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1
M.K. "Cave Paintings." Americas 42, no. 2 (October 1985): 248. http://dx.doi.org/10.1017/s0003161500051683.
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Bandara, Jayanthi. "A cultural and archeological study of kotiyagala (mailla) Cave paintings." International Journal of Research and Innovation in Social Science VII, no. IV (2023): 1142–53. http://dx.doi.org/10.47772/ijriss.2023.7495.
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Sri Lanka has a relatively large number of forest cave temples. Most of them have not attracted the attention of researchers and only a few of them have been researched. The reason is that most of these cave temples are located in forested areas away from human habitation. Reaching those places is also very difficult. But very valuable paintings are found in caves located in such places. Due to the lack of proper preservation, the paintings are facing the threat of destruction at a rapid rate. Kotiyagala Mailla Lenvihara is also a place where such precious paintings are hidden. Paintings from four regions are mainly represented here. Only the paintings on the left side remain of them. The main question of this research is to find out what are the socio-economic cultural political factors that influenced Kotiyagala painting. Research methods such as field study, interviews, and library study have been used to collect data mainly using empirical research methodology. The main objective of this research is to study the socioeconomic and cultural factors that influenced the Kotiyagala paintings and to which tradition the style and structural features of the Kotiyagala paintings show the most similarities. The sample of this research was Kotiyagala Mailla Lenvihara which was selected through random sampling.
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WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.
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The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."
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Valladas, H., N. Tisnérat-Laborde, H. Cachier, M. Arnold, F. Bernaldo de Quirós, V. Cabrera-Valdés, J. Clottes, et al. "Radiocarbon AMS Dates for Paleolithic Cave Paintings." Radiocarbon 43, no. 2B (2001): 977–86. http://dx.doi.org/10.1017/s0033822200041643.
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Advances in radiocarbon dating by accelerator mass spectrometry (AMS) have made it possible to date prehistoric cave paintings by sampling the pigment itself instead of relying on dates derived from miscellaneous prehistoric remains recovered in the vicinity of the paintings. The work at the Laboratoire des Sciences du Climat et de l'Environnement (LSCE) concentrated on prehistoric charcoal cave paintings from southern France and northern Spain. In most caves, pigment samples were collected from several paintings, and in some instances the sample size allowed for multiple independent measurements on the same figure, so that the coherence of the calculated dates could be tested. Before being dated, each specimen was subjected to a thermal treatment preceded by an acid and basic treatment of intensity commensurate with the sample size.Nine bison drawings from three caves in the Cantabrian region of Spain—two from Covaciella, three from Altamira, and four from El Castillo—were sampled and dated. The 27 dates fell between 13,000 and 14,500 BP, allowing us to attribute the drawings to the Magdalenian period. The 24 dates for 13 drawings in the Cosquer cave indicated two distinct periods of painting activity—one around 28,000 BP and the other around 19,000 BP. The Chauvet cave paintings turned out to be the oldest recorded to date, as five dates fell between 32,000 and 31,000 BP. After discussing the sample preparation protocol in more detail, we will discuss the ages obtained and compare them with other chronological data.
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Tripathi, Shubha, and Beena Jain. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.
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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta art is considered as the classical age of Indian painting. The artists of Ajanta did not follow the law of perspective and represented the figures in its entirety rather than appeared through a normal eye. Ajanta artists tried to depict the whole view through horizontal bands. In the paintings at Ajanta, the background was painted at the topmost band, the middle part of the painting below it and the foreground below the middle ground.
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Saiful, Andi Muhammad. "MEMAKNAI LUKISAN GUA UHALIE: PENDEKATAN STRUKTURALISME LÉVI STRAUSS." JURNAL WALENNAE 16, no. 1 (July 29, 2018): 39. http://dx.doi.org/10.24832/wln.v16i1.316.
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South Sulawesi is an area that has many prehistoric painting sites. Research on the meaning of the painting is still very limited. Therefore this paper attempts to examine the meaning contained the Uhalie Cave site by Lévi Strauss structuralism approach. The issues raised in this paper are how the meaning of Uhalie Cave paintings and why anoa and pigs became the object of paintings in the Uhalie Cave. The answer obtained from the issues will explain the behavior of a group of painters located in the village. The methods used in this study are collecting secondary data of Uhalie Cave Research, then doing analysis of painting classiffication, finding the pattern of painting in the cave, finding sintagmatic, paradigmatic, transformation, determining signified-signifer, and distinctive feature. The result of this study explain that the happines and grief manifestation of Uhalie Cave human in hunting.Sulawesi Selatan merupakan wilayah yang memiliki banyak situs lukisan prasejarah. Penelitian terhadap makna lukisan tersebut masih sangat terbatas, oleh karena itu karya tulis ini mencoba mengkaji makna yang terkandung pada situs Gua Uhalie dengan menggunakan pendekatan strukturalisme Lévi Strauss. Masalah yang diangkat dalam tulisan ini adalah bagaimana makna lukisan Gua Uhalie dan mengapa anoa dan babi menjadi objek lukis di Gua Uhalie. Jawaban yang didapatkan dari permasalahan tersebut akan menjelaskan tingkahlaku kelompok pelukis yang terletak di daerah pedalaman. Metode yang digunakan dalam penelitian ini mengumpulkan data sekunder hasil penelitian Gua Uhalie kemudian melakukan analisis klasifikasi lukisan, menemukan pola keletakannya, menetukan tanda-penanda (signified-signifer), sintagmatik, paradigmatik dan transformasi, serta menentukan ciri pembedanya (distictive feature). Hasil penelitian ini menjelaskan bahwa lukisan tersebut merupakan perwujudan suka duka manusia pendukung Gua Uhalie dalam melakukan perburuan.
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Menu, Michel. "Cave Paintings: Structure and Analysis." MRS Bulletin 21, no. 12 (December 1996): 48–53. http://dx.doi.org/10.1557/s0883769400032115.
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Prehistoric art is the oldest manifestation of the human desire to record the religion, myths, and spirituality of prehistoric people. The purpose of this article is by no means to propose an interpretation of this artistic expression but to carry out, within a multidisciplinary approach, research aimed at rediscovering the technical system by which the walls of the prehistoric caves were decorated.
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Konigsberg, Ira. "Cave Paintings and the Cinema." Wide Angle 18, no. 2 (1996): 7–33. http://dx.doi.org/10.1353/wan.1996.0007.
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Mandal, Barun. "Visual Rhetoric on Rock During Mesolithic Period at Chintakunta, Kadapa, Andhra Pradesh, India." International Journal of Language, Literature and Culture 2, no. 5 (2022): 1–7. http://dx.doi.org/10.22161/ijllc.2.5.1.
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Following the present to make a better future, there are areas to understand about human settlement in aforementioned, which provides the information about food, shelter, dress, culture, lifestyle, and the relation between human and animal. Moreover, the providers are available in contemporary times which carry the history like- cave paintings, rock paintings, sculptures from ancient civilizations, pots, etc. Human habitations in India had been evaluated by humans from nowhere to somewhere dated back to 10000 BC - 8000 BC, where communication was needed initially, and food, cloth, and language painting also have improved simultaneously. Ancient people depicted nonverbal communication through fighting scenes, hunting, riding, copulation, cultural practice, and genre life through ages like the palaeolithic, mesolithic, and neolithic periods. Evidence of the prehistoric cave and rock art still exist in India, like Bagh cave, Bhimvedka there are Chintakunta, Belum caves, Kethavaram and Bhogeswara in Andhra Pradesh. Apart from habitations, Color application, line, form, shapes, narrations of the paintings, and drawing are the most critical areas invented in a new way by the research scholar, archaeologists, and still, the educators are on the way to searching for new invent This paper explores the Art, aesthetics, culture, and technicality of these diverse approaches to this hidden treasure that can be beneficial in studying ancient rock art.
