Artículos (Pintura)

URI permanente para esta colecciónhttps://hdl.handle.net/11441/10788

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VORTEX (Variscite origin recognition technology X-ray based) Data. A European geoarchaeological green phosphate compositional dataset
(Elsevier, 2025) Sánchez-Gómez, Daniel; Garrido Cordero, José Ángel; Martínez Blanes, José María; Villalobos García, Rodrigo; Edo i Benaiges, Manuel; Catarina Sousa, Ana; Zambrana Vega, María Dolores; Borrel, Ferran; Barroso Bermejo, Rosa; Bueno Ramírez, Primitiva; Odriozola Lloret, Carlos Patricio; Química Inorgánica; Pintura; Prehistoria y Arqueología; Generalitat de Catalunya; Ministerio de Ciencia e Innovación; University of Lisbon
This dataset includes the compositional information of n = 1778 geoarchaeological samples of green phosphate minerals sourced from three major Iberian deposits with evidence of prehistoric mining: Aliste, Terena, and the Gavà Mines. It has been used to develop a data-driven framework that integrates portable X-ray fluorescence (p-XRF) analysis and machine learning (ML), to determine the provenance of archaeological artifacts based on its elemental composition. In addition, a mineralogical analysis by X-ray diffraction (XRD) of a subset (N = 249; n_Aliste = 122, n_Terena = 47 n_Gavà = 80) was conducted to complement the geochemical characterisation of the sample. Data from n = 571 variscite beads from 15 Iberian and French archaeological sites, representing a diverse range of chronocultural contexts spanning from the Neolithic to the Bronze Age, used to test the model are also presented. The compositional data was obtained by using a portable XRF analyser and is presented as atomic percentages of the elements between Al and Th. Mineral compositions were determined using a Panalytical X’Pert Pro θ/θ diffractometer. This dataset has high reuse potential for future non-destructive studies of archaeological artefacts and past social network analyses.
Corrosion characterization of late Roman coins from the tomares hoard using PIXE and FIB-SEM-EDS techniques
(Elsevier, 2026) Pérez-López, María Elena; Ortega-Feliú, Inés; Ager Vázquez, Francisco José; Gómez-Tubio, Blanca María; Scrivano, Simona; Paúl Escolano, Antonio; Poyatos-Jiménez, Fernando; Respaldiza Galisteo, Miguel Ángel; Pintura
The Tomares Hoard, one of the most significant Late Roman numismatic finds in the Iberian Peninsula, comprises more than 55,000 coins dated to the 3rd–4th centuries CE. This study focuses on the characterization of corrosion layers and alloy compositions of selected specimens using a multi-analytical approach that combines Particle Induced X-ray Emission (PIXE), Rutherford Backscattering Spectrometry (RBS) and Focused Ion Beam Scanning Electron Microscopy coupled with Energy Dispersive Spectroscopy (FIB-SEM-EDS). PIXE and RBS spectra obtained with α-particles (2, 3, 5 and 6.4 MeV) and 3 MeV protons were compared across polished and non-polished areas, revealing silver enrichment in the outer layers and contamination from soil-derived elements (Si, Al, P, S, Ca, Fe, Cl). FIB-SEM-EDS cross-sections confirmed the presence of multi-layered corrosion products, consistent with copper oxides, copper carbonates, and tin- and lead-rich oxidized phases, together with localized signals suggestive of cuprous chloride-related instabilities. These results shed light on the metallurgical practices and post-depositional processes affecting the hoard, while underlining conservation challenges posed by possible chloride-induced active corrosion.
Fiesta y cultura popular en la obra de Ocaña. Una reinterpretación contracultural
(Faculdade de Belas-Artes da Universidade de Lisboa e Centro de Investigação e Estudos em Belas-Artes (FBAUL/CIEBA)., 2014) Naranjo-Ferrari, José; Pintura; HUM841: Observatorio de Paisajes
En este artículo abordamos la presencia y reactivación de las fiestas y la cultura popular vernácula en la obra del artista andaluz Ocaña (Cantillana, 1947-1983). La reinterpretación de estos aspectos desde la perspectiva homosexual y contracultural de este artista, convierte su producción en una obra cargada de contemporáneidad. Estudiaremos como acude a las tradiciones autóctonas para abrir caminos a un panorama cultural necesitado de nuevos referentes.
