In 1994, H. de Lumley's teams of researchers finished the colossal task—initiated more than 20 years earlier—of recording every pecked rock engraving of Mont Bégo's rock art. The following year, in the book Le grandiose et le sacré, Lumley defined the site as a sacred mountain and attributed rock engravings, considered as ex-votos, to the Early Bronze Age and the Bell Beaker period. However, it is hard to recognize what interpretations can be directly drawn from the data: some exceptional rock engravings are considered as representative of the whole corpus of rock engravings and the most numerous ones are considered as a ‘bruit de fond’ [background noise]. Furthermore, recognition of associations—where rock engravings are contemporaneous and significantly grouped—had been criticised, and the hypothesis that all the rock engravings can be considered as a single archaeological event seems also to be contradicted by studies of superimpositions. We developed a GIS and a comprehensive database, with statistics, to identify specific spatial configurations, seriation effects and, finally, the evolution of the rock art. By going further in the periodization, our aim is to propose some provisional hypotheses about the meaning of Mont Bégo's rock engravings.

A distinctive aspect of human behaviour is the ability to think symbolically. However, tracking the origin of this capability is controversial. From a Peircean perspective, to know if something truly is a symbol we need to know the cultural context in which it was created. Rather than initially asking if materials are symbols/symbolic, we offer that it is more salient to ask how they functioned as signs. Specifically we argue that using the Peircean distinction between qualisigns, sinsigns and legisigns provides support for this endeavour. The ‘flickering’ of early symbolic behaviour (the sporadic occurrences of objects with embedded social meanings in the Pleistocene archaeological record) can best be seen as sinsigns, whereas sites that show long-term presence of such materials are demonstrating the presence of legisigns: the codification of ideas. To illustrate this approach, we apply these ideas to three classes of artefacts, demonstrating how this system can address issues of relevance to palaeoanthropologists and archaeologists who often fetishize the symbolic as the one ability that makes us human.

The distinction between clean and unclean, often associated with bodily functions, is a common feature of human societies. Consequently, diverse groups developed different ways of maintaining separation between the realms. Despite its prominence in many ethnographies and in anthropology at large, and although the spatial expression of this separation is susceptible to archaeological enquiry, the concept of purity had received less attention by archaeologists. The completion of the excavation of a large house at Tel ʿEton supplied us with detailed information on household life and practices in Iron Age Israel. The finds from this house, along with a very large archaeological dataset about Iron Age Israelite society at large and the wealth of textual data from this period, give us insights into the practices associated with purity/impurity. The article reconstructs how Iron Age Israelite society coped with the implications of impurity (mainly women during menstruation) in its daily life, how impurity was contained, and offers a reconstruction of the ritual that accompanied the change of status from impure to pure.

The concept of art has proved controversial in archaeology and anthropology. Many feel that the concept, developed to fit high art in modern Western society, is inappropriate for objects made for other uses, in other times, or in other cultures. Yet there is no widely agreed critique or alternative concept. This introduction reviews responses to this dilemma, ranging from using the concept uncritically, using the term ‘art’ simply as an archaeological convenience to refer to things such as petroglyphs and figurines, and treating art simply as material culture. It then explores the recent concepts of art as affective material culture, as socially defined networks, and as locally defined aesthetic action. Finally, it raises the possibility that art is our local category of the kind of powerful objects found in many cultures.

One of the aspects of the relationship between rock art and shamanism, which has been supposed to be of a universal nature, inspired by trance experience, concerns the intentional integration of the images with rock. Rock surface therefore has been interpreted, in numerous shamanic rock-art contexts, as a veil beyond which the otherworld could be encountered. Such an idea was originally proposed in southern Africa, then within Upper Palaeolithic cave art and also other rock-art traditions in diverse parts of the world. This paper for the first time discusses the relevance of this observation from the perspective of unquestionable shamanic culture in Siberia. It shows that the idea of the otherworld to be found on the other side of the rock actually is a widespread motif of shamanic beliefs in Siberia, and that variants of this belief provide a new mode of insight into understanding the semantics of Siberian rock art. Siberian data therefore support previous hypotheses of the shamanic nature of associating rock images with rock surface.

