Search Results (21)

In the central Mesa Verde region, rock art occurs on canyon walls and on boulders that are frequently associated with other archaeological remains. Moreover, rock art, together with architecture and pottery, is actually a primary source of archaeological information about the presence of various cultures in the area. It includes paintings and petroglyphs of Ancestral Pueblo farming communities, images and inscriptions made by post-contact Ute and possibly Diné (Navajo) people as well as historical inscriptions of the early Euro-Americans in this area. This paper presents the results of archaeological investigations at four large rock art sites from Sandstone Canyon, southwestern Colorado, within the Canyons of the Ancients National Monument (CANM). Methods of rock art recording included advanced digital photography, photogrammetry, terrestrial laser scanning (TLS), hand tracing, and consultations with members of indigenous societies and rock art scholars. Geophysics and sondage excavations were conducted at one site revealed important information about archaeology, environment, and geology of the area. Analysis of rock art and other material evidence aims to help reconstruct and understand the mechanisms and nature of cultural changes, migrations, and human–environmental interactions and later cross-cultural contacts between indigenous peoples and Anglo-American ranchers and settlers in southwestern Colorado and the US Southwest. Full article

Upper Cretaceous carbonate rocks in Jordan are the main resources for construction and paint-related industrial applications. This study evaluates the elemental composition, mineralogy, and petrography of two main geological formations from two localities in northern Jordan (Hallabat, Turonian age, and Ajlun, Santonian–Campanian age) to shed light on their composition, depositional environments, and potential industrial end uses. The elemental composition of the Hallabat Wadi Sir Limestone (WSL) Formation indicates notable variability between the middle and upper parts of the WSL carbonates in the area, with higher CaO content in the middle part (mean 55 wt.%) and higher silica content observed in the upper part (mean 2 wt.%) compared with the middle part (mean 0.9 wt.%). Meanwhile, analysis of the elemental composition of the Ajlun Amman Silicified Limestone (ASL) Formation indicates that the CaO content is relatively higher in the upper part (mean 56 wt.%). In addition, the lower part is more influenced by detrital input when compared with the upper part of the studied section, in contrast to the Hallabat WSL Formation. Petrographic analysis demonstrates that the WSL and ASL samples are predominantly micritic limestone. The XRD results for the Hallabat WSL and Ajlun ASL show that the mineralogical composition is dominated by calcite (CaCO₃). Statistical and PCA analyses also confirm these variabilities between the two sites, indicating that all samples from both sites were deposited under variable hydrodynamic and environmental conditions that affected their physical and chemical composition. The results show that all studied samples are in the range of pure limestone and can be used for specific industrial applications in addition to their current uses, including those in the pottery and porcelain ware, soda ash and caustic soda, steel industry, sugar, and textile production industries, thus contributing to the economic resources in Jordan. Full article

Mīnā’ī wares, crafted during the 12th–13th centuries, represent some of the earliest examples of sophisticated painted enamel decoration by potters. Due to the thinness of these enamel layers, their detailed characterization remains challenging, even with the use of advanced techniques, such as Proton-Induced X-ray Emission (PIXE) analysis and Rutherford Backscattering Spectrometry (RBS). This study provides the first combined non-invasive analysis, using X-ray fluorescence (XRF) and Raman spectroscopy, of five shards attributed to mīnā’ī wares. For comparison, two İznik shards from the 17th century, which feature similarly styled but thicker enamel decorations, were also analyzed. Interestingly, the mīnā’ī paste was found to contain lead and tin, suggesting the use of a lead-rich frit in its composition. This finding was confirmed through micro-destructive analysis, using Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM–EDS). Elements, such as rubidium (Rb), strontium (Sr), yttrium (Y), and zirconium (Zr), produced significant XRF signals and effectively distinguished mīnā’ī wares from İznik wares. A uniform tin-rich glaze, measuring 300–500 µm in thickness, was used as a base layer for the much thinner painted mīnā’ī enamels. The colored areas (blue, turquoise, red, green, black, white, eggplant) revealed the presence of various coloring agents and phases, such as spinels, chromite, and ions like Cu²⁺ and Co²⁺, as well as opacifiers like cassiterite and lead–calcium/potassium arsenates. Two distinct cobalt sources were identified: one associated with arsenic and the other with manganese and nickel. These cobalt sources are comparable to those used in İznik pottery. For the first time, boron was detected in the blue enamel of mīnā’ī wares. Full article

