To be or not to be: reassessing the origins of portable art in the Cantabrian Region (Northern Spain)

The characterization of the first portable artistic depictions in Cantabrian Spain is crucial for comprehension of the symbolic development of Neandertals and Homo sapiens in the context of the passage from the Middle to the Upper Paleolithic. However, despite the importance of these first graphic representations, their study has tended to lack the application of suitable methodologies to be able to discriminate between graphic activity and other kind of alterations (use-wear, taphonomic, or post-depositional). The present study has examined a significant sample of Middle and Upper Paleolithic lithic and osseous objects from Cantabrian Spain that have been cited as evidence of graphic activity in the literature. The contexts in which the objects were found have been considered, and the objects have been analyzed through the microscopic observation of the marks to distinguish between incisions, pecking, and engraving made for a non-functional purpose (graphic activity) and those generated by diverse functional actions or taphonomic processes (cutmarks, trampling, root marks, percussion scars, and use-wear). The results show that some regional Middle Paleolithic osseous objects display incisions that are neither functional nor taphonomic and whose characteristics are similar to graphic evidence attributed to Neandertals in Europe and the Near East. In turn, the first portable art produced by Homo sapiens in the Cantabrian Spain seems to be limited mostly to linear signs, and no figurative representation can be recognized until the Gravettian. This appears to indicate a particular idiosyncrasy of the region in the Early Upper Paleolithic, which, in comparison with other regions such as south-west France and the Swabian Jura, shows a later and less abundant production of portable art.

The quest for palaeolithic art in the Neris river valley, Central-Eastern Lithuania

Only a few artifacts discovered in Lithuania can be considered as examples of portable art from the Final Palaeolithic period. Three of them were found in the Neris river valley in central-eastern Lithuania: an engraved slate pebble from the Eiguliai 1А site, a notched blade from the Skaruliai 1 site, and a flint “figurine” from the Vilnius 1 site. Discovered by Rimutė Rimantienė and her father Konstantinas Jablonskis, these three finds were the first and for many years the only artifacts underpinning the discussion of art from the Lithuanian Final Palaeolithic. The debate on the tentative function of these items, initiated by Rimantienė, is reviewed in this study before presenting the results of the latest research on the subject between 2012 and 2017, carried out using a range of methods: visual examination, comparative analysis with other archaeological finds and reconstructed prehistoric tools, surface analysis under a microscope. The functional interpretation proposed as a result of these investigations in two cases disproves the identification of these artifacts as portable art.

Birds and bovids: new parietal engravings at the Romanelli Cave, Apulia

ABSTRACT The Romanelli Cave in south-east Italy is an important reference point for the so-called ‘Mediterranean province’ of European Upper Palaeolithic art. Yet, the site has only recently been subject to a systematic investigation of its parietal and portable art. Starting in 2016, a project has recorded the cave's interior, discovering new parietal art. Here, the authors report on a selection of panels, featuring animal figures, geometric motifs and other marks, identifying the use of different types of tools and techniques, along with several activity phases. These panels are discussed with reference to radiocarbon dating of nearby deposits, posing questions about chronology, technology and wider connections between Upper Palaeolithic cave sites across western Eurasia.

“Poor” archeological levels not to be forgotten: units of Middle and early Upper Magdalenian age in El Mirón Cave (Ramales de la Victoria, Cantabria, Spain)

This succinct contribution focuses on description and preliminary interpretation of “minor” occupations of the large, strategically located El Mirón Cave on the edge of the Cantabrian Cordillera in eastern Cantabria (Spain) during the Middle and early Upper Magalenian that followed upon the massive, culturally rich, faunally dense, functionally complex deposits of the Initial and Lower Magdalenian. The ten levels analyzed here date to the Late Glacial, c. 15.5-12.5 uncal kya BP. At a time when the classic Middle Magdalenian of the nearby French Pyrenees developed and major residential sites with clear social links to it (via the key site of Isturitz) were occupied in the lowland coastal zone of Cantabria and Asturias (e.g. La Garma, Llonín, La Viña), El Mirón had reverted for the most part to the role of a short-term, special-purpose, perhaps logistical campsite, rather than as a long-term, large-scale hub residential base. It is tempting (and indeed traditional) to focus on levels with large numbers of lithic and osseous artifacts, as well as works of portable art and personal ornaments, which are so characteristic of the most famous Magdalenian occupations. However, in hunter-gatherer subsistence systems, the “minor” locations played a significant role in the human exploitation of territories (especially ones with such complex, high relief as Cantabrian Spain). The levels in question here include some that can be interpreted as hunting camps (suggested by high percentages of worked and unworked bladelets and some antler points within the small assemblages), partially reminiscent of the use to which the cave may have been put during pre-Initial Magdalenian times, notably during the Solutrean, which was relatively rich in stone points.

