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The identification of dyes and pigments is nowadays very precise by means of different systems of chromatographic analysis. Nevertheless, as the same dye component can be found in different plants and animals, it is important when studying dyes in textiles to consider the geographical and cultural context of both the textile and the possible dyestu...
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... In the South American Andean region, the extensive textile tradition that is renowned worldwide testifies to a broad chromatic palette of organic dyes obtained from plant and animal resources (Antúnez de Mayolo 1989;Cardon 2014;Roquero 2008;Saltzman 1992;Sepúlveda et al. 2021a, b;Wouter and Rosario-Chirinos 1992), except for some painted textiles which use inorganic mineral pigments (Barnard et al. 2016;Summerour et al. 2016). For example, the production of indigo-based dyes dates back 6000 years (Splitstoser et al. 2016). ...
The prehistory of the Atacama Desert in northern Chile has been constructed around certain traditional classes of objects, such as ceramics and lithics, following the Old World and North American standards. As such, color has been relegated to an invisible status, despite its essential visible qualities and color's importance in the region's social, symbolic, economic, and political processes. This article focuses on color and polychromy by studying objects from different funerary sites associated with the end of the regional pre-Columbian chronological sequence (ca. 1000-1500 AD). We present descriptions of the iconography and the symmetry of the motifs of these objects, and the first physicochemical characterization of the mineral paintings obtained using X-ray fluorescence spectrometry and hyperspectral imaging. With four new radiocarbon dates, we establish their chronology, associated in two cases with isotope measurements to evaluate the origin of the leather used. The research reveals a dual and simultaneous practice: while painted motifs demonstrated a visible interregional flow of information, paintings' chemical analysis testifies to a pigment production probably associated with the local exploitation of mineral coloring matter. In contrasting visual and material productions, we explore mineral pigments' social value and role during the late Atacama pre-Columbian period. Using an interdisciplinary approach regarding the materiality of color, we subsequently evaluate the social implications of mineral polychromy in this south-central Andean region.
... Throughout history, natural dyes have been associated with humans. The ancient Mayans, Incas, Aztecs, Chinese, Indians, Greeks, and Persians used natural plant pigments extensively to colour their garments and other woven materials, such as rugs, and yarn (Francis, 1992;Green, 1995;Roquero, 2008;Franco-Maass et al., 2019). ...
... Obtaining colourful plant dyes was an ancient tradition in the pre-Columbian civilizations in Mesoamerica and South America for millennia. Ethnographic studies of ancient records of the Olmec, Mayan, Aztec and Inca civilizations in Mesoamerica indicate the dyeing of textiles dating back several millennia (Baryanyovits, 1978;Roquero, 2008;Franco-Maass et al., 2019). ...
... Antunéz De Mayolo, 1989;Özgökce and Yilmaz, 2003;Roquero, 2008;Armitage et al., 2015;Sabatini et al., 2020 Gardenia jasminoides Ellis (cape jasmine) ...
There is a growing global demand in the dyes and pigments industry for naturally-occurring pigments as substitutes for chemically synthesized pigments. This is because of increasing concern about potential adverse health effects for those involved in dye and pigment production and concerns about environmental pollution that can result from dye industries, discharging excessive and unused dyes into waterways. Naturally occurring, principal plant pigments: anthocyanins, betalains and carotenoids are much favoured over chemical dyes and pigments because of their safety to humans. Once optimized, the extraction, processing and production of plant dyes are also relatively benign from an environmental perspective. The story of human civilizations is intimately linked with colour and the use of natural plant pigments from several well-known sources. This paper provides a brief review of this historical link of plant pigments, from ancient civilizations to the present. It also provides an overview of the chemistry of the most commonly used plant-based pigments (anthocyanins, flavones and flavonoids). With examples of potentially the most useful taxa, we also explore the opportunities for colonizing taxa (weeds) to be utilized as sources of natural dyes and pigments, which can substantially supplement or substitute the synthetic dyes and pigments, currently available. There are many species to select from although only a few appear to be presently yielding commercially exploitable natural plant pigments. The global attention continues to be on the well-known species, already cultivated or harvested from the wild, while the research on newer sources is sparse and uncoordinated, except in a few countries and regions with traditional, long histories of natural pigment use. Some natural dyeing technologies have been developed by artisans and practical-minded, lifestyle enthusiasts. In searching for eco-friendly technologies to support the livelihoods of people more broadly, dyes and pigment-based industries appear quite significant. There are technological constraints to overcome but these are no more challenging that any others we face. The global outlook for an expansion of the sources of dyes from plants is favourable and the potential contribution from colonizing plants as new sources is also quite significant. Our review finds that the research related to pigments from natural sources (i.e. applied chemistry, biochemistry, pharmacology and industrial applications) is quite intense in many countries, particularly in the last two decades.
