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.     

The Palaeolithic of the Bosphorus Region NW Turkey

Abstract

A survey of open-air sites in NW Turkey identified 16 Palaeolithic sites. Analysis of nearly 2000 lithics identified Lower, Middle, and Early Upper Palaeolithic (EUP) components. The Lower Palaeolithic is represented by a core-chopper/flake assemblage at one site and an assemblage with small bifaces at another. Middle Palaeolithic assemblages similar to the typical Balkan Mousterian were found at most sites, and an EUP assemblage similar to the Balkan Aurignacian was found on the Black Sea coast. Later Upper Palaeolithic cultures, e.g., Gravettian or Epigravettian, were not found. Palaeolithic sites were also not found in Turkish Thrace west of Büyük Çekmece, and a palaeoenvironmental barrier, perhaps a channel connecting the Marmara and Black Seas, may have existed before the Bosphorus was opened in the Holocene. A difference in the distribution of Lower-Middle Palaeolithic sites and EUP sites was also noted. EUP sites are clustered on the Black Sea coast while earlier sites are found in the interior and on the shores of the Sea of Marmara. This change in settlement pattern may support a hypothesis of cultural change between the Middle and Upper Palaeolithic and perhaps the replacement hypothesis for the peopling of Europe by early modern humans.     

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 Origins of the Concept of ‘Palaeolithic Art’: Theoretical Roots of an Idea

This paper explores the origin and theoretical roots of the concept of ‘Palaeolithic art’ in the late nineteenth and early twentieth centuries (1895–1906). It identifies three main sources for this concept: the Western category of ‘art’, the idea of evolution and the notion of primitive. This article shows how the traditional conception of ‘Palaeolithic art’ is a particular case of the wider idea of ‘primitive art’, a category that was born as an attempt to harmonise the notion of ‘primitive society’ and the nineteenth-century bourgeois concept of ‘art’. Additionally, I discuss this traditional conception as the source of a number of ideas that have persisted in our way of interpreting Palaeolithic images until recently, including the understanding of prehistoric images through the lens of the modern notion of ‘art’, their interpretation in symbolic-religious terms and their formal definition based on the idea of naturalism.     

Neanderthal Survival in the North of the Iberian Peninsula? Reflections from a Catalan and Cantabrian Perspective

In the debate over Western Europe??s Middle to Upper Palaeolithic transition we need to consider the importance of both the chronology and the ecological context of the different techno-complexes, as well as the organization of production and consumption activities. In this article we study the adaptative strategies of Middle Palaeolithic human communities based on the information obtained from archaeological sites north of the river Ebro. This transition in the northern part of the peninsula presents a chronological and geographic dichotomy, with the appearance of the Upper Palaeolithic and survival of the Middle Palaeolithic. The geographic distribution appears to indicate intergroup competition and the existence of contact, albeit of an unverified nature. This competition would explain the time that elapsed before one of the cultural, and perhaps biological, groups triumphed over the other in a process culminating in the expansion of Upper Palaeolithic technology.     

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.     

Magdalenian Children: Projectile Points,Portable Art and Playthings

Children, no doubt, were a significant component of Upper Palaeolithic societies. Despite this fact, however, serious identification and consideration of material culture which may have belonged to children – at least at one time during their use‐life – have not been undertaken. This situation extends to the best represented and most intensively studied of the European Palaeolithic techno‐complexes, the Magdalenian (c.21,000–14,000 cal BP), and consequently, we know very little about the children of this enigmatic people. As play, including object play, is a ‘true cultural universal’, we can be certain that Magdalenian children integrated objects into their games, with these playthings later incorporated into the archaeological record. Through examining ethnographic accounts of recent hunter‐gatherer children and reconsidering archaeological assemblages in light of these data, this paper suggests that Magdalenian playthings probably included full‐sized adult weapon tips and – more significantly – pieces of what archaeologists term ‘art mobilier’.     

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.     

Reconnaissance survey for Palaeolithic sites in the Debed River Valley,northern Armenia

Abstract

The southern Caucasus is a critical region for those interested in Palaeolithic research because of its varied topography and location at the crossroads of Europe, Africa, and Asia. Modern Armenia sits at the heart of this area, but has until now played a small role in broader debates, largely because of its paucity of well-excavated and well-dated sites. To improve this situation, a survey was conducted for Palaeolithic sites along the valley of the Debed River (Lori Depression, northeastern Armenia). Twenty-three open-air sites, spanning the Lower through the Upper Palaeolithic periods, were identified. Most of the lithic material is of Middle Palaeolithic manufacture. Upper Palaeolithic material is also well represented, but only a handful of Lower Palaeolithic artifacts have been identified. Test excavations at several sites suggest that they preserve in situ deposits that may help us to understand the role of the southern Caucasus in the Palaeolithic occupation of Eurasia.     

