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Camille Bourdier, Université Toulouse Le Mirail, UMR TRACES 5608 – [email protected]
Geneviève Pinçon – Ministère de la Culture et de la Communication, UMR Arscan 7041 genevieve.pincon@culture.
gouv.fr
Michael Brandl
1
, Chistoph Hauzenberger
2
, Walter Postl
3
A Multi Layered Approach to Chert Source Provenance Studies
Stone tool provenance studies are a challenging undertaking. This case in point study presents a three -
level architecture of analysis methods which allows for the characterisation of chert raw materials. Charac-
teristic macroscopical features such as colour, knapping features and texture allow a rst classication of
chert sources. Microscopical analysis combined with SEM - imaging provides detailed information concern-
ing fossil inclusions in cherts. Goal of these investigations is the determination of characteristic fauna com-
munities in specic source regions. Geochemical analysis methods produce the highest resolution. In the
present study, LAICP-MS (Laser Ablation Inductively coupled Plasma Mass Spectrometry) was applied.
Practical experience has shown that it is not sufcient to rely on only one analysis method for chert sourcing.
Only a combination of methods with different layers of resolution can lead to a successful determination
of the provenance of chert artifacts. This multi layered approach was tested on specic chert raw materials
prehistorically used for stone tool production.
1
Austrian Academy of Sciences, Prehistoric Commission, Vienna, Austria
2
Department of Earth Sciences, University of Graz, Austria
3
Department of Mineralogy, Universalmuseum Joanneum, Graz, Austria
Ingmar M. Braun & Wolfgang Zessin
Representations of horses in the paleolithic art and the attempt of zoological interpretations
The European paleolithic cave and portable art is especially known for its numerous and very realistic rep-
resentations of animals. These gures were either painted, engraved sculptured or made in combination of
these techniques. Shaping with clay is rare.
Portable art includes engravings of animals or human beings on bone, antler, ivory, stone or other materials.
Even gurines of animals or human beings are known.
Among the animal gures the representations of horses are about 30% in cave art (Tosello & Fritz, 2006).
Some of those were examined in a zoological-ethological way in this study (Braun & Zessin, 2011).
During this time, in the Upper Paleolithic, not only the Przewalski horses (Equus caballus przewalskii Poliakoff,
1881), a wild horse species which extinguished in Mongolia and in China in the 1960’s (for the systematic, see
Zessin et al., 2009), and also other horse species respectively subspecies existed. Przewalski horses survived in
zoological gardens and were returned to the wild in Mongolia at the beginning of the 1990’s (Zessin, 2000).
Another sub-species of the wild horse, the tarpan of the steppes (Eurasian wild horse, Equus caballus gmelini
Antonius, 1912) survived till the 19th century. Furthermore the subspecies of hemionus (E. hemionus kiang
Moorcroft, 1841) and the sub-species of donkey (E. asinus hydruntinus Regalia, 1907) lived in the European
Upper Paleolithic. These three species (E. caballus, E. hemionus and E. asinus) were probably represented in
cave and portable art. In some cases it is possible to determine the species or even the subspecies.
The interpretation of the ethological behaviour which the artists depicted is the result of the analogy of the
behaviour of the present representatives of the genus Equus.
References:
Braun, I. M. & W. Zessin (2011) Pferdedarstellungen in der paläolithischen Wandkunst und der Versuch
ihrer zoologisch-ethologischen Interpretation. Ursus, Mitteilungsblatt des Zoovereins und des Zoos
Schwerin, 17, 1: 4-26, 44 Abb., Schwerin.
Tosello, G. & C. Fritz (2006) « La Vénus et le Sorcier » Les gurations humaines pariétales au Magdalénien.
Préhistoire, Art et Sociétés, T. LX, 2005, 7-24.
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