Environment-driven control of fungi in subterranean ecosystems: the case of La Garma Cave (northern Spain)

Airborne microorganisms can cause important conservation problems in caves with Paleolithic art and therefore the knowledge of cave aerodynamic is essential. La Garma Cave (Cantabria, Spain), an exceptional archaeological site with several levels of galleries interconnected and two entrances, presents a complex atmospheric dynamics. An approach including aerobiological sampling together with microclimate monitoring was applied to assess the factors controlling the origin of airborne fungi. Here we show that winter ventilation is critical for the increasing of Basidiomycota spores in the cave air and the highest concentrations were found in the most ventilated areas. On the contrary, Ascomycota spores prevailed in absence of ventilation. Besides, most Ascomycota were linked to insects and bats that visit or inhabit the cave. The combination of aerobiological and microclimate data constitutes a good approach to evaluate the influence of external climatic conditions and design the most suitable strategies for the conservation of cultural heritage in the cave environment.

The conquest of the dark spaces: An experimental approach to lighting systems in Paleolithic caves

Artificial lighting was a crucial physical resource for expanding complex social and economic behavior in Paleolithic groups. Furthermore, the control of fire allowed the development of the first symbolic behavior in deep caves, around 176 ky BP. These activities would increase during the Upper Paleolithic, when lighting residues proliferated at these sites. The physical peculiarities of Paleolithic lighting resources are very poorly understood, although this is a key aspect for the study of human activity within caves and other dark contexts. In this work, we characterize the main Paleolithic lighting systems (e.g., wooden torches, portable fat lamps, and fireplaces) through empirical observations and experimental archeology in an endokarstic context. Furthermore, each lighting system’s characteristic combustion residues were identified to achieve a better identification for the archaeological record. The experiments are based on an exhaustive review of archaeological information about this topic. Besides, we apply the estimated luminous data of a Paleolithic cave with Paleolithic art (Atxurra in northern Spain) in 3D through GIS technology to delve into the archeologic implications of illumination in Paleolithic underground activities.

Mobile Paleolithic Arts: long distances withesses

The meaning of statuettes appearance across Paleolithic Europe has changed a lot. Different processes can explain their variations. The «creation» from nothing apparently but imitating certain aspects of the natural world (animals). The «transfer» process from one tradition to the other inside early Upper Paleolithic people. The «movement» of both statuettes and people when recolonizing the northern plains. The «drift» process, when different cores are following the same stylistic variations. The «diffusion» process, where we can see the movements affecting Central and Eastern Europe, from the west to the East. All these processes require specific ways of treatment and of understanding. They should not be confused, nor forgotten in any Paleolithic art study.

Deciphering Cave Painting Code and Ancient Celestial Map in South East Asia Paleolithic Cultures Dated to 40000 Years Old

Currently it was theoritized that cave paintings have meaning more than human and animal interactions. Based on an example from Lascaux cave, a figure of a bull is believed representing Taurus constellation together with the Pleiades. In here this study aims to assess the connections of paleolithic art works in the forms of cave paintings and zoomorphic figures resemble to bovid with possible ancient astronomy and constellation depictions in South East Asia. The study caves were Jeriji Saleh in Kalimantan and Leang Leang and Sumpang Bita caves in Sulawesi where ancient cave paintings and zoomorphic figures date to 40000 years old have been found. The results show that cave paintings in Jeriji Saleh, Leang Leang and Sumpang Bita caves were comparable to the current findings. Those paintings were having bovid like figures with Leang Leang has figure identified as extant Bubalus depressicornis. In Sumpang Bita, this species was depicted in pregnant condition similar to pregnant horse figure in Lascaux cave. Depiction of pregnant figures in cave paintings indicates the use of ancient calendar to determine season based on the animal mating season. Bovid figure in Jeriji Saleh was illustrated in the same posture like auroch bovid in Lascaux cave and this indicates that cave paintings in Jeriji Saleh have been used to visualize Taurus constellation. The postures of bovid paintings in Leang Leang were different and it is interpreted to visualize Capricorn constellation. Another significant similarity between Lascaux and Leang Leang caves can be seen in paintings depicting a shaft scene with the presences of 3 similar figures include dying man, speared bovid and small zoomorphic figures. This concludes that the caves with their wall painting were not merely functioned as media for ancient art works, whereas it has functioned as paleolithic planetarium and this knowledge was globally widespread.