Testing recipes: an experimental approach to paint production processes in Levantine rock art (Spain)

Over more than a century, several proposals have been made on the composition and technical features of the pictorial recipes used by Levantine prehistoric painters. In this paper all these proposals are surveyed and tested through systematic experiments to determine the technical affordance of pigments and binders in different pictorial recipes. Experimental results were then used as independent analytical parameters employed as diagnostic criteria to systematically study an archaeological sample of nine sites located in the Maestrazgo region (Spain) and their surroundings. Results reveal that out of 112 experimental recipes, only 16 afforded the production of paintings technically similar to Levantine rock art.     

Minateda rock shelters (Albacete) and post-palaeolithic art of the Mediterranean Basin in Spain: pigments,surfaces and patinas

The inorganic and organic fractions of two microsamples of prehistoric paint from the same site, the Minateda rock shelters, are analysed here for the first time. The two samples correspond to two rock shelters of different styles (Levantine and schematic) – Abrigo Grande de Minateda (The Great Rock Shelter of Minateda) and Abrigo del Barranco de la Mortaja (Del Barranco de la Mortaja Rock Shelter). Since its discovery, historiographical tradition has emphasised the Abrigo Grande de Minateda, with its magnificence and complexity, as emblematic of the origin and evolution of rock art in the Mediterranean Basin of the Iberian Peninsula (a UNESCO World Heritage Site). Four complementary techniques –Microphotography, Scanning Electron Microscopy-Energy Dispersive X-Ray Spectroscopy (SEM-EDX), Raman Spectroscopy and Gas Chromatography–Mass Spectroscopy (GC–MS)– were combined to identify and characterise the physicochemical properties of the paint and of the surface. We present an interpretation of the results that leads us to define complex taphonomic alterations beyond the usual distinction of layers that include the surface, pigments and patinas.     

Latest developments in rock art recording: towards an integral documentation of Levantine rock art sites combining 2D and 3D recording techniques

This paper presents a further step in the integral documentation of prehistoric rock art, combining 2D and 3D digital recording techniques. Image processing and digital enhancement techniques are an invaluable aid to obtain high quality and accurate 2D recordings, especially when working with faint motifs or complex superimpositions. But what constitutes a real breakthrough is the possibility of combining 2D digital tracings with metric 3D models, providing a whole set of metric outputs that improve our understanding of the motifs in their context and, at the same time, can be used to deliver accurate metric reproductions.     

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.     

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.     

Prehistoric land use at an archaeological hot-spot (the rock art park of Campo Lameiro,NW Spain) inferred from charcoal,synanthropic pollen and non-pollen palynomorph proxies

Pollen, non-pollen palynomorphs and charcoal from a colluvial soil surrounded by prehistoric petroglyphs (Campo Lameiro, NW Spain) were studied in order to assess the nature of human activities and their impact on Holocene vegetation patterns. Several phases of anthropogenic impact were observed. (i) Between 7.6 and 6.5 ka cal BP, synanthropic taxa (Urtica dioica type, Plantago lanceolata type) and coprophilous fungi (e.g. Sporormiella-type) are indicative of early (pre-agricultural) creation of small patches of pasture using fire, possibly for incipient animal husbandry or as part of a deliberate strategy to improve game availability. Such activities only had a minor effect on the deciduous Quercus-dominated forest established earlier during the Holocene Thermal Maximum. (ii) Between 5.9 and 4.8 ka cal BP a more intense signal indicative of pastoral activity was detected, corresponding to the Neolithic period. (iii) Between 4.8 and 3.4 ka cal BP, which fits within the hypothetical timeframe of petroglyph creation, the synanthropic and humidity (e.g. Cyperaceae, Mougeotia) indicators diminished while charcoal concentration increased, which can be explained by Mid-Holocene cooling/drying (Neoglaciation) in combination with reduced human impact, or by non-pastoral activities in the area possibly in association with the development of the rock art culture, converting pasture to protected open ground through anthropogenic fires. (iv) During the Late Bronze Age and Early Iron Age (3.4–2.5 ka cal BP), grazing pressure and fire regime intensity are high, coinciding with evidence of regional forest regression, despite an amelioration in climate. (v) Later phases, not corresponding to prehistoric rock art contexts, include a phase of heavy grazing and reduced fire frequency (from ca. 2.5 to 1.2 ka cal BP) as well as the near complete elimination of the deciduous woodland, the expansion of ericaceous shrubland and the evidence of local agriculture and afforestation. These results are consistent with earlier studies in the area and highlight the spatial heterogeneity in the vegetation especially during periods of prehistoric anthropogenic interference.     