3D modeling in the studies of the portable art geometrical images of the Upper Paleolithic and Mesolithic of Eastern Europe

One of the plots of the portable art forms of Eastern Europe is abstract, geometric, symbolic images that cannot be deciphered directly. Most of the currently known such geometric images from the archaeological sites of the Upper Paleolithic and Mesolithic of Eastern Europe were applied to finished bone products — tools, weapons, household and non-utilitarian items, as well as bones of various animals without traces of processing using various cutting techniques. The bone is well preserved in the cultural layers of the sites of the late Pleistocene — early Holocene of the Russian Plain, which makes objects from this material an important source for the study of geometric images. However, despite the richness of the source base, the problem of classification and systematization of geometric images in the art of small forms remains poorly developed. The purpose of the article is to consider the issues of practical application of three-dimensional 3D modeling in the study of art objects of small forms of the Upper Paleolithic and Mesolithic. The authors describe the practice of photographing such objects and the peculiarities of the lighting schemes and camera positioning, developed taking into account the specifics of the geometry and material of the documented objects. The minimal technical requirements for the resolution of the models have been determined, which provide the possibility of using visualization algorithms to study fine engravings on bone and stone. The practical application of mathematical visualization algorithms both directly on polygonal models and on height maps built on their basis is described. A method for visualizing and systematizing research results and providing remote access to them using modern web technologies is proposed.

The Swiss Magdalenian portable art and supra-regional parallels

There are about fifty Magdalenian sites known in Switzerland. Most of these sites were discovered and excavated at the end of the 19th and in the first half of the 20th century. Consequently, it is not always possible today to establish clear research contexts and dating is often based on typo-chronological statements. The Swiss Magdalenian portable art can be divided into two main groups: engravings and figurative sculptures. Engravings mostly appear on reindeer antlers, bones, and rarely on stone or jet. They are more common than figurative sculptures. The majority of engravings are on everyday objects such as perforated batons and projectile points. They are mainly signs and other ornamental motifs. In addition, there are also figurative subjects such as animals and a animal-human representation. The term “figurative sculptures” refers to partially sculptured objects, such as decorated spear thrower ends and stylized female figurines. With the exception of a musk ox head no other evident animal sculptures have been found in Switzerland. Some of the Magdalenian portable art objects found in Switzerland show supra-regional parallels with finds from other parts of Europe. The aim of this article is to present the most important Swiss finds in a broader European geographical context.

GEOMETRIC IMAGES IN THE ART OF THE UPPER PALEOLITHIC OF EASTERN EUROPE: CHRONOLOGICAL AND REGIONAL FEATURES

Исследуются абстрактные, геометрические изображения знакового искусства малых форм Восточной Европы. Данный вид изобразительной деятельности появляется в раннюю пору верхнего палеолита, одновременно с фигуративным искусством. На Русской равнине развитие знакового искусства прослеживается на протяжении всей верхнепалеолитической эпохи. Оно широко распространилось в период средней (25-21 тыс. л. н.) и поздней (20-12 тыс. л. н.) поры верхнего палеолита. Геометрическое искусство существовало бок о бок с традицией реалистичных изображений в граветтийское время и полностью вытесняет ее после максимума валдайского оледенения. В статье систематизируются данные об этом виде искусства в центре Русской равнины, рассматриваются его региональные и хронологические особенности. Исходя из данных технико-морфологического анализа, предложено два критерия для различения геометрического искусства малых форм граветтийского и эпиграветтийского времени. Для эпиграветтийских памятников характерны отсутствие реалистических элементов и нанесение изображения на всю поверхность сложной геометрической формы, с обязательной предварительной ее разметкой и использованием одной или нескольких базовых линий. Для граветтийских - наличие фигуративных элементов и нанесение орнаментальных элементов на поделки со сложным объемом в разное, не соответствующее одному технологическому циклу, время или без предварительной общей разметки. The paper explores abstract and geometric images of non-figurative (symbolic) portable art in eastern Europe. This type of visual art emerged in the early period of the Upper Paleolithic at the same time with figurative art. Development of non-figurative art in the Russian plain has been traced throughout the Paleolithic Age. It was widespread during the middle stage (25,000-21,000 years ago) and the late stage (20,000-12,000 years ago) of the Upper Paleolithic. Geometric art existed side by side with the tradition of realistic images during the Gravettian period replacing it completely after the last Valdai glacial maximum. The paper systemizes data on this type of art in the center of the Russian plain, and reviews its regional and chronological features. Using the data on the technical and morphological analysis, the author proposes two criteria for differentiating geometric portable art of the Gravettian period and the Epigravettian period. The Epigravettian sites are characterized by absence of realistic elements and presence of images all over the surface of a sophisticated geometrical shape as well as preliminary pattern outlining and use of one or several base lines. The Gravettian images are characterized by presence of figurative elements and placement of decorative elements on items of sophisticated shape in different time periods that do not correspond to the same technological cycle or without preliminary outlining of the overall pattern.

Macro Photogrammetry & Surface Features Extraction for Paleolithic Portable Art Documentation

In this article, we propose a methodology for the archaeological documentation of limestone plaquettes decorated with faint paintings and fine engravings. The plaquette number 16330 is presented, belonging to the portable art collection in Cova del Parpalló (Gandía, Spain), one of the most important Paleolithic sites in the UNESCO’s Rock Art of the Mediterranean Basin on the Iberian Peninsula. Macro photogrammetry is used to generate a 3D model and basic treatments on raster images. The resulting 3D model has a spatial resolution of tens of microns and was used to generate a digital elevation model (DEM) and orthorectified macro photographs for documenting the engravings and paintings. All stages of the workflow are detailed in-depth, specifying the data collection parameters and the configuration used in the subsequent processing with HyperCube and DStretch software. The resulting documentation is accurate, reproducible, and objective and allows the reinterpretation of the available graphic documentation started in the 1990s.