Landscape Construction and Long-Term Economic Practices: an Example from the Spanish Mediterranean Uplands Through Rock Art Archaeology

We argue in this paper that Levantine rock art in the Spanish Mediterranean basin allows us to ‘map’ the economic landscape of its makers. Rock art would be the ‘monumental’ side of a dual process of landscape construction: on the one hand, rock art is the first ‘cultural’ action on the landscape beginning in the Early Neolithic; on the other hand, the first evidence of active modification of the Mediterranean vegetation comes from this period. But this evidence as well as other kinds of archaeological remains are still relatively scarce in the uplands; rock art is therefore the most complete type of evidence we can use to support an early use of the Mediterranean upland environment. We use statistical and geographical analysis, together with archaeological, ethnohistorical, and ethnographic sources and pollen data, in order to support the idea of early use and exploitation of the Mediterranean uplands since the Neolithic, and into contemporary times.     

The Archaeology of Myth: Rock Art,Ritual Objects,and Mythical Landscapes of the Klamath Basin

Recent research in the Klamath Basin has shown that rock art and landscape are intimately connected, mutually informed by indigenous notions of sacred places. Modeling this landscape has been possible through an understanding of Klamath–Modoc myth. This has led some researchers to derive general interpretations of the rock art that are largely in agreement with Klamath–Modoc spiritual beliefs. I take this approach a step further and propose interpretations for specific rock art images and ritual objects, arguing that oral traditions harbor the fundamental logic that underpinned shamanic rituals that led to the creation of these paraphernalia.     

Uranium-series age estimates for rock art in southwest China

We report the first uranium-series age estimates for rock art in China. Calcite bracketing a paint layer was used to constrain the age of a naturalistic outline hunter-gatherer painting in the Jinsha River area of northwest Yunnan Province (southwest China). The rock paintings in this region are unique in style and content compared with other bodies of rock art in China, which are dominated by Neolithic subject matter. The minimum and maximum ages were determined using isochron techniques on multiple samples of calcite from above and beneath the paint layer. A large painted deer head was dated to between 5738 and 2050 years. This painting and underlying flowstone are superimposed on older paintings that suggest the older paintings are at least 3400 years old, if not older than 5738 years. The results indicate for the first time that Jinsha River rock art is older than other forms of rock art in the region and show that rock art likely extends back to at least the transition from the Palaeolithic to Neolithic in this part of China.     

From abstract digital models to rich virtual environments: landscape contexts in Kilmartin Glen,Scotland

This study uses geographic information systems (GIS) based analyses and virtual reality (VR) reconstructions, to explore landscape context for two types of Neolithic monuments: cup and ring rock art and a stone circle. Specifically, the impacts of the contemporary vegetation at the study sites are analysed with regard to viewshed areas and views from the monument locations. Results show that while GIS-based viewshed analysis is useful for quantifying the absolute upper and lower limits for viewshed area, the virtual reality reconstructions allow the possibilities in between these extremes to be explored. In addition, VR provides the opportunity to explore visually rich representations of past environments for site interpretation and it is also a useful way for presenting uncertainty and testing different scenarios for landscape archaeology context.     

The Conservation Programme of the Côa Valley Archaeological Park: Philosophy,Objectives and Action

Abstract

This paper outlines the methodology for the conservation of Côa Valley rock art, as carried out by the Côa Valley Archaeological Park Conservation Programme. It examines the overall conservation environment that has determined this approach, which aims at an understanding of all the factors affecting the survival of the Côa Valley heritage. We stress that although the Programme sets precise guidelines for the examination and testing of conservation work to mitigate the effects of complex weathering dynamics in action, there are no miraculous solutions to ensure the complete longterm in situ preservation of this World Heritage Site. Despite this geological impossibility, we also emphasize that in a human time scale it makes sense to try to conserve significant heritage (such as the Côa Valley rock art) that expounds and explains our history and ourselves.     

TIMBER MONUMENTS,LANDSCAPE ANDTHE ENVIRONMENT IN THE NITH VALLEY,DUMFRIES AND GALLOWAY

This paper considers the impact of landscape and environment upon monuments built during the Neolithic period. Taking a group of timber monuments of Neolithic date in the Nith Valley region, Dumfries and Galloway, it examines their relationship to the topography and environment and seeks to explain their uniquely linear nature, a feature of timber monuments built in this region. It discusses the importance of incorporating plough‐levelled sites into landscape approaches to monuments, the potential impact of vegetation upon visibility patterns, and the value of considering the immediate locations of monuments, arguing that monuments built upon a heightened awareness of landscape topography, arising out of a long‐term relationship with place.     

