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.     

THE PALEOLITHIC CAVE ART OF VASCO-CANTABRIAN SPAIN

Summary. This article explores the relationship between cave art and Upper Paleolithic archeology in northern Spain (and extreme southwestern France). Among the 83 known art sanctuaries, only three can probably be terminus ante quem dated to the early Upper Paleolithic (c. 35,000-20,000 BP). Other types of evidence (virtual absence of ornaments and mobile art objects before the Solutrean, stylistic similarities between works of late Upper Paleolithic mobile art and parietal art, overwhelming association of Solutrean and/or Magdalenian cultural deposits with art sanctuaries) clearly suggest that most of the cave art was done in the period between c. 20,000-10,000 BP. Cave art sanctuaries are distributed in non-random fashion. The clusters of sanctuaries usually correspond with dense clusters of habitation sites. The clusters are separated by substantial geographical gaps. These chronological and geographical facts coincide with contemporaneous subsistence intensification, all of which tends to support the hypothesis of increased territorialism in the late Last Glacial.     

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.     

RADIOCARBON DATES FOR BEESWAX FIGURES IN THE PREHISTORIC ROCK ART OF NORTHERN AUSTRALIA

Accelerator mass spectrometry radiocarbon ages have been taken for a test suite of small samples of material removed from some of the ‘beeswax’art figures found in rock shelters in northern Australia. The results indicate that we can reliably date this unique form of rock art with no noticeable damage. We had not expected to find figures of any great antiquity, and so we were surprised to find that the ages obtained spanned the time period from the recent past to about 4000 BP.     

Non-invasive portable instrumentation to study Palaeolithic rock paintings: the case of La Peña Cave in San Roman de Candamo (Asturias,Spain)

La Peña de Candamo Cave, listed as World Heritage by UNESCO in 2008, preserves one of the most important collections of parietal art in the North of Spain and there is an urgent need to evaluate the status of the cave both archaeologically and from the conservation and restoration points of view. In this work, the usefulness of non-invasive mobile instrumentation, such as Raman and EDXRF spectroscopies, is shown when this type of assessments are required under adverse experimental conditions. In addition to the rapid diagnosis that this non-invasive and mobile instrumentation provided, based on the subsequent multivariate analysis of collected spectra, it was possible the identification of the main pigments of the rock art as well as their different origins. Finally, this study also showed the biodeterioration and decalcification processes observed in some areas of the cave and revealed the damage suffered during decades. The effects of such decaying processes over pictorial layers show up the need of a continuous preventive control of paintings in order to minimise further deteriorations.     

THINKING ABOUT 'STYLE' IN THE 'POST-STYLISTIC ERA': RECONSTRUCTING THE STYLISTIC CONTEXT OF CHAUVET

Summary.   Over the past decade, new radiocarbon dating from several art caves has conflicted with the traditional stylistic sequence of Palaeolithic art. Using Chauvet as a paradigm, some archaeologists have suggested that stylistic approaches to Palaeolithic art should be rejected in favour of more sophisticated methods, such as AMS radiocarbon dating. Contrary to this proposal, we suggest that the high antiquity of the Chauvet paintings (dated to c .32,000 years BP) does not necessarily imply the end of all stylistic approaches to Palaeolithic art. Taking the recent discoveries (2003) at the site of Hohle Fels and the attribution of the Palaeolithic engravings of the cave of l'Aldène to the Aurignacian (2005) into account, we suggest that the Chauvet paintings can be placed within an Aurignacian stylistic context. Throughout this analysis, we propose some critical thoughts on the concept of 'style' and discuss some ways in which stylistic approaches can be used to improve our knowledge of Palaeolithic art.     

PREHISTORIC ROCK ART FROM PAINTED BLUFF AND THE LANDSCAPE OF NORTH ALABAMA ROCK ART

Abstract

Painted Bluff in northern Alabama is one of the richest and most elaborate open-air rock art localities in the Eastern Woodlands, rivaling some of the Southeast’s dark zone cave art sites discovered over the past several decades. Known for more than a century, the site has never seen detailed documentation until now. Painted Bluff contains motifs similar to iconography associated with Mississippian ceremonial objects, and a radiocarbon age determination (cal A.D. 1300–1440) would indicate contemporary use of the site. More than 80 images were painted on the cliffs, most using red mineral pigments but some reflecting polychromatic use of differently colored minerals. We present examples of the Painted Bluff artwork and discuss the site in the broader context of prehistoric rock art on the southern Cumberland Plateau and in northern Alabama.     