Neanderthal Shell Tool Production: Evidence from Middle Palaeolithic Italy and Greece

The vast majority of tools recovered from Palaeolithic sites are made of stone varieties. Only rarely do non-lithic implements come to light, let alone tools produced on marine mollusc shell. Interestingly, a good number of shell implements made on Callista chione and Glycymeris sp. valves have been reported from 13 Middle Palaeolithic (Mousterian) sites in southern peninsular Europe. Of these, more than 300 specimens display evidence of deliberate edge retouch. They are all considered products of Neanderthals and date from ~110?ka BP to perhaps ~50?ka BP. In this paper, we review the evidence for Mousterian shell tool production in Italy and Greece??the only two countries in which such tools have been securely identified??and present experimental results obtained in the effort to understand the production process and typo-functional role(s) of the artefacts. We examine the general provisioning pattern of raw materials, as well as the typological, species-related and chronological data pertinent to the production of shell tools by Neanderthals. The data suggest that the Mousterian shell scrapers are a response to poor availability of lithic raw material in the areas of occurrence, and may be best described as an extension of chipped stone technologies to specific types of marine shell, their form defined by an existing mental template. As such, they constitute evidence for refined adaptation strategies and advanced provisioning of resources amongst Neanderthals, and may lend further support to the idea that these hominids displayed a degree of complex behaviour.     

NEANDERTHALS, ANATOMICALLY MODERN HUMANS, AND 'MODERN HUMAN BEHAVIOUR' IN ITALY

Summary.   Traditionally, accounts of the Middle–Upper Palaeolithic transition focus almost exclusively on the evidence from south-western Europe. Interpretations based on data from this area are then generalized to produce a relatively uncomplicated pan-European model, with the appearance of novel technologies, new patterns of land use, expanded social networks, and the emergence of complex forms of symbolic communication involving art and personal ornaments, all pointing to the appearance of 'modern human behaviour' in Europe about 40,000 years ago. This paper presents an impartial review of the important but often neglected evidence from Italy, and shows that models positing a single spatiotemporal origin for 'modern human behaviour' are too simplistic.     

ONLY TIME WILL TELL: A REVIEW OF THE METHODOLOGY OF DIRECT ROCK ART DATING

Epistemology has not kept pace with the progress experienced in the direct dating of rock art. This paper reviews the experimental methods that have been developed in recent years. While many do provide important information about the possible age of rock art, it is of concern that the precipitate archaeological interpretations these data are used for are often not warranted. Some are attributable to not understanding the severe qualifications that apply to most dating results, others perhaps to over-enthusiasm on the part of some researchers. The introduction of archaeological dynamics into direct dating of rock art threatens the reliability of this young methodology. Some of the pitfalls are considered in this paper, and a general rationale for the direct dating of rock art is developed.     

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.     

We will be known by the tracks we leave behind: Exotic lithic raw materials,mobility and social networking among the Côa Valley foragers (Portugal)

The aim of this study is to establish different socio-cultural models based on lithic raw material sourcing integrated with regional rock art distributions to infer social behaviours within the context of central Iberian Upper Palaeolithic societies. Specifically, we focus on Upper Palaeolithic hunter–gatherer mobility and social interaction in the Côa Valley. This study relies on a knowledge of regional geology and field work to identify the sources of the lithic raw material found at Côa Valley Upper Palaeolithic sites. We expose the context of use and discard of flint, which is naturally absent from the region, and other local materials. From this, we present a GIS based analysis concerning space, time and least-cost paths travelled. This analysis, along with the environmental data available, forms a baseline to evaluate different anthropological models on hunter–gatherer lithic use, mobility, and social networks. We conclude with a three-level model for social interaction, in the context of aggregation activities between different social meta-groups, which involves embedded procurement, long-distance raw material exchange, and symbolic community, reflected in the largest known open-air Upper Palaeolithic rock art concentration.     

Demography and the Palaeolithic Archaeological Record

Demographic change has recently re-emerged as a key explanation for socio-cultural changes documented in the prehistoric archaeological record. While the majority of studies of Pleistocene demography have been conducted by geneticists, the archaeological records of the Palaeolithic should not be ignored as a source of data on past population trends. This paper forms both a comprehensive synthesis and the first critical review of current archaeological research into Palaeolithic demography. Within prevailing archaeological frameworks of dual inheritance theory and human behavioural ecology, I review the ways in which demographic change has been used as an explanatory concept within Palaeolithic archaeology. I identify and discuss three main research areas which have benefitted from a demographic approach to socio-cultural change: (1) technological stasis in the Lower Palaeolithic, (2) the Neanderthal-Homo sapiens transition in Europe and (3) the emergence of behavioural modernity. I then address the ways in which palaeodemographic methods have been applied to Palaeolithic datasets, considering both general methodological concerns and the challenges specific to this time period. Finally, I discuss the ability of ethnographic analogy to aid research into Palaeolithic demography.     