Ethics,politics and practices in rock art conservation

Abstract

Weathering and deterioration of Norwegian rock art has become an increasing area of concern over the last decade, with subsequent increasing efforts towards conservation. This has brought questions onto the agenda regarding the ethics and politics involved in conservation theory and practice. It is argued that such issues have been difficult to debate due to the concept of conservation being regarded as a legal and moral ideal. Referring the situation in Norway to ongoing global debates and perspectives regarding rock art conservation enables us to reveal and discuss some of the fundamental and complex philosophical issues involved. Notions of authenticity which implicitly underlie attitudes to rock art conservation are questioned, and the relationship between ‘green’ politics and rock art conservation is also discussed. A tendency towards uniform solutions and avoidance of critical issues, seen as influenced by strong social-democratic political traditions in Scandinavia, is at odds with the growing realization that most approaches to rock art conservation inevitably have unforeseen and frequently undesired consequences. Rather than further segmenting ethics, politics or practices in rock art conservation, a self-critical and reflective approach is suggested whereby changing concepts of ethics and authenticity are continuously debated.

Aucune loi ne pourra jamais préserver la sacralité d'un lieu … si ce n'est une loi morale, non écrite,adoptée et respectée par chaque individu, un véritable code personnel d'éthique.

(Soleilhavoup, 1994: 14)     

Valuing rock art: a view from Northumberland in North East England

Abstract

Since the turn of the millennium three rock art projects focusing primarily on Northumberland in the United Kingdom (Northumberland Rock Art: Web Access to the Beckensall Archive, Rock Art on Mobile Phones and Heritage and Science: working together in the CARE of rock art) have made information and images widely available to the public via the Internet. All three projects were strongly underpinned by the ethos expressed in the Faro Convention and the Ename and Burra Charters that the value of cultural heritage should be enhanced by interpretation. This paper investigates the responses to these digital media initiatives, showing that they have increased the reach of this ancient rock art resource to large numbers of people in United Kingdom and Ireland, and globally. In addition, it reveals that having made these heritage resources available online, they have created a further desire among people to engage with the rock art virtually with the increased possibility of following this up with an in situ visit.     

Palaeolithic engravings and sedimentary environments in the Côa River Valley (Portugal): implications for the detection,interpretation and dating of open-air rock art

The pre-Magdalenian phase of the Côa River Valley open-air rock art is mostly distributed at the boundary between the rocky valley slopes and the floodplain that correspond to the most favourable geomorphological setting for the preservation of pecked and deeply superposed engravings of the most famous artistic phase of the area. The natural vertical panels of the engraved art located at this geomorphological interface have suffered weathering during two cold events of the Lateglacial. They were buried by several colluvial and alluvial deposits. The reconstruction of the sedimentary and archaeological context of the CôaRiver Valley engraving permits a better assessment of the preservation processes and interpretation of Palaeolithic open-air rock art.     

New tools for rock art modelling: automated sensor integration in Pindal Cave

This paper presents the integration of automated sensors based on a terrestrial laser scanner and an amateur digital camera with the aim of generating a photorealistic three-dimensional (3D) model of the Principal Panel in Pindal Cave (Spain). The approach developed for 3D modelling overcomes many of the problems related to the independent implementation of photogrammetry and laser scanning. Particularly, a sequential and hierarchical approach was developed based on the processing and matching of images from the camera (camera image) and the laser scanner (range image). The results obtained demonstrate that the workflow for this model is automatic, effective, and accurate. The presented approach was found to create hyper-realistic models, even improving upon human visual capabilities.     

