Paint It Black Instrumental Mp3 Free [BETTER] Download

The many thousands of Aboriginal rock art sites extending across Australia represent an important cultural record. The styles and materials used to produce such art are of great interest to archaeologists and those concerned with the protection of these significant works. Through an analysis of the mineral pigments utilised in Australian rock art, insight into the age of paintings and practices employed by artists can be gained. In recent years, there has been an expansion in the use of modern analytical techniques to investigate rock art pigments and this paper provides a review of the application of such techniques to Australian sites. The types of archaeological information that may be extracted via chemical analysis of specimens collected from or at rock art sites across the country are discussed. A review of the applicability of the techniques used for elemental analysis and structural characterisation of rock art pigments is provided and how future technological developments will influence the discipline is investigated.

In addition to chronological information, the analysis of rock art pigments can provide insight into production methods, a link between a painting and a source. Different methods of paint production are employed in different regions and by different groups. Mixing with extenders (e.g. ochre with kaolinite), the use of binders (e.g. plant resins, wax) and/or heat treatment to alter the colour of a pigment can be determined via pigment analysis. A link between the composition of paint and a source material (e.g. a local ochre mine) has the potential provide valuable archaeological information. Additionally, a connection between archaeological fragments and rock art can be facilitated by the cross-correlation of the chemical and physical properties. The analysis of the pigments contained in superimposed images (an example painting is illustrated in Fig. 1) provides details about the relative age of particular paintings and also when and if pigment use has changed over time. The identification of conversion products that result from weathering processes of pigments can also provide supporting information about age and preservation.

Paint It Black Instrumental Mp3 Free Download

Download Zip 🔥 https://shurll.com/2y3Iey 🔥

Ochre is an important component of paint used in traditional, as well as modern, Australian indigenous art. The source material was extensively traded across Australia in the past and it has been established that the chemical composition of ochres is dependent on the source [5, 6]. Ochre is a mixture of natural minerals including iron oxide and clays [7]. Iron oxides, including haematite [Fe2O3] and goethite [FeOOH], in their different forms and combined with other minerals are responsible for the characteristic red, yellow and orange colours associated with this pigment source. Kaolinite [Al2Si2O5(OH)4], huntite [CaMg3(CO3)4], gypsum [CaSO42H2O] and/or calcite [CaCO3], for example, are minerals present in Australian white pigments. The specific compositions of such minerals vary by source location. Black pigments have been widely produced from charcoal, but mineral pigments such as manganese dioxide can be the source of this colour in certain parts of Australia. As there is not generally a history of chemical or thermal modification of pigments in Aboriginal art, the variation in elemental composition and morphology resulting from different geological formations of ochre has the potential to be linked to a source.

The transformation of particular minerals as a result of environmental exposure may also provide insight into the history of particular rock art. The oxalates, whewellite [Ca(C2O4)H2O] and weddelite [Ca(C2O4)2H2O], form deposits on rock surfaces [8, 9]. The oxalates may be produced by the reaction of calcite with oxalic acids formed by microorganisms including algae, fungi and lichens or is formed from bat guano, which contains ammonium oxalate. When the Ca2+ ion diffuses into oxalate-rich environment, the monohydrate whewellite is formed, while the dihydrate weddelite is formed when the \({\text{C}}_{2} {\text{O}}_{4}^{2 - }\) ion diffuses into a calcium-rich environment. Any weddelite that does form eventually transforms into whewellite in the presence of water as the latter is the more thermodynamically stable form. The oxalate minerals in white paint are believed to be a result of the microbiological alteration of huntite and calcite [10]. The oxalate materials that cover (or lie beneath) rock art have proven to be a source of information about when a painting was produced (e.g. [9]).

Techniques that are able to provide a more direct structural identification of the mineral content of rock art are increasingly being used in partnership with elemental analysis. Quantitative mineral analysis is provided by X-ray diffraction (XRD) methods, which, for instance, can be used to differentiate the various forms of iron oxide (e.g. haematite, goethite). The amount of specimen required in conventional XRD has limited its application, but where synchrotron XRD is available, much smaller specimens can be successfully examined [15]. For the identification and characterisation of pigment minerals, Raman and infrared spectroscopies may also be applied [11, 16]. Microscopic sampling accessories enable very small specimens and paint layers to be investigated.