Using examples drawn from the European Upper Palaeolithic, this article advocates a visual cultures approach to studying the art of this period. Visual culture is defined as the biological, cognitive and social underpinnings of how we see, while the term art refers to what we see. A visual cultures approach to these images allows the archaeologist to explore how they were experienced, decoded and innovated upon within historically situated, overlapping and entangled communities of practice and further affords archaeologists the tools and the vocabulary they need to explore apprenticeship, active teaching, embodied cognition, situated learning, scaffolding, enskillment, the existence of chaînes opératoires and the impact of these materials on the human brain. European Upper Palaeolithic finger flutings are presented as a case study of the visual cultures approach.

Exploring the long-term use of accounting practices and currencies by literate and numerate authorities contributes new information regarding the complexity of the political economy of ancient Maya society. Two forms of indirect, yet compelling, lines of evidence for accounting practices and currencies are presented in this article. First, we identify potential accounting devices (counting sticks and tokens) found in the tombs of royal scribes and nobles, based on the contextual associations and depicted uses of similar objects in Maya art such as polychrome vases and murals. Second, we argue that the long-term use and significant standardization of specific shell objects suggests their role as all-purpose monies, in addition to their complementary status as counting devices or numerical symbols. This paper addresses the intricate relationships between symbolism, value and multiple modes of exchange that have long been of interest to cross-cultural studies in anthropology.

In Europe, cremation as a burial practice is often associated with the Bronze Age, but examples of cremated human remains are in fact known from the Palaeolithic onwards. Unlike conventional inhumation, cremation destroys most of the evidence we can use to reconstruct the biography of the buried individual. Remarkably, in Ireland, cremation is used for the earliest recorded human burial and grave assemblage (7530–7320 bc) located on the banks of the River Shannon, at Hermitage, County Limerick. While we are unable to reconstruct in any great detail the biography of this individual, we have examined the biography of a polished stone adzehead interred with their remains. To our knowledge, this adze represents the earliest securely dated polished axe or adze in Europe. Microscopic analysis reveals that the adze was commissioned for burial, with a short duration of use indicating its employment in funerary rites. Before its deposition into the grave it was intentionally blunted, effectively ending its use-life: analogous to the death of the individual it accompanied. The microwear traces on this adze thus provide a rare insight into early Mesolithic hunter-gatherer belief systems surrounding death, whereby tools played an integral part in mortuary rites and were seen as fundamental pieces of equipment for a successful afterlife.

This article examines the role of mortuary practice in the emergence (c. ad 1050–1100) of Cahokia, the largest pre-Columbian Native American city north of Mexico. The parallel partitioning of human and gastropod bodies in ridge-top mortuary mounds is examined and I argue that the presence of gastropods buried alongside human bodies served to connect the living world of humans with the watery underworld of the dead. From a microhistorical perspective, this paper focuses on the processing and deposition of bodies and their subsequent interment in ridge-top burials to parse the potential relationships between such mortuary practice and Cahokia's emergence as a complex polity. The paper presents data on the association of shell materials with human bodies from six previously excavated ridge-tops for comparison with new data on shell materials and human burials from Wilson Mound, a small ridge-top located on the western edge of Cahokia. Together, these data suggest the emergence of Cahokia was embedded in newly articulated relationships with persons enacted through the process of disarticulating the dead for burial mediated with mollusc shell.

The concept of aesthetics has long been marginalized in archaeology. It was originally formulated in the eighteenth century as part of an appreciation of Greek art and was fundamentally concerned with appreciating a quasi-universal idea of beauty; and as archaeologists and anthropologists recognized the distortion created by applying it to material from non-Western and pre-modern art, it fell into disfavour. An alternative anthropological approach pioneered by Howard Morphy regards aesthetics as the study of the affects of the physical properties of objects on the senses and the qualitative evaluation of those properties; this converges with the emerging philosophical study of ‘everyday aesthetics’. This article explores how archaeologists could apply these concepts, particularly through a study of Maltese Neolithic everyday aesthetics.

