Periodic Reporting for period 3 - LArcHer (Breaking barriers between Science and Heritage approaches to Levantine Rock Art through Archaeology, Heritage Science and IT)
Reporting period: 2022-10-01 to 2024-03-31
Levantine rock art is one of Europe’s most extraordinary bodies of prehistoric art. It was given Spanish Cultural Interest status in 1985 and UNESCO World Heritage status in 1998. Even with such recognition, the full potential of this legacy to stimulate global debates about prehistoric artists’ technologies, identify milestones in the history of prehistoric art and human evolution, and explore best practices for conservation and management of open-air rock art had yet to be capitalized. Good communication between archaeological and heritage approaches was also lacking, which sometimes even led to negative interference (removal of datable calcareous crusts to enhance public viewing as part of conservation interventions). In this context LArcHer project aimed to change the way we understand, care, use and manage LRA, by bringing together these two mainstreams.
The project was structured around three objectives. The first was to redefine this art by addressing unanswered questions about the chronology, the materials and methods used by the artists and changes in content over space and time. This was achieved through previously untested dating methods, archaeological excavations and surveys, physico-chemical analysis of pigments and bedrock, GIS and a variety of digital recording technologies.
The second aim was to use LRA to raise questions of global interest in the history of prehistoric art and human evolution. LRA signals a pivotal shift in visual communication, marking the consolidation of a previously unseen narrative art form dominated by humans. Following the advent of art, and the emergence of figurative art, this narrative art focusing on humans represents another significant turning point in the history of prehistoric art. Understanding when, where, how and why narrative art appeared in the history of prehistoric art and the role of LRA in this global change was the second focus of LArcHer.
The third objective was to build bridges between science and heritage approaches to rock art, comprehend the conservation history of this art, assess impacts of previous conservation interventions on the archaeological values of the sites and devise ways to minimize them. We also aimed to influence policy-making defining best practices for research, conservation and management of LRA, ensuring a balance between preservation of scientific and heritage values and contemporary uses. Making this unique heritage more accessible to society was also key.
The project was structured around three objectives. The first was to redefine this art by addressing unanswered questions about the chronology, the materials and methods used by the artists and changes in content over space and time. This was achieved through previously untested dating methods, archaeological excavations and surveys, physico-chemical analysis of pigments and bedrock, GIS and a variety of digital recording technologies.
The second aim was to use LRA to raise questions of global interest in the history of prehistoric art and human evolution. LRA signals a pivotal shift in visual communication, marking the consolidation of a previously unseen narrative art form dominated by humans. Following the advent of art, and the emergence of figurative art, this narrative art focusing on humans represents another significant turning point in the history of prehistoric art. Understanding when, where, how and why narrative art appeared in the history of prehistoric art and the role of LRA in this global change was the second focus of LArcHer.
The third objective was to build bridges between science and heritage approaches to rock art, comprehend the conservation history of this art, assess impacts of previous conservation interventions on the archaeological values of the sites and devise ways to minimize them. We also aimed to influence policy-making defining best practices for research, conservation and management of LRA, ensuring a balance between preservation of scientific and heritage values and contemporary uses. Making this unique heritage more accessible to society was also key.
A multidisciplinary team with backgrounds in archaeology, conservation, chemistry, geology, topography and GIS conducted surveys, excavations, site monitoring and laboratory analysis for the 3 project objectives.
Absolute and relative methods were tested to refine the chronology of LRA, confirming minimal dating to the Neolithic period. New rock art and habitation sites were discovered, which, combined with excavations provided a deeper understanding of the relationship between art and context.
From a micro-scale level, we developed a multi-technique physico-chemical analysis protocol to identify the variety of raw materials and technologies used to produce paint (grinding, sieving, heating, etc.). The protocol was designed to maximize results and minimize impacts on the art, given the irreplaceable nature of this heritage.
Bedrock analyses were also conducted to ascertain the nature and integrity of the rock and the crust formations underlying and superimposed upon the art. These analyses revealed the dual role of natural crusts in both the conservation (protective layer) and deterioration of rock art (opacity renders the art invisible, while flaking of the crust leads to the loss of the art). These results are important for informing best practice in rock art conservation.
The systematic recording of rock art sites with 3D and 4D recording techniques has proved pivotal to understand images in context, to monitor rock art sites over time, to anticipate risks and propose preventive measures, and for creating a digital future accessible worldwide.
- Under Objective 2, the project explored key milestones in the evolution of human creativity and visual communication. First, the key role of rock art in debates about the emergence of modern human behavior. Second, the birth of narrative art and the shift towards an art focused on humans. This shift, exemplified by Levantine art, is also evident in other regions (e.g. Arnhem Land in Australia, the Andes, Brazil and Argentina in South America), with preliminary results showing that the emergence of narrative art, like other breakthroughs in human prehistory and evolution, occurred in different regions, at different times, and in societies with different lifestyles (including both hunter-gatherer and agricultural communities).