Religiosidad “contracultural” en la obra de Ocaña. Una reinterpretación de la religión a través de la homosexualidad en la transición española
(Universidade de Lisboa: Faculdade de Belas-Artes, 2014) Naranjo-Ferrari, José; Pintura; HUM841: Observatorio de Paisajes
La religión constituye un elemento clave en la vida y obra de Ocaña. Este artículo analiza la repercusión de la religiosidad popular en la formación del artista y la posterior reinterpretación conceptual y plástica que desarrolla en su trabajo a partir de la homosexualidad. Argumentamos esta insólita unión religión— homosexualidad, que dio lugar a una de las producciones artísticas más contraculturales y subversivas del periodo de la transición.
A propósito de la autoría de la Pura y Limpia del Postigo del Aceite de Sevilla.
(Universidad de Granada, 2025) Domínguez-Gómez, Benjamín; Porres Benavides, Jesús; Pintura; HUM956: Conservación de Patrimonio. Métodos y Técnicas
La imagen denominada Pura y Limpia es una escultura en madera policromada que recibe culto en una capilla callejera adyacente al Postigo del Aceite, en Sevilla. En este trabajo se vincula su hechura con el quehacer del escultor utrerano Francisco Antonio Ruiz Gijón (1653- ¿1720?) apoyada en el detallado estudio que se ha realizado con motivo de los recientes trabajos de conservación y restauración practicados sobre la obra.
A forest of green beads: A machine-learning based framework to determine the geological provenance of prehistoric variscite artifacts.
(ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD; Academic Press Ltd – Elsevier Science Ltd, 2026) Zambrana Vega, María Dolores; Odriozola Lloret, Carlos Patricio; Garrido Cordero, José Ángel; Martínez Blanes, José María; Pintura; HUM1085: Quantitative Archaeology and Archaeological Science
This study addresses critical gaps in the provenance analysis of variscite and related green phosphate minerals, which serve as key tracers of prehistoric socio-economic networks in Late Prehistoric Europe (c. 6000 1200 BC). Despite their significance, existing provenance models are limited by small, unrepresentative datasets, outdated data processing techniques, and a lack of robust validation metrics. These limitations hinder the accurate reconstruction of prehistoric exchange networks and the cultural significance of these materials. To overcome these challenges, we present a scalable, data-driven approach that integrates portable X-ray fluorescence (p-XRF) analysis, machine learning (ML), and information theory. We compiled the largest geoarchaeological green phosphate dataset to date (n = 1778), sourced from three major Iberian deposits: Aliste, Encinasola, and the Gava ` Mines. Using a supervised Random Forest (RF) model, we classified samples into three geographic source groups based on elemental composition, achieving 95 % accuracy. Key elements such as Ca, As, Ba, V, Sr, Ta, Cu, Cr, Mo, K, Se, Ti, S, and Zn were identified as critical discriminators through feature mportance analysis and Shapley values. The model was validated against an external dataset of 571 beads from 15 archaeological sites across Iberia and France. Results revealed that Aliste and the Gav` a Mines played a more significant role in prehistoric variscite exchange than previously assumed, challenging the traditional emphasis on Encinasola as a primary source. Notably, French materials were predominantly linked to Aliste, suggesting an overland distribution network rather than maritime connections. The compositional complexity of the Gav` a Mines was reflected in high uncertainty in the Catalan sites, highlighting the need for subclass distinctions in future iterations. Our findings underscore the importance of integrating chemical and mineralogical variability into provenance studies. By quantifying uncertainty and employing probabilistic frameworks, this study provides a more nuanced understanding of prehistoric exchange networks. The methodological advancements presented here—combining expanded datasets, advanced ML techniques, and rigorous performance evaluation—set a new standard for provenance analysis in archaeology. This approach not only refines our understanding of variscite distribution but also offers a scalable framework for studying other archaeologically significant materials.
