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Pleistocene Palaeoart of Africa
Arts 2013, 2, 6-34; doi:10.3390/arts2010006 OPEN ACCESS arts ISSN 2076-0752 www.mdpi.com/journal/arts Review Pleistocene Palaeoart of Africa Robert G. Bednarik International Federation of Rock Art Organizations (IFRAO), P.O. Box 216, Caulfield South, VIC 3162, Australia; E-Mail: [email protected]; Tel.: +61-3-95230549; Fax: +61-3-95230549 Received: 22 December 2012; in revised form: 22 January 2013 / Accepted: 23 January 2013 / Published: 8 February 2013 Abstract: This comprehensive review of all currently known Pleistocene rock art of Africa shows that the majority of sites are located in the continent’s south, but that the petroglyphs at some of them are of exceptionally great antiquity. Much the same applies to portable palaeoart of Africa. The current record is clearly one of paucity of evidence, in contrast to some other continents. Nevertheless, an initial synthesis is attempted, and some preliminary comparisons with the other continents are attempted. Certain parallels with the existing record of southern Asia are defined. Keywords: rock art; portable palaeoart; Pleistocene; figurine; bead; engraving; Africa 1. Introduction Although palaeoart of the Pleistocene occurs in at least five continents (Bednarik 1992a, 2003a) [38,49], most people tend to think of Europe first when the topic is mentioned. This is rather odd, considering that this form of evidence is significantly more common elsewhere, and very probably even older there. For instance there are far less than 10,000 motifs in the much-studied corpus of European rock art of the Ice Age, which are outnumbered by the number of publications about them. -
Supplementary Table 1: Rock Art Dataset
Supplementary Table 1: Rock art dataset Name Latitude Longitude Earliest age in sampleLatest age in Modern Date of reference Dating methods Direct / indirect Exact Age / Calibrated Kind Figurative Reference sample Country Minimum Age / Max Age Abri Castanet, Dordogne, France 44.999272 1.101261 37’205 36’385 France 2012 Radiocarbon Indirect Minimum Age No Petroglyphs Yes (28) Altamira, Spain 43.377452 -4.122347 36’160 2’850 Spain 2013 Uranium-series Direct Exact Age Unknown Petroglyphs Yes (29) Decorated ceiling in cave Altxerri B, Spain 43.2369 -2.148555 39’479 34’689 Spain 2013 Radiocarbon Indirect Minimum age Yes Painting Yes (30) Anbarndarr I. Australia/Anbarndarr II, -12.255207 133.645845 1’704 111 Australia 2010 Radiocarbon Direct Exact age Yes Beeswax No (31) Australia/Gunbirdi I, Gunbirdi II, Gunbirdi III, Northern Territory Australia Anta de Serramo, Vimianzo, A Coruña, Galicia, 43.110048 -9.03242 6’950 6’950 Spain 2005 Radiocarbon Direct Exact age Yes Painting N/A (32) Spain Apollo 11 Cave, ǁKaras Region, Namibia -26.842964 17.290284 28’400 26’300 Namibia 1983 Radiocarbon Indirect Minimum age Unknown Painted Yes (33) fragments ARN‐0063, Namarrgon Lightning Man, Northern -12.865524 132.814001 1’021 145 Australia 2010 Radiocarbon Direct Exact age Yes Beeswax Yes Territory, Australia (31) Bald Rock, Wellington Range,Northern Territory -11.8 133.15 386 174 Australia 2010 Radiocarbon Direct Exact age Yes Beeswax N/A (31) Australia Baroalba Springs, Kakadu, Northern Territory, -12.677013 132.480901 7’876 7’876 Australia 2010 Radiocarbon -
The Pasts and Presence of Art in South Africa
McDONALD INSTITUTE CONVERSATIONS The pasts and presence of art in South Africa Technologies, ontologies and agents Edited by Chris Wingfield, John Giblin & Rachel King The pasts and presence of art in South Africa McDONALD INSTITUTE CONVERSATIONS The pasts and presence of art in South Africa Technologies, ontologies and agents Edited by Chris Wingfield, John Giblin & Rachel King with contributions from Ceri Ashley, Alexander Antonites, Michael Chazan, Per Ditlef Fredriksen, Laura de Harde, M. Hayden, Rachel King, Nessa Leibhammer, Mark McGranaghan, Same Mdluli, David Morris, Catherine Namono, Martin Porr, Johan van Schalkwyk, Larissa Snow, Catherine Elliott Weinberg, Chris Wingfield & Justine Wintjes Published by: McDonald Institute for Archaeological Research University of Cambridge Downing Street Cambridge, UK CB2 3ER (0)(1223) 339327 [email protected] www.mcdonald.cam.ac.uk McDonald Institute for Archaeological Research, 2020 © 2020 McDonald Institute for Archaeological Research. The pasts and presence of art in South Africa is made available under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 (International) Licence: https://creativecommons.org/licenses/by-nc-nd/4.0/ ISBN: 978-1-913344-01-6 On the cover: Chapungu – the Return to Great Zimbabwe, 2015, by Sethembile Msezane, Great Zimbabwe, Zimbabwe. Photograph courtesy and copyright the artist. Cover design by Dora Kemp and Ben Plumridge. Typesetting and layout by Ben Plumridge. Edited for the Institute by James Barrett (Series Editor). Contents Contributors vii Figures -