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Steelman, K. L., M. W. Rowe, V. N. Shirokov, and J. R. Southon. "Radiocarbon dates for pictographs in Ignatievskaya Cave, Russia: Holocene age for supposed Pleistocene fauna." Antiquity 76, no. 292 (June 2002): 341–48. http://dx.doi.org/10.1017/s0003598x00090426.
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Samples from three charcoal pictographs at Ignatievskaya Cave, in the southern Ural Mountains of Russia, have been radiocarbon dated. An advanced antiquity was expected, with some paintings thought to be more than 10,000 years old, as suggested by the imagery. One charcoal painting, for example, resembles a mammoth. The radiocarbon date of that motif, however, dates only to 7370±50 BP. If that motif actually represents a live mammoth, it places mammoth extinction in the Urals nearer to the present than is currently accepted. A charcoal pigment sample, a drawing of lines radiating from a central focus, has also been dated; its age was a few hundred years older than the ‘mammoth’: 7920±60 BP. A charcoal line has been dated with an age of 6030±110 BP. Although radiocarbon analysis was attempted on a red-pigmented painting of a woman, there was not enough organic material in the paint sample to obtain a viable date. Radiocarbon dates on pictographs in Ignatievskaya Cave obtained so far suggest that the paintings may be more recent than has been supposed.
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Bao, Mingjie. "Discussion on the Painting in Cave 254 of Mogao Grottoes." Journal of Contemporary Educational Research 5, no. 10 (October 27, 2021): 40–46. http://dx.doi.org/10.26689/jcer.v5i10.2629.
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Cave 254 of the Mogao Grottoes is one of the most representative grottoes from the Northern Wei Dynasty. The painting of “Laying Down Oneself to Feed the Tiger” on the south wall of the grotto has high artistic value. With changing dynasties and the development of time, the original appearance of the painting has changed. In particular, the color of the whole cave has undergone a subversive change, resulting in many misunderstandings. In this article, the composition, colors, and lines of the painting, “Laying Down Oneself to Feed the Tiger,” are discussed in view of the current situation of the cave, and the work is approached from the perspective of painting. The concept of different times of the same painting, its precise and unique layout, as well as development peak of “Laying Down Oneself to Feed the Tiger” are expounded. In this article, the unique artistic level of this mural in the Northern Dynasty is demonstrated along with its importance for present paintings.
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Mogarichev, Yurii, and Alena Ergina. "The Lost Fresco Paintings of the Inkerman Cave Churches (“Temple with Baptistery”, “Church of Geography”, Monastery of Saint Sophia)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija 26, no. 6 (December 28, 2021): 31–51. http://dx.doi.org/10.15688/jvolsu4.2021.6.3.
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Introduction. Among the “cave towns” of Mountainous Southwestern Crimea, there are monuments located in the lower reaches of the Black River valley. There are no less than 9 rock-cut monastic complexes which include about 30 temples. Methods. Some churches of the 13th–15th centuries were decorated with fresco paintings. Today, frescoes have been preserved only in one church. Sources of the 18th–20th centuries indicate traces of paintings in more than five temples. Frescoes inside the “temple with baptistery”, “Church of Geography (Eugraphy)”, and the Monastery of St. Sophia have not survived. Archival materials that expose the plots and compositions are published in this work. Analysis. The frescoes of the “temple with baptistery” date back to the 13th century. The Deesis composition is reconstructed in the apse conch. In the “Church of Geography (Eugraphy)” (the 13th century), on each side of the throne, four figures of saints are depicted (The Holy Fathers composition). This is probably: John Chrysostom, Gregory the Theologian, Basil the Great, Cyril of Alexandria, Gregory of Nyssa, Athanasius of Alexandria and two more saints from among the Cappadocian Fathers. One of them is obviously St. Blaise. This painting in general terms repeats the traditional scheme of the lower register of the painting of the apses of the cave temples of the mountainous Crimea. The monastery of St. Sofia should be dated back to the 14th–15th centuries. During the period of the monastery’s functioning, there were fresco paintings in the Main Church and Church no. 3, but all the attempts to attribute them were unsuccessful. Results. The analyzed frescoes show themes of Deesis and the Great Cappadocians. They are common for altar compositions in cave temples in South-West Crimea. In the interiors of the cave temples of Inkerman, there are: simple linear ornaments, complex plant reports, linear ornaments with complex weaving and plant elements.
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Hubbard, Timothy L., and Susan E. Ruppel. "The (Dynamic) Mind in the Cave." Empirical Studies of the Arts 35, no. 1 (July 24, 2016): 67–92. http://dx.doi.org/10.1177/0276237416638487.
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Four experiments examined whether reported looming of cave paintings and petroglyphs was due to representational momentum. Participants viewed a target photograph of a cave painting or petroglyph, and then a probe photograph of the same cave painting or petroglyph was presented. The viewpoint in the probe was closer, the same as, or farther than the viewpoint in the target. Participants judged if the probe viewpoint was (a) the same as or different from the target viewpoint or (b) closer, the same distance as, or farther than the target viewpoint. Experiments 1, 2, 3A, and 3B presented photographs of objects and entities, and Experiments 4A and 4B presented photographs of handprints and stencils. In all experiments, responses were not consistent with representational momentum, but were consistent with boundary extension. It is suggested perception of looming arises with continued inspection and reflects a mismatch between previously perceived (displaced) and currently perceived information.
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Brumm, Adam, Adhi Agus Oktaviana, Basran Burhan, Budianto Hakim, Rustan Lebe, Jian-xin Zhao, Priyatno Hadi Sulistyarto, et al. "Oldest cave art found in Sulawesi." Science Advances 7, no. 3 (January 2021): eabd4648. http://dx.doi.org/10.1126/sciadv.abd4648.
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Indonesia harbors some of the oldest known surviving cave art. Previously, the earliest dated rock art from this region was a figurative painting of a Sulawesi warty pig (Sus celebensis). This image from Leang Bulu’ Sipong 4 in the limestone karsts of Maros-Pangkep, South Sulawesi, was created at least 43,900 years ago (43.9 ka) based on Uranium-series dating. Here, we report the Uranium-series dating of two figurative cave paintings of Sulawesi warty pigs recently discovered in the same karst area. The oldest, with a minimum age of 45.5 ka, is from Leang Tedongnge. The second image, from Leang Balangajia 1, dates to at least 32 ka. To our knowledge, the animal painting from Leang Tedongnge is the earliest known representational work of art in the world. There is no reason to suppose, however, that this early rock art is a unique example in Island Southeast Asia or the wider region.
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Dayet, Laure, Francesco d’Errico, Marcos García Diez, and João Zilhão. "Critical evaluation of in situ analyses for the characterisation of red pigments in rock paintings: A case study from El Castillo, Spain." PLOS ONE 17, no. 1 (January 24, 2022): e0262143. http://dx.doi.org/10.1371/journal.pone.0262143.
