Heritage Cases

Aim/rationale: Since 2010, Dr Adelphine Bonneau and I have been running a project undertaken 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 four sites from which samples were collected were chosen for specific reasons: Buterix 1 In a previous phase of this project we failed to radiocarbon date paintings in this site. The characterization of black pigments in the site showed anomalous compositions that we have not seen elsewhere. Given these anomalies, we should like to further investigate the composition of paints in this site. As yet, we have a very poor understanding of the composition of southern African rock art paints, but preliminary work has indicated that compositions are more complicated than had been assumed (e.g., Bonneau et al. 2012; Hœrlé et al. 2016). The proposed work would make a significant contribution to that work. In addition, test excavations have been undertaken in this site (Mallen & Pearce 2012). They have produced, amongst other materials, pigment covered grindstones and other pigment materials. We should like to compare the composition of rock art paints to pigments found in the excavations. Little work of this kind has previously been undertaken. Forest Reserve 3 Forest Reserve 3 is selected for the following reasons: 1. It has several paintings executed in black paint, thus allowing the possibility of radiocarbon dating. 2. Some of the black paintings are of cattle, which likely relate to interactions between hunter-gatherers and farmers, a topic of significant research interest 3. Some of the black paintings are of stick-fighting human figures, which likely relate to interactions between hunter-gatherers and farmers, a topic of significant research interest Paintings in the site are of interpretative interest. It would be of use to place chronological constraints on these interpretations. Labyrinth 1 Labyrinth 1 is one of the major sites used in previous phases of this project. We have determined four direct dates on paintings in this site (Bonneau et al. 2017a, b). Our work in Labyrinth 1 has so far been entirely on the black paints with the aim of radiocarbon dating them. Other work we have undertaken in Lesotho (as yet, unpublished) has suggested that paint composition varies through time. With this thought in mind, and given how well dated the Labyrinth 1 site is, we should like to undertake further characterization work on other coloured paints in the site. As yet, we have a very poor understanding of the composition of southern African rock art paints, but preliminary work has indicated that compositions are more complicated than had been assumed (e.g., Bonneau et al. 2012; Hœrlé et al. 2016). The proposed work would make a significant contribution to that work. Coupling new analytical results with existing direct dates would further enhance the value of this work.   Mount Tyndall 2 Mount Tyndall 2 is one of the major sites used in previous phases of this project. We have determined nine direct dates on paintings in this site (Bonneau et al. 2011, 2017a, b), making it the best-dated rock art site on the African continent. Our initial work on the Mount Tyndall 2 site was on a series of painted spalls of rock collected beneath the main painted panel (Pearce 2010; Bonneau et al. 2011, 2012). None of these spalls could be re-fitted to imagery remaining on the wall, and none contained identifiable imagery. Only red and black paints were represented on the painted flakes. Initial characterization work showed different compositions of red paints (Bonneau et al. 2012). All subsequent work we have undertaken at the site has focused on black paints, with the aim of radiocarbon dating (Bonneau et al. 2017a, 2017b). Other work we have undertaken in Lesotho (as yet, unpublished) has suggested that paint composition varies through time. With this thought in mind, and given how well dated the Mount Tyndall 2 site is, we should like to undertake further characterization work on other coloured paints in the site. As yet, we have a very poor understanding of the composition of southern African rock art paints, but preliminary work has indicated that compositions are more complicated than had been assumed (e.g., Bonneau et al. 2012; Hœrlé et al. 2016). The proposed work would make a significant contribution to that work. Coupling new analytical results with existing direct dates would further enhance the value of this work. For this site we intend to analyse newly collected samples of paint of all colours as well as re-analyse cross sections made from painted flakes on which we previously worked (Bonneau et al. 2012) and which are housed in the Rock Art Research Institute under catalogue number RP/2009/003. Methodology (short): Samples will be analyzed in order to determine their composition and their suitability for radiocarbon dating. 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, and weathering products naturally surrounding the paint layer which may interfere with the dating. Those results will be compared to geological local references of raw colouring materials with the aim to determine their provenance along with the age of the images. 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. Mallen, L. R. and Pearce, D. G. 2012. First interim report on excavations at Buterix 1, Maclear District, Eastern Cape Province, South Africa. Unpublished report, Rock Art Research Institute, University of the Witwatersrand, Johannesburg. Pearce, D. G. 2010. Conservation and management of collapsing rock paintings: three sites in Maclear District, Eastern Cape Province, South Africa. South African Archaeological Bulletin 65:96–103.