Rock-art and the transition to farming. The Neolithic landscape of the central Mediterranean coast of Spain

Summary. This paper deals with the analysis of stylistic variation between the different rock‐art traditions that coexisted in the central Mediterranean coastal area of Spain in the Neolithic period – the Macro Schematic tradition, the Schematic tradition and the Levantine tradition. The stylistic variation is analyzed in different scales from the panel with its compositions and superimpositions, to the shelter – shared or exclusive – and the landscape, focussing on patterns of distribution and relationships with settlement sites. This stylistic analysis enables us to study the chronological aspects of the process of Neolithization; while the symbolic character of these marks on the landscape offers an insight into the perception and use of space by the communities who made them.     

Rock art as an archaeological and social indicator: The neolithisation of the Iberian Peninsula

Rock art has been regarded as a second class archaeological data source. In this paper we use Levantine rock art as a case study, to show how this situation can be reversed. This rock art, found along the Mediterranean region of the Iberian Peninsula, has been considered to be typically Mesolithic due to its distinctive hunting scenes. A review of certain archaeological indicators provides new arguments about its chronology, its socio-cultural attribution, and its significance. We first deal with the chronological issue, presenting the evidence that led to the recent consideration of the Levantine style as Early Neolithic, in synchrony with two other rock art styles (Schematic and Macroschematic). We will further propose that rock art itself is a central and independent source of information to explore the historical context of the Neolithisation of Mediterranean Iberia. Its wide geographical distribution allows us to study different and complementary territories as a single entity. This contrasts with the limitations posed by the study of settlements, whose differences, at a regional scale, are usually interpreted in terms of cultural variability. If we consider rock art as a key aspect in the constitution of social landscapes, it must not be treated just as an ideological by-product of the Neolithisation, but as a key factor in understanding this historical process.     

湖北荆门市后港城河城址调查报告

荆门后港城河城址位于江汉平原西北部,地处平原向荆山余脉过渡的丘陵岗地地带,是长江中游地区发现的又一处新石器时代的古城址,也是汉水流域荆门境内继马家垸城址后发现的第二座新石器时代古城址。该城址的发现不仅丰富了长江中游早期古城址的内容,同时对研究长江中游地区这些早期城址之间的关系、探讨长江中游史前聚落考古文化提供了重要的资料。     

The Transition from the Neolithic to the Copper Age: Excavations at Vésztö-Bikeri,Hungary, 2000–2002

Abstract

The transition from the Neolithic to the Copper Age on the Great Hungarian Plain (ca. 4500 B.C.) coincides with dramatic changes in house form, settlement layout, settlement distribution, and mortuary customs. These changes affected nearly every aspect of social organization—from the organization of households and villages to the distribution of cultural groups across the landscape. Our current understanding of the various changes that occurred during this important transition is hindered by a lack of systematically excavated settlement sites dating to the Early Copper Age on the Great Hungarian Plain.

The results of three years of excavation at an Early Copper Age settlement located in the Körös River Valley suggest that, in contrast to the Neolithic, craft activities on Early Copper Age sites are segregated in different parts of the settlements. This general pattern of increasing economic specialization occurs throughout SE Europe at the end of the Neolithic and is associated with a tendency towards increased integration of economic and social units in settlements during the Copper Age.     

贺兰口岩画附近典型危岩体稳定性分析

通过前期现场调查,分析了贺兰口岩画的主要病害,提出岩画附近的危岩体是其中威胁较大的一类地质病害。根据现场勘察将贺兰口岩画附近不同状态的危岩体分为坠落式、滑塌式和倾倒式三类失稳模式。经过室内试验得到了岩石矿物组成、密度、气孔率、吸水率、单轴抗压强度等物理性质,并且利用Hoek-Brown准则、贯通率法以及岩石表面回弹值估算了危岩体与主控结构面的强度参数,例如单轴抗拉和抗压强度、变形模量、内摩擦角和黏聚力,然后利用不同失稳模式的计算方法进行稳定性分析。结果表明部分危岩体处于不稳定状态中,需要进行加固。     

The Angara Rock Art Style and the Emergence of Ethno‐Cultural Identity

This paper focuses on a stylistic analysis of depictions of elk in Siberian rock art in the Neolithic and Bronze Ages. The aim of this paper is to go beyond the cultural and chronological attributions of rock art and to try to understand why and through what processes changes in rock‐art style occurred. In order to answer these questions, the phenomena of ethnicity and ethno‐cultural identity are explored. Rock art is not considered as a passive reflection of past ethno‐cultural groups but rather as an active agent in structuring social identities.     

