TY - JOUR
T1 - A new Aurignacian engraving from Abri Blanchard, France
T2 - Implications for understanding Aurignacian graphic expression in Western and Central Europe
AU - Bourrillon, R.
AU - White, R.
AU - Tartar, E.
AU - Chiotti, L.
AU - Mensan, R.
AU - Clark, A.
AU - Castel, J. C.
AU - Cretin, C.
AU - Higham, T.
AU - Morala, A.
AU - Ranlett, S.
AU - Sisk, M.
AU - Devièse, T.
AU - Comeskey, D. J.
N1 - Funding Information:
The radiocarbon dating was supported by the “ PalaeoChron” project via the European Research Council (grant number 324139 ).
Funding Information:
The excavations and experimental program undertaken at Abri Blanchard were funded by a three-year grant from the Partner University Fund and the Andrew Mellon Foundation through a Franco- American collaborative exchange between UMI 3199-CNRS-NYU & UMR 5608-TRACES, U. of Toulouse 2-Jean Jaurès, entitled “ Aurignacian Genius: Art, daily life and social identity of the first modern humans of Europe ” . Additional funding was received from the Direction régional des affaires culturelles d ’ Aquitaine (DRAC-Aquitaine), the L.S.B. Leakey Foundation, UMI 3199-CNRS-NYU (Center for International Research in the Humanities and Social Sciences) and the Institute for Ice Age Studies. The authors wish to thank the site owners, the Castanet-Daumas family, as well as Nathalie Fourment and Dany Barraud of the Service régional de l'archéologie d'Aquitaine for their enthusiastic support of our work at Blanchard. This article is dedicated to the memory of René Castanet.
Publisher Copyright:
© 2016 Elsevier Ltd and INQUA
PY - 2018/10/20
Y1 - 2018/10/20
N2 - In the excitement of the widely publicized new finds of Aurignacian art from Chauvet, from the Swabian Jura and from as far afield as Pestera Coliboaia in Romania, it has almost been forgotten that a rich corpus of Aurignacian wall painting, engraving and bas-relief sculpture had been recognized and studied before World War I in the Vézère Valley of SW France. Scientific knowledge of the chronological and cultural context of that early-discovered graphic record has been limited by the crude archaeological methods of that pioneering era, and the loss and dispersal of many of the works discovered. In 2011, we launched new excavations and a re-analysis of one of the key sites for such early discoveries, the collapsed rock shelter of Abri Blanchard. In 2012, we discovered in situ a limestone slab engraved with a complex composition combining an aurochs and dozens of aligned punctuations. This new find, recovered by modern methods and dated by molecular filtration and Hydroxyproline 14C, provides new information on the context and dating of Aurignacian graphic imagery in SW France and its relationship to that of other regions. The support is not a fragment of collapsed shelter ceiling and is situated in the midst of quotidian occupational debris. The image shows significant technical and thematic similarities to Chauvet that are reinforced by our reanalysis of engraved slabs from the older excavations at Blanchard. The aligned punctuations find their counterparts at Chauvet, in the south German sites and on several other objects from Blanchard and surrounding Aurignacian sites. In sum, we argue that dispersing Aurignacian groups show a broad commonality in graphic expression against which a certain number of more regionalized characteristics stand out, a pattern that fits well with social geography models that focus on the material construction of identity at regional, group and individual levels.
AB - In the excitement of the widely publicized new finds of Aurignacian art from Chauvet, from the Swabian Jura and from as far afield as Pestera Coliboaia in Romania, it has almost been forgotten that a rich corpus of Aurignacian wall painting, engraving and bas-relief sculpture had been recognized and studied before World War I in the Vézère Valley of SW France. Scientific knowledge of the chronological and cultural context of that early-discovered graphic record has been limited by the crude archaeological methods of that pioneering era, and the loss and dispersal of many of the works discovered. In 2011, we launched new excavations and a re-analysis of one of the key sites for such early discoveries, the collapsed rock shelter of Abri Blanchard. In 2012, we discovered in situ a limestone slab engraved with a complex composition combining an aurochs and dozens of aligned punctuations. This new find, recovered by modern methods and dated by molecular filtration and Hydroxyproline 14C, provides new information on the context and dating of Aurignacian graphic imagery in SW France and its relationship to that of other regions. The support is not a fragment of collapsed shelter ceiling and is situated in the midst of quotidian occupational debris. The image shows significant technical and thematic similarities to Chauvet that are reinforced by our reanalysis of engraved slabs from the older excavations at Blanchard. The aligned punctuations find their counterparts at Chauvet, in the south German sites and on several other objects from Blanchard and surrounding Aurignacian sites. In sum, we argue that dispersing Aurignacian groups show a broad commonality in graphic expression against which a certain number of more regionalized characteristics stand out, a pattern that fits well with social geography models that focus on the material construction of identity at regional, group and individual levels.
KW - Abri Blanchard
KW - Aurignacian art
KW - Origins and dispersal of modern humans
KW - Origins of art
KW - Upper Paleolithic art
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U2 - 10.1016/j.quaint.2016.09.063
DO - 10.1016/j.quaint.2016.09.063
M3 - Article
AN - SCOPUS:85010216539
VL - 491
SP - 46
EP - 64
JO - Quaternary International
JF - Quaternary International
SN - 1040-6182
ER -