Heritage Cases

Aim/rationale: Since 2010, Dr Adelphine Bonneau and I have been running a project undertaking detailed chemical characterization of the inorganic composition of southern African rock art paints (Bonneau et al. 2012, 2014, 2016, 2017a, 2017b; Hoerle et al. 2016). This research has provided much new insight into the composition and manufacture of rock art paints and has led to us producing 43 new radiocarbon dates for southern African rock art. This permit application relates to a continuation of that work. The objects to be sampled are housed in the collection of the Rock Art Research Institute, University of the Witwatersrand and were chosen for specific reasons: Otterspoort 1 Two painted flakes from this site are in the collection of the Rock Art Research Institute, University of the Witwatersrand catalogued as RP/2011/001. This site is located a little to the north of the area in the Drakensberg in which we have conducted most of our research. We should like to expand the geographic range of our enquiry. Zamenkomst 1 A grindstones in the RARI collections from this site is covered in red pigment. We should like to sample pigment from this object to start expanding our understanding of LSA pigment use and paint preparation technology. The Zamenkomst site is important, although we have not yet worked on paintings from the site or those removed from the site. Belleview A grindstones in the RARI collections from this site is covered in red pigment. We should like to sample pigment from this object to start expanding our understanding of LSA pigment use and paint preparation technology. Omandumba East and West, Namibia This series of painted flakes from Omadumba East and West, Namibia (catalogued as RP/2012/002 and RP/2012/003), comprise flakes of stone with traces of pigment on them. They appear to be fragments of rock paintings. The objects appear to have entered the Archaeological Survey collections in the 1950s. No additional catalogue data exists. We should like to examine pigment on these stones to start to develop a picture of Namibian rock art, particularly in so far as a different rock substrate (granite) affects our analyses. Methodology (short): Samples will be collected using a clean scalpel blade into a clean vial by an operator wearing gloves. Samples of approximately 0.5 mm2 will be collected. The objects will be photographed before and after collection. Based on careful examination of the objects, we intend to collect samples as listed in the schedule. Samples will be analyzed in order to determine their composition. To this end, a series of analyses will be conducted on each sample following already established protocols (Bonneau et al. 2012, 2017b). First, a sub-part of each sample will be embedded in epoxy resin to make a cross-section. This will make it possible to see and study each layer constituting the painting. Then, the unprepared part of the samples and cross-sections will be analyzed with the following techniques: - Microscope - Scanning Electron Microscopy coupled with X-Ray Energy Dispersive Spectroscopy (SEM-EDS) - Raman spectroscopy - Fourier Transform InfraRed (FTIR) spectroscopy Each step will reveal information on the composition of the paint, its suitability for radiocarbon dating (in the case of black paints), and weathering products naturally surrounding the paint layer which may interfere with the dating. Confirmation/permit by museum (Attached?): See attached Damage/destructive analysis? (if yes, explain in detail) This application is to collect and export micro-samples of rock art paints and pigments for destructive analysis. Statement why this study cannot be done in South Africa: There are no archaeological scientists in South Africa undertaking the required types of analysis. There are also severe difficulties in accessing suitable analytical instruments in South African Universities. References Bonneau, A., Brock, F., Higham, T., Pearce, D. G. and Pollard, A. M. 2011. An improved pretreatment protocol for radiocarbon dating black pigments in San rock art. Radiocarbon 53(3):419–428. Bonneau, A., Pearce, D. G. and Higham, T. 2016. Establishing a chronology of San rock art using paint characterization and radiocarbon dating. In Gutierrez, M. et Honoré, E. (eds) L’art rupestre d’Afrique, Actualité de la recherche, Actes du colloque International Paris, 15 au 17 Janvier 2014, Université Paris 1, Centre Panthéon et Musée du Quai Branly:245–251. Nanterre: Editions l’Harmattan. Bonneau, A., Pearce, D. G. and Pollard, A. M. 2012. A Multi-technique characterization and provenance study of the pigments used in San rock art, South Africa. Journal of Archaeological Science 39:287–294. Bonneau, A., Pearce, D. G., Mitchell, P., Arthur, C., Higham, T., Lamothe, M. and Arsenault, D. 2014. Comparing painting pigments and subjects: the case of white paints at the Metolong dam (Lesotho). In Scott, R. B., Braehmans, D., Carremans, M. and Degryse, P. (eds) Proceedings of the 39th International Symposium on Archaeometry, Leuven, Belgium:319–323. Leuven: Centre for Archaeological Sciences. Bonneau, A., Pearce, D., Mitchell, P., Staff, R., Arthur, C., Mallen, L., Brock, F. and Higham, T. 2017a. The earliest directly dated rock paintings from southern Africa: new AMS radiocarbon dates. Antiquity 91:322–333. Bonneau, A., Staff, R., Higham, T., Brock, F., Pearce, D. and Mitchell, P. 2017b. Successfully dating rock art in southern Africa using improved sampling methods and new characterization and pretreatment protocols. Radiocarbon 59(3):659–677. Hœrlé, S., Pearce, D. G., Bertrand, L., Sandt, C. and Menu, M. 2016. Imaging the layered fabric of paints from Nomansland rock art (South Africa). Archaeometry 58:182–199.