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Prehistoric Art and Ideology Emmanuel Anati

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Prehistoric Art and Ideology Emmanuel Anati UNION INTERNATIONALE DES SCIENCES PRÉHISTORlQUES ET PROTOHISTORIQUES INTERNATIONAL UNION FOR PREHISTORlC AND PROTOHISTORlC SCIENCES PROCEEDINGS OF THE XV WORLD CONGRESS (LISBON, 4-9 SEPTEMBER 2006) ACTES DU XV CON GRES MONDIAL (LISBONNE, 4-9 SEPTEMBRE 2006) Series Editor: Luiz Oosterbeek VOL. 16 2006 lisboa Session e27 Prehistoric Art and Ideology Edited by Emmanuel Anati BAR Intemational Series 1872 2008 This title published by Archaeopress Publishers of British Archaeological Reports Gordon House 276 Banbury Road Oxford OX2 7ED England [email protected] www.archaeopress.com BAR 51872 Proceedings of the XV World Congress of the International Union for Prehistoric and Protohistoric Sciences Actes du XV Congres Mondial de l'Union Internationale des Sciences Préhistoriques et Protohistoriques Outgoing President: Vítor Oliveira Jorge Outgoing Secretary General: Jean Bourgeois Congress Secretary General: Luiz Oosterbeek (Series Editor) Incoming President: Pedro Ignacio Shmitz Incoming Secretary General: Luiz Oosterbeek PrehistorícArt and Ide%gy, vo/.l6, Session C27 © UISPP / IUPPS and authors 2008 ISBN 978 1 4073 0352 9 Signed papers are the responsibility of their authors alone. Les texts signés sont de la seule responsabilité de ses auteurs. Contacts : Secretary of U.I.S.P.P. - International Union for Prehistoric and Protohistoric Sciences Instituto Politécnico de Tomar, Av. Dr. c:andido Madureira 13, 2300 TOMAR Email: [email protected] www.uispp.ipt.pt Printed in England by CMP (UK) Ltd AII BAR titles are available from: Hadrian Books Ltd 122 Banbury Road Oxford OX2 7BP England [email protected] The current BAR catalogue with details of all titles in print, prices and means of payment is available free from Hadrian Books or may be downloaded from www.archaeopress.com TABLE OF CONTENTS Presentation: Prehistoric art and ideology ............................................................................. 1 Emmanuel Anati, Italy Deciphering mythological narrations in the rock art of Valcamonica: the rock of the phallus ...................................................................................................... 3 Emmanuel Anati & A riela Fradkin, Italy Gravettian burial rites: functional analysis of the lithic grave goods ................................... 13 Simona Arrighi & Valentina Borgia, ltaly Animal deities and shamans, warriors and Aesir Gods - rock art of the Nothern Countries - Scandinavia, Finland and Russia ............................................ 21 UlfBertilsson, Sweden Dancing scenes and ideology in the Neolithic Near East... .................................................. 41 Yosef Garfinkel, Israel Patriarchy and ideology in the rock art of the Iberian Mediterranean Basin ........................ 53 Trinidad Escoriza Mateu, Spain The symbolism and the wearing fashion of jewellery-pendants during the Bronze Age in Hungary ............................................................................................ 61 Katalin lankovits, Hungary Les "arts" megalithiques d'Europe Occidentale: pourquoi une telle diversite? ................... 73 lean-Pierre Mohen, France How the artistic production of a Prehistoric society can suggest cultural changes and everyday life imagery: the case of the Predynastic Nile Valley .............................. 77 Simona Moscadelli, Italy Evidence for a Muelos belief in African and near East Neolithic mortuary rituals? ............ 87 Estelle Orrelle, UK Simboli al femminile: linee parallele e a volta nell'arte rupestre Calcolitica ...................... 95 Umberto Sansoni, ltaly Idéologie et symbolisme dans I'art nord-thrace ................................................................. lB Valeriu Sfrbu, Romania Animals as symbols in Upper Palaeolithic art ................................................................... 121 Christian Züchner, Germany Note: the communications are published in the alphabetic order 01 authors PATRIARCHY AND IDEOLOGY IN THE ROCK ART OF THE IBERIAN MEDITERRANEAN BASIN Trinidad ESCORIZA MA TEU Departamenlo de Hisloria, Geografía e Hi loria del Arte, Universidad de Almerfa (España) Summary: IlIIerpretations of the female body in prehistoric art are socially constrllcted and marked by a series of norms IIsing the langllage of the patriarcal order. The análisis conducted here slIggests the existence of a sexllal divisi6n of labollr, and that ineqllalities in this indicate that 1V0men lVere a socially exploited grollp. I arglle that cOlllrol over 1V0men ;s rej/ected in the scarcity of representations sllch as matemity, the cancellation of sexllal attribllles, and the invisibility of female activities. Key lVords: Spanish Levallline RockArt. Figllrative