RESEARCH
The Technology of Early Cycladic Marble
Methodology
Macroscopic examination - Technical imaging
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Approximately 20 objects with possible remains of painted decoration have been examined with different types of technical imaging by Kiki Birtacha and Yiannis Panagakos. This has helped to identify possible traces of paint, which are not visible with naked eye.
Microscopic examination
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Approximately 1100 microscopic images have been taken. The images help enormously:
a) to record and measure faintly visible traces of paint; according to Kiki BIrtacha, who has studied the traces, the width of painted lines varies between 1 and 3 mm;
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b) to study the nature of the so-called “paint-ghosts” (i.e. parts of the marble, which have been preserved in relief or as smoother and brighter surfaces due to the protective agency of the pigment, which has now been lost); analysis of the data will allow us to explore in detail the chemical processes involved here;
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c) to identify different types of tool traces corresponding to various processes (percussion, abrasion, drilling, polishing, etc.), measure their dimensions and record their morphology.
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d) to identify differences in the use of tools, e.g. for the production of deep incisions (as in the following images from two different figurines, which show, on the left irregular striations perhaps associated with the use of a pointed stone tool, and on the right straight parallel striations perhaps associated with the use of a stone blade).
Analytical techniques - XRF Testing
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Approximately 40 objects with remains of paint have been examined with a portable XRF device by Sophia Sotiropoulou. Preliminary analysis of the data suggests the use of well-known minerals, such as copper oxides (azurite), iron oxides (red ochre), cinnabar etc.
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Preliminary analysis of XRF data suggests that a wider variety of pigments were used on vessels, in comparison to figurines, but further investigation is necessary before definite conclusions are drawn.
Experimental techniques
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Experimental tests have produced a detailed typology of traces left by tools of different shape and material on a variety of marble surfaces. The comparison of original tool traces with those produced during experimental tests allows for the identification of similarities and differences. In some cases, similarities are striking, as for example in the deep incisions between the legs of an original Cycladic figurine (left) and a modern replica made with emery tools (right).
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In other cases, however, there are notable differences, as for example between the fine traces of percussion on a Cycladic figurine (left) and the rougher ones produced by modern emery tools (right).
Cycladic Art in Marble
Relevant MCA Publications
Video: Study at the National Archaeological Museum [blog http://all4nam.com]
Στις Κυκλάδες, κατά την 3η χιλιετία, η ανθρώπινη μορφή, από την πλέον συνοπτική και σχηματική έως τη πιο φυσιοκρατική απόδοσή της λαξεύτηκε στο μάρμαρο και στη συνέχεια συμπληρώθηκε και ολοκληρώθηκε με ζωγράφιση. Μάτια, μαλλιά, κοσμήματα και άλλα θέματα, χρωματισμένα με κόκκινο, γαλάζιο ή μαύρο χρώμα, έδιναν ενέργεια και ιδιαίτερα χαρακτηριστικά στις μορφές, που με αυτόν τον τρόπο εμψυχώνονταν και αποκτούσαν ανθρώπινη ζωντάνια. Η ζωγραφική, επομένως, αποτελούσε βασικό στοιχείο για την απεικόνιση της ανθρώπινης μορφής. (Κείμενο: Κική Μπίρταχα)
During the third millennium BC in the Cyclades, the human figure was rendered with stereotypical, repeated characteristics. In every case, from the most concise and schematic to the most naturalistic representation, whether two-dimensional or three-dimensional, the human figure was carved as an outline in white marble and then complemented and completed by painting, as a basic component of the representation. The marble figurine had to be painted, its white surface had to be animated by colour, enlivened by painted eyes, hair, jewellery, decorative patterns and body marks. The white skin of the marble functioned as a ground for the application of the paint, and the austere form thus acquired special characteristics, vitality and energy; it became ‘human’. Cycladic figurines, therefore, are at once works of sculpture and of painting. (Text by: Kiki Birtacha)
Video: Experimental reconstruction of a Cycladic figurine
Please rotate your device to portrait view.