Calcium oxalate AMS C dating and chronology of post-Palaeolithic rock paintings in the Iberian Peninsula. Two dates from Abrigo de los Oculados (Henarejos,Cuenca, Spain)

Since 2005 we have been utilizing accelerator mass spectrometry (AMS) ¹⁴C dating in research on calcium oxalate crusts associated with open air rock art of the Iberian Peninsula. In this paper we present two dates linked with three eye-idol pictographs at Abrigo de los Oculados (Henarejos, Cuenca, Spain). Radiocarbon ages for these motifs agree with the expected iconography-based archaeological chronology. Such oxalate dates could provide an independent basis for evaluating chronological theories for post-Palaeolithic sites, designated in the UNESCO World Heritage List as Rock Art of the Mediterranean Basin on the Iberian Peninsula.     

Isotopic Composition of Lead in Copper Ores and a Copper Artefact from the La Profunda Mine (León,Spain)

This paper continues the characterization of the lead isotopic fingerprint of ancient copper mines in the north‐west of Spain. In this work, the lead isotopic compositions found in copper ores from the La Profunda mine are presented. Azurites and malachites sampled from this deposit were subjected to lead isotope analysis by multicollector ICP–MS. The results showed a clear radiogenic lead signature compatible with the presence of uranium‐rich minerals (such as zeunerite) in the same mining complex. Moreover, a rare copper artefact, found in the galleries of the mine during its modern exploitation, was also analysed and showed that local mineral was used for its manufacturing.     

A multi-technique characterization and provenance study of the pigments used in San rock art, South Africa

During the course of a conservation project at the rock shelter known as RSA TYN2 (Eastern Cape, South Africa), a sample of 33 painted fragments that had become detached from the wall were collected. They have been studied using a multi-technique approach (optical microscopy, SEM-EDS, Raman spectroscopy and FTIR), with the aim of achieving a better understanding of their paint stratigraphy, composition, and provenance. The paintings are on a Clarens Formation sandstone and are embedded in calcium sulphates and oxalates. The red pigments show two different ‘hues’, corresponding to two different compositions. The light red is a red ochre, possibly pure, which is probably a degradation product of the Clarens Formation sandstone. The dark red contains more iron oxides and may be a mixture between the red ochre and pure haematite. Because of the presence of crystals which may be identified as augite we suggest this haematite came from the basaltic upper part of the Drakensberg, at least 4 km away from the rock shelter. The black pigments have been identified as carbon black, that is to say, incomplete combustion products of organic compounds, and are radiocarbon dated to between 2120 and 1890 cal BP, making these samples the oldest directly dated South African rock art.     

Bighorn hunting,resource depression,and rock art in the Coso Range,eastern California: a computer simulation model

The extraordinary record of prehistoric rock art depicting tens of thousands of animal images in the Coso Range of eastern California provides an opportunity to study the relationship between aboriginal hunting, forager ecology, bighorn prey population levels, and the production of rock art. We review archaeofaunal evidence that the Coso desert bighorn sheep population was strongly depleted during the Newberry era after 1500 B.C. We discuss the dating of the rock art and show a correlation between bighorn depletion and increased rock art production. These data are consistent with the arrival of Numic foragers ca. A.D. 600 who competed with the Coso Pre-Numics and eventually terminated the Coso rock art tradition. An ecological predator-prey computer simulation of the human populations (Numic and Pre-Numics), the sheep population, and the rock art “population”, demonstrates these proposed interconnections and gives a reasonable fit to the observed rock art production rate.     

Rock art and social geography in the Upper Paleolithic. Contribution to the socio-cultural function of the Roc-aux-Sorciers rock-shelter (Angles-sur-l’Anglin,France) from the viewpoint of its sculpted frieze

This article is about the contribution of rock art to current studies on the social geography of European Paleolithic populations. The socio-cultural function of the Roc-aux-Sorciers decorated and occupied rock-shelter is considered through its monumental sculpted frieze. This approach is based on the intended audience, analyzed through the perception of this rock art and the archaeological context of the associated occupations. The site is also considered with regard to the other local decorated sites dated to the Middle Magdalenian with which it shares strong similarities (La Marche, Les Fadets, Réseau Guy Martin).     