This paper presents the results of archaeometric research on the white and red materials used to decorate some ceramic vessels belonging to the Boian culture, the Vidra and Spanţov phases from the 5th millennium BC, discovered at Hârşova-Tell, on the right bank of the Danube, Romania. Digital microscopy, wavelength-dispersive X-ray fluorescence spectroscopy, X-ray diffraction, and Fourier transform infrared spectroscopy were used to identify the morphology, the crystalline phases, chemical formula, and percentage content of each crystalline phase in the white decoration materials and what type of pigment was used to prepare the red paint. The results obtained reveal that the white decorating material in the pottery is mostly made of calcite. It was added after the pottery was fired. Sometimes, powders from burnt bones were also used. The red pigment is hematite. The work contributes to the completion of a puzzle related to the artistic vision of the members of the Boian communities in decorating ceramics with culture-specific motifs, preserving the pattern, and adapting to the local natural resources. Full article

This study is concerned with the restoration of painted pottery images from the Yangshao period. The objective is to enhance the efficiency and accuracy of the restoration process for complex pottery patterns. Conventional restoration techniques encounter difficulties in accurately and efficiently reconstructing intricate designs. To address this issue, the study proposes an AI-assisted restoration workflow that combines Stable Diffusion models (SD) with Low-Rank Adaptation (LoRA) technology. By training a LoRA model on a dataset of typical Yangshao painted pottery patterns and integrating image inpainting techniques, the accuracy and efficiency of the restoration process are enhanced. The results demonstrate that this method provides an effective restoration tool while maintaining consistency with the original artistic style, supporting the digital preservation of cultural heritage. This approach also offers archaeologists flexible restoration options, promoting the broader application and preservation of cultural heritage. Full article

In the prehistoric period on the Balkan Peninsula, the technology of white decoration underwent a drastic change. At the beginning of the Neolithic white pigment was applied as paint on a polished surface. At the end of the epoch, white paste was inlaid in incised channels on the surfaces of vessels. This study is focused on the identification of mineral pigments used for white decoration of Neolithic and Chalcolithic pottery from the territory of Bulgaria. The aim of this work is to answer the question of whether the composition of the white pigment varies according to the technique of decoration (paint and inlay). A set of 41 pottery fragments from 11 archaeological sites on the territory of Bulgaria was analyzed utilizing two spectroscopic techniques: laser-induced breakdown spectroscopy (LIBS) and Fourier-transform infrared spectroscopy (FTIR). Additionally, the experimental data from the LIBS were statistically treated with the multivariate technique, principal component analysis (PCA). The results from the spectral analysis indicated that the main constituent in the white decorated sherds is calcite in various combinations with carrier materials like quartz, feldspars, and metal oxides. The statistical analysis revealed that the primal constituent in the inlaid sherds is calcite while in the painted part, the carrier material is dominant. In some particular sherds, gypsum, hydroxylapatite, kaolinite, and aragonite were also detected. Full article

In this paper we describe the archaeological and archaeometric analysis of a Third Pompeian Style assemblage from the Blanes dump in Mérida (Spain). Based on the pottery context, the material would have been part of the decoration of a public or private space remodelled towards the end of the 1st century AD. Several samples from to the middle area of the assemblage, including panels, inter-panels and a frieze, were selected and studied using X-ray diffraction (XRD), X-ray fluorescence (XRF), Raman, gas chromatography and petrographic analysis. The results revealed the use of hematite, cinnabar, minium and goethite in different panels, as well as goethite, Egyptian blue, calcite, glauconite and carbon for the decorative motifs. They allowed us to define the painting techniques used and how they have affected the degradation of the pigments. Full article