Northern exposure: Baltic amber and silver beads from the Iron Age reuse of the Bela Vista tholos (Sintra, Portugal)
(Editorial CSIC, 2025) Garrido Cordero, José Ángel ; Loureiro, Rita; Martínez Blanes, José María; Sousa, Ana C.; Zambrana Vega, María Dolores; Salas Acosta, Luz Marina; Sánchez Gómez, Daniel; Odriozola, Carlos P.; Pintura; HUM1085: Quantitative Archaeology and Archaeological Science
This study re-examines the personal adornment assemblage from the Bela Vista tholos (Sintra, Portugal), highlighting the rediscovery of a long-lost amber bead and clarifying the chronology and provenance of associated artifacts. The bead has been identified as Baltic amber through the use of FTIR spectroscopy. This material is known to be exceptionally rare in Iberian contexts prior to the Bronze Age. Complementary analyses (MACLAS and VORTEX) link the greenstone beads to variscite and muscovite, with the variscite sourced from the Aliste mining region in northwestern Iberia. These materials suggest an initial Copper Age use of the monument, related to long-distance exchange networks centered on variscite. However, the presence of a Baltic amber bead and an associated silver coil, in addition to Iron Age ceramics and metal ornaments, provides substantial evidence that supports the hypothesis of a high-status Iron Age burial (7th-5th centuries BCE) within the reused megalith. Notably, no Iberian site has yet been found that securely associates Baltic amber with either Bell Beaker pottery or variscite, reinforcing the separate chronological contexts of these materials. This research underscores the significance of applying modern analytical methods to legacy collections, thereby challenging previous assumptions and demonstrating how prehistoric monuments were reutilized for ritual purposes over millennia.
La piedra de Inma la Magnánima
(Colorado State University, 2021) Rodríguez Cunill, Inmaculada; Pintura; HUM1125: Periferias Cap: Comunicación, Arte y Patrimonio
Exploration of the Historical and Social Significance of One of the First Cinematographic Devices Based on Gender Roles in the Andalusian Environment
(MDPI, 2024) Rodríguez-Cunill, Inmaculada; Martín-Leal, María-del-Mar; Domínguez-López, Juan José; Pintura; Ministerio de Ciencia e Innovación; HUM1125: Periferias Cap: Comunicación, Arte y Patrimonio
In 1914, El Noticiero Sevillano and other Spanish newspapers published a piece about the Cinémhymen, a cinematographic device designed to capture and sell images of prospective wives. This article explores why this advertisement was not considered derogatory and examines the construction of a patriarchy during a time when the term “feminist” was already appearing in the Spanish press. In our methodology, we analyzed the name of the device and the business, both based on the word Hymen, used a bibliographic review of Spanish feminism of those years, and researched the film technology of the time. The Manzano’s pyramid of oppression served us in establishing the control operations underlying the advertisement. Our study reveals the patriarchal principles of Cinémhymen, which stigmatized women once they conformed to the expected role. The objectifying gaze present in Cinémhymen provides insight into the progression of patriarchy in a visual world that subjugates women. The camera could see through the female masquerade (as Joan Rivière explained) and explore the “true” body underneath, the very core of the female (or what is considered to be). In some ways, Cinémhymen serves as a precursor to the current subjugation seen in online pornography and represents a distorted evolution of the panopticon principle as applied to women
The Perception of Eros and the Cinema Audience Experience in Cádiz (Spain)
(MDPI, 2024) Rodríguez-Cunill, Inmaculada; Domínguez-López, Juan José; Carlos-García, Sonia; Pintura; Ninguna; HUM1125: Periferias Cap: Comunicación, Arte y Patrimonio
The perception of the concept of Eros has evolved through shared cinematic experiences, to the point of shaping collective imagery in Cadiz, Spain. This city is known for its creativity and an extraordinary amount of performances during the period of carnival, and is represented annually by anonymous citizens. The research method employed consisted of an exhaustive analysis of bibliographic, press, and archival references on audience behavior from the introduction of the cinematograph to the present day. The authors have designed a table that organizes the emergence of movie theaters in the city and completed the background information, delving into the historical, geographical, and idiosyncratic factors that have contributed to collective creativity in the city. From there, we analyzed the evolution of the concept of Eros through the perspectives of Byung Chul Han and Georges Bataille. As a result, we recovered the value of projection interruptions in the analog environment as an opportunity for collective interaction, confronting them with the demands of technological perfection. We demonstrated the resilience of the analog through new experiences that show the evolution of the need for collective contact. Future studies will focus on other contexts, such as supermarkets and terraces, to contribute to a broader understanding of urban spaces, social cohesion, and perceptions of Eros.