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Paint technology, namely paint preparation and application procedures, is an important aspect of painting traditions. With the expansion of archaeometric studies and in situ non-destructive analytical methods, a renewal of technological studies is being observed in rock art. In situ analyses have several limitations that are widely discussed in the literature, however. It is not yet clear whether they provide accurate information on paint technology, except under certain conditions. Here, we evaluated digital microscopic and pXRF in situ analyses for the characterisation of a large set of red and yellow paintings from the El Castillo cave, Cantabria, Spain. We have set experiments and used statistical methods to identify differences between paint components and determine factors impacting pXRF measurements. We found that the compositional heterogeneity of the paintings’ environment, especially variations in secondary deposits, was responsible for most of the differences observed between the pXRF signals recorded on the paintings. We concluded that the El Castillo cave environment is not suitable for non-destructive technological studies, but that more favourable contexts might exist. Following previous works and our own results, we advocate a combination of both in situ and laboratory invasive analyses for the study of paint composition and paint technology. Our research protocol, based on the comparison of rock paintings, their substrate, experimental paintings and Fe-normalisation of the signals can improve the reliability of pXRF results. We also propose to include more systematic characterisation of rock wall heterogeneity and the use of microscopic analyses in non-destructive approaches.
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Liu, Liu, Jintao He, Mei Ye, Zhanyun Zhu, Qing Zhong, and Junchang Yang. "Spectral Characterization of Pigment from the No. 1 Cave, Kizil Cave-Temple Complex." Journal of Spectroscopy 2019 (September 30, 2019): 1–9. http://dx.doi.org/10.1155/2019/8502524.
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The Kizil Cave-Temple Complex has been registered as a World Heritage site and was formerly a part of Kucha—one of the most powerful and prosperous regions of ancient China. The No. 1 Cave is of great significance due to its three surviving clay sculptures. The mural paintings inside the cave are experiencing severe degradation. Scientific methods such as optical microscopy (OM), scanning electron microscopy combined with energy dispersive X-ray analysis (SEM-EDS), Raman spectroscopy, Fourier transform infrared spectroscopy (FTIR), and X-ray diffusion (XRD) were applied to analyze the pigments and organic coating used in the No. 1 Cave. The results show that paratacamite, gypsum, and lapis lazuli were used as the green, white, and blue pigments, respectively. Poly-n-butyl methacrylate (PBMA) was used as an organic coating of the blue pigment and has accelerated the aging of the mural paintings. This study shares insights into the materials and techniques employed and assesses the preservation status of the mural paintings, providing scientific support for protection and restoration schemes.
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Baitileu, Darkhan, Zhaken Taimagambetov, and Talgat Mamirov. "Spatial Organization and Cave Paintings of Toleubulak Large Grotto in Mugodzhar." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 30, 2022): 219–31. http://dx.doi.org/10.55086/sp222219231.
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This article introduces the material on the Mugodzhar petroglyphs for scientific discussion. For the first time, full-fledged copies of cave paintings obtained during the continuous fixation of the flat surfaces of the Toleubulak large grotto are published, which allows attracting a wide range of researchers to study and analyze the earliest rock art of Kazakhstan. A comparative and narrative-stylistic study and an analysis of the technique of cave paintings in the Toleubulak large grotto helped to identify three main chronological layers with cave paintings: petroglyphs of the pre-Paleometallic epoch (Neolithic), petroglyphs of the transition period from the Stone Age to the Bronze Age (Eneolithic–Early Bronze) and petroglyphs of the Late Bronze Age. The new interpretation of cave paintings of mushroom-shaped figures of the late Bronze Age is proposed. Thus, parallels are drawn with the images of the labyrinths of Dagestan, the drawings on the Northeastern Caspian sanctuary, the labyrinths of the White Sea and the arrow-shaped structures of Ustyurt.
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McCarthy, Frederick D. "Cave Paintings in North-eastern Queensland." Mankind 4, no. 7 (February 10, 2009): 294–99. http://dx.doi.org/10.1111/j.1835-9310.1951.tb00253.x.
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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.
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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.
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Mogarichev, Yuriy, and Alena Ergina. "Reassessing the Periodization of Mural Paintings in the Cave Church of the Southern Mangup Monastery." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 47–63. http://dx.doi.org/10.15688/jvolsu4.2019.6.4.
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Introduction. The Southern Monastery is located in the southern part of the Mangup plateau in a natural rock grotto. The cave church is in the eastern side of the grotto. It is decorated with mural paintings. The murals of the church are concentrated in the altar. Frescos are divided into the images on the apse, on the altar arch and on the vaults of the church. Methods. Authors give the periodization of frescos comparing iconography and stylistics. Analysis. The images on the apse are flat. The eaves of the altar arch are similar to the icon row. Saints on the arches of the church have their original compositional solution. The apse’s painting was formed earlier than other architectural divisions of the church interior. The fundamentally different organization of the tectonics of the pictorial surface of the altar arch eave and vaults suggests that different artists made these images at short intervals. Results. The church’s murals of the Southern Mangup Monastery were probably formed in three stages. Different artists, who were the representatives of various eastern Christian schools of sacred painting, made the murals. Due to the closed compositional scheme the painting system appears as an indissoluble whole, despite the definite duration of the murals’ formation in the church of the Southern Mangup Monastery. In general, the paintings of the church of the Southern Mangup Monastery date from the early – the third quarter of the 15th century. Probably this monastery is associated with the ruling dynasty of Theodoro.
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Elikhina, Yuliia I. "The Dunhuang and Yulin cave museum complexes." Issues of Museology 12, no. 2 (2021): 296–309. http://dx.doi.org/10.21638/spbu27.2021.212.
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The article examines the caves of Dunhuang and Yulin — world famous Buddhist complexes. The tradition of cave temples with wall paintings and sculpture came from India. The Dunhuang and Yulin caves were decorated in this manner. The highest peak in the development of Dunhuang art falls on the period of the Tang Dynasty (618-907), it was at this time that numerous murals appeared depicting the Pure Land of Buddha Amitabha, the Lord of the West, where the souls of the righteous dwell, the Pure Land of Buddha of healing Bhaishajyaguru and other subjects. The main source for the creation of works of art in Dunhuang was Chinese Buddhism, which was formed under the influence of local cults and beliefs and was reflected in the sutras. A certain influence on the painting of Dunhuang was exerted by the art of the cave complexes of the Great Silk Road, and later by the artistic and iconographic traditions of the Tanguts and Mongols. The findings from Dunhuang in the collection of the State Hermitage Museum includes three hundred items. In 1914–1915, the Second Russian Turkestan Expedition under the leadership of academician S. F. Oldenburg worked there and brought these artifacts back. In addition, the expedition acquired a large number of manuscripts in Sanskrit, Chinese, Uyghur, Sogdian, Tibetan and Tangut. Currently, these priceless monuments are kept at the Institute of Oriental Manuscripts in St. Petersburg. The Dunhuang and Yulin cave complexes are a monument of world culture in terms of their size, quantity and quality of paintings, as well as in the variety of subjects, which constitute an encyclopedia of Buddhism in pictorial and sculptural images.
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Dubey, Shobharam. "Buddhist markings in the post vakataka murals of Ajanta." RESEARCH REVIEW International Journal of Multidisciplinary 6, no. 12 (December 15, 2021): 164–68. http://dx.doi.org/10.31305/rrijm.2021.v06.i12.024.