X-ray diffraction (XRD) is extensively used in archaeometric investigation. Herein, we provide a novel XRD spectrum-based untargeted strategy for the classification of ancient painted pottery for various dynasties. It was accomplished using the original spectrum without a phase identification. To eliminate the influence of baseline drift, a new baseline drift correction algorithm was specifically designed for XRD spectra. The algorithm was implemented using local minimum values in the analyzed signal in an iterative optimization manner. The results indicated that with the aid of the algorithm, the baseline drift problem can be successfully resolved, and the classification of ancient painted pottery can be greatly improved. Finally, the developed strategy was successfully used to discriminate ancient painted pottery from the Han and Tang dynasties in the cities of Guyuan and Zhongwei, China. The developed untargeted strategy had the remarkable advantage of almost automatic data analysis. The toolbox of our strategy can be obtained from the authors. Full article

Delving into the past through the study of pottery, this research employs scientific techniques to explore Jiangzhai pottery from circa 3000–4000 BCE. The investigation revealed that the red and grey pottery, despite their color differences, have similar elemental compositions, suggesting that these variations are not due to elemental differences but likely due to a higher concentration of Fe³⁺ in the red pottery. Analysis of the pigments using elemental analysis, polarized light microscopy, and XRD showed that the red pigment contains ochre, the black is a mix of pyrolusite and magnetite, and the white is composed of calcite. Additionally, thermal expansion analysis determined that the firing temperature of Jiangzhai colored pottery is around 1050 °C, with similar temperatures for both red and grey pottery, suggesting that kiln operations like stacking or overlapping are likely causes of the color variations. This study not only broadens our understanding of ancient pottery-making techniques and cultural practices but also emphasizes the critical role of scientific analysis in preserving and interpreting the rich artistic and technological legacy of ancient cultures. Full article

Medio Period (AD 1200 to 1450) Casas Grandes shamans used tobacco and possibly other entheogens to initiate trance states that allowed their spirits to travel across the cosmos. These trance experiences involved a sense of vertigo and soul flight that is cross-culturally common and occurs with tobacco-based nicotine intoxication. The Medio Period shamans also relied on and interacted with other-than-human persons during their travels, including macaw- and serpent-linked deities, as well as animated objects designed to participate in their shamanic journeys. The animated objects included Playas Red and Chihuahuan Polychrome pottery effigies of humans, macaws, and snakes with shamanic themes that represented the spirit world. I propose these pots were animate “pot-people” created for shamanic rituals. They were created with unusual designs including painted images and incised patterns that emphasized the spinning/vertigo that was central to the shamans’ soul flight experience. In some cases, the pots were literally spun, as evidenced by the distinctive wear patterns on their bases. The shamanic designs on the pots that reflected the upper and lower worlds, the depiction of spinning in the pottery decorations, and the literal spinning of some pots reflected the sympathetic and mimetic magic that linked them to the spirit world. They were imbued with the liminal nature of the creatures they depicted, and the symbolic and occasional literal emphasis on spinning would allow them to enter into a shamanic trance in a manner similar to their human counterparts. They, thus, were designed to enter into ASC in a manner that paralleled their human counterparts. Full article

Throughout history, ceramics have been the most abundant artifacts in archaeological discoveries. Within the Neolithic period in present-day Bulgaria, skilled artisans applied additional materials to decorate their pottery, evolving in composition and application techniques such as painting or incrustation. This study is focused on the investigation of white pigments used in decorating Early and Late Neolithic pottery from Madzherito, Kaloyanovets, and Hadzhidimitrovo—archaeological sites located in the Thracian Valley, Central South Bulgaria, affiliated with the cultural groups of Karanovo I and IV. Thirteen ceramic sherds were investigated through archaeometric techniques, including Fourier-transformed infrared spectroscopy in attenuated total reflection mode (ATR-FTIR) and laser-induced breakdown spectroscopy (LIBS). LIBS data underwent further analysis using principal component analysis (PCA). The results revealed that calcite, enriched with diverse fillers like quartz, clays, feldspars, and metal oxides, was the primary raw material for white decoration throughout the entire period. Talc emerged as an addition to calcite in the paint of two Early Neolithic sherds. The presence of hydroxyapatite and kaolinite in Late Neolithic pottery was also observed. The inclusion of supplementary ingredients in the primary formula for crafting white decorations signifies either the emergence of novel trends in manufacturing techniques or serves as evidence of vessels imported from adjacent territories. Full article