VORTEX (Variscite origin recognition technology X-ray based) Data. A European geoarchaeological green phosphate compositional dataset.
(Elsevier, 2025-10) Zambrana Vega, María Dolores; Pintura; HUM1085: Quantitative Archaeology and Archaeological Science
This dataset includes the compositional information of n = 1778 geoarchaeological samples of green phosphate minerals sourced from three major Iberian deposits with evidence of prehistoric mining: Aliste, Terena, and the Gavà Mines. It has been used to develop a data-driven framework that integrates portable X-ray fluorescence (p-XRF) analysis and machine learning (ML), to determine the provenance of archaeological artifacts based on its elemental composition. In addition, a mineralogical analysis by X-ray diffraction (XRD) of a subset (N = 249; n_Aliste = 122, n_Terena = 47 n_Gavà = 80) was conducted to complement the geochemical characterisation of the sample. Data from n = 571 variscite beads from 15 Iberian and French archaeological sites, representing a diverse range of chronocultural contexts spanning from the Neolithic to the Bronze Age, used to test the model are also presented. The compositional data was obtained by using a portable XRF analyser and is presented as atomic percentages of the elements between Al and Th. Mineral compositions were determined using a Panalytical X’Pert Pro θ/θ diffractometer. This dataset has high reuse potential for future non-destructive studies of archaeological artefacts and past social network analyses.
Sinergias creativas entre el Constructivismo Ruso y la Bauhaus en el arte textil a través de: Popova-Stepanova y Stölzl-Albers.
(Universidad de Málaga, 2024) Pérez Martínez, Marta; Pintura; HUM1025: Creación, Arte Gráfico, Estética y Género
Este estudio tiene como objetivo principal analizar la conexión entre el diseño textil de Varvara Stepanova y Liubov Popova, prominentes artistas del Constructivismo ruso, y su influencia en el diseño textil de la Bauhaus, centrándonos en la intersección de dibujo, línea y geometría para comprender cómo estas diseñadoras, a través de sus tejidos, contribuyeron a una transformación significativa en la estética y función de la Bauhaus. La investigación se basa en una metodología analítico-comparativa, fruto del estudio de las obras textiles de estas creadoras, donde se examinan sus diseños textiles en el contexto de la evolución artística de ambas, enfatizando su participación en la Primera Fábrica Estatal de Estampado Textil. Los resultados destacan la trascendencia de estas pioneras del diseño textil, basado en el grafismo, cuyo trabajo sentó las bases para una transformación que se asentaría en la Bauhaus. En definitiva, este estudio revela el impacto duradero de las artistas soviéticas en la evolución del diseño textil de la Bauhaus, subrayando su papel fundamental en la redefinición de la estética y la función dentro del movimiento.
