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.     

WHO AND WHY IN PALAEOLITHIC ART

Summary. No consideration has ever been given to the possibility that women may have had a part in the execution of European Upper Palaeolithic art; however, an examination of the history of research in this field suggests that preconceptions, prejudice, and the acceptance of unproved theories have perhaps been responsible for the view that it was a male-only activity.
Some of its so-called 'religious' aspects are reconsidered, and re-explained from a female perspective in the light of an experimental attempt to reproduce Palaeolithic plaques with superimpositions. The results of this experiment suggest that Palaeolithic art may well have been multipurpose, at least some being illustrative and part of a general visual communication system — perhaps a forerunner of written communication. It seems probable that all members of society, especially women, were involved.     

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.     

浅谈美术地理的地域空间性

本文从地理学的角度,用地域空间和历史的观点对美术的地域性进行了论述,提出了美术地理学的研究范畴。全文从横向地域性、纵向地域性、地域空间的扩散性三个方面对美术的地理特性进行了研究。通过大量的分析,作者认为地理环境对美术风格具有决定性的影响。文章所提出的观点可以看作是对文化地理理论的一种补充与印证。     

REDEFINING NEANDERTHALS AND ART: AN ALTERNATIVE INTERPRETATION OF THE MULTIPLE SPECIES MODEL FOR THE ORIGIN OF BEHAVIOURAL MODERNITY

Since the late 1990s, a number of specialists have proposed a ‘multiple species model’ to explain the origins of behavioural modernity. This model establishes that most of the traits defining modern behaviour, including ornaments and art, are not exclusive to modern humans, but arose among anatomically ‘non‐modern’ populations, like the late Neanderthals of Europe. This paper proposes that the emergence of this multiple species model is related to conceptual changes in the definitions of ‘Neanderthals’ and ‘art’. In the first place, Neanderthals, once characterized as apish creatures lacking intelligence, are now considered by many as complex cognitive people capable of modern behaviour, including the ability to create symbolic and artistic representations. In the second place, personal ornaments, once trivialized as ‘trinkets’, are recognized today as artistic representations and as symbolically valued as other prehistoric artworks. These redefinitions of Neanderthals and personal ornaments reflect not only the multiple species model but also some of the recent debates concerning the origins of symbolic behaviour.     

THE RELATIONSHIP BETWEEN PREHISTORIC IRISH ROCK ART and IRISH PASSAGE TOMB ART

Two major traditions of decoration from the later Neolithic and/or earlier Bronze Age, rock art and passage tomb art, are compared. Both traditions are briefly described, and are compared on the basis of both site and motif characteristics. Their chronological relationship is also discussed, indicating at least a large overlap in time between them. These two show a general affiliation on a number of levels, suggesting a similar degree of relationship between their respective makers. However, they also show important differences, suggesting that they are products of different sets of ritual or symbolic behaviour, or of similarly different groups of people.     

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.     

MAKING A DIFFERENCE: PALAEOLITHIC ICONOGRAPHY AS A TRAIT OF IDENTITY IN THE IBERIAN PENINSULA

The study of the figurative repertoire of Palaeolithic artists allows us to approach aspects such as iconographic diffusion and cultural preferences. This paper presents an updated corpus of figurative rock art for the Iberian peninsula and analyses its distribution in the Cantabrian region, inland Iberia and the Mediterranean basin, three areas frequently used in the literature. This corpus contains 3341 graphic units that were analysed using multivariate statistics and hypothesis testing. The results show that the main figurative themes can be classified according to their discriminating power. Horse, ibex and deer were the animal motifs that formed the common background of this artistic expression. In contrast, Palaeolithic artists used different proportions of bison, hind and aurochs to create a possible distinctive identity. Finally, it is discussed whether the iconographic selection is due to palaeoecological reasons, cultural motivations, or a combination of both.     

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.     

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.     

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.     