The Use of Ochre and Painting During the Upper Paleolithic of the Swabian Jura in the Context of the Development of Ochre Use in Africa and Europe
Open Archaeology 2018; 4: 185–205 Original Study Sibylle Wolf*, Rimtautas Dapschauskas, Elizabeth Velliky, Harald Floss, Andrew W. Kandel, Nicholas J. Conard The Use of Ochre and Painting During the Upper Paleolithic of the Swabian Jura in the Context of the Development of Ochre Use in Africa and Europe https://doi.org/10.1515/opar-2018-0012 Received June 8, 2017; accepted December 13, 2017 Abstract: While the earliest evidence for ochre use is very sparse, the habitual use of ochre by hominins appeared about 140,000 years ago and accompanied them ever since. Here, we present an overview of archaeological sites in southwestern Germany, which yielded remains of ochre. We focus on the artifacts belonging exclusively to anatomically modern humans who were the inhabitants of the cave sites in the Swabian Jura during the Upper Paleolithic. The painted limestones from the Magdalenian layers of Hohle Fels Cave are a particular focus. We present these artifacts in detail and argue that they represent the beginning of a tradition of painting in Central Europe. Keywords: ochre use, Middle Stone Age, Swabian Jura, Upper Paleolithic, Magdalenian painting 1 The Earliest Use of Ochre in the Homo Lineage Modern humans have three types of cone cells in the retina of the eye. These cells are a requirement for trichromatic vision and hence, a requirement for the perception of the color red. The capacity for trichromatic vision dates back about 35 million years, within our shared evolutionary lineage in the Catarrhini subdivision of the higher primates (Jacobs, 2013, 2015). Trichromatic vision may have evolved as a result of the benefits for recognizing ripe yellow, orange, and red fruits in front of a background of green foliage (Regan et al., Article note: This article is a part of Topical Issue on From Line to Colour: Social Context and Visual Communication of Prehistoric Art edited by Liliana Janik and Simon Kaner. -
5.2UNIT FIVE Superstructure Art Expressive Culture Fall19
5.2 Superstructure: Art and Expressive Culture Focus on Horticultural Societies 1 Superstructure: Art and Expressive Culture Overview: This section covers aspects from the Cultural Materialist theory that relate to Superstructure: the beliefs that support the system. Topics include: Religion, Art, Music, Sports, Medicinal practices, Architecture. 2 ART M0010862 Navajo sand-painting, negative made from postcard Credit: Wellcome Library, London. Wellcome Images [email protected] http://wellcomeimages.org Navajo sand-painting, negative made from postcard, "All publication rights reserved. Apply to J.R. Willis, Gallup, N.M. Kodaks-Art Goods" (U.S.A.) Painting Published: - Copyrighted work available under Creative Commons Attribution only license CC BY 4.0 http://creativecommons.org/licenses/by/4.0/ Key Terms & Concepts • Art • Visual arts • Anthropology of art • The problem of art • Purpose of art • Non-motivated purposes of art: basic human instinct, experience of the mysterious, expression of the imagination, ritualistic & symbolic • Motivated purposes of art: communication, entertainment, political, “free zone”, social inquiry, social causes, psychological/healing, propaganda/commercialism, fitness indicator • Paleolithic art: Blombos cave, figurative art, cave paintings, monumental open air art, petroglyphs • Tribal art: ethnographic art, “primitive art”, African art, Art of the Americas, Oceanic art • Folk art: Antique folk art, Contemporary folk art 3 • Indigenous Australian art: rock painting, Dot painting, Dreamtime, symbols • Sandpainting: Navajo, Tibetan Buddhist mandalas • Ethnomusicology • Dance • Native American Graves Protection And Repatriation Act (NAGPRA): cultural items Art Clockwise from upper left: a self-portrait by Vincent van Gogh; a female ancestor figure by a Chokwe artist; detail from The Birth of Venus by Sandro Botticelli; and an Okinawan Shisa lion. -