New realizations at the Archaeological and Funereal Park of Takino Cemetery in Hokkaido (Japan)
(MDPI, 2025-05-21) Cabeza Laínez, José María; Marquet Saget, Victor; Rodríguez-Cunill, Inmaculada; Puchol Barcina, Cesar; Gutiérrez Villarubia, Miguel; Historia, Teoría y Composición Arquitectónicas; Pintura; RNM162: Composición, Arquitectura y Medio Ambiente; HUM1125: Periferias Cap: Comunicación, Arte y Patrimonio
For decades, in historical research, archeological vestiges have been linked with geomancy and cults of the mythical ancestors of a group of the population. This is particularly true in Eastern Asia and especially in China, Korea, and Japan. A fundamental problem of Japanese archeology is that few of the remnants were realized in stone. One of the most important parts of archeological sciences is the study of Necropolises or ancient interments. From the 1970s onwards, in the relatively “new” and promising land of Hokkaido, cemeteries were built with the concept of landscape in mind; this is also due to the lavish vegetation features of this northernmost island of Japan. In the case of the Takino cemetery on the plains of Sapporo, Hokkaido, whose construction began in 1982, solemnity and religiousness were incorporated by producing exact stone replicas of famous funerary landmarks from antiquity as such materials were inexistent in the Nipponese Isles. This trend to grant eternity included traditional Buddhist funereal monuments like the Stupa, Seokguram grotto, and Kamakura sites, but at a certain and exuberant point, under the influence of Isamu Noguchi, it reached Stonehenge in England and the Moai from Easter Island in Polynesia (being after all located in a remote isle of the Pacific Ocean). In this article we will outline such process of generation and overall conception, analyzing the inclusion and architectural assembly of the different compounds and the recent and extraordinary additions projected and built by the celebrity architect Tadao Ando. We expect, in this manner, to facilitate the comprehension of the significance of venerable landscape sublimated through archeology for the Nipponese modern civilization.
La policromía y el programa ornamental de la escultura en madera: un método para su estudio
(Associação Profissional de Conservadores-Restauradores de Portugal | ARP, 2025) González-López, María-José; Pintura; HUM956: Conservación de Patrimonio. Métodos y Técnicas
Este artículo presenta un método de estudio propuesto para investigar y documentar la policromía de una escultura de forma integral, lo que lo diferencia de estudios anteriores centrados más en aspectos parciales y específicos de la técnica o de la escultura. Su metodología está diseñada para abordar de manera integral el estudio de los revestimientos polícromos lo cual permitirá entender su evolución y su programa ornamental. El método articulado en dos fases: trabajo de campo y análisis en el taller, se complementa con herramientas específicas, las fichas de adquisición y registro de datos, en las que se ha priorizado el componente pedagógico y la facilidad de uso mediante sugerencias incorporadas que funcionan como guía para el compilador. Los resultados obtenidos en el estudio de seis esculturas en el máster de Conservación Restauración de Bienes Culturales impartido en la Universidad de Sevilla respaldan la validez del método y de los instrumentos utilizados.
La contribución del pintor Antonio Agudo al conjunto del Viacrucis de la Basílica del Gran Poder de Sevilla
(Editorial Universidad de Sevilla, 2024-09) Bastante-Recuerda, Miguel Ángel; Cabrera Rodríguez, José Antonio; Pintura; Filosofía y Lógica y Filosofía de la Ciencia
El objetivo general de este trabajo es analizar, desde la experiencia hermenéutica, la visión personal del mundo del artista Antonio Agudo en referencia a la obra “Viacrucis” realizada para la Basílica del Gran Poder de Sevilla. Como obra particular y representativa de este Viacrucis se ha elegido concretamente la estación “Jesús es clavado en la cruz”, por su realización plástica y su particular simbología. Desde esta manera de ver o, mejor dicho, desde esa visión artística, totalmente inmersa en un panorama cultural y social de una Sevilla Barroca, Agudo hace del arte su vehículo de expresión, y le permite plasmar una visión muy personal del mundo.
Materiales, técnicas artísticas y estado de conservación de los libros de coro de la catedral de Jaén. Estudio preliminar.
