Relative chronology of Palaeolithic drawings of the Great Ceiling, Rouffignac cave, by chemical, stylistic and superimposition studies. (February 2020)

• Record Type: Journal Article
• Authors: Gay, Marine; Plassard, Frédéric; Müller, Katharina; Reiche, Ina
• Is Part Of: Journal of archaeological science. Volume 29(2020)
• Publication Date: 2020-02
• Subjects: Rouffignac cave -- Great Ceiling -- Palaeolithic black drawings -- In situ non-invasive analysis -- X-ray fluorescence -- Barium-containing manganese oxides -- Stylistic and superimposition study; Archaeology -- Periodicals; Archaeology -- Research -- Periodicals; 930.1
• DOI: 10.1016/j.jasrep.2019.102006
• Languages: English
• ISSNs: 2352-409X

Abstract

Graphical abstract: Highlights: Rouffignac Cave is a UNESCO World Heritage rock-art site. The cave plays a significant role in the prehistoric landscape in Dordogne, France. Systematic in-situ non-invasive chemical study by portable X-ray fluorescence. It constitutes the most extensive chemical analysis of cave art to date. Research combines chemical, stylistic and superimposition studies. This approach provides a new understanding of the organization of the rock art. Three different crayon types were used on the Great Ceiling. The subsets of figures are likely made by an artist group in a short period of time. Abstract: This paper presents the first systematic chemical study of the black pigments used on the Great Ceiling panel at Rouffignac Cave in combination with stylistic and superimposition studies. A refined quantification strategy was designed to address the large number of drawings and the considerable amount of data required for the effective study of the specific black compositions on the Great Ceiling. We show that at least three different types of barium-bearing manganese oxides (that could be assimilated to different black raw coloring materials) were used. The new chemical data obtained are interpreted in light of stylistic and superimposition analyses of the figures. The grouping of the figures in small sub-sets according to chemical composition and consideration of superimpositions allowed for a complete re-reading of this complex panel and suggests that a small group of artists, each using different crayons, may have drawn the figures in a short period of time.