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The Ajanta paintings are mainly intended to depict various aspects of the life of Lord Buddha. The rest of the space between the stories has been decorated with vines, animal birds, geometric figures and other varied forms. Cave No. 9, 10, 19, 26 of the thirty caves of Ajanta are Chaitya Mandaps, while the rest are Santharams or Viharas. At present, there are only six cave paintings, in which cave nos.-1,2,9,10,16 and 17 are there. From the point of view of time, these paintings are divided into three categories – Satavahana period paintings, Vakataka period paintings and Vakatota period paintings. The oldest paintings are of caves 9 and 10, which are related to the Hinayana sect.
Abstract in Hindi Language:
अजन्ता के चित्रों का प्रायोजन मुख्यतः भगवान बुद्ध के जीवन के विभिन्न पहलुओं का अंकन है। कथांकनों के अनन्तर शेष स्थान को लतापत्रक, पशुपक्षियों ज्यामितिक आकृतियों तथा अन्य वैविध्यपूर्ण रूप सज्जा से अलंकृत किया गया है। अजन्ता के तीस गुफाओं में गुफा सं0- 9,10,19,26 चैत्य मण्डप हैं, जबकि शेष संथाराम अथवा विहार हैं। वर्तमान में मात्र छः गुफाओं के चित्र अवशेष है, जिनमें गुफा सं0-1,2,9,10,16 व 17 हैं। काल की दृष्टि से इन चित्रों को तीन वर्गो मंे विभक्त किया जाता है-सातवाहन कालीन चित्र, वाकाटककालीन चित्र तथा वाकाटकोत्तरकालीन चित्र। सर्वाधिक प्राचीन चित्र गुफा सं0 9 व 10 के हैं, जो कि हीनयान सम्प्रदाय से सम्बन्धित हैं।
Keywords: वन्य उपासक, महाहंस जातक, बुद्ध के जीवन के दृश्य, सहस्त्र बुद्ध, बोधिसत्व, विधुर पंडित जातक, पूर्णावदान, क्षांतिवादी जातक, अलंकरण।
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Dubey, Shobharam. "Buddhist notation in the Vakataka frescoes of Ajanta." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 2 (February 20, 2022): 12–16. http://dx.doi.org/10.31305/rrijm.2022.v07.i02.003.
Full textAbstract:
The Ajanta paintings are mainly intended to depict various aspects of the life of Lord Buddha. The rest of the space between the stories has been decorated with vines, animal birds, geometric figures and other varied forms. Cave No. 9, 10, 19, 26 of the thirty caves of Ajanta are chaitya mandapas, while the rest are sangarams or viharas. At present there are only six cave paintings, in which cave nos.-1,2,9,10,16 and 17 are there. From the point of view of time, these paintings are divided into three categories – Satavahana period paintings, Vakataka period paintings and Vakatota period paintings. The oldest paintings are of caves 9 and 10, which are related to the Hinayana sect.
Abstract in Hindi Lanaguage:
अजन्ता के चित्रों का प्रायोजन मुख्यतः भगवान बुद्ध के जीवन के विभिन्न पहलुओं का अंकन है। कथांकनों के अनन्तर शेष स्थान को लतापत्रक, पशुपक्षियों ज्यामितिक आकृतियों तथा अन्य वैविध्यपूर्ण रूप सज्जा से अलंकृत किया गया है। अजन्ता की तीस गुफाओं में गुफा सं0- 9,10,19,26 चैत्य मण्डप हैं, जबकि शेष संघाराम अथवा विहार हैं। वर्तमान में मात्र छः गुफाओं के चित्र अवशेष हंै, जिनमें गुफा सं0-1,2,9,10,16 व 17 हैं। काल की दृष्टि से इन चित्रों को तीन वर्गो मंे विभक्त किया जाता है-सातवाहन कालीन चित्र, वाकाटककालीन चित्र तथा वाकाटकोत्तरकालीन चित्र। सर्वाधिक प्राचीन चित्र गुफा सं0 9 व 10 के हैं, जो कि हीनयान सम्प्रदाय से सम्बन्धित हैं।
Keywords: माया का स्वप्न, असित ऋषि से चर्चा, गौतम का विद्याभ्यास, वृद्ध तथा तीन अन्य निमित्तों का दर्शन, सुजाता की खीर, धर्मोपदेश, नन्द की दीक्षा ।
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Dubey, Shobharam. "Marking of Natives in Vakataka period murals of Ajanta." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 1 (January 20, 2022): 112–18. http://dx.doi.org/10.31305/rrijm.2022.v07.i01.016.
Full textAbstract:
The Ajanta paintings are mainly intended to depict various aspects of the life of Lord Buddha. The rest of the space between the stories has been decorated with vines, animal birds, geometric figures and other varied forms. Cave No. 9, 10, 19, 26 of the thirty caves of Ajanta are chaitya mandapas, while the rest are sangarams or viharas. At present there are only six cave paintings, in which cave nos.-1,2,9,10,16 and 17 are there. From the point of view of time, these paintings are divided into three categories – Satavahana period paintings, Vakataka period paintings and Vakatota period paintings. The oldest paintings are of caves 9 and 10, which are related to the Hinayana sect.
Abstract in Hindi Language:
अजन्ता के चित्रों का प्रायोजन मुख्यतः भगवान बुद्ध के जीवन के विभिन्न पहलुओं का अंकन है। कथांकनों के अनन्तर शेष स्थान को लतापत्रक, पशुपक्षियों ज्यामितिक आकृतियों तथा अन्य वैविध्यपूर्ण रूप सज्जा से अलंकृत किया गया है। अजन्ता के तीस गुफाओं में गुफा सं0- 9,10,19,26 चैत्य मण्डप हैं, जबकि शेष संघाराम अथवा विहार हैं। वर्तमान में मात्र छः गुफाओं के चित्र अवशेष हंै, जिनमें गुफा सं0-1,2,9,10,16 व 17 हैं। काल की दृष्टि से इन चित्रों को तीन वर्गांे मंे विभक्त किया जाता है-सातवाहन कालीन चित्र, वाकाटककालीन चित्र तथा वाकाटकोत्तरकालीन चित्र। सर्वाधिक प्राचीन चित्र गुफा सं0 9 व 10 के हैं, जो कि हीनयान सम्प्रदाय से सम्बन्धित हैं।
Keywords: शंखपाल, महाजनक, शिवि, चांपेय, महाउम्मग, हस्ति, विश्वंतर, षडदन्त, हंस, सुतसोम, शरम, महाकपि मातृपोषक, मृग, न्यग्रोध।
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Dubey, Shobharam. "Buddhist markings in the Satavahana frescoes of Ajanta." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 1 (January 12, 2022): 50–54. http://dx.doi.org/10.53573/rhimrj.2022.v09i01.010.
Full textAbstract:
The purpose of the paintings of Ajanta is mainly to depict various stories related to the life of Lord Buddha. The rest of the space between the stories has been decorated with vines, animal birds, geometric figures and other varied forms. Cave No. 9, 10, 19, 26 of the thirty caves of Ajanta are Chaitya Mandaps, while the rest are Sangharamas or Viharas. At present, there are only six cave paintings, in which cave nos.-1,2,9,10,16 and 17 are there. From the point of view of time, these paintings are divided into three categories – Satavahana period paintings, Vakataka period paintings and Vakatota period paintings. The oldest paintings are of caves 9 and 10, which are related to the Hinayana sect.