(Diputación Provincial de Jaén: Instituto de Estudios Giennenses, 2020) Vázquez-Jiménez, Elena; Bueno-Vargas, Javier; Pintura; HUM1069: Patrimonio Cultural: Producción, Conservación y Restauración
La colección de libros de coro de la Catedral de Jaén (España) es un patrimonio histórico y religioso singular y tanto los materiales con los que se fabricaron estos grandes libros, como su uso durante siglos, enriquecen nuestra historia e identidad cultural. Se presenta un nuevo estudio que surge de la necesidad de conocer el estado en que los libros se encuentran. Anteriormente, diferentes especialistas han estudiado su música, historia y uso litúrgico, pero es necesario realizar un análisis interdisciplinar que aporte nuevos datos sobre sus materiales y estado de conservación. La investigación comenzó con unas jornadas teórico-prácticas realizadas hace una década en las que participaron profesores y estudiantes de las Universidades de Jaén y Sevilla, así como otros especialistas internacionales. Entonces se hizo una aproximación al estado de esta cuestión, que se ha actualizado para este artículo. Se planificarán nuevas fases para profundizar en el conocimiento y mejorar la conservación de esta espléndida colección de libros de coro.
Instalaciones pictóricas anamórficas aplicadas a la arquitectura: diseño virtual con Sketchup para proyectos reales
(Universitat Oberta de Catalunya, 2023) Soriano Colchero, José Antonio; Pintura; Alsina, Pau; Burbano, Andrés; HUM-841: Observatorio de Paisajes
En este artículo nos centramos en el estudio, a través de una investigación experimental, de tres propuestas diseñadas para la previsualización de instalaciones pictóricas anamórficas aplicadas a espacios arquitectónicos. Tras el análisis de las metodologías desarrolladas desde el siglo XVIhasta la actualidad, presentamos el desarrollo de nuevos procedimientos metodológicos, a través del software de diseño gráfico vectorial y de modelado virtual Sketchup, que permite generar tanto la deformación que debe aplicarse a la imagen original para generar la anamorfosis, estableciendo los parámetros de medida como distancias y ángulos, como la previsualización del resultado final en el espacio virtual. Cada uno de los casos experimentados es diferente, y nos ofrece unos resultados únicos. De esta forma, las conclusiones obtenidas se deben a los procedimientos y las finalidades que nos han llevado a utilizar dicho programa. Así, resulta de gran interés la facilidad que Sketchup presenta para generar este tipo de proyectos, de manera que ofrece una metodología más intuitiva que las tradicionales, y, en consecuencia, permite la creación de instalaciones anamórficas sin necesidad de conocer todos y cada uno de los parámetros técnicos necesarios en un principio. Esta investigación sirve como precedente de futuros estudios en los que analicemos la aplicación directa de la anamorfosis en entornos urbanos, modificando el paisaje a través de esta.
Amber provenance as a Chrono-Cultural Proxy: Insights from FTIR analysis in the Iberian Peninsula
(Elsevier, 2024) Garrido Cordero, José Ángel; Odriozola Lloret, Carlos Patricio; Sousa, A.C.; Romero García, Galo; Sánchez-Gómez, D.; Martínez Blanes, José María; Lazarich González, María; Zambrana Vega, María Dolores; Gonçalves, J. L. V.; Pintura; Prehistoria y Arqueología; Química Inorgánica; HUM-1085: Quantitative Archaeology and Archaeological Science
In recent years, significant advancements have occurred in our comprehension of amber consumption patterns in the Iberian Peninsula. This progress stems from the increasing volume of FTIR data related to both archaeological and geological amber. Consequently, a chronological model has been established, delineating amber consump tion in the Iberian Peninsula from the Late Paleolithic to the Iron Age. Broadly, local amber consumption has been minimal since the Paleolithic period. Sicilian amber makes its appearance in Iberia around the 5th mil lennium BCE and fades away in the 2nd millennium BCE, giving way to Baltic amber, which has remained the sole source since then. The well-defined chronological model, the abundance of FTIR provenance data, and the infrequent association of amber with absolute or relative dates prompt us to explore whether provenance can serve as a chrono-cultural proxy for amber beads. This study introduces new amber finds, presents fresh FTIR data on archaeological amber ornaments, and incorporates minor updates and bug fixes to the general catalog. It is the outcome of a thorough bibliographic review and on-site analysis and examination of the beads. The results obtained in this study enable the reconstruction of amber consumption throughout Iberian pre history, drawing on 29 newly FTIR-analyzed ambers from 9 sites. Our findings expand the empirical foundation, facilitating the confirmation of diachronic changes in amber consumption. Importantly, they affirm that amber provenance can indeed be employed as a viable chrono-cultural proxy.
