Pigmented supports in the upper Palaeolithic: Unravelling origins and intentionality on red-pigmented support at the Lagar Velho rock shelter (Portugal)

Abstract

The ochre, a natural pigment, has been a significant element in prehistoric cultures, particularly during the Palaeolithic, with various applications in artistic, ritual, and domestic contexts. This paper focuses on the red- pigmented support found at the Lagar Velho rock shelter (Portugal) and seeks to elucidate its origin, the pro cesses behind its pigmentation, and its intentionality. The limestone support was found in proximity to the Lapedo child burial, dated to the Gravettian, prompting an investigation into its role and the nature of its pigmentation. Detailed analysis, including visual examination, digital image enhancement, microscopic obser vation, and Raman spectroscopy, revealed that the pigmentation primarily consists of haematite. The sequence of events leading to the pigmentation on the limestone support involves sediment accumulation, surface abrasion, and finally, the application of red colour. The “barcode”-like design on the support likely resulted from unin tentional rubbing or contact with red pigment previously deposited in the shelter, potentially associated with the nearby burial. The analyses carried out on this finding suggest that the red colouration was not a result of deliberate artistic or symbolic behaviour but rather a passive process, either natural or anthropic, linked to the block’s movement and its interaction with deposited red pigment. In summary, the study underscores the importance of a comprehensive and well-grounded approach in examining pigmented supports in Palaeolithic contexts. It demonstrates that understanding the nature and origin of pigmentation involves not only analysing patterns but also considering the specific context and processes that led to its deposition. The examination of the Lagar Velho limestone support serves as an example of how taphonomic processes can influence the appearance of colouration in non-artistic contexts, challenging con ventional interpretations of such finds in the European Upper Palaeolithic framew