Neolithic rock art in context: Landscape history and the transition to agriculture in Mediterranean Spain

Rock art is one of the most salient features of Neolithic societies in eastern Spain and an explicit form of landscape history. This paper summarizes current debates of Mediterranean rock art chronology and interpretation and explores the contextual differences in two areas of Neolithic settlement with rock art: the Canyoles Valley (Valencia) and the Alcoi Basin (Alicante). Large-scale survey of the Canyoles Valley resulted in a clearer understanding of agricultural land use during the Neolithic that contrasts with evidence from the Alcoi Basin. By analyzing Neolithic rock art in its archaeological context, we discuss the significance and limitations of rock art analysis for understanding and characterizing landscape histories and the transition to agriculture in the region.     

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.     

Prehistoric Bird Watching in Southern Iberia? The Rock Art of Tajo de las Figuras Reconsidered

ABSTRACT

This paper studies the relationship between humans and birds in the recent prehistory of the Southern Iberian Peninsula. With its high number of bird, mammal, and anthropomorphic paintings, a small rock shelter –Tajo de las Figuras– provides an excellent case study to address this topic. The cave is situated in an ecosystem that, as we will argue, favoured human-bird interactions and enabled prehistoric groups to engage with a diverse and rich bird community at particular times of the year. Even though the recorded depictions can generally be integrated into the wider ‘Schematic’ style regime characterising the recent prehistory of the region, they exhibit some outstanding features including a highly distinct naturalism. This naturalism enables us to identify the represented birds, not only at the family but also at the species level. Our contribution describes these pictorial data and contextualises them with the ecology, archaeology, and archaeozoology of the area. We intend to show that the singularity of the image-corpus registered at Tajo de las Figuras mirrors the unique conditions of human-bird interactions at the time. We suggest that the significance of the images derives from the special location of the cave in the wider landscape encouraging early practices of bird watching.     

The Upper Paleolithic Rock Art of Iberia

Nearly 200 rock art sites of Upper Paleolithic age are currently known on the Iberian Peninsula, in both caves and the open air. Over half are still concentrated in Cantabrian Spain and they span the period between c. 30–11 kya, but–tracking the course of human demography in this geographically circumscribed region–many of the images were probably painted or engraved during the Solutrean and, especially, Magdalenian. Dramatic discoveries and dating projects have significantly expanded the Iberian rock art record both geographically and temporally in recent years, in close coincidence with the growth of contemporaneous archeological evidence: cave art loci in Aragón and Levante attributable to the Solutrean and Magdalenian, many cave art sites and a few open-air ones in Andalucía and Extremadura that are mostly Solutrean (in line with evidence of a major Last Glacial Maximum human refugium in southern Spain), the spectacular Côa Valley open-air complex in northern Portugal (together with a growing number of other such loci and one cave) that was probably created during the Gravettian-Magdalenian periods, and a modest, but important increase in proven cave and open-air sites in the high, north-central interior of Spain that are probably Solutrean and/or Magdalenian. Despite regional variations in decorated surfaces, themes, techniques and styles, there are broad (and sometimes very specific) pan-Iberian similarities (as well as ones with the Upper Paleolithic art of southern France) that are indicative of widespread human contacts and shared systems of symbols and beliefs during the late Last Glacial. As this Ice Age world and the forms of social relationships and ideologies that helped human groups survive in it came to an end, so too did the decoration of caves, rockshelters and outcrops, although in some regions other styles of rock art would return under very different conditions of human existence.     

Remembering Things Seen: Experimental Approaches to the Process of Information Transmittal

The persistent problem of determining the factors that lead to continuity or variation when information is transmitted in different kinds of cultural situations is addressed here experimentally in a series of reproduction tasks. Art students were given varying degrees of exposure to different kinds of images and objects from different cultures and were asked to make reproductions. The results indicate that the most important factors leading to accurate reproductions are length of exposure, meaningful associations, and especially cultural knowledge. These factors can be used to develop more realistic archaeological models that posit the kinds of information transmitted in different kinds of contact situations.     

Local knowledge is required: a rhythmanalytical approach to the late Mesolithic and early Neolithic of the East Anglian Fenland, UK

This is a paper about blurring the boundaries between people, land and water in the past and of appreciating the importance of the wider environment in our accounts of prehistory. Maritime approaches to time/space are shown to offer new ways of looking at how people engage with the world around them. Informed by these approaches, and building on Lefebvre’s concepts of lived space and rhythm, current tensions within archaeology between cartesian and phenomenological approaches to the past will be shown to be unconstructive. These issues are all addressed in relation the late Mesolithic and early Neolithic of the East Anglian Fenland. Here a rhythmical, maritime approach will be shown to offer us a subtly different view of life during this period.     

