Written from an archaeological perspective, Painted Caves is a beautifully illustrated introduction to the oldest art of Western Europe: the very ancient paintings found in caves. Lawson offers an up to date overview of the geographical distribution of the sites and their significance within the varied network of Palaeolithic art.
Like previous series entries, this volume covers rock art research and management all over the world over a 5-year period, in this case 2015-19. Contributions once again show the wide variety of approaches that have been taken in different parts of the world and reflect the expansion and diversification of perspectives and research questions.
For speleologists and holidaymakers alike, here is an essential handbook. The first guide to all the decorated Ice Age caves in Europe that are open to the public, fully revised and updated for a third edition, this book covers more than 50 caves in the UK, France, Spain, Portugal and Italy, as well as relevant museums and centres.
The Prehistoric Rock Art of Portugal presents significant interpretive perspectives in Portuguese rock art research and offers an excellent representation of core rock art areas, along with current thinking and interpretations. The various chapters deliver a personal approach to the many issues, themes and approaches that are embedded within the rock art of the outpost of western Atlantic Europe. Ethnographical perspectives have often dominated the study of rock art but unlike other well-studied regions, the western Iberian Peninsula is absent of an ethnographical or ethno-historical past and therefore the production of rock art can only be archaeologically assessed. Thus, the work promotes interpretive perspectives on Portuguese rock art, illustrating the richness, chronology and context of these unique artistic expressions and explores the variability of rock art imagery and the diversity of landscapes and social contexts in which it was produced. Although focusing on Portuguese rock art the book includes a number of universal themes that will appeal to a broad range of scholars researching in archaeology and anthropology, history of art, as well as professionals engaged in rock art heritage and conservation.
In rock art, humanlike images appear widely throughout the ages. The artworks discussed in this book range from paintings, engravings or scratchings on cave walls and rock shelters, images pecked into rocky surfaces or upon standing stones, and major sacred sites, in which exists the possibility of recovering the meanings intended by the artists.
For more than a century, the study of hunting and gathering societies has been central to the development of both archaeology and anthropology as academic disciplines, and has also generated widespread public interest and debate. The Oxford Handbook of the Archaeology and Anthropology of Hunter-Gatherers provides a comprehensive review of hunter-gatherer studies to date, including critical engagements with older debates, new theoretical perspectives, and renewed obligations for greater engagement between researchers and indigenous communities. Chapters provide in-depth archaeological, historical, and anthropological case-studies, and examine far-reaching questions about human social relations, attitudes to technology, ecology, and management of resources and the environment, as well as issues of diet, health, and gender relations - all central topics in hunter-gatherer research, but also themes that have great relevance for modern global society and its future challenges. The Handbook also provides a strategic vision for how the integration of new methods, approaches, and study regions can ensure that future research into the archaeology and anthropology of hunter-gatherers will continue to deliver penetrating insights into the factors that underlie all human diversity.
This volume brings together all the successful peer-reviewed papers submitted for the proceedings of the 43rd conference on Computer Applications and Quantitative Methods in Archaeology that took place in Siena (Italy) from March 31st to April 2nd 2015.
Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.
The Element summarises the state of knowledge about four styles of prehistoric rock art in Europe current between the late Mesolithic period and the Iron Age. They are the Levantine, Macroschematic and Schematic traditions in the Iberian Peninsula; the Atlantic style that extended between Portugal, Spain, Britain and Ireland; Alpine rock art; and the pecked and painted images found in Fennoscandia. They are interpreted in relation to the landscapes in which they were made. Their production is related to monument building, the decoration of portable objects, trade and long distance travel, burial rites, and warfare. A final discussion considers possible connections between these separate traditions and the changing subject matter of rock art in relation to wider developments in European prehistoric societies.