The Hidden Meaning of Forms: Methods of Recording Paleolithic Parietal Art

There are many restrictions placed on researchers studying Paleolithic Cave art due to the constraints of conservation that limit direct contact with the original works. This paper discusses how recent advances in technology have revolutionized the study and interpretation of Paleolithic cave art. The interpretation of Paleolithic symbolic systems is a complex process and hypotheses must be applied to cave art with the greatest of precision. A detailed analysis of the painted or engraved surfaces leads to a greater understanding of both the techniques employed and the actual sequence in which parietal compositions were executed. By unlocking the creative process followed by Upper Paleolithic artists we are able to glimpse the artist’s motivations and to understand a portion of the art’s hidden meaning.

THE USE OF TEXTURAL PARAMETERS IN THE ANALYSIS OF CAVE SEDIMENTS

This paper considers the presentation of the results of the mechanical analysis of cave sediments, suggesting that the use of grain size parameter scatter diagrams is preferable to the older method of cumulative percentage frequency graphs. A sequence of samples was taken from an ideally-situated cave, the Badger Hole at Wookey, and first subjected to the standard soil analytical tests, followed by a detailed mechanical analysis. It is hoped that this preliminary work will encourage a more quantitative approach to granulometric analysis for archaeological purposes, leading eventually to the extraction of more precise environmental data from cave sediments.     

A laboratory cave for the study of wall degradation in rock art caves: an implementation in the Vézère area

The aim of this proposal is to present an original approach to the study and preservation of rock art caves. A multidisciplinary study of cave wall alteration will be performed to understand the impact of environmental context on the evolution of wall surfaces. The approach involves the choice of a cave with characteristics similar to painted caves in the studied area (Vézère Valley in Dordogne, France): e.g., cave wall alteration, lithology, morphology, etc. This selected cave is intended to become a laboratory cave, monitored for the acquisition of chemical, physical and biological environmental data on bedrock, air and fluids along with their characteristics. A cave without art or archaeological interest has been chosen specifically to conduct experiments, to make in situ analysis and to obtain samples. The results are to be completed by specific observations in several other caves and compiled in a database.     

西安地区中小型西汉墓的分期与年代研究

目次一墓葬形制的类型学分析二典型器物的类型学分析三墓葬的分期与年代近些年来,西安地区在配合城市建设中清理了数万座西汉时期墓葬,为汉墓的系统编年研究提供了丰富资料,本文以《西安龙首原汉墓》、《长安汉墓》、《白鹿原汉墓》等考古报告及已发表的相关资料为依据,对西安地区西汉中小型墓葬的形制、出土器物进行类型学分析,在此基础上对墓葬的分期与年代问题进行探讨,不妥之处敬请批评指正。一墓葬形制的类型学分析西安地区中小型汉     

Cave Art in Context: Methods for the Analysis of the Spatial Organization of Cave Sites

Investigations of prehistoric cave art have long neglected the surrounding context: space, archaeological objects, and imprints. As a result, an integrative structural approach that analyzes cave art as part of an anthropomorphized landscape has not been available. This article draws on urban planning and the physiology of the human eye to provide an innovative archaeospatial analysis of cave sites. A set of relevant features from the caves of Bédeilhac, Fontanet, and Le Portel was selected and defined (light zone, chamber type, path network, mode of movement, and available space). An analysis of the prehistoric remains in the caves allows the reconstruction of different concentrations of human activities (cave art, archaeological objects, and imprints). The projection of these concentrations onto the structured map of the caves results in four types of locations: drawing location, supply location, drawing location with substantial activities, and drawing location with consumption activities. This approach opens new avenues for the archaeological perception of caves and their inhabitants: Upper Paleolithic humans were very familiar with caves and probably followed a master plan during their stay in the dark.     

