replica paints. It was found that FTIR spectroscopy is very efficient to identify organic compounds as
there is no fluorescence but the broadness of the bands inhibits the exact assignment of many ingredients.
A high fluorescence background experienced for many natural products prevented the
recording of Raman spectra for all ingredients, in many instances though the sharp peaks usually
associated with Raman spectra make identification easier than with FTIR spectroscopy. Most of the ingredients
in the paints could be identified, but it is clear that better results are obtained when more that
one technique is used. |
en_US |
dc.description.librarian |
hb2014 |
en_US |
dc.description.uri |
http://www.elsevier.com/locate/jas |
en_US |
dc.identifier.citation |
Prinsloo, LC, Tournie, A, Colomban, P, Paris, C & Bassett, ST 2013, 'In search of the optimum Raman/IR signatures of potential ingredients used in San/Bushman rock art paint', Journal of Archaeological Science, vol. 40, no. 7, pp. 2981-2990. |
en_US |
dc.identifier.issn |
0305-4403 (print) |
|
dc.identifier.issn |
1095-9238 (online) |
|
dc.identifier.other |
10.1016/j.jas.2013.02.010 |
|
dc.identifier.uri |
http://hdl.handle.net/2263/42485 |
|
dc.language.iso |
en |
en_US |
dc.publisher |
Elsevier |
en_US |
dc.rights |
© 2013 Elsevier Ltd. All rights reserved. Notice : this is the author’s version of a work that was accepted for publication in Journal of Archaeological Science. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. A definitive version was subsequently published in Journal of Archaeological Science, vol. 40, no. 7, pp.2981-2990, 2013. doi : 10.1016/j.jas.2013.02.010. |
en_US |
dc.subject |
San/Bushman rock art |
en_US |
dc.subject |
Raman |
en_US |
dc.subject |
Ingredients |
en_US |
dc.subject |
Replica paints |
en_US |
dc.subject |
Fourier transform infrared spectroscopy (FTIR) |
en_US |
dc.title |
In search of the optimum Raman/IR signatures of potential ingredients used in San/Bushman rock art paint |
en_US |
dc.type |
Postprint Article |
en_US |