{"id":7373,"date":"2026-11-08T06:36:42","date_gmt":"2026-11-08T11:36:42","guid":{"rendered":"https:\/\/canasanta.ca\/?p=7373"},"modified":"2026-11-08T06:36:42","modified_gmt":"2026-11-08T11:36:42","slug":"luz-natural-revela-pigmentos-arte-rupestre-martu","status":"publish","type":"post","link":"https:\/\/canasanta.ca\/en\/ciencia\/luz-natural-revela-pigmentos-arte-rupestre-martu\/","title":{"rendered":"LA LUZ REVELA PINTURAS CASI INVISIBLES"},"content":{"rendered":"

Una pintura casi borrada por el tiempo puede conservar informaci\u00f3n que una c\u00e1mara convencional ya no distingue. Un estudio publicado el 31 de octubre de 2026<\/strong> en npj Heritage Science<\/em> examin\u00f3 una manera de estudiar pigmentos del arte rupestre del pueblo Martu<\/strong>, en Australia, mediante im\u00e1genes hiperespectrales tomadas con luz ambiental. El objetivo no era reconstruir m\u00e1gicamente dibujos desaparecidos, sino separar se\u00f1ales de color y composici\u00f3n que se confunden con las irregularidades de la roca.<\/p>\n

El trabajo, encabezado por Antonia Papasergio<\/strong> y desarrollado con participaci\u00f3n de investigadores australianos y de la Jamukurnu-Yapalikurnu Aboriginal Corporation<\/strong>, evalu\u00f3 un panel con pigmentos rojos y blancos muy tenues. La colaboraci\u00f3n con la comunidad Martu fue parte del proyecto, un aspecto fundamental cuando la investigaci\u00f3n trata sobre patrimonio cultural vivo y no sobre objetos aislados de sus custodios.<\/p>\n

UNA C\u00c1MARA QUE VE M\u00c1S QUE EL OJO<\/h2>\n

Una fotograf\u00eda registra colores combinados en tres grandes canales. La t\u00e9cnica hiperespectral, en cambio, re\u00fane informaci\u00f3n en muchas bandas de longitud de onda. Cada superficie refleja la luz de manera diferente seg\u00fan sus propiedades f\u00edsicas y qu\u00edmicas; esa respuesta puede ayudar a distinguir una capa de pigmento de la piedra que la sostiene.<\/p>\n

Los investigadores utilizaron im\u00e1genes en el espectro visible y el infrarrojo cercano, una modalidad conocida por sus siglas VNIR<\/em>. Es una t\u00e9cnica no invasiva: no exige desprender fragmentos de la pintura ni aplicar reactivos sobre ella. Esa ventaja resulta especialmente importante cuando las figuras son fr\u00e1giles y su preservaci\u00f3n exige intervenir lo menos posible.<\/p>\n

El principal problema estaba en la iluminaci\u00f3n. En un laboratorio es posible controlar l\u00e1mparas, sombras y \u00e1ngulos de observaci\u00f3n. En un paisaje remoto, la luz solar cambia durante el d\u00eda y altera las se\u00f1ales registradas por el equipo. El estudio se propuso averiguar cu\u00e1nto afectaban esas variaciones a la capacidad de reconocer los restos de pintura.<\/p>\n

LO QUE MOSTR\u00d3 LA ROCA<\/h2>\n

El equipo recopil\u00f3 datos de un panel de arte rupestre Martu durante una jornada, con diferentes condiciones de iluminaci\u00f3n ambiental. Despu\u00e9s compar\u00f3 la informaci\u00f3n espectral con modelos tridimensionales de la superficie. Esta combinaci\u00f3n permiti\u00f3 evaluar qu\u00e9 parte de las diferencias detectadas pod\u00eda atribuirse al relieve y cu\u00e1l estaba relacionada con los pigmentos.<\/p>\n

Los espectros de reflectancia ofrecieron indicios generales sobre la composici\u00f3n mineral, mientras que los procedimientos de separaci\u00f3n de se\u00f1ales espectrales delimitaron informaci\u00f3n asociada a los pigmentos en distintas condiciones de luz. El resultado no equivale a identificar con certeza absoluta cada mineral ni a establecer autom\u00e1ticamente la edad de las pinturas. La investigaci\u00f3n demuestra, m\u00e1s precisamente, la utilidad de una herramienta para reconocer y documentar se\u00f1ales dif\u00edciles de observar.<\/p>\n