Some painted pottery figurines were excavated from the tomb of Qibi Ming of the Tang Dynasty. A series of analytical techniques were employed to understand the craftsmanship of these painted pottery figurines. The pigment, cross-section, adhesive, and firing temperature were analyzed using microscopy (OM), energy X-ray fluorescence spectrometry (EDX), micro-Raman spectroscopy, pyrolysis–gas chromatography–mass spectrometry (Py-GC/MS), and a dilatometer (DIL). The results demonstrated that the surface of the pigment layers had degraded to different degrees. The pigment particles were litharge, gypsum, malachite, cinnabar, hematite, minium, white lead, and carbon black. The cross-sectional images show that the painted layer of figurines 10-0966 and 10-0678 included a pigment layer and a preparation layer. The preparation layer of both pigments was lead white. Animal glue was used as an adhesive. The firing temperature of the pottery figurines was likely 1080 °C. This study can provide more accurate information with regard to the composition of the raw materials utilized in the making of these artifacts and support the selection of appropriate substances for the purposes of conservation and restoration of the painted pottery figurines. Full article

Cattle are one of the six livestock species that have occupied an important place in Chinese history. Previous ancient DNA studies have indicated that Chinese taurine cattle (Bos taurus taurus) are exotic, but the exact route and diffusion by which they were introduced to China is unknown. In this study, we extracted the mitochondrial genomes of 34 cases of ancient taurine cattle (from the late Neolithic to Qin and Han dynasties) excavated from sites in northern China and the eastern Eurasian steppe, and successfully obtained 14 mitochondrial genome sequences. The results of ancient DNA analysis reveal that with cultural exchange and trade, there was close genetic exchange between domestic taurine cattle in different regions. The haplotypes shared by domestic cattle have genetic continuity, reflecting the strong cultural influence of the large capital city sites such as Taosi, Shimao and Erlitou on the surrounding areas. This study suggests that ancient northern Chinese taurine cattle may have accompanied the westward transmission of agricultural or painted pottery culture and thus had a maternal genetic contribution to modern Tibetan cattle. Full article

This paper considers the results of an examination of painted pottery from prehistoric sites of the Prmor’ye region (Southern Russian Far East) in the northwestern part of the Sea of Japan basin. Red-painted and black-painted ceramic wares occur here only in the remains of the Yankovskaya archaeological culture dated to the 1st mil. BCE. Red painting appears as a colored surface coating, and black painting is represented by very simple drawn patterns. Until recently painting decorations have not been intentionally studied. The objects of our investigation are a small series of red-painted and black-painted ceramic fragments originated from archaeological sites. The methods of optical microscopy, SEM-EDS, and Raman spectroscopy were applied to the study of research materials. As a result, the data on characteristics of texture and composition of red and black paints were obtained. Both were determined to be pre-firing paints. Red paint is a clayish substance mixed with natural ochre pigment containing the hematite coloring agent. Black paint is carbon-based. Black carbon and burnt bone are recognized as colorants. The presented materials are new evidence of pottery paint technologies in prehistoric Eurasia. Full article

The wall paintings of five Hellenistic tombs in Apulia were analysed using a multi-technique approach to discern the painting techniques used and contextualise them within the phenomenon of Hellenistic tomb painting in Southern Italy. In particular, the question was asked whether technical knowledge played a role in the reception of Hellenistic artistic models and whether this knowledge was present locally. Raman and IR spectroscopies were used to identify pigments, colourants, and binders; light and electron microscopy were used to determine the structural characteristics of the paint layers and recognise the manufacturing technique. Analyses identified a fresco application for the Tomba dei Cavalieri (Arpi) and a dry application for the Canosian hypogea. The palette—typical for Hellenistic tomb painting in Southern Italy, Etruria and Macedonia—was composed of lime (white), charcoal (black), hematite (red), goethite (yellow), and Egyptian blue (blue). In the Tomba della Nike (Arpi), meanwhile, two particularly refined preparatory layers were observed. The palette was enriched with precious cinnabar and madder lake. The colouring components of the root were mixed with clay and K-alum applied on an additional layer of lime. The use of madder lake and a pink background link the painting to the polychrome Daunian pottery, and the contribution of a local workshop to the decoration of this tomb thus seems plausible. Full article