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.     

The Significance of Social Gestures and Technologies of Embellishment in Paleolithic Portable Art

This paper analyzes the gestures and technologies used to make Paleolithic portable art. Contextualized within the theoretical schools of the anthropology of technology and using the chaîne opératoire methodology, the approach advanced here quantifies the relationships between technology, society, and aesthetics in the production of Paleolithic art. Focusing on Pavlovian art, dating to between 28,000 and 24,000 radiocarbon years BP, this paper assesses the suite of art production technologies, particularly those used when modifying and decorating ivory, and traces the relationship between decorative techniques and other characteristics of art. These analyses offer insight into Pavlovian art traditions and the emergence of innovative techniques in Paleolithic societies.     

The Upper Paleolithic period in the Levant

The classic Upper Paleolithic sequence in the Levant was based on a series of stratified assemblages with culture-specific type fossils. Research in the last two decades has revealed numerous assemblages that cannot be accommodated within the classic sequence. The recently discovered assemblages are now regarded as representing two large entities that differ in both technology and typology. The locally developed Ahmarian is dominated by blades and bladelets, while the Levantine Aurignacian (probably an intrusive from the north) is dominated by flakes and by endscrapers or burins. The nature and contents of the sites suggest that Levantine Upper Paleolithic people were organized as small bands of mobile foragers, whose important resources were ungulate meat and plant foods. This subsistence economy and the associated settlement patterns lasted till about 13,000 B.P. and was succeeded by the Natufian culture with an entirely new socioeconomic organization.     

The Sunghir 3 Upper Paleolithic Juvenile: Pathology versus Persistence in the Paleolithic

The Mid Upper Paleolithic Sunghir 3 late juvenile early modern human, from the most elaborate burial in the Pleistocene, had pathologically foreshortened and anteriorly bowed femora and, based on her dental enamel hypoplasias and transverse lines, sustained severe and persistent systemic stress throughout her decade of life. Her modest femoral and tibial asymmetry and her femoral bicondylar angles indicate non‐pathological patterns of posture and locomotion. The levels of rigidity for her weight‐bearing tibiae and the non‐dominant left arm reflect normal weight‐bearing and manipulation. These indicators are combined with an elevated level of right humeral strength, leading to pronounced humeral diaphyseal asymmetry, combined with elevated muscular insertion asymmetry. In combination with marked upper limb muscle markings and normal levels of bone formation, these reflections of her robustness indicate that she was fully mobile and participated actively in the tasks of her social group. There is no indication of the skeletal hypotrophy/atrophy that would be associated with less than full participation in the mobility and subsistence of her social group. As such, Sunghir 3 joins a growing list of developmentally or degeneratively pathological Late Pleistocene humans who nonetheless remained mobile and active. Copyright © 2012 John Wiley & Sons, Ltd.     

Paleolithic Art: A Cultural History

In this article we review the history of the terms and ideas that have been used to conceptualize Paleolithic art since the end of the 19th century. Between 1900 and 1970, prehistoric representations were typically divided into two main groups: parietal art (including rock and cave art) and portable (or mobiliary) art. This classification gave rise to asymmetrical attitudes about Paleolithic images. In particular, many portable and nonfigurative representations were overlooked while a small number of cave paintings were praised for their realism. Although the portable/parietal division has remained a popular divide among archaeologists, in the last 30 years increasing numbers of specialists have crossed the boundaries established by these categories. They have developed new frameworks within which more kinds of images are meaningfully approached and incorporated into the analysis of Paleolithic art and symbolism. The emergence of new approaches to Pleistocene imagery is the result of a number of interrelated processes, including the globalization of Paleolithic art studies, the impact of new discoveries, and the development of new approaches to art, images, and symbolism.     

Early Upper Paleolithic industries of Eastern Europe

Early Upper Paleolithic sites are known in various parts of Eastern Europe, but the two main concentrations of them are the Prut-Dniester basin and the middle Don. The flint industries are divided into archaeological cultures (cultural traditions), of which some show clear archaic features (Kostenki-Streletsian, Gorodtsovian, Brynzenian, etc.), while others have no Mousteroid characteristics (Spitsynian, Telmanian, etc.). Both types of culture coexisted throughout the Early Upper Paleolithic. In some cases, it is possible to trace genetic links between archaeological cultures and to follow the transition between the Middle and the Upper Paleolithic. The radiocarbon age of the oldest Upper Paleolithic sites in the Russian Plain is about 40,000 B.P., but some sites may be older. The Early Upper Paleolithic ended about 24,000–23,000 B.P. In the Crimea, the Middle-Upper Paleolithic transition appears to have taken place at about 20,000–18,000 B.P.     

The Upper Paleolithic Assemblages of Shugnou,Tajikistan

Lithic industries from the key strati?ed Upper Paleolithic site at Shugnou, Tajikistan, are described. Results of the technological, typological, and attributive analyses suggest that the industries of all horizons represent a single cultural tradition. Its evolution was marked by a gradual transformation of the microblade technology with the use of carinate techniques. This tradition is paralleled by lithic assemblages from Kulbulak layers 2.1 and 2.2, Kyzyl-Alma-2, and Dodekatym-2, Uzbekistan     

The Upper Paleolithic of the Russian steppe zone

The vast steppe area North of the Black Sea has been populated since the early Middle Paleolithic. The number of known sites dating to the Upper Paleolithic is increasing as research progresses, and today about 150 Upper Paleolithic sites have received some (although varied) degree of study. For a long time, the steppe zone was considered to have had a separate cultural-economic adaptation that differed drastically from that found in the periglacial province farther north. The difference was expressed in the specialization in bison hunting and in the very high mobility of the population. More recent archaeological research, described briefly in this article, presents a different picture: Subsistence was more varied, hunting was not limited to bison, and the settlement system indicates long periods of occupation of the sites. There were many local archaeological cultures, and study of the material remains indicates numerous contacts between the people of the steppe zone and those in Central Europe and the Caucasus and, by way of the Caucasus, with Western Asia.     