Michelle C. Langley Editor
Vertebrate Paleobiology and Paleoanthropology Series Michelle C. Langley Editor Osseous Projectile Weaponry Towards an Understanding of Pleistocene Cultural Variability Osseous Projectile Weaponry Vertebrate Paleobiology and Paleoanthropology Series Edited by Eric Delson Vertebrate Paleontology, American Museum of Natural History New York, NY 10024,USA [email protected] Eric J. Sargis Anthropology, Yale University New Haven, CT 06520,USA [email protected] Focal topics for volumes in the series will include systematic paleontology of all vertebrates (from agnathans to humans), phylogeny reconstruction, functional morphology, Paleolithic archaeology, taphonomy, geochronology, historical biogeography, and biostratigraphy. Other fields (e.g., paleoclimatology, paleoecology, ancient DNA, total organismal community structure) may be considered if the volume theme emphasizes paleobiology (or archaeology). Fields such as modeling of physical processes, genetic methodology, nonvertebrates or neontology are out of our scope. Volumes in the series may either be monographic treatments (including unpublished but fully revised dissertations) or edited col- lections, especially those focusing on problem-oriented issues, with multidisciplinary coverage where possible. Editorial Advisory Board Ross D. E. MacPhee (American Museum of Natural History), Peter Makovicky (The Field Museum), Sally McBrearty (University of Connecticut), Jin Meng (American Museum of Natural History), Tom Plummer (Queens College/CUNY). More information about this series at http://www.springer.com/series/6978 -
Paleoanthropology Society Meeting Abstracts, Minneapolis, Mn, 12-13 April 2011
PALEOANTHROPOLOGY SOCIETY MEETING ABSTRACTS, MINNEAPOLIS, MN, 12-13 APRIL 2011 The Role of Paleosol Carbon Isotopes in Reconstructing the Aramis Ardipithecus ramidus habitat: Woodland or Grassland? Stanley H. Ambrose, Department of Anthropology, University of Illinois, Urbana, USA Giday WoldeGabriel, Environmental Sciences Division, Los Alamos National Laboratory, USA Tim White, Human Evolution Research Center, University of California, Berkeley, USA Gen Suwa, The University Museum, University of Tokyo, JAPAN Paleosols (fossil soils) were sampled across a 9km west to east curvilinear transect of the Aramis Member of the Sagantole Formation in the Middle Awash Valley. Paleosol carbon isotope ratios are interpreted as reflecting floral habitats with 30% to 70%4 C grass biomass, representing woodlands to wooded grasslands (WoldeGabriel et al. Science 326: 65e1–5, 2009). Pedogenic carbonate carbon and oxygen isotope ratios increase from west to east, reflecting grassier, drier habitats on the east, where Ardipithecus ramidus fossils are absent. These data are consistent with diverse lines of geological, paleontological, anatomical, and dental isotopic evidence for the character and distribution of floral habitats associated with Ardipithecus 4.4 Ma (White et al. Science 326: 87–93, 2009). Cerling et al. (Science 328: 1105-d, 2010) presented a new model for interpreting soil carbon isotopes from Aramis. They concluded that Ardipithecus occupied mainly wooded to open grasslands with less than 25% trees and shrubs and narrow strips of riparian woodlands. Geological and pale- ontological evidence for fluviatile deposition and riparian habitats is absent at Aramis. Their isotopic model contradicts all previously published paleosol carbon isotope-based reconstructions of tropical fossil sites, including all previous publications by six coauthors of Cerling et al. -
The Discovery of Fire by Humans: a Long and Convoluted Process Rstb.Royalsocietypublishing.Org J