Abstract in Hindi Language:
अजन्ता के चित्रों का प्रायोजन मुख्यतः भगवान बुद्ध के जीवन से सम्बन्धित विभिन्न कथाओं का अंकन है। कथांकनों के अनन्तर शेष स्थान को लतापत्रक, पशुपक्षियों ज्यामितिक आकृतियों तथा अन्य वैविध्यपूर्ण रूप सज्जा से अलंकृत किया गया है। अजन्ता के तीस गुफाओं में गुफा सं0- 9,10,19,26 चैत्य मण्डप हैं, जबकि शेष संघाराम अथवा विहार हैं । वर्तमान में मात्र छः गुफाओं के चित्र अवशेष है, जिनमें गुफा सं0-1,2,9,10,16 व 17 हैं। काल की दृष्टि से इन चित्रों को तीन वर्गो मंे विभक्त किया जाता है-सातवाहन कालीन चित्र, वाकाटककालीन चित्र तथा वाकाटकोत्तरकालीन चित्र। सर्वाधिक प्राचीन चित्र गुफा सं0 9 व 10 के हैं, जो कि हीनयान सम्प्रदाय से सम्बन्धित हैं।
Keywords: बोधिवृक्ष पूजा, स्तूप पूजा, साम जातक, छद्दन्त जातक, नागराजा, पशुओं का खेदा।
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Iyer, Lars. "CAVE PAINTINGS AND WALL WRITINGs: Blanchot's signature." Angelaki 6, no. 3 (December 2001): 31–43. http://dx.doi.org/10.1080/09697250120087923.
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Baker, Suzanne M., and Ruth Ann Armitage. "Cueva La Conga: First Karst Cave Archaeology in Nicaragua." Latin American Antiquity 24, no. 3 (September 2013): 309–29. http://dx.doi.org/10.7183/1045-6635.24.3.309.
Full textAbstract:
Cueva la Conga, recorded in June 2006, is the first limestone cave in Nicaragua reported to contain prehistoric rock paintings, culturally modified natural formations called speleothems, and artifacts. Located in northcentral Nicaragua in the Department of Jinotega, Cueva la Conga is the farthest south on the Mesoamerican periphery that a cave of this type has been reported, and it extends our knowledge of ritual cave use, including cave painting and speleothem modification, to include Nicaragua. Radiocarbon analysis of charcoal in five samples of the paint, the first such dating of Nicaraguan rock art, yielded calibrated dates from cal A.D. 680—905 to cal A.D. 1403—1640. The baseline data provided by Cueva la Conga are of great importance for regional rock art analysis and for our growing understanding of regional and Nicaraguan prehistory. More archaeological survey and excavations in the area will be key in establishing a firm cultural context for the rock art and ritual cave use found at Cueva la Conga.
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Sassoni, Enrico, Elisa Franzoni, Milyana Stefanova, Zdravko Kamenarov, Paolo Scopece, and Emanuele Verga Falzacappa. "Comparative Study Between Ammonium Phosphate and Ethyl Silicate Towards Conservation of Prehistoric Paintings in the Magura Cave (Bulgaria)." Coatings 10, no. 3 (March 9, 2020): 250. http://dx.doi.org/10.3390/coatings10030250.
Full textAbstract:
This study aimed at evaluating the effectiveness and the compatibility of two alternative treatments, in view of their possible use for conservation of prehistoric paintings in the Magura cave (Bulgaria). The paintings are made of bat guano applied over limestone; therefore, two sets of laboratory specimens were considered: stone specimens and stone specimens covered with a layer of sterilized bat guano. The two investigated treatments were a commercial product based on ethyl silicate (“ES”) and a solution of diammonium hydrogen phosphate (“DAP”), aimed at forming calcium phosphates. The results of the study indicated that both treatments were able to increase the mechanical properties of stone, the increase being higher for “DAP”. Both consolidants caused acceptable color changes, but the “ES” treatment significantly decreased stone wettability, water absorption, and water vapor permeability, while the “DAP” treatment slightly affected those properties. In the stone + guano specimens, the presence of the guano layer affected the penetration of the consolidants, thus partly reducing their effectiveness. Compared to the stone samples, the guano layer experienced a more intense color change, alongside visible cracking. However, the adopted methodology to replicate the cave paintings was not completely successful, as the so-deposited guano layer was very prone to detachment when dry, unlike cave paintings. Future work will be dedicated to assessing the consolidant performance onto samples that resemble even more closely the conditions of the cave paintings, by improving the methodology for the guano layer deposition and by contaminating specimens with soluble salts before consolidant application.
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Beck, Lucile, Dominique Genty, Sophia Lahlil, Matthieu Lebon, Florian Tereygeol, Colette Vignaud, Ina Reiche, et al. "Non-Destructive Portable Analytical Techniques for Carbon In Situ Screening Before Sampling for Dating Prehistoric Rock Paintings." Radiocarbon 55, no. 2 (2013): 436–44. http://dx.doi.org/10.1017/s003382220005757x.
Full textAbstract:
Direct dating of prehistoric paintings is playing a major role in Paleolithic art studies. Very few figures can be directly dated since the necessary condition is that they contain organic carbon-based material. Thus, it is very important to check the presence of organic carbon-based material in situ before sampling in order to protect the visual integrity of the paintings or drawings. We have tested and compared 3 different portable analytical systems that can be used in cave environments for detecting carbon in prehistoric paintings: (1) a very compact X-ray fluorescence (XRF) system in Villars Cave (Dordogne, France); (2) a portable micro-Raman spectrometer in Rouffignac Cave (Dordogne, France); and (3) an infrared reflectography camera in both caves. These techniques have been chosen for their non-destructiveness: no sample has to be taken from the rock surface and no contact is made between the probes and the paintings or drawings. The analyses have shown that all the animal figures have been drawn with manganese oxides and cannot be directly dated by radiocarbon. However, carbon has been detected in several spots such as black dots and lines and torch marks. 14C results were obtained from 5 torch marks selected in Villars Cave, with ages between 17.1–18.0 ka cal BP. Three methods were used to identify carbon in black pigments or to confirm the presence of torch marks by carbon detection. Thanks to these new analytical developments, it will be now possible to select more accurately the samples to be taken for 14C dating prehistoric paintings and drawings.
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Bastian, F., V. Jurado, A. Nováková, C. Alabouvette, and C. Saiz-Jimenez. "The microbiology of Lascaux Cave." Microbiology 156, no. 3 (March 1, 2010): 644–52. http://dx.doi.org/10.1099/mic.0.036160-0.
Full textAbstract:
Lascaux Cave (Montignac, France) contains paintings from the Upper Paleolithic period. Shortly after its discovery in 1940, the cave was seriously disturbed by major destructive interventions. In 1963, the cave was closed due to algal growth on the walls. In 2001, the ceiling, walls and sediments were colonized by the fungus Fusarium solani. Later, black stains, probably of fungal origin, appeared on the walls. Biocide treatments, including quaternary ammonium derivatives, were extensively applied for a few years, and have been in use again since January 2008. The microbial communities in Lascaux Cave were shown to be composed of human-pathogenic bacteria and entomopathogenic fungi, the former as a result of the biocide selection. The data show that fungi play an important role in the cave, and arthropods contribute to the dispersion of conidia. A careful study on the fungal ecology is needed in order to complete the cave food web and to control the black stains threatening the Paleolithic paintings.