The Exploitation of Plant Resources by Neanderthals in Amud Cave (Israel): The Evidence from Phytolith Studies

The depositional environments of Amud Cave indicate that phytolith assemblages retrieved from the cave's sediments are an integral part of the Middle Palaeolithic sequence. As such, they provide direct evidence for plant use. The Amud Neanderthals emphasized both wood and grass exploitation. Ligneous parts of trees and shrubs were used mainly for fuel. Herbaceous plants were used for bedding, possibly fuel, and for food. There is clear and repetitive evidence for the exploitation of mature grass panicles, inferred to have been collected for their seeds. These findings suggest that, as with the pattern recently discerned for faunal resources, a broad spectrum of plants has been exploited from at least the end of the Middle Palaeolithic. Phytolith analysis now provides a tool for testing models explaining subsistence and mobility patterns during the Levantine Middle Palaeolithic and for better understanding the role of vegetal resources in shaping these patterns.     

NEW CHRONOLOGICAL EVIDENCE FOR THE MIDDLE TO UPPER PALAEOLITHIC TRANSITION IN THE CZECH REPUBLIC AND SLOVAKIA: NEW OPTICALLY STIMULATED LUMINESCENCE DATING RESULTS

We report new optically stimulated luminescence (OSL) dates from the Central European sites of K?lna, Stránská skála, Bohunice, Vedrovice V, Vedrovice Ia, Moravský Krumlov IV and Dzeravá skala, which date to the Middle–Upper Palaeolithic transition period. There are important unresolved questions surrounding the timing of archaeological events during this crucial period in European prehistory. Archaeological layers from this time period are at the limits of the ¹⁴C method and most of these sites lack good chronology. The results of this dating project suggest that some parts of the current chronological framework may need to be revised. Although in many cases our OSL results are broadly consistent with previous dates obtained by ¹⁴C, in other cases they reveal unexpected surprises. One OSL result from K?lna opens up the possibility that Neanderthals may have survived in this part of Europe past the 30 ka bp mark as has been argued for several Neanderthal sites in southern Europe. The large Szeletian assemblage recovered from Vedrovice V may be significantly older than previously thought, which undermines the idea that the Szeletian culture is exclusively an Early Upper Palaeolithic industry. More dating research is needed to confirm the more controversial results of this research.     

Is the Soanian techno-complex a Mode 1 or Mode 3 phenomenon? A morphometric assessment

The Soanian is traditionally seen as one of the major (non-Acheulean) Palaeolithic techno-complexes of the Indian subcontinent. Over several decades comparisons of Soanian assemblages have been made with the non-bifacial industries of East Asia and north-west Europe. The chronological status and typo-technological relationship(s) of the Soanian to other Palaeolithic industries have been the subject of much debate. When first named and described the Soanian was considered to contain evidence of Mode 3 Levallois-style core reduction. However, in recent years, the potential Mode 3 component of the Soanian has largely been ignored, and the techno-complex is described under various guises as a core/flake or ‘Mode 1’ techno-complex. Here, a comparative morphometric assessment of selected Soanian cores and other Palaeolithic nuclei is undertaken, to test the hypothesis that this industry contains a definite Mode 3 Levallois element. Discriminant Function Analyses (DFA) of morphometric variables provide robust evidence that at least part of the Soanian techno-complex contains Mode 3 Levallois cores. The implications of these analyses for the relationship between the Soanian and the Acheulean, and the relevance of the Soanian in considerations of the Movius Line are also discussed.     

The rock art of the Côa valley,Portugal: Significance,conservation and management

Abstract

The Côa river valley is the largest open-air Palaeolithic art site currently known. Some 150 decorated panels have already been found, spread along 17km. The whole complex would have been submerged under 100m of water if construction of the large Foz Côa dam, begun in 1992, had been allowed to continue. The dam project was halted in 1995 and a 200km² archaeological park is being established in this area, which is now legally protected at the highest level as a National Monument. Public access to selected sites is organized through four-wheel drive. tours of groups of eight people accompanied by guides appropriately trained in archaeology and rock art studies. Visitor Centres have been set up in restored traditional houses located in the villages around the periphery of the park. A Museum of Rock Art and Archaeology and associated research facilities is to be established at the site of the now abandoned dam.