The discovery of fire by humans: a long and convoluted process rstb.royalsocietypublishing.org J. A. J. Gowlett Archaeology, Classics and Egyptology, School of Histories, Language and Cultures, University of Liverpool, 12-14 Abercromby Square, Liverpool L69 7WZ, UK Review JAJG, 0000-0002-9064-973X Cite this article: Gowlett JAJ. 2016 Numbers of animal species react to the natural phenomenon of fire, but only The discovery of fire by humans: a long and humans have learnt to control it and to make it at will. Natural fires caused overwhelmingly by lightning are highly evident on many landscapes. Birds convoluted process. Phil. Trans. R. Soc. B 371: such as hawks, and some other predators, are alert to opportunities to catch 20150164. animals including invertebrates disturbed by such fires and similar benefits http://dx.doi.org/10.1098/rstb.2015.0164 are likely to underlie the first human involvements with fires. Early homi- nins would undoubtedly have been aware of such fires, as are savanna Accepted: 18 January 2016 chimpanzees in the present. Rather than as an event, the discovery of fire use may be seen as a set of processes happening over the long term. Even- tually, fire became embedded in human behaviour, so that it is involved in One contribution of 24 to a discussion meeting almost all advanced technologies. Fire has also influenced human biology, issue ‘The interaction of fire and mankind’. assisting in providing the high-quality diet which has fuelled the increase in brain size through the Pleistocene. Direct evidence of early fire in archae- ology remains rare, but from 1.5 Ma onward surprising numbers of sites Subject Areas: preserve some evidence of burnt material. -
Earliest Fire in Africa: Towards the Convergence of Archaeological Evidence and the Cooking Hypothesis
Azania: Archaeological Research in Africa ISSN: 0067-270X (Print) 1945-5534 (Online) Journal homepage: https://www.tandfonline.com/loi/raza20 Earliest fire in Africa: towards the convergence of archaeological evidence and the cooking hypothesis John A.J. Gowlett & Richard W. Wrangham To cite this article: John A.J. Gowlett & Richard W. Wrangham (2013) Earliest fire in Africa: towards the convergence of archaeological evidence and the cooking hypothesis, Azania: Archaeological Research in Africa, 48:1, 5-30, DOI: 10.1080/0067270X.2012.756754 To link to this article: https://doi.org/10.1080/0067270X.2012.756754 Copyright John Gowlett, Richard W. Wrangham Published online: 08 Mar 2013. Submit your article to this journal Article views: 15318 View related articles Citing articles: 15 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=raza20 Azania: Archaeological Research in Africa, 2013 Vol. 48, No. 1, 5Á30, http://dx.doi.org/10.1080/0067270X.2012.756754 Earliest fire in Africa: towards the convergence of archaeological evidence and the cooking hypothesis John A.J. Gowletta* and Richard W. Wranghamb aDepartment of Archaeology, Classics and Egyptology, University of Liverpool, Liverpool L69 3GS, United Kingdom; bDepartment of Human Evolutionary Biology, Harvard University, Peabody Museum, 11 Divinity Avenue, Cambridge, MA 02138, United States of America Issues of early fire use have become topical in human evolution, after a long period in which fire scarcely featured in general texts. Interest has been stimulated by new archaeological finds in Europe, the Middle East and Africa, and also by major inputs from other disciplines, including primatology and evolutionary psychology. -
The Oldowan Horizon in Wonderwerk Cave (South Africa): Archaeological, Geological, Paleontological and Paleoclimatic Evidence
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/232932316 The Oldowan horizon in Wonderwerk Cave (South Africa): Archaeological, geological, paleontological and paleoclimatic evidence Article in Journal of Human Evolution · November 2012 DOI: 10.1016/j.jhevol.2012.08.008 · Source: PubMed CITATIONS READS 59 1,088 14 authors, including: Michael Chazan D. Margaret Avery University of Toronto Iziko South African Museum 107 PUBLICATIONS 2,841 CITATIONS 91 PUBLICATIONS 1,789 CITATIONS SEE PROFILE SEE PROFILE Marion Bamford Francesco Berna University of the Witwatersrand Simon Fraser University 159 PUBLICATIONS 5,029 CITATIONS 96 PUBLICATIONS 4,364 CITATIONS SEE PROFILE SEE PROFILE Some of the authors of this publication are also working on these related projects: Excavations at the Middle Paleolithic site of Tinshemet Cave, Israel View project Development of the pre-South Atlantic continental margin of Namibia View project All