The late Upper Paleolithic in Italy: An overview

Previous studies of the Italian late Upper Paleolithic, or Epigravettian, have been primarily chronostratigraphic and typological. Only recently has attention been paid to environmental and behavioral data. The Epigravettian covers some 10,000 years, from about 20,000 B.P. (beginning of the last Wurm stadial) to about 10,000 B.P. (end of Dryas III and beginning of the Holocene). Traditionally, it has been divided into three phases: Early (20,000–16,000 B.P.), Evolved (16,000–14,000 B.P.), and Final (14,000–10,000 B.P.). The Evolved and Final Epigravettian have five regional facies: northern Tyrrhenian, central and southern Tyrrhenian, northern and central Adriatic, southern Adriatic and Sicilian. After an extensive summary of the available environmental data and traditional artifact analyses, we illustrate the present status of more behaviorally oriented research and discusss the consistency of the subdivisions in space and time. Suggestions are made of possible directions for future research.     

An Experimental Technological Study of Upper Paleolithic Kostenki-type Figurines

Principal stages in the manufacture of zoomorphic, polyiconic, and anthropomorphic Upper Paleolithic figurines are reconstructed. General factors determining their characteristics include universal conventions of representation and the limited set of technological operations available, whereas local factors include specific ways of processing materials and combining artistic techniques, the manner of individual masters, technological faults and accidents, as well as taphonomic processes.     

Upper Paleolithic Net-Hunting, Small Prey Exploitation, and Women's Work Effort: A View from the Ethnographic and Ethnoarchaeological Record of the Congo Basin

Recent interest in Upper Paleolithic small prey acquisition focuses on the significance of fiber-based hunting technologies. Some researchers believe the advent of these technologies and presence of small faunas reflect efficient communal net-hunts driven by women's labor. We evaluate different small prey hunting techniques, using ethnographic data from foragers in the Congo Basin. These and other ethnographic data suggest that net-hunting is a high risk endeavor that often has high opportunity costs. We argue that the high costs associated with net-hunting have profound implications for human technological choice, and we evaluate the circumstances that would favor the use of different small prey hunting technologies in the Upper Paleolithic.     

Exploitation of Lithic Raw Material in The Northwestern Caucasus Upper Paleolithic

Sources of lithic raw material discovered by the authors are described with special regard to methods of transporting stone to Upper Paleolithic sites in the northwestern Caucasus. The analysis of obsidian artifacts suggests that materials were imported from remote regions such as the central and South Caucasus, evidencing mobility patterns in the Upper Paleolithic.     

The Kulbulak Bladelet Tradition in The Upper Paleolithic of Central Asia

The article describes lithic industries of the Upper Paleolithic levels of Kulbulak, Uzbekistan, a key site in southwestern Central Asia based on materials from excavations at several sites in the western and northwestern Pamir– Tien Shan region (Kulbulak, Kyzyl-Alma-2, Dodekatym-2, and Shugnou). A new cultural and technological tradition is introduced, for which the authors suggest the name Kulbulakian. Its distinctive features are the bladelet technique and a microlithic set including backed pieces and triangular microliths. Stages in the evolution of the Kulbulakian tradition are reconstructed: origins, development, peak, and disappearance of the carinated technology. Industries belonging to this tradition have shaped the general appearance of the Upper Paleolithic in the area in question.     

Fish as diet resource in North Spain during the Upper Paleolithic

During the last glacial maximum, the west European modern humans adapted to adverse conditions and their populations subsisted exploiting the natural resources available. Fish were always present as a source of animal protein, although their importance in the human diet and their contribution to the expansion of humans has not been fully explored. Based on the compilation of zooarchaeological evidences from north Spanish sites we have discovered a constant pattern of exploitation of freshwater fish (Salmonids) with high incidence in the human diet during the Upper Paleolithic. Shifts in the exploitation of marine resources can be explained by climate-related geographical changes. The characteristics of salmonids that make them target species for supporting human survival in adverse climate periods are identified and discussed.     

The Upper Paleolithic in Mediterranean Spain: A Review of Current Evidence

In spite of an active and sophisticated archaeological research program, the Paleolithic of the Iberian peninsula remains comparatively little known to English-speaking prehistorians, with the exception of Cantabrian Spain. The rich data set compiled by Spanish prehistorians and their colleagues over the past several decades stands to make a valuable and unique contribution to our understanding of the Pleistocene prehistory of Europe. We present a detailed overview of Upper Paleolithic chronology, sites, and assemblages for Mediterranean Spain, an area of over 1,600,000 km ² that extends from the French border to the Straits of Gibraltar. To interpret these data, we employ a regional perspective that emphasizes studies of paleoeconomy (especially zooarchaeology) and settlement. The Middle–Upper Paleolithic transition and Upper Paleolithic art also receive detailed treatment, and the Upper Paleolithic of Mediterranean Spain is discussed in the broader context of the late Upper Pleistocene of western Europe and the Mediterranean Basin.