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Sebastián López, María, Antonio Uriarte González, Jorge Angás Pajas, and Manuel Martínez-Bea. "Documentación sistémica del arte rupestre mediante el análisis espectral del escaneado 3D de las estaciones pintadas en Aragón, El caso concreto del abrigo de La Vacada (Castellote, Teruel) y el covacho del Plano del Pulido (Caspe, Zaragoza). España." Virtual Archaeology Review 1, no. 1 (April 11, 2010): 123. http://dx.doi.org/10.4995/var.2010.5132.
Full textAbstract:
<p>The work that follows is a sample of the tool of 3D laser scanner for the systematic study of rock art. Getting a three-dimensional modeling of the panels that are located in the cave paintings and analyzing variable intensity emitted by the scanner (green or red depending on instrument used). This analysis allows us pigment spots (cave paintings), with alterations of the panel. What allows us to obtain, as is the case, greater sharpness of the compositional elements that have the rock station and detecting non-visible figures at present due to deterioration. Assuming therefore a method of systemic documentation of rock art and promoting the recovery of lost art today.</p>
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Mélard, Nicolas, Romain Pigeaud, Jérôme Primault, and Joël Rodet. "Gravettian painting and associated activity at Le Moulin de Laguenay (Lissac-sur-Couze, Corrèze)." Antiquity 84, no. 325 (September 1, 2010): 666–80. http://dx.doi.org/10.1017/s0003598x00100158.
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Presented here is the so far unique discovery and interpretation of an occupation area directly associated with Upper Palaeolithic cave paintings. The paintings, of red spots and hand stencils, overlook two hearths with selected flints. There were also fragments of stalactite, deduced by analysis and experiment to be waste products from the manufacture of beads. The authors deduce that the hearths and their assemblage complement the ritual nature of the paintings.
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Mogarichev, Yuriy, and Alena Ergina. "Fresco Paintings of Southwest Crimea Cave Churches According to Igor Grabar." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 116–30. http://dx.doi.org/10.15688/jvolsu4.2020.6.8.
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Introduction. Today, the remains of fresco paintings are preserved in six cave churches of Taurica: the temple of the Southern Monastery (Mangup); church in the field of Kielse-Tubu (district of Mangup); the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the church number 12 on Zagaytansky rock (Inkerman). Authors of the 19th – early 20th centuries left descriptions of the now lost murals of six more monuments. Methods. Frescos of Crimean cave churches in historiography received insufficient comprehension. Only one monograph was published on this issue (1966). Analysis. Opinions and comments regarding the mural paintings of the cave churches of Crimea, expressed by reputable art historians and specialists in fresco paintings, are relevant. These include Igor Grabar. He was in Crimea in 1927, as the head of the Central Art Conservation Center by Glavnauka of the RSFSR. The Manuscript Department of the State Tretyakov Gallery stores leaflets from the notebook “Igor Grabar’s trip notes in the Crimea and about Old Russian art”. Authors publish the full text of Igor Grabar’s notes concerning the murals of cave churches: the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the temple of the Southern Monastery (Mangup). Results. Igor Grabar’s notes help us clarify many points of view in the study of frescos of cave temples in Crimea. The study of the murals of the temple of the Three Horsemen by Igor Grabar allows us to justifiably discard the versions of “three Georges” and “portraits of real local figures”. There are images of three holy warriors: Dmitry, Theodore (Stratilates or Tyrone), and George in the cave temple. The study of the Mangup Church fresco by Igor Grabar allowed us to develop a periodization of the formation of fresco paintings of this monument.
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Majid, Z., M. F. M. Ariff, K. M. Idris, A. R. Yusoff, K. M. Idris, A. Aspuri, M. A. Abbas, K. Zainuddin, A. R. A. Ghani, and A. A. Bin Saeman. "THREE-DIMENSIONAL MAPPING OF AN ANCIENT CAVE PAINTINGS USING CLOSE-RANGE PHOTOGRAMMETRY AND TERRESTRIAL LASER SCANNING TECHNOLOGIES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W3 (February 23, 2017): 453–57. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w3-453-2017.
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The paper describes the used of close-range photogrammetry and terrestrial laser scanning technologies as an innovative technology for acquiring the three-dimensional data of an ancient cave paintings. The close-range photogrammetry technology used in the research was divided in two categories which are the UAV-based close-range photogrammetry and the terrestrialbased close-range photogrammetry. The UAV-based technology involved with the used of calibrated Phantom 4 System while the terrestrial-based technology involved with the calibrated Sony F828 digital camera and pPhotoModeler software. Both stereo and convergent image acquisition techniques were used to acquire the images of the paintings. The ancient cave paintings were also recorded using terrestrial laser scanning technology. In the research, the FARO Focus 3D terrestrial laser scanner was used to capture the three-dimensional point clouds and images of the paintings. The finding shows that both close-range photogrammetry and laser scanning technologies provide excellent solutions to map and to record the ancient paintings. As compared to the conventional method, both close-range photogrammetry and terrestrial laser scanning technology provide a noncontact solution for data acquisition and the data was recorded in digital format for better protection and security.
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Tamburini, Diego, Joanne Dyer, Teresa Heady, Alice Derham, Meejung Kim-Marandet, Monique Pullan, Yu-Ping Luk, and Imma Ramos. "Bordering on Asian Paintings: Dye Analysis of Textile Borders and Mount Elements to Complement Research on Asian Pictorial Art." Heritage 4, no. 4 (November 13, 2021): 4344–65. http://dx.doi.org/10.3390/heritage4040240.
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Mount components and textile borders represent important elements of Asian paintings. However, they are often side-lined or not considered an integral part of the original piece, as they may be later additions or may have been replaced during historic conservation or mounting interventions. Nevertheless, evidence is sometimes present that textile borders are contemporaneous to the production of the paintings they frame or, in the case of paintings found in archaeological contexts, to the time of deposition. Even when not contemporaneous with the paintings, the mount textiles are often of significant historic interest in themselves, showing a range of complex textile techniques and materials, and highlighting the re-use of fabrics. In all these cases, the study and reconstruction of the original colours of the borders enable further understanding of the holistic visual impact originally intended for the composition, as well as of the role of colour itself, which was used to emphasise, complement or contrast important pictorial themes or motifs in the paintings. Furthermore, the identification of dyes and dyeing techniques has the potential to support the production date and provenance of the paintings. In this study, the textile borders and some additional mounting elements of six paintings (late 9th–10th century CE) from the Library Cave, Mogao Grottoes, Dunhuang, China, one rare Korean portrait painting dated 1789 CE, and two Tibetan thangkas (18th century) were investigated with the aim to identify the dyes present. Fibre optic reflectance spectroscopy (FORS) was used to obtain information non-invasively and, when sampling was possible, high-performance liquid chromatography-tandem mass spectrometry (HPLC-MS/MS) was used to obtain molecular identification of the dyestuffs employed in their production. Typical Asian dyes, such as gromwell (Lithospermum erythrorhizon), sappanwood (Biancaea sappan), safflower (Carthamus tinctorius), turmeric (Curcuma longa) and pagoda tree flower buds (Sophora japonica), were identified. Some of the dyeing techniques were commensurate with the geographical and temporal provenance assigned to these pieces. Considerations about fading and discolouration of the dyes enabled valuable additional information to be obtained that complements the evidence gleaned from the study of the paintings and informs conservators and curators on best practices in the preservation and display of these precious and delicate artworks.