... Vicuña Mackenna 4860, Macul, Chile Full list of author information is available at the end of the article pre-Columbian Andean communities [1,[4][5][6][7][8][9][10]. The knowledge related to the acquisition of the diverse raw materials, the weaving and structure of textiles, as well as the mathematical logic applied to the elaboration of the textile is widely recognized [11,12]. The chromatic attributes have also attracted great interest since it has been demonstrated that numerous plants and insects were used and prepared to achieve the wide color palette observed in textile dyeing [1,[13][14][15][16][17][18][19][20][21][22]. ...
... Such procedures are also related to the incorporation or application of color on yarns, to accomplish the design of the textiles. Color was incorporated through dyeing or painting, using organic dyestuffs or mineral pigments, collected, and prepared using other compounds that served as mordants or postmordants, for ensuring a better adherence of the color on the fibers [9,10,19,20]. A third element are the skills associated with the weaving or the construction of the textile [5,[23][24][25]. ...
... Finally, Villagrán and Castro, on a research with an extensive geographic scale, identified the use of molle (Schinus molle), algarrobo (Prosopis alba), monte verde (Krameria lappacea), pingopingo (Ephedra andina), kopa (Artemisia kopa), Siput´olas or pulikas (Parastrephia species, including P. lepidophylla, P. quadrangularis and P. teretiuscula) and male tíkara (Ambrosia artemisoides) for dyeing purposes, each one of them with a particular color and shade, depending on their preparation and combination [159]. We need to broaden our knowledge about the use of local plants to produce dyes, to later generate useful references for chemical analysis as it has been done in different regions of the Central Andes [17][18][19][20][21]160]. ...
This work concerns the study of colors and dyes identified on archaeological textiles from the Atacama Desert. The different garments and ornaments come from the excavation of two important pre-Columbian cemeteries of the Tarapacá region: Tarapacá-40 attributed to the Formative period (1100 BC–660 AD) and Pica-8 to the Late Intermediate period (900–1450 AD). For the first time, a multi-analytical approach with non-invasive techniques using FORS and SERS was applied on samples of less than 2 cm of length for physicochemical characterization of the raw materials and the dyes employed in the textile production of northern Chile. The fibers are from animal origin. Blue, green, and yellow are identified as indigo, but we cannot discard a mixture with other dyes to vary hue and shade; while carminic acid and alizarin—to a lesser extent—are found on red, orange, and brown samples. This research provides new elements for the discussion about the textile technology developed in this desertic region, its changes, and continuities along the history. Our results are compared to recent findings on neighboring regions from South-Central Andes, to improve the current knowledge and discuss the existence of dyeing textile cultural traditions.
... The most abundant and widely distributed species of Relbunium in South America are R. corymbosum and R. hypocarpium, whose distributions include western and southeastern Bolivia and northwestern Argentina. Given the demonstrated interactions between these two regions and SPA during the periods of manufacture of the textiles studied (Stovel, 2008), these two Relbunium species are the likely sources of the red dye found in SPA textiles (Roquero, 2008). ...
... 1,2 The use of these plants in textile dyeing was also confirmed in scientific studies. [2][3][4][5][6][7][8] The widespread use of Rubiaceae plants may be explained by the variety of hues they may produce -from orangered to pink, violet and brown -due to the high number of dye components contained in the same plant and the dye's ability to combine with several 91 metallic mordants. 1 Moreover, many of these plants are widely distributed around the world and were accessible as local, valuable dye sources to different civilizations. 1 Although of less importance as compared to Rubiaceae, other anthraquinone based plants such as Rheum, Rumex and Rhamnus species have been also used in textile dyeing. ...
Biological sources containing anthraquinone dyes of vege-tal and animal origin have been used for dyeing textiles from ancient times. Initially available only locally, later object of trade, different species were used in various areas of the world, in different historic periods. Moreover, the preference for certain biological sources also depend-ed on the value, destination and manufacturing technique of the objects to be created. A large number of textiles from Romanian museum collections have been studied since 1997, in order to identify the natural dyes and their biological sources. Analysis were first performed by Liquid Chromatography with Diode Array Detection (LC-DAD) and more recently by Liquid Chromatography with Mass Spectrometric detection (LC-MS). Anthraquinones of vegetal origin, such as Rubia tinctorum L. (madder), as well as from scale insects: Kerria lacca Kerr (lac dye), Dactylopis coccus Costa (Mexican cochineal), Porphyrophora hamelii Brandt (Ar menian car mine dyeing scale insect), Porphyrophora polonica L. (Polish carmine dyeing scale insect), Kermes vermilio Planchon (kermes) were identified in various textiles dating from the 15th-20th century and in seal bound fibres, in 15th-16th century documents. This paper presents the procedures used in the identification of the above-mentioned biological sources, based on the use of an ion trap mass spectrometer as the LC detector. The preferences for certain biological sources are discussed, according to the textile manufacturing technique, period and provenance.