The Classic-period pictographs at Juliq’ Cave,Alta Verapaz,Guatemala: an interdisciplinary approach to cave art as organizing principle

The Cave of Juliq’ in Alta Verapaz, Guatemala contains an impressive corpus of ancient Maya rock art. Unlike other examples of rock art in this area, the Juliq’ pictographs are simply rendered, generally consisting of lines, handprints, and other basic shapes. We thus focus on context rather than on iconographic content in order to access the meaning of these ancient pictographs. We argue that they were used to record human presence in and movement through the alien cave environment in specific ways, demarcating procession routes, points of transition, moments of physical prowess, and places charged with sacred power. These circuits within Juliq’ reflect attempts to order the Underworld landscape and link it to the surface world through ritual movement akin to aboveground ritual processions.     

New models of North West European Holocene palaeogeography and inundation

This paper presents new 500 year interval palaeogeographic models for Britain, Ireland and the North West French coast from 11000 cal. BP to present. These models are used to calculate the varying rates of inundation for different geographical zones over the study period. This allows for consideration of the differential impact that Holocene sea-level rise had across space and time, and on past societies. In turn, consideration of the limitations of the models helps to foreground profitable areas for future research.     

Cultural Changes in Funeral Rites During the Neolithic in the Northeast of the Iberian Peninsula? The Cave of Pantà de Foix (Barcelona)

During the third millennia bc , there is a change in the funerary patterns of the populations in Catalonia. This novelty usually has been usually related to a change in the economical source of the human groups that become less sedentary as the stockbreeding becomes more important. In the present study, we analyse this change, reflected in the mortuary practices, by the study of diet and health markers such as caries, dental calculus or enamel hypoplasias and of biological affinities based on dental non‐metric traits. It has been included a total amount of 317 permanent teeth from Cova del Pantà de Foix sites, a sepulchral cave found at the south‐west of the city of Barcelona and dates from the third millennia bc . The 74.2% of them present dental calculus deposits, which are usually related to a high protein intake. Nevertheless, the high prevalence of carious lesions (15.3% of the teeth) suggests that the main dietary contribution comes from carbohydrates. Furthermore, when this group is compared with one from the Middle Neolithic Age, which presents a lower calculus prevalence, no biological differences are observed. This lack of differences among these groups denote that the origin of the high amount of calculus deposit is environmental, which is consistent with the elevated observation of hypoplasias of the crown enamel. The absence of dietary, biological and economical differences indicates that the population substrate during the Neolithic in Catalonia is the same and that the transition in the funerary rite is related to a substantial change only regarding to mortuary practices. Copyright © 2014 John Wiley & Sons, Ltd.     

Bronze production in Southwestern Iberian Peninsula: the Late Bronze Age metallurgical workshop from Entre Águas 5 (Portugal)

Archaeological works at Entre Águas 5 (Portugal) uncovered a seasonal LBA settlement with significant metallurgical remains (crucibles, moulds, prills and a tuyere) related to bronze production. Radiocarbon dating ascribes an occupation period (10th–9th century BC) previous to Phoenician establishment in Southwestern Iberia. In spite of the proliferation of metal artefacts during LBA, the production of bronze alloys is still poorly understood. An integrated analytical approach (EDXRF, optical microscopy, SEM–EDS, micro-EDXRF and Vickers microhardness) was used to characterise this metallurgy. Crucibles show immature slags with copious copper nodules, displaying variable tin content (c. 0–26 wt.%), low iron amount (<0.05 wt.%) and different cooling rates. Certain evidences point to direct reduction of oxide copper ores with cassiterite. Scorched moulds with residues of copper and tin indicate local casting of artefacts. Finished artefacts also recovered at the site have an analogous composition (bronze with ∼10 wt.% Sn and low amounts of Pb, As and Fe) typical of coeval metallurgy in SW Iberia. Some artefacts reveal a relationship between typology and composition or manufacture: a higher tin content for a golden coloured ring or absence of the final hammering for a bracelet. An uncommon gilded nail (gold foil c. 140 μm thick; 11.6 wt.% Ag; ∼1 wt.% Cu) attests the existence of evolved prestige typologies. This LBA settlement discloses a domestic metallurgy whose main features are typical in Iberian Peninsula. Finally, it should be emphasized that a collection as comprehensive and representative of a single workshop has rarely been studied, enabling a deeper understanding of the various operations involving the bronze production and manufacture of artefacts.     

Uranium series dating reveals a long sequence of rock art at Altamira Cave (Santillana del Mar,Cantabria)

The rock art in Altamira Cave was the first ensemble of Palaeolithic parietal art to be identified scientifically (Sautuola, 1880). Due to the great thematic, technical and stylistic variety of the art in the cave, which constitutes one of the most complete Palaeolithic art ensembles, Altamira was listed as World Heritage by UNESCO in 1985. Uranium-series dating has recently been applied to figures on the decorated ceiling in the cave. Several motifs are partly covered by thin layers of calcite precipitates, whose formation process is datable by this method. The results provide the date when the calcite formed, which gives a minimum age for the underlying depictions. These results confirm that the parietal art at Altamira was produced during a prolonged period of time, at least 20,000 years (between 35,000 and 15,200 years ago), and that part of the ensemble corresponds to the Aurignacian period.