# Hyperspectral Imaging Techniques for the Study, Conservation and Management of Rock Art
## 6 Conclusions  
Methodology such as that presented for the documentation of rock art is essential in order to acquire knowledge to advance the understanding of cultural heritage and its evolution, and to encourage the interest and participation of people in heritage preservation. The revision of the three panels has resulted in a considerable increase in the number of known figures. In the panel de las manos, we see an increase from 55 to 97 elements (+76%). Today, recording methodologies should use non-intrusive techniques and should not cause damage to the item being recorded; furthermore, before any data recording, the method to be used in the documentation should be clearly established. The integration of geomatic methods allows documentation of any industrial or technical heritage in a non-intrusive, rigorous, safe and detailed way. The combined use of photogrammetric techniques supported on a rigorous topographic base makes the documentation of rock art panels more sustainable, as it allows us to reduce the time spent in the cave, which reduces the impact on it; avoid the use of target elements, which leads to better conservation of the cave; increase the accuracy of the support points: 2 mm of one point compared to 5-7 mm of the prismless measuring systems of total topographic stations; have control points throughout the panel to analyze deviations from the photogrammetric model. Furthermore, these techniques are capable of delivering 2D and 3D results that can be used in any studio. With the present case study, we sought to cover four areas of work that had high potential in the study of this type of graphic manifestation. The areas of interest were: (a) recognition of the coloring matter; (b) formal recognition of the figures; (c) recognition of the technical process; and (d) documentation of the state of conservation. Once the work zones have been processed, we can conclude that in recognition of the coloring matter. Most of the techniques applied to the study of the composition of the coloring matter imply taking samples, which entails extractive action and, therefore, deterioration of the cave. Reading images worked at different spectral amplitudes makes it possible to clearly differentiate different compositions from the coloring materials used. This is an important milestone on which further work is undoubtedly needed, as compositions have so far been relatively differentiated, although further experiments with natural pigments will be necessary in order to obtain precise patterns and be able to link certain spectra with precise mineralogical compositions. The development and deepening of this field will make an important contribution, in the medium or long term, to the knowledge, at least relative, of the composition of the pigments without taking samples. Reconstruction of the cave motifs. Most figures located inside cavities are subject to natural and artificial processes that cause the loss of coloring matter or the erosion of engraved surfaces, implying difficult interpretation of the motifs. The application of the technique has made it possible to precisely define the original morphology of some figures, both engraved and painted in different colors (and very probably of different chemical compositions). In particular, it is possible to precisely define the contours of the figures and precisely recognize anatomical parts or areas of specific figures, and consequently obtain images that involve highly reliable reconstruction of the original painting or engraving. In this way, figures that currently present visualization difficulties can be \"reconstructed\" and thus allow precise formal studies or even serve as efficient support for the realization of facsimiles. Recognition of the technical process and the superpositions between figures. In rock art, studies are conditioned by the state of conservation of the figures, and the reading of superimpositions between strokes or figures is one of the fundamental problems.