SEM-EDX analyses have been carried out to understand the source of the distinctive mulberry pigments that are widespread in Kimberley rock art [17]. Where this notable colour had previously been believed to have such as blood, been produced by the addition of an organic substance in the binding medium, the elemental analysis was able to demonstrate that the colour was, in fact, associated with the presence of the mineral jarosite \([{\text{KFe}}_{3}^{3 + } ({\text{OH}})_{6} ({\text{SO}}_{4} )_{2} ]\) which forms as a weathering product to produce mineralised veins within rocks located in the tropical climate of the Kimberley region [10, 18]. A more recent analytical approach has been undertaken to understand the composition of the mulberry coloured paintings [18]. Through the use of portable XRF, XRD and SEM-EDX, the composition of haematite (Fe with lower K and S) and jarosite (Fe with higher K and S) were identified as a means of differentiating pigments.

The identification of minerals in very small (approximately 3 g) stratified rock art paint specimens from the Kimberley region has been investigated using synchrotron XRD [15]. Such layering of a Wandjina painting was first presented by Clarke [19]. The examination of a specimen collected from a Wandjina motif in a rockshelter in the central Kimberley demonstrated that the mineral identification of individual paint layers is possible using the synchrotron technique, compared to a traditional powder XRD technique that requires larger quantities of material to obtain effective data to successfully characterise the mineral compositions.

As part of a dating study of rock art in the Victoria River District of the Northern Territory (lying between the Arnhem Land and Kimberley regions), the compositions of different paint colours have been determined using XRD [26]. The white pigments were found to consist mainly of huntite, gypsum and the oxalates whewellite and weddelite. The conversion, or not, of huntite into oxalates enables variation in mineral composition of pigment specimens to be identified. Such variation may potentially be employed to link white pigments to local sources or to determine if the pigments have been obtained as a result of trade with the Kimberley region of Western Australia.

In their study of hand stencils at a site in North Queensland, Goodall and co-workers [31] have demonstrated that it is possible to obtain chronological information about rock art even when there is insufficient carbon material available to carry out radiocarbon dating. In this study, a combination of Raman and infrared microspectroscopies with SEM-EDX were utilised to examine cross-section layers used in wall paintings at Fern Cave. In this limestone cave, gypsum was proposed to be formed as an evaporative layer during arid conditions and may be used to determine whether different paintings in the cave were above or below gypsum layers formed during the most recent purported dry phase 4000 years ago.

An early mineralogical survey of rock art sites in western New South Wales was carried out to instigate procedures for the conservation of such sites [32]. This study included an early application of infrared spectroscopy, XRD and XRF analyses to identify the main components of the yellow, red, black and white pigments collected. Although the technology of the time limits the sensitivity of the results, the useful nature of such techniques was demonstrated.

Much of the pigment analysis work carried out in New South Wales has been performed on rock art sites located in the Sydney Basin area. Huntley et al. [33] carried out a pilot pigment characterisation study of sites on the Woronora Plateau. SEM-EDX, XRD and PIXE/PIGE were used to examine white yellow, red, black and orange specimens collected from various motifs. Combinations of iron oxide, charcoal and weathered local sandstone dispersed in a clay base were found to be the compositions used. The results of the study also confirmed that paints were used i.e. pigments in liquids applied wet to the rock. An examination of the morphology of the paints supported the theory that the paint was applied via the mouth of the artist Thus, the study provided insight into how the pigments were prepared and applied, in addition to a knowledge of the local paint components.

Huntley followed up the study of rock art from the Sydney Basin with several projects to test the applicability of portable XRF spectroscopy [12, 34]. The XRF data gathered confirmed that locally sourced composite clay-based pigments were used in this region. Multivariate analysis, including principal component analysis (PCA) and hierarchical cluster analysis (HCA), were used to link the paint components with the composition of their local sources. Huntley discussed how the physical properties of rock art paints influence the portable XRF spectroscopy results. Microstructural properties, such as grain size and porosity, have the ability to attenuate the X-ray signals and, as a consequence, influence a quantitative elemental analysis of rock art. The analyses also enabled the first confirmation of the use of a high quality calcite matrix ochre in Sydney Basin archaeological assemblages. 2351a5e196