Unravelling the skills and motivations of Magdalenian artists in the depths of Atxurra Cave (Northern Spain).

Atxurra cave has a decorated assemblage composed of more than a hundred engraved animal depictions. All of them are located in deep parts of the cave and most of them are hidden in raised areas, away from the main path. The main sector is the "Ledge of the Horses", located at 330 m from the entrance of the cave. It is a space of 12 m long and 1.5 m wide, elevated 4 m above the cave floor. This area includes almost fifty engraved and painted animals accompanied by a dozen flint tools, three fireplaces, and around one hundred charcoal fragments from torches. This extraordinary archaeological record allows us to value the complexity of the artistic production inside the caves during the Upper Palaeolithic. Our study has confirmed that there is planning prior to artistic production, both in terms of the iconographic aspects (themes, techniques, formats), its location (visibility, capacity), and the lighting systems. Furthermore, the data indicates the panel was decorated to be seen by third parties from different positions and was expressly illuminated for this purpose. This evidence supports the role of rock art as a visual communication system in Upper Palaeolithic societies.

35,000 years of recurrent visits inside Nerja cave (Andalusia, Spain) based on charcoals and soot micro-layers analyses.

Charcoal and micro-layers of soot trapped in speleothems from the inner galleries of Nerja Cave were analysed through an interdisciplinary study. The absolute dating of the prehistoric subterranean activity of the cave and the identification of different phases of visits to the deep parts are presented and discussed. The charcoal analysis includes anthracological analysis and SEM-EDX. The soot analysis includes optical microscopy, Raman spectroscopy and TEM-EDX, and the microcounting of soot microlayers. The 14C dating of 53 charcoals identified 12 phases of prehistoric visits to the cave between 41,218 and 3299 cal. BP, putting back the origin of human occupation of this emblematic cave by 10,000 years. The interdisciplinary analysis of the soot microlayers allowed us to perform a high-precision zoom on the last three visitation phases identified by Bayesian analysis (8003-2998 cal. BP.), demonstrating that these phases contain at least 64 distinct incursions, with an average of one visit every 35 years for the Neolithic period. Spatial analysis showed that not all areas of the cave were used in the same periods, highlighting the repetition of visits to certain specific sectors of the Lower Galleries of the cave. Lastly, the anthracological data indicate a cross-cultural and unique use of Pinus tp. sylvestris-nigra wood for lighting activities over an extended period between the Gravettian and Upper Magdalenian.

The conquest of the dark spaces: An experimental approach to lighting systems in Paleolithic caves.

Artificial lighting was a crucial physical resource for expanding complex social and economic behavior in Paleolithic groups. Furthermore, the control of fire allowed the development of the first symbolic behavior in deep caves, around 176 ky BP. These activities would increase during the Upper Paleolithic, when lighting residues proliferated at these sites. The physical peculiarities of Paleolithic lighting resources are very poorly understood, although this is a key aspect for the study of human activity within caves and other dark contexts. In this work, we characterize the main Paleolithic lighting systems (e.g., wooden torches, portable fat lamps, and fireplaces) through empirical observations and experimental archeology in an endokarstic context. Furthermore, each lighting system's characteristic combustion residues were identified to achieve a better identification for the archaeological record. The experiments are based on an exhaustive review of archaeological information about this topic. Besides, we apply the estimated luminous data of a Paleolithic cave with Paleolithic art (Atxurra in northern Spain) in 3D through GIS technology to delve into the archeologic implications of illumination in Paleolithic underground activities.

Redefining shared symbolic networks during the Gravettian in Western Europe: New data from the rock art findings in Aitzbitarte caves (Northern Spain).

The renewal of the archaeological record, mainly through the discovery of unpublished sites, provides information that sometimes qualifies or even reformulates previous approaches. One of the latter cases is represented by the three new decorated caves found in 2015 in Aitzbitarte Hill. Their exhaustive study shows the presence of engraved animals, mainly bison, with formal characteristics unknown so far in the Palaeolithic art of the northern Iberian Peninsula. However, parallels are located in caves in southern France such as Gargas, Cussac, Roucadour or Cosquer. All of them share very specific graphic conventions that correspond to human occupations assigned basically to the Gravettian cultural complex. The new discovery implies the need to reformulate the iconographic exchange networks currently accepted, as well as their correspondence with other elements of the material culture at the same sites. Thus, we have carried out a multiproxy approach based in statistical analysis. The updated data reveals a greater complexity in artistic expression during the Gravettian that had not been considered so far, and also challenges the traditional isolation that had been granted to Cantabrian symbolic expressions during pre-Magdalenian times.