THE ORIGIN AND GEOCHEMICAL CHARACTERIZATION OF RED OCHRES FROM THE TITO BUSTILLO AND MONTE CASTILLO CAVES (NORTHERN SPAIN)*

Ochres were the most common source materials for pigments used in Palaeolithic rock art paintings. This work analyses the petrographic and geochemical signatures of different ochre samples from outcrops inside Tito Bustillo Cave and the Monte Castillo Caves using the most common techniques (petrography, XRD, SEM–EDS and ICP–MS) in archaeological pigment characterization studies. The results obtained permit the identification and characterization of the different source ochre types and, furthermore, allow the establishment of mineralogical and geochemical proxies for the study of questions related to ochre characterization, formation processes and provenance.     

艺术介入背景下的乡村景观再生产研究

乡村景观研究多注重物质层面的讨论,与之相关的社会文化及其权力关系分析却不常见。本研究以全面生产理论为基础构筑了以“景观”为研究对象的理论分析框架,解读了艺术介入下白族村落双廊的乡村景观再生产过程。研究发现,双廊景观再生产过程是乡村发展趋于艺术化、现代化与旅游化的过程。艺术家以催化、牵引、调节等柔性作用方式介入其中,推动景观形态的重构;介入过程作用于景观的不同结构,在经济、政治、文化等不同层面均有反馈;其实践涉及政府、居民、游客以及艺术家自身的愿景表达,促成了景观理想的主体间性。双廊的艺术乡建旅游发展之路,对我国乡村振兴战略的实施具有参考作用。     

贺兰山岩画博物馆选址分析

以文物遗址为依托的博物馆建设,一直是考古、历史、建筑、规划等专业人事关心和研究的课题之一。本文以贺兰山岩画博物馆选址为研究对象,在分析贺兰口岩画和聚落遗址空间分布特点的基础上,论述岩画、聚落遗址、生态环境与博物馆选址的关系,并着重从地段环境、生态环境、空间格局和视觉景观4个方面对拟选的3个方案进行综合比较分析,确定贺兰山岩画博物馆选址的最终方案,最后还为其他文物遗址博物馆选址提出了5条建设性原则。     

MIGRAINE, LIGHT AND HALLUCINOGENS: THE NEUROCOGNITIVE BASIS OF IRISH MEGALITHIC ART

Irish passage-tomb art has been interpreted as a representation of endogenous visual phenomena associated with consciousness-altering practices. This paper describes an analysis of passage-tomb art in which a detailed breakdown of shape distributions is used to identify the specific means of inducing these visual phenomena at each tomb. This suggests three major sources for the art: migraine, light flicker and hallucinogenic substances, which are evident in different combinations at different tombs.     

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.     

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.     

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.     

WEST OF THE BEST: ROCK ART AND ARCHAEOLOGICAL DISCOVERIES IN THE DORO !NAWAS REGION OF NORTHWEST NAMIBIA

The Northwest of Namibia bears a concentration of rock art that is among the highest in the world. One of the centres is Twyfelfontein, a cluster of sites surrounding a waterhole at the eastern fringe of the Namib Desert, classified as the prime rock engraving site in southern Africa and designated a UNESCO World Heritage Site. Recent prospections in the desert west of Twyfelfontein have resulted in the discovery of engravings and paintings that exceed those at the UNESCO site, both in quantity and quality. Our contribution to this volume in memory of Klavs Randsborg introduces this newly discovered archaeological landscape and discusses the connection between water ‐ a rare commodity in the desert environment ‐ and the rich array of rock art and other archaeological features found here.     

3. DECENTERED IDENTITIES: THE CASE OF THE ROMANTICS

Natalie Zemon Davis's work has decentered the identities of her subjects as part of seeing their complexity. This essay, inspired by Davis's rich thought and scholarship, looks at the ways in which the Romantics in the arts decentered their thought and practices away from the West. Their decentering involved serious study of non‐Western thought and its incorporation into their art, and the regular use of opium to shape their creative works. One borrowed theme was transcendence to a higher mode of existence, often through sexual union with a woman. So influential did Romantic tropes, themes, and images derived from outside the West become that they persisted in Western culture long after the Romantics themselves had lost interest in the body of non‐Western culture from which they drew. Examples include the work of Samuel Coleridge, Walter Scott, Hector Berlioz, the Schlegel brothers, Caroline Günderode, Sidney Owenson, and others.