THE WRITING'S IN THE WALL: A REVIEW OF NEW PRELIMINARY APPLICATIONS OF ELECTRICAL RESISTIVITY TOMOGRAPHY WITHIN ARCHAEOLOGY

Natural processes are known to cause significant damage to archaeological monuments. In fact, the key to understanding the decay of building materials is the internal movement of water through the mineral matrix, which influences the distribution of chemical, physical and biological deterioration processes. Electrical resistivity tomography (ERT) was traditionally used as a surveying tool within archaeology, but a new high‐resolution technique that accurately traces the movement of moisture in building materials could provide a vital tool for understanding the decay of many archaeological monuments. This paper considers current progress, the shift of ERT from soil to rock research and the impact that this development could have on future conservation, using Hertford College (Oxford) and Neolithic rock art (Golden Gate Reserve, South Africa) as case studies.     

Face images in Lower Angara rock art

The Lower Angara rock art database includes relatively complete information on 42 petroglyphic sites with 155 representations of anthropomorphic faces. The classification of these images and their chronology, assessed on various grounds, suggests that they are roughly contemporaneous and are associated with Okunev art of the Late Neolithic and Early Bronze Age (3rd – 2nd millennia BC). Having originated in the Stone Age, the tradition of depicting anthropomorphic faces was practiced by the taiga tribes of the Lower Angara until recent centuries.     

THE CHRONOSTRATIGRAPHY AND GEOARCHAEOLOGICAL SIGNIFICANCE OF AN ALLUVIAL GEOARCHIVE: COMPARATIVE OSL AND AMS 14C DATING FROM GREECE*

The Basin of Phlious in southern Greece is known for its thick colluvial and alluvial deposits from the Holocene. It offers a good opportunity to reconstruct the history of Holocene soil erosion and its interaction with historical farming activities. In this study, we present new results based on optically stimulated luminescence (OSL) dating from the Basin of Phlious. The comparison between OSL and ¹⁴C AMS ages shows good agreement, and demonstrates the need for the detection of insufficiently bleached OSL samples in order to obtain accurate results. The discovery of a Neolithic site, buried under thick alluvial deposits, confirms the hitherto postulated Neolithic human impact on the landscape.     

Palaeolithic engravings and sedimentary environments in the Côa River Valley (Portugal): implications for the detection,interpretation and dating of open-air rock art

The pre-Magdalenian phase of the Côa River Valley open-air rock art is mostly distributed at the boundary between the rocky valley slopes and the floodplain that correspond to the most favourable geomorphological setting for the preservation of pecked and deeply superposed engravings of the most famous artistic phase of the area. The natural vertical panels of the engraved art located at this geomorphological interface have suffered weathering during two cold events of the Lateglacial. They were buried by several colluvial and alluvial deposits. The reconstruction of the sedimentary and archaeological context of the CôaRiver Valley engraving permits a better assessment of the preservation processes and interpretation of Palaeolithic open-air rock art.     

Engagement and Management: Developing a Monitoring System for Open-air Rock Art in the UK and Ireland

ABSTRACT

Neolithic and Early Bronze Age rock carvings in the United Kingdom and Ireland represent an internationally unique rock art tradition as it is, to the best of our knowledge, the only wholly abstract global rock art tradition. This heritage resource is, however, under threat from an array of factors, such as increasing population densities and agricultural intensity. In this paper, we report on the Condition Assessment Risk Evaluation (CARE) project that had as one of its primary objectives the co-production of a user-friendly, non-invasive condition assessment risk evaluation Toolkit for gathering and organising information essential for the long-term conservation of open-air rock art. We describe the public involvement CARE process through co-experience participatory focus groups, which evaluated the Toolkit, concluding that we can have confidence in the results obtained from the public. Furthermore, the variables that form part of the Toolkit and related management recommendations are presented.     

Hunter–Gatherer Cattle-Keepers of Early Neolithic El Adam Type from Nabta Playa: Latest Discoveries from Site E–06–1

Further Neolithic encampments and settlements have been explored by the Combined Prehistoric Expedition in the Nabta Playa Basin on the South–Western Desert border around 100 km west of the Nile Valley. The perfectly preserved stratigraphic setting of the new site, numerous hearths and traces of dwellings, rich cultural material including pottery, radiocarbon dates and presence of bone remains render site E–06–1 an exception on the map of settlements of El Adam communities.     

A history of changing aesthetic values in the Yarra Valley landscape,Victoria

Aesthetic responses to landscape may be emotional, sensory, or experiential, or a combination; it is a difficult value to identify and assess. This paper considers changing perceptions of the aesthetic values of the Yarra Valley landscape using a heritage methodology that involves examining artistic, creative, and published sources accounting for a lengthy period of changing land use. Scenic quality mapping, where available, is used as a support, and extensive reference is made to Australian impressionist art. Artworks for Yarra Valley landscapes may be considered as being among the cultural heritage indicators of significance and there is a new aesthetic of land art in private venues for the visiting public. The paper also illustrates how aesthetic values have been more broadly recognised in the post‐World War II era and become the domain of planning authorities as well as artists. It is for regional planners to be aware of and maintain these aesthetic values in the landscape.