Dating European Palaeolithic Cave Art: Progress,Prospects, Problems

Over the last decade several dozen direct dates on cave art pigments or associated materials have supplemented more traditional style-based attempts to establish a chronological (and developmental) scheme for cave art. In the “post-stylistic” era an holistic integration of pigment “recipe” analysis, formal stylistic analysis and direct chronometric dating have been applied to a handful of dates. Here, we examine the state-of-the-art of Palaeolithic cave art dating, with particular emphasis on certain radiocarbon and Uranium-series projects. We examine the relative successes and weaknesses of this cutting edge science. We conclude that there are several weaknesses in current applications that are in serious need of addressing. Issues of sample contamination and of the heuristic relationship between materials dated and the production of the art are particularly problematic. It follows that one should at present be very cautious about straightforward interpretations of apparent “dates” of cave art.     

Automated Analysis of Environmental Degradation of Paint Residues

The development of effective conservation strategies for the protection of rock art sites involves the assessment of the taphonomic risks posed by physical and chemical weathering. This study outlines the methodology used in a pilot study to monitor and model the deterioration of paint residues in a cave environment. Mineral oxide pigments were mixed with water and placed on the walls of a cave in the Mendip hills (U.K.). The physical degradation of the paint residues was simulated visually and modelled mathematically. A training stage learning the characteristics of a reference image is followed by comparisons with this image as the test paints deteriorate. The study will be extended over three years and digital image processing will be used to quantify changes in the colour and dimensions of the test paints. The results will be correlated with micro-climatic variables. This methodology can be used to model taphonomic changes to rock art and other forms of imagery in differing environments.     

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.     

CAVE ART AND THE THEORY OF ART: THE ORIGINS OF THE RELIGIOUS INTERPRETATION OF PALAEOLITHIC GRAPHIC EXPRESSION

This paper explores the origins of the symbolic–religious interpretation of Palaeolithic art. We analyse the relationship between the explanations that were given of the 'primitive' mentality in the second half of the nineteenth century and the birth of the religious interpretations of Palaeolithic art and we try to show how this union does not express a direct cause–effect relationship. In order for the union to take place, an intellectual change that would generate a new way of understanding the origins and the nature of art was necessary.     

Altamira 1937: <Emphasis Type="Italic">Grotta Aperta—</Emphasis>Conflict Archaeology of a World Heritage Cave

This article addresses the dark and barely known side of one of the most iconic symbols of Spanish heritage: the Palaeolithic cave of Altamira (region of Cantabria). The cave is a benchmark of European rock art and was declared a World Heritage Site by UNESCO in 1985. Access to the cave’s guestbook (inaugurated on 18 August 1928 with King Alfonso XIII’s signature) has granted us the opportunity to deconstruct the hegemonic discourse therein, and to approach a time, the Spanish Civil War (1936–1939), which had been left almost without discussion in historical literature on the archaeological site. Conflict Archaeology can cast light on this unknown reality and raise controversial and contentious issues about the Altamira cave and its role as a wartime cultural asset during the war.     

THE METALLURGY OF THE NAHAL MISHMAR HOARD RECONSIDERED

The Nahal Mishmar hoard, found in a cave in the Judean Desert in 1961, is a key find for the study of Chalcolithic metallurgy in Israel and the Levant. Recent analyses of Chalcolithic metalwork from sites such as Shiqmim in Israel raised doubts about the validity of published analyses from the hoard. Accordingly a programme of re-analysis was established using atomic absorption spectrometry and electron probe microanalysis. The new analyses confirmed the doubts and showed that the metallurgy of Nahal Mishmar was the same as that at the other sites. The alloys used for the cast products in the hoard were generally ternary arsenic-antimony copper alloys with up to 20% alloy content; less common were compositions with arsenic and nickel. The unusual metallography of these alloys is described. Some suggestions are offered as to the mode of manufacture of the alloys.     

THE RADIOCARBON CHRONOLOGY OF THE NEOLITHIC AND COPPER AGE OF NORTHERN ITALY

Summary. Until twenty years ago the chronology of the Neolithic and Copper Age settlement of Northern Italy was almost exclusively based on the stratigraphical sequence of the Arene Candide cave in Liguria. The research carried out since the sixties has strongly increased our knowledge of the earliest farming communities and the first copper using people who inhabited the country between the end of the seventh and the beginning of the fourth millennium BP. This article considers the available evidence for this period which is now supported by a good set of radiocarbon dates.