Non-ferrous metallurgy from the Phoenician site of La Fonteta (Alicante, Spain): a study of provenance

The lead isotope composition of 22 samples from the excavation of the Phoenician site of La Fonteta (Guardamar del Segura, Alicante, Spain) has been analysed in a preliminary study of their provenance. These materials span chronologically from the first half of the 8th century BC to the middle of the 6th century BC.The samples have been selected to include materials used in lead and silver production, as well as in copper-based metallurgy. Therefore, lead droplets, galena nodules and fragments of litharge have been analysed, together with a fragment of a copper ingot, an object, a melting waste composed of a Cu–Pb alloy, and two fragments of a material that we have provisionally labelled ‘Pb–Cu cupellation debris’.All these materials have been initially analysed by X-Ray Fluorescence-Spectrometry to identify their bulk compositions. Some of them have been also analysed by SEM–EDX and ICP–OES. Subsequently, lead isotope analyses (LIA) have been performed using Thermal Ionization Mass Spectrometry (TIMS). The new LIA data obtained has been compared with published lead isotope data from the Mediterranean area. The identification of different groups suggests a significant complexity of the internal and external trade routes during the Orientalising period. For this reason, the provenance study of these materials is especially important in shedding light on the commercial dynamics that the Phoenicians established with native people to control the raw materials and to commercialise finished products.     

World Heritage and the Local Community: The Case of Atapuerca (Burgos,Spain)

As social constructions, heritage properties require the participation of all their stakeholders, especially in the case of UNESCO World Heritage Sites. The Atapuerca (Burgos, Spain) World Heritage Site is used as a test case for assessing the fulfilment of the local community’s development expectations, perceptions, and values. This paper is the first formal attempt to ascertain the opinions of residents in the surrounding villages — Ibeas de Juarros and Atapuerca — regarding the initiatives taken by the authorities, and the changes produced, since the site was included in the World Heritage List. The results show that many improvements can be made with the aim of democratizing the decision-making process, ensuring the involvement of the local community and improving their quality of life, in order to fulfil the spirit and recommendations of UNESCO.     

Challenging Hegemonies through Connecting Places,People and Ideas: Jan Monk's contribution to international gender geography (with particular reference to Spain)

The main goal of the paper is to study Jan Monk's contribution to the development of international gender geography, in particular in Spain. Our aim is also to explain the experiences and numerous connections among places, people and ideas that she has been weaving to foster international scholarship and, in this way, how she has challenged hegemonic approaches in feminist geography. Jan Monk comes originally from the Southern hemisphere and therefore she is well aware of the extent to which ‘Northern’ (or Anglo-American) ways of seeing the world define concepts, theories and ideas in geography (and also in feminist geography). Being an ‘insider’ and an ‘outsider’ as well as her sensibility to the important of place has permeated Jan's contribution to international gender geography.     

Dynamics of pioneer colonisation in the Early Iron Age in the Duero basin (Central Iberia,Spain): Integrating archaeological and palynological records

Abstract

This study addresses the earliest strategies of permanent occupation in the mountainous regions bordering Northern Meseta in inland Iberia. This piece of work gathers together and discusses archaeological information about settlement in the Late Bronze Age and Early Iron Age and previously published high-resolution palynological cores from three study areas. Its major goal is to assess both archaeological and pollen records in order to gain a better understanding of the dynamics of occupation and transformation of these upland settings. Until cal 700 BC there are no clear signs of permanence in the highlands surrounding the Duero basin, but from that point onwards various initiatives of small-scale spontaneous colonisation have been identified. Colonisation in the Iron Age involved pastoralism, cereal agriculture and a significant use of forestry resources, causing a major anthropogenic impact with irreversible consequences. The outlined account constitutes the first synthetic overview at a macro-regional scale on the beginnings of the integrated and diversified strategies implemented in these upland regions.