The walls of Structure J at the Zapotec centre of Monte Albán incorporate monuments, probably carved during the Pe ceramic phase (300–100 bc), bearing distinctively formatted hieroglyphic inscriptions. Alfonso Caso suggested that hieroglyphic compounds on those monuments name regions conquered by Monte Albán. Many scholars accept an elaboration by Joyce Marcus on this proposal—that some of those compounds denote identifiable places outside the Valley of Oaxaca—and see the inscriptions as evidence for the territorial extent of an expansionist, Monte Albán-centred empire in the Late to Terminal Formative periods (300 bc–ad 200). This paper argues that Marcus’ proposed decipherments are implausible because they are structurally inconsistent with one another and with Zapotec scribal conventions for recording toponyms in other inscriptions. The Structure J texts remain undeciphered. Therefore they cannot now serve as evidence for the nature and reach of the Monte Albán polity, and generalizations about state formation that relied on Marcus’ readings need to be reconsidered.

The production and use of Loro ceramics in the Middle Horizon (c. ad 650–1000) south coast of Peru persisted during a period of cultural conflict as the highland Wari empire annexed this region. Primarily residing in the Las Trancas valley, just beyond the locus of Wari control, the Loro developed tight ethnic bonds and seem to have maintained autonomy for the duration of the empire's presence. Loro ceramics embody the culture's development of a local identity, particularly evident in face-neck jars, one-handled vessels consisting of a modelled human head atop a globular body. With standardized facial features, a range of reductive motifs and a tendency toward female representation, Loro face-neck jars contrast markedly with similar Wari vessels depicting individuals dressed in elite male costume and bearing symbols of Wari state religion. A significant percentage of Loro face-neck jars are sexed or gendered female, an unusual occurrence in Andean visual culture. This article frames these objects within Andean constructs of gender complementarity, arguing that Loro female face-neck jars visually declared their gendered opposition to Wari, protecting their autonomy through the implicit acquiescence and complementarity of femininity.

Recent investigations at the Maya centre of Nakum (in Guatemala) enabled the study of the evolution of an interesting complex of buildings that started as the so-called E-Group, built during the Preclassic period (c. 600–300 bc). It was used for solar observations and rituals commemorating agricultural and calendrical cycles. During the Classic period (ad 250–800), the major building of the complex (Structure X) was converted into a large pyramidal temple where several burials, including at least one royal tomb, were placed. We were also able to document evidence of mortuary cults conducted by the Maya in the temple building situated above the burials. The architectural conversion documented in Structure X may reflect important religious and social changes: a transformation from the place where the Sun was observed and worshipped to the place where deceased and deified kings were apotheosized as the Sun Deity during the Classic. Thus the Maya transformed Structure X into one of the most sacred loci at Nakum by imbuing it with a complex solar and underworld symbolism and associating it with the cult of deified ancestors.

Humans have been producing ‘art’ for at least 75,000 years. But the word ‘art’ is problematic when applied to archaeology. This paper explores the use of the concept of ‘visually complex object’ to designate a very specific kind of what is generally known as ‘art’. I argue for the application of this concept to the analysis of both the design of objects and their arrangement in cultural spaces, to gain new perspectives on social and political change in a prehistoric complex society. The focus here is on visually enchanting objects and changes in the ways that such objects were used and arranged in relation to larger changes in cultural circumstances. I contrast two visual orders in Iron Age Europe—the mid final millennium bc, when the visual order of ‘princely graves’ and the eye-fixing qualities of objects focused attention on the persons of individuals competing for leadership positions; and the second and final centuries bc, when a new visual order emerged to focus attention on large, publicly deployed objects that directed attention in open spaces to create collective experiences. The principles developed from these examples from late prehistoric Europe can be applied to changes in other complex societies worldwide.