Represelllations. Femin;st Theory. Exploitation. Violence against Women Résumé: Les illlerprétations dll corps femelle dans I'art préhistoriqlle SOIll socialemelll construites et SOIll marqllées par IlIIfellilleton de non1/es lIIilisalll la lallglle de I'ordre de patriarcal. Le análisis a dirigé ici sllggere I'existence d'lIn divisi6n sexllel de travail, et qlle les inégalités dans ceci indiqllelll qlle les femmes étaielll 1111 grollpe socialemelll exploité. le displlle ce colllrole par-desslls les femmes est rej/été dans la rareté de représentations telles qlle de grossesse, I'annlllation d'attribllts sexllels, et l'inv;sibilité d'activités femelles. Mots Clés: Art Rllpestre dll Levalll Espagnol. Représelltations Figllratives. Théorie Fémilliste. Exploitatioll. Violmce cOlllre les Femmes WOMEN AND LEV ANTINE ROCK ART region of the Ea tern lberian Peninsula, from the foolhills of the Pyrenees (in Huesca Province) to the The figurative representations which I examine here form mountainous regions in the interior of Ihe soulh-east of part of whal is tradilionally called Levanline Rock Art or, the lberian Peninsula (Almería and Jaén Provinces). more recenlly, Rock Art of the Medilerranean Basin of Within this area, lhere are rock sheller with Levantine the lberian Peninsula. The surviving representations figures al dislances of more than 600 km from each other, produced in this artistic slyle were declared an elemenl of in geogmphical areas which can be qualified as being World Herilage by UNESCO in 1998. A whole range of highly diverse. painled figuralive represenlations, forming composilions and scenes of varied lhemes are collectively known as The chronology of lhese manifestalions has given rise to Levanline Art (Hernandez Pérez el al. 1988; Hernandez an importanl debate, given thal independenl physico­ Pérez y Soler oraz 2(05). Among lhese compositions can chemical dating are still nol available, and analyse of be found figures of women, men as well a of sexually slylislic serialization and figuralive parnllels conlinue lo indelerminale figures. There are also various lypes of be lacking. Al presenl, there is a generally hared opinion animals and a mnge of objecls, oflen related lo lhe thal Ihis is a posl-Palaeolithic art form (Molina el al. figures. The liguralive character and composilion of 2003; Garcia el al. 2(04). Recenlly il chronology has cenes means thal Levantine Rock Art can be thought of been localed in the Neolithic period of Ihe Medilerranean a a manifestalion which provides information aboul the region of the lberian Peninsula. From the 1980s the malerial conditions and social life in geneml of the chronological framework of Spani h Levantine Rock Art communities which produced and used them (Escoriza has remained fixed in this prehisloric period thanks lo the Mateu 200 I ; 2002a y 2002b). discovery the of so-called "Macro-Schemalic" Rock Art. Thi is because macro-schemalic representalion have These Levantine productions are lO be found in social been found beneath paintings in lhe Levanline slyle, uch paces where daily life was nol carried out. These are thal the latler form musl be poslerior lO, or al lea 1 places where life was nol lived on a continuou basis, bul contemporary with the former. Together wilh its difficull mlher where activilies occurred which were related lo the chronological identification, Ihere are certain olher repre entations, which show by means of figure a eries problems wilh Levantine art, such as the limited number of understandings and experiences. Thal is lo ay, lhese of studie dealing with the correspondence belween the were areas where politico-ideological practices look rock shelters with Levantine paintings and inhabiled place. The majorily of the painted panel s wilh Levanline areas. Another seriou chronological problem is lhe figures are to be found in rock shelters and open caves, in exislence of paintings added to lhe same compo ilion, hallow spaces exposed to Ihe open air and well lit by making lhe reading of scenes more difficull given Ihal il is natuml light. Genemlly they are in accessible sites, on hard lo be sure of lhe lime difference belween differenl genlle hillsides, although there are also sorne in steep figure . BOlh queslions could be c1arified once an rocky slopes wilh more difficull access (Fairen 2(04). adequate absolule chronology for Ihe painling ha been established. On the basis of the mosl recent information available, Levantine Rock Art would have occupied the whole of From the beginning my interesl has been centred on Ihe Mediterranean Fringe, the coastal and pre-coastal trying lo recover, documenl and analyse lhe grealesl 53 PREHI TORIC ART 0 IDEOLOGY number of female repre ntation in the Le antine panel . Finall ,in thi tudy of Le antine production , a ''Theory The aim wa to try to explain them in relation
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