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Steelman, Karen L., Arturo de Lombera-Hermida, Ramón Viñas-Vallverdú, Xosé Pedro Rodríguez-Álvarez, Fernando Carrera-Ramírez, Albert Rubio-Mora, and Ramon Fábregas-Valcarce. "Cova Eirós: An Integrated Approach to Dating the Earliest Known Cave Art in NW Iberia." Radiocarbon 59, no. 1 (February 2017): 151–64. http://dx.doi.org/10.1017/rdc.2017.4.
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AbstractAt Cova Eirós, we discovered 13 panels with paintings and engravings that stylistically point to the final moments of the Upper Paleolithic. Scanning electron microscopy with energy dispersive X-ray spectroscopy and Fourier transform Raman spectroscopy were used to identify charcoal as black pigment. Although contamination from medieval fires inside the cave complicates the dating of these pictographs, analyses of unpainted rock backgrounds allowed calculation corrections for contaminated samples. We used plasma oxidation and accelerator mass spectrometry (AMS) to directly radiocarbon (14C) date two charcoal paintings—confirming that the images are more than 9000 yr old. As these paintings superimpose engravings, these14C dates also provide a minimum age for an engraving at Cova Eirós that is stylistically Final Magdalenian/Epipaleolithic. This is the first known evidence of Paleolithic cave art in Galicia of NW Iberia.
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WALTON, W. J. "ABORIGINAL ROCK CARVINGS AND CAVE PAINTINGS AT ARCADIA." Mankind 1, no. 8 (February 10, 2009): 202–3. http://dx.doi.org/10.1111/j.1835-9310.1934.tb00040.x.
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Gonzalez, Juan M., Cesareo Saiz-Jimenez, and M. Carmen Portillo. "Microbes Pose a Risk to Prehistoric Cave Paintings." Microbe Magazine 3, no. 2 (February 1, 2008): 72–77. http://dx.doi.org/10.1128/microbe.3.72.1.
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d'Errico, Francesco, Laure Dayet Bouillot, Marcos García-Diez, Africa Pitarch Martí, Daniel Garrido Pimentel, and João Zilhão. "The technology of the earliest European cave paintings: El Castillo Cave, Spain." Journal of Archaeological Science 70 (June 2016): 48–65. http://dx.doi.org/10.1016/j.jas.2016.03.007.
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Taniguchi, Yoko, Kazuki Kawahara, Miho Takashima, Marine Cotte, Joy Mazurek, Yuki Kumazawa, Yuki Taga, and Takashi Nakazawa. "Organic Materials Used for Giant Buddhas and Wall Paintings in Bamiyan, Afghanistan." Applied Sciences 12, no. 19 (September 21, 2022): 9476. http://dx.doi.org/10.3390/app12199476.
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Since 2004, scientific research on the damaged Giant Buddha statues and Buddhist paintings in Bamiyan, Afghanistan, has been conducted at various laboratories and large-scale facilities using mass-spectrometry techniques (GC-MS, LC-MS, LC-MS/MS, nano-LC/ESI-MS/MS), ELISA, and synchrotron-based micro-analyses) in parallel to conservation intervention. Studies on samples from these cultural heritage objects have shown that each is composed of a polychromatic multilayered structure with sizing layers, ground layers, painted layers, and glaze. The carefully produced complex multilayered structures were examined using optical microscopy (visible and UV light) as well as synchrotron-based infrared microscopy, both of which revealed various organic and inorganic components in each layer. High sensitivity bulk MS and ELISA methods were used to further identify details regarding organic materials, such as fatty acids and collagens, and these results suggest different vegetable oils and animal species of glues. For example, cow milk casein and cow skin glue were identified in the Eastern Giant Buddha, suggesting that casein was used as a sizing agent and the cow skin glue as a binder for painting. The wall paintings from Cave N(a) (mid-7th century AD) were found to have horse glue used as sizing and drying oil (poppyseed/walnuts/perilla oils) as a binding media. The paintings’ complex structures and their organic and inorganic materials were fully understood using both imaging and bulk methods, and thus, these methods help to reconstruct historical wall painting techniques in full.
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Garavelli, Anna, Gioacchino Francesco Andriani, Giovanna Fioretti, Vincenzo Iurilli, Antonella Marsico, and Daniela Pinto. "The “Sant’Angelo in Criptis” Cave Church in Santeramo in Colle (Apulia, South Italy): A Multidisciplinary Study for the Evaluation of Conservation State and Stability Assessment." Geosciences 11, no. 9 (September 10, 2021): 382. http://dx.doi.org/10.3390/geosciences11090382.
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Sant’Angelo in Criptis (Santeramo in Puglia, South Italy) is a karst cave located in the Alta Murgia National Park (aspiring geopark), presently degraded, but with signs of intense past visiting activity for worship, as testified by the beautiful wall paintings and the large number of inscriptions and engravings on the cave walls. With the aim to permit the desirable restoration and the following fruition of this ancient geo-cultural heritage, a multidisciplinary investigation of the cave was carried out in this study. The 3D cave model permitted a detailed map of the area and highlighted that the cave vault, although very regular, somewhere presents chimneys that develop upwards, indicating areas where the rock thickness is now very small. The stability analysis indicates that presently, the cave does not show remarkable signs of instability, but block failures, toppling and roof collapse are possible. Archaeometry investigations confirmed the past importance of this holy site, as testified by the overlapping in the paintings of three different pictorial cycles and the use of precious pigments, thus confirming the necessity of preservation through a conservation management strategy for a full future fruition of the cave.
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James, N. "Replication for Chauvet Cave." Antiquity 90, no. 350 (April 2016): 519–24. http://dx.doi.org/10.15184/aqy.2016.63.
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As radiocarbon dates were announced, the wall paintings and engravings in Chauvet Cave, France, were hailed as fine art far earlier than any recognised before: here was the ‘Dawn of art’ (Figure 1; Chauvet et al. 1996). Soon after discovery, in 1994, the cave was closed to protect the images from chemical and microbial damage. In 2014, it was added to the World Heritage List. Then, in April 2015, replicas of the most striking imagery were opened at a purpose-built site, the Caverne du Pont d'Arc.
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Klinger, Barbara. "Cave of Forgotten Dreams: Meditations on 3D." Film Quarterly 65, no. 3 (2012): 38–43. http://dx.doi.org/10.1525/fq.2012.65.3.38.
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Werner Herzog's Cave of Forgotten Dreams features the oldest known art in the world—Paleolithic-era paintings in France's Chauvet Cave. His documentary not only reveals the cave's wonders, but offers a subtle commentary on 3D and its relationship to cinematic space, spectacle, science, art, and older media techniques and forms.
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Clottes, Jean, Antonio Beltrán, Jean Courtin, and Henri Cosquer. "The Cosquer Cave on Cape Morgiou, Marseilles." Antiquity 66, no. 252 (September 1992): 583–98. http://dx.doi.org/10.1017/s0003598x00039314.
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The discovery of Palaeolithic wall paintings and engravings in a cave whose entrance lies below the present sea-level near Marseilles has created considerable interest – and no little controversy. The paper describes and analyses the remarkable find, with special attention to its authenticity.During the Pleistocene there were large variations in sea-level under the influence of glaciations and inter-glacial warm episodes. During the Late Wurm glaciation in the Upper Palaeolithic the sea-level dropped to 110–120 m below its present level (Lumley 1976: 311). At that time the Lerins islands, the Hyeres islands and the Frioul archipelago and the islet of Planier off Marseilles were linked with the coast, and much of the Golfe du Lion was occupied by a vast plain.