Assemblage is a concept common to a number of academic disciplines, most notably archaeology and art, but also geology and palaeontology. Archaeology can claim a special link to the term assemblage, though novel approaches to the concept of assemblage have recently been adopted from the fields of philosophy and political theory. These approaches, bracketed under the term ‘new materialism’, are discussed here. The introduction to this collection of papers outlines these approaches and evaluates their usefulness for archaeological practice and interpretation.

Deposits are not always recovered whole; many are found broken and damaged. The obvious explanation is that such objects were accidentally broken; however, some have been interpreted as having been deliberately damaged by their depositors, a practice termed ‘fragmentation’. Objects are broken into parts and deposited incomplete, often in ways that make their missing parts starkly evident. Thus many fragmented deposits denote synecdoche. It is the position of this paper that the absent (part) is just as integral to an understanding of the whole as the present (part) is, and this notion is explored by focusing on the post-medieval concealed shoe: an item of footwear that was fragmented by being deposited within the fabric of a building without its counterpart, for reasons unbeknownst to us. Drawing on a sample of 100 examples, this paper questions why such shoes were deposited as singles (the present parts), what became of the ‘other shoe’ (the absent part), and how such consideration aids our understanding of this enigmatic custom.

The Blackfoot bison hunters of the North American Plains are widely known for their artfully painted lodges commonly known as ‘tipis’. Traditionally, tipi designs were not for everyone; rather, they were received individually from the spirit world or ceremonially transferred from one person to another under strict covenants. Painted tipis advertised the spiritual and social stature of their owners and were intricately woven in the ontological fabric of the group. This article explores the role of the painted tipi in individual and social life among the Blackfoot to highlight how art can be used to construct social places, to accumulate material and ritual wealth and, ultimately, to make society.

Late Early Bronze Age (EB IIB–III, 2500–2000 bc) evidence from the northeast Peloponnese and central Crete present two coeval sequences of events with very different societal outcomes. By drawing on resilience theory and the model of adaptive cycles, this article explores when and why the paths of mainland Greece and Crete diverged around 2200 bc, leading to an eventually destabilizing change on the mainland and a more sustainable one on Crete. It is argued that the two EB II societal structures were more similar than current discourse generally allows. However, during some hundred years leading up to the end of the EB II period, an increased societal uniformity and a decrease of social arenas on northeast Peloponnese may in the end have circumscribed the Early Helladic communities’ room to manoeuvre. Conversely, through strong regionalism and greater multiplicity of social arenas, Early Minoan societies seem to have retained a greater level of socio-economic variability that enabled proactiveness and sustained expansion through ideological change.

The art of Neolithic Britain and Ireland consists of a variety of curvilinear and geometric motifs pecked into stone (in open-air rock art or passage tombs) or carved into portable artefacts of chalk, stone or antler. Because of its abstract nature the art has proved problematic for archaeologists. Initially archaeologists assumed the art was representational; now most scholars have abandoned this view, and simply approach the art stylistically. Here I argue that stylistic analysis is insufficient to understand this art: instead the process of making provides a fuller understanding of this art. It is argued that the practice of assemblage is a key aspect of the process of making.

The character and development of complex societies has been one of the major interests of Amazonian archaeology. This article presents an ontological interpretation to explain the socio-political organization and importance of ritual in the Santarém area, Lower Amazon, Brazil, during the late pre-colonial period (ad 1000–1600), drawing from the contributions of Viveiros de Castro on Amazonian ontologies and Pierre Clastres on the constitution of power in the South American tropical lowlands. This approach affords new insights into the spatial organization of large habitation sites, the settlement patterns of nearby smaller sites and the pragmatic role of ritual objects. The data point to demographic growth, elaborate spatial organization and the existence of independent villages, probably resulting from fissions. The distribution of objects used in ritual contexts suggests a network employing a mytho-cosmological iconography that emphasizes bodily metamorphosis, indicating a predatory ontology related to Amerindian perspectivism and the presence of institutionalized shamanism. The text argues for the existence of distinct cosmopolitical strategies used to maintain the egalitarian order and that the flows of knowledge, sacred artefacts and religious specialists within the wider social sphere structured regional relations.