content following this page was uploaded by Naomi Porat on 09 October 2017. The user has requested enhancement of the downloaded file. Journal of Human Evolution 63 (2012) 859e866 Contents lists available at SciVerse ScienceDirect Journal of Human Evolution journal homepage: www.elsevier.com/locate/jhevol News and views The Oldowan horizon in Wonderwerk Cave (South Africa): Archaeological, geological, paleontological and paleoclimatic evidence Michael Chazan a,*, D. Margaret Avery b, Marion K. Bamford c, Francesco Berna d,e, James Brink f,g, Yolanda Fernandez-Jalvo h, Paul Goldberg d,i, Sharon Holt f, Ari Matmon j, Naomi Porat k, Hagai Ron j,1, Lloyd Rossouw l,m, Louis Scott m, Liora Kolska Horwitz n a Dept. -
Psilocybin-Containing Mushrooms, Upper Palaeolithic Rock Art and the Neuropsychological Model
84 Rock Art Research 2015 - Volume 32, Number 1, pp. 84-115. P. A. HELVENSTON KEYWORDS: Neuropsychological model – Palaeolithic cave art – Psilocybin – Trance PSILOCYBIN-CONTAINING MUSHROOMS, UPPER PALAEOLITHIC ROCK ART AND THE NEUROPSYCHOLOGICAL MODEL Patricia A. Helvenston Abstract. Two recent papers authored by Froese, Woodward and Ikegami present the neuropsychological model of Lewis-Williams and Dowson as if it had just been published. This paper corrects their distortions of the work of critics, including Helvenston and Bahn, addresses neuropsychological errors and discusses the complexities of psilocybin-containing mushrooms. It includes a discussion of the mushrooms depicted in the Selva Pascuala mural found at the Villar Humo Cultural Site in Cuenca, Spain. Froese et al. (2013) 2006a, 2006b), Bahn (2001, 2010), Hamayon (2001), In 2013 a paper was published in the journal Adaptive Frankfort and Hamayon (2001), Bradshaw (2003), to Behavior (21[3]: 199–214), entitled ‘Turing instabilities mention just a few. This present paper is concerned in biology, culture, and consciousness: on the enactive with the uncritical use of the neuropsychological model origins of symbolic material culture’ by Tom Froese, as a scaffold upon which to create a new theory about Alexander Woodward and Takashi Ikegami. This Turing instabilities in the visual system and perception paper caused quite a stir among the supporters of the of geometric figures. I will not be concerned with their neuropsychological theory of Lewis-Williams and major focus on Turing instabilities but upon their naïve Dowson (1988: 201–245), because it linked that model acceptance of the neuropsychological model. with another theory associating geometric figures Paul Bahn and I first became involved as critics of with Turing instabilities to account for the world-wide the neuropsychological model in 2002. -
Paper Series N° 33
33 World Heritage papers Human origin sites and the Heritage World in Africa Convention 33 World Heritage papers HEADWORLD HERITAGES 2 Human origin sites and the World Heritage Convention in Africa For more information contact: UNESCO World Heritage Centre papers 7, place Fontenoy 75352 Paris 07 SP France Tel: 33 (0)1 45 68 18 76 Fax: 33 (0)1 45 68 55 70 E-mail: [email protected] http://whc.unesco.org World HeritageWorld Human origin sites and the World Heritage Convention in Africa Nuria Sanz, Editor Coordinator of the World Heritage/HEADS Programme Table of Contents Published in 2012 by the United Nations Educational, Scientific and Cultural Organization Foreword Page 6 7, place de Fontenoy, 75352 Paris 07 SP, France Kishore Rao, Director, UNESCO World Heritage Centre © UNESCO 2012 Foreword Page 7 All rights reserved H.E. Amin Abdulkadir, Minister, Ministry of Culture and Tourism Federal Democratic Republic of Ethiopia ISBN 978-92-3-001081-2 Introduction Page 8 Original title: Human origin sites and the World Heritage Convention in Africa Published in 2012 by the United Nations Educational, Scientific and Cultural Organization Coordination of the HEADS Programme, UNESCO World Heritage Centre The designations employed and the presentation of material throughout this publication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. Outstanding Universal Value of human evolution in Africa Page 13 Yves Coppens The ideas and opinions expressed in this publication are those of the authors; they are not necessarily those of UNESCO and do not commit the Organization.