Crafting illusions: Human-made composite coating used to simulate amber beads in prehistoric Iberia
(Elsevier, 2024) Garrido Cordero, José Ángel; Sousa, Ana C.; Martínez Blanes, José María; Romero García, Galo; Sánchez Gómez, Daniel; Edo i Benaigues, Manel; Romero-Vera, Diego; Simón Vallejo, María Dolores; Zambrana Vega, María Dolores; Molina-González, José Luis; Odriozola Lloret, Carlos Patricio; Pintura; HUM-1085:Quantitative Archaeology and Archaeological Science
The discovery of a set of beads, comprising both Sicilian amber and resin-coated beads in the Middle Bronze Age burial site of Cova del Gegant (Sitges, Barcelona, Spain), has sparked inquiries into whether the coating was intended for imitation or counterfeiting of amber. We assert that human-made materials, such as bead coatings, are intentionally conceived, designed, and crafted to fulfill specific functions. Thus, for an object to effectively fulfill its intended purpose, it must meet particular performance criteria influenced by situational factors. This paper aims to construct an empirically grounded narrative elucidating the development and function of resin-coated bead technology. Our methodology includes a comprehensive quantitative analysis of the coating and beads, an exploration of the interplay between technical choices and situational factors, and an investigation into whether the simulation of sensory performance characteristics played a pivotal role in the concept and design of resin-coated beads. Additionally, we synthesize data to unveil broader patterns related to the crafting and utilization of resin-coated and amber beads across time and space. We have documented resin-coated beads in the Iberian Peninsula from the Neolithic period (5th to 3rd millennia BCE) until at least the Middle Bronze Age (first half of the 2nd millennium BCE), where they coexisted with amber beads. Analysis employing ATR-FTIR and μ-CT imaging has revealed a composite coating comprising pine resin, beeswax, and carotene, adhered to shell beads with bone glue. This composite material represents the earliest known development in human history, unique to the Iberian Peninsula and without parallel in Prehistoric Europe. Our examination of the performance characteristics and functional roles of resin-coated beads suggests their potential as substitutes for amber beads, particularly in regions where amber was scarce or inaccessible. Despite being crafted from commonplace materials, these coated beads exhibit intentional design choices likely aimed at simulating the visual performance characteristics of amber. This deliberate effort, alongside their widespread distribution across time and space, indicates that composite-coated beads held symbolic and social significance akin to amber beads.
Debate 28: Necesidad, canales y límites de la participación ciudadana en los procesos de restauración
(Instituto Andaluz del Patrimonio Histórico, 2024) Domínguez-Gómez, Benjamín; Pintura; HUM-956: Conservación de Patrimonio. Métodos y Técnicas
Los tratamientos de conservación y restauración sobre las imágenes de devoción que procesionan han suscitado –desde siempre– un debate acalorado entre los devotos que, en fechas recientes y con la irrupción de las redes sociales, se ha convertido en una asfixiante batalla dialéctica virtual. Dicha presión mediática no hace más que complicar la toma de decisiones para los responsables tutelares de los bienes quienes, salvo excepciones, no suelen contar con los conocimientos necesarios para discernir si las propuestas técnicas ofrecidas por los conservadores-restauradores son las adecuadas y, por el contrario, sí mucha experiencia en lo que supone equivocarse en su voluntariosa dedicación (recordemos que los cargos responsables de las cofradías se ostentan de manera gratuita)

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