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Dublyansky, Y. V., and V. N. Shirokov. "Age of the Upper Paleolithic sites in Kapova and Ignatievskaya caves (Southern Ural): revision and interpretations of the radiocarbon dates." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 3 (50) (August 28, 2020): 5–16. http://dx.doi.org/10.20874/2071-0437-2020-50-3-1.
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There are two caves containing groups of wall paintings of the Upper Paleolithic age known in the Southern Ural: Kapova (Shulgan-Tash) and Ignatievskaya (Yamazy-Tash). In total, about 200 pictorial motifs have been recorded in the Kapova cave, among which there are life-like depictions of Pleistocene animals (mammoth and rhinoceros). Some 180 pictorial motifs have been found in the Ignatievskaya cave, which also show images of the Pleistocene fauna (mammoth and rhinoceros), although less realistic than those in the Kapova cave. The cultural layers have been discovered in the cave sediments at both sites. Archaeological excavations in the Kapova cave revealed multiple cultural layers which contained remains of the hearths, stone artefacts, fragments of ochre, decorations made of stone and tusk, a piece of burnеd clay cup, bone tools and animal bones (some with traces of ochre paint). In the Ignatievskaya cave, the Paleolithic cultural layer contains numerous fragments of charcoal, stone artefacts, rare fragments of ochre, decorations made from teeth of arctic fox and bison and from mammoth tusk, as well as the bones of Pleistocene animals. In the past two decades, a series of radiocarbon dates has been reported by different researchers based on the charcoal and bones from the cultural layers in both caves. Seventeen dates have been reported for the Kapova cave, including 14 Upper Paleolithic, 2 Bronze Age and 1 modern dates. The materials from the cultural layer of the Ignatievskaya cave have yielded 6 radiocarbon dates; another 3 dates were obtained directly from the charcoal used for the black paintings in the cave. Our analysis of publications, in which the radiocarbon dates from the Upper Paleolithic cultural layers of the Kapova and Ignati-evskaya caves are used, has revealed that the dating results are often reported inaccurately or incompletely, which leads to serious errors in interpretations. In particular, the incorrect use of non-calibrated radiocarbon dates as calendar ages, completely changes the paleoclimatic context of the cave occupation; for the Kapova cave, for instance, such misinterpretation shifts the dates of the cave visiting and painting from the late part of the Last Glacial Maximum and early deglaciation to the Bølling-Allerød interstadial. In this paper, we revisit the published radiocarbon ages for these two Southern Ural sites, provide practical recommendations and re-emphasize the importance for accurate and complete reporting of radiocarbon ages in publications.
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Bayarri, Vicente, Alfredo Prada, and Francisco García. "A Multimodal Research Approach to Assessing the Karst Structural Conditions of the Ceiling of a Cave with Palaeolithic Cave Art Paintings: Polychrome Hall at Altamira Cave (Spain)." Sensors 23, no. 22 (November 13, 2023): 9153. http://dx.doi.org/10.3390/s23229153.
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Integrating geomatics remote sensing technologies, including 3D terrestrial laser scanning, unmanned aerial vehicles, and ground penetrating radar enables the generation of comprehensive 2D, 2.5D, and 3D documentation for caves and their surroundings. This study focuses on the Altamira Cave’s karst system in Spain, resulting in a thorough 3D mapping encompassing both cave interior and exterior topography along with significant discontinuities and karst features in the vicinity. Crucially, GPR mapping confirms that primary vertical discontinuities extend from the near-surface (Upper Layer) to the base of the Polychrome layer housing prehistoric paintings. This discovery signifies direct interconnections helping with fluid exchange between the cave’s interior and exterior, a groundbreaking revelation. Such fluid movement has profound implications for site conservation. The utilization of various GPR antennas corroborates the initial hypothesis regarding fluid exchanges and provides concrete proof of their occurrence. This study underscores the indispensability of integrated 3D mapping and GPR techniques for monitoring fluid dynamics within the cave. These tools are vital for safeguarding Altamira, a site of exceptional significance due to its invaluable prehistoric cave paintings.
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Russ, Jon, Mary D. Pohl, Christopher L. von Nagy, Karen L. Steelman, Heather Hurst, Leonard Ashby, Paul Schmidt, Eliseo F. Padilla Gutiérrez, and Marvin W. Rowe. "Strategies for 14C Dating the Oxtotitlán Cave Paintings, Guerrero, Mexico." Advances in Archaeological Practice 5, no. 2 (March 27, 2017): 170–83. http://dx.doi.org/10.1017/aap.2016.10.
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ABSTRACTOxtotitlán Cave paintings have been considered among the earliest in Mesoamerica on stylistic grounds, but confirmation of this hypothesis through absolute dating has not been attempted until now. We describe the application of advanced radiocarbon strategies developed for situations such as caves with high carbon backgrounds. Using a low-temperature plasma oxidation system, we dated both the ancient paint and the biogenic rock coatings that cover the paint layers at Oxtotitlán. Our research has significantly expanded the time frame for the production of polychrome rock paintings encompassing the Early Formative and Late Formative/Early Classic periods, statistically spanning a long era from before ca. 1500 cal B.C. to cal A.D. 600.
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Angelucci, Davide. "Nuove indagini sulle pitture rupestri dell’eremo di Selvascura presso il Santuario del Crocifisso a Bassiano." Fenestella. Dentro l'arte medievale / Inside Medieval Art 3 (December 30, 2022): 45–87. http://dx.doi.org/10.54103/fenestella/18645.
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This article aims to re-examine the frescoes in the Selvascura hermitage in Bassiano, one of the medieval pictorial contexts created in caves in Lower Lazio, both from an iconographic and stylistic point of view. In the past, the paintings aroused some attention from local connoisseurs, but they collected a barely timid interest in critical publications. The carried out research revealed the existence of a link between the iconographic choices made in the cave paintings and the Greek theological literature, especially the Heavenly Ladder of St. John Climacus, known by the Franciscan Spirituals thanks to the translations by Angelo Clareno. Therefore, it is possible to suggest a new iconological interpretation of the frescoes on the right side of the cave and to overcome the traditional approach that considered the decoration of this hermitage as a mere juxtaposition of votive panels. Furthermore, an unpublished painting inspired by one of the apologues told by Barlaam to the Indian prince Josaphat has been identified and it can be added to the small list of monumental works with this theme related to the Italian Middle Age. This paper explains also all the documents from the current archives of the Soprintendenza concerning these frescoes and their preservative history from the 70s to the 90s of the XX century. Finally, an accurate analysis of the stylistic features and the comparison with other pictorial and mosaic works from Rome and the rest of Lazio allow to date back the paintings to the period between the end of the 13th and the beginning of the 14th century and to recognize the style of unknown artists trained in the school of Cavallini, very close to the Magister Conxolus’s lesson.
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Balter, M. "ARCHAEOLOGY: Paintings in Italian Cave May Be Oldest Yet." Science 290, no. 5491 (October 20, 2000): 419–21. http://dx.doi.org/10.1126/science.290.5491.419.
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Schabereiter-Gurtner, Claudia, Cesareo Saiz-Jimenez, Guadalupe Piñar, Werner Lubitz, and Sabine Rölleke. "Altamira cave Paleolithic paintings harbor partly unknown bacterial communities." FEMS Microbiology Letters 211, no. 1 (May 2002): 7–11. http://dx.doi.org/10.1111/j.1574-6968.2002.tb11195.x.
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