\"Pinturas
Pinturas rupestres en Tailandia. Fotograf\u00eda de contexto, no del panel Martu analizado. Foto: Benjamin \/ Unsplash.<\/figcaption><\/figure>\n

PROTEGER SIN TOCAR<\/h2>\n

El arte rupestre al aire libre est\u00e1 expuesto a procesos de erosi\u00f3n, cambios de temperatura, humedad y alteraciones de la superficie. En ocasiones, varias pinturas de \u00e9pocas diferentes se superponen y complican todav\u00eda m\u00e1s la lectura visual. Cuando los colores se han debilitado, la documentaci\u00f3n convencional puede dejar fuera detalles importantes para comprender su distribuci\u00f3n.<\/p>\n

Una metodolog\u00eda port\u00e1til que funcione sin iluminaci\u00f3n artificial controlada podr\u00eda ampliar las posibilidades de registro en lugares de acceso dif\u00edcil. Sin embargo, los autores tambi\u00e9n advierten de la necesidad de aplicar procedimientos rigurosos de adquisici\u00f3n y an\u00e1lisis de datos. Las sombras, la rugosidad de la piedra y las condiciones de captura siguen siendo factores que deben controlarse o interpretarse cuidadosamente.<\/p>\n

En este contexto, el valor del estudio no est\u00e1 en anunciar una nueva pintura ni una fecha prehist\u00f3rica espectacular. Su aportaci\u00f3n consiste en comprobar c\u00f3mo una t\u00e9cnica de observaci\u00f3n puede recuperar informaci\u00f3n material de un panel ya conocido sin da\u00f1arlo. Es un avance metodol\u00f3gico con implicaciones para la conservaci\u00f3n y para futuras investigaciones sobre otros conjuntos pict\u00f3ricos.<\/p>\n

UN PATRIMONIO QUE SIGUE VIVO<\/h2>\n

Los lugares de arte rupestre no son \u00fanicamente archivos de pigmentos. Para las comunidades que mantienen v\u00ednculos culturales con ellos, tambi\u00e9n forman parte de historias, territorios y responsabilidades de cuidado. El proyecto reconoci\u00f3 expresamente la colaboraci\u00f3n de la comunidad Martu y de sus representantes, adem\u00e1s del trabajo de los investigadores.<\/p>\n

La diferencia importa: una imagen t\u00e9cnicamente m\u00e1s precisa no sustituye el conocimiento cultural de quienes protegen esos sitios. Las herramientas cient\u00edficas pueden ayudar a registrar el estado de conservaci\u00f3n y observar detalles materiales, pero su aplicaci\u00f3n debe integrarse con las decisiones y los protocolos de las comunidades custodias.<\/p>\n

El estudio de Papasergio<\/strong> y sus colegas no promete leer todo lo que el tiempo ha borrado. Ofrece algo m\u00e1s concreto y verificable: una v\u00eda para documentar pigmentos muy debilitados con luz natural y sin contacto destructivo. En un patrimonio vulnerable, aprender a mirar mejor puede ser una forma decisiva de preservar.<\/p>","protected":false},"excerpt":{"rendered":"

Una t\u00e9cnica hiperespectral permite estudiar pigmentos debilitados del arte rupestre Martu sin tocar la roca. Investigaci\u00f3n publicada el 31 de octubre de 2026.<\/p>","protected":false},"author":284226809,"featured_media":7371,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_wpcom_ai_launchpad_first_post":false,"_jetpack_hide_featured_image":false,"_jetpack_featured_image_duplicate_dismissed":0,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[33205457,33205478,3213],"tags":[33208659,33206403,33208271],"class_list":["post-7373","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-al-dia","category-arqueologia","category-ciencia","tag-arte-rupestre","tag-australia","tag-patrimonio-cultural"],"acf":[],"yoast_head":"\nLA LUZ REVELA PINTURAS CASI INVISIBLES - Ca\u00f1asanta<\/title>\n<meta name=\"description\" content=\"Investigadores estudian pinturas rupestres Martu con im\u00e1genes hiperespectrales y luz natural, sin da\u00f1ar los pigmentos. 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