- As part of Objective 3, a review of past conservation interventions highlighted some concerning impacts and led to proposals for future action, such as leaving areas undisturbed for research purposes. Field campaigns to understand the geology of LRA landscapes and implications for rock art conservation identified stone decay as key factor in rock art deterioration. Monitoring and evaluating the thermal and humidity conditions at different LRA sites is helping us understand how climate change might affect this heritage.
Scientific and public dissemination include 36 journal papers, 25 book chapters and 9 edited volumes, conference presentations and public talks, 1 major exhibition on prehistoric art hosted at Museu d’Arqueologia de Catalunya, and travelling to other 6 museums, one exhibition on Australian Aboriginal rock art at Museu de Prehistoria de Valencia, 3 documentaries https://www.youtube.com/@ViatgesprehistoriaCastello(opens in new window) a webpage (https://www.ub.edu/larcher/(opens in new window)) and social media (X/Twitter: @prehistoriaCS / Instagram: prehistoria.castello).
Absolute and relative methods were tested to refine the chronology of LRA, confirming minimal dating to the Neolithic period. New rock art and habitation sites were discovered, which, combined with excavations provided a deeper understanding of the relationship between art and context.
From a micro-scale level, we developed a multi-technique physico-chemical analysis protocol to identify the variety of raw materials and technologies used to produce paint (grinding, sieving, heating, etc.). The protocol was designed to maximize results and minimize impacts on the art, given the irreplaceable nature of this heritage.
Bedrock analyses were also conducted to ascertain the nature and integrity of the rock and the crust formations underlying and superimposed upon the art. These analyses revealed the dual role of natural crusts in both the conservation (protective layer) and deterioration of rock art (opacity renders the art invisible, while flaking of the crust leads to the loss of the art). These results are important for informing best practice in rock art conservation.
The systematic recording of rock art sites with 3D and 4D recording techniques has proved pivotal to understand images in context, to monitor rock art sites over time, to anticipate risks and propose preventive measures, and for creating a digital future accessible worldwide.
- Under Objective 2, the project explored key milestones in the evolution of human creativity and visual communication. First, the key role of rock art in debates about the emergence of modern human behavior. Second, the birth of narrative art and the shift towards an art focused on humans. This shift, exemplified by Levantine art, is also evident in other regions (e.g. Arnhem Land in Australia, the Andes, Brazil and Argentina in South America), with preliminary results showing that the emergence of narrative art, like other breakthroughs in human prehistory and evolution, occurred in different regions, at different times, and in societies with different lifestyles (including both hunter-gatherer and agricultural communities).
- As part of Objective 3, a review of past conservation interventions highlighted some concerning impacts and led to proposals for future action, such as leaving areas undisturbed for research purposes. Field campaigns to understand the geology of LRA landscapes and implications for rock art conservation identified stone decay as key factor in rock art deterioration. Monitoring and evaluating the thermal and humidity conditions at different LRA sites is helping us understand how climate change might affect this heritage.
Scientific and public dissemination include 36 journal papers, 25 book chapters and 9 edited volumes, conference presentations and public talks, 1 major exhibition on prehistoric art hosted at Museu d’Arqueologia de Catalunya, and travelling to other 6 museums, one exhibition on Australian Aboriginal rock art at Museu de Prehistoria de Valencia, 3 documentaries https://www.youtube.com/@ViatgesprehistoriaCastello(opens in new window) a webpage (https://www.ub.edu/larcher/(opens in new window)) and social media (X/Twitter: @prehistoriaCS / Instagram: prehistoria.castello).
LArcHer interdisciplinary and multi-step approach has offered a global understanding of this tradition, raised scientific and public awareness of its values, and demonstrated the importance of well-funded projects in harnessing our heritage and using it to lead global debates.
Previously unidentified pigment recipes and technologies were identified, thereby enhancing our understanding of the raw materials and practices of Levantine artists and leading global debates on the technologies used by prehistoric artists.
Using LRA as proxy we addressed new questions of global interest on the emergence of narrative art; ephemeral weaponry, tools and technologies only visible in the art; ephemeral practices such as climbing, and the role of women in rock art.
For the first time in LRA research geometric morphometrics were used to examine shifts in animal forms and confirm animal species.
Also key was the discovery of new rock art and archaeological sites, enhancing our understanding of human activities and settlements in the regions under study, but also increasing their heritage value. Some of these discoveries are already used as new tourism products.
LArcHer has also led discussions on pivotal periods in prehistory, such as the Pleistocene-Holocene transition and the shift from hunter-gatherer to farming societies. Worth mentioning is the publication of the first Early Mesolithic site in the north of the Valencian Country, as well as a site with the most recent dates for hunter-gatherer occupations in mediterranean Iberia, demonstrating the survival of these societies up to Neolithic times.
Previously unidentified pigment recipes and technologies were identified, thereby enhancing our understanding of the raw materials and practices of Levantine artists and leading global debates on the technologies used by prehistoric artists.
Using LRA as proxy we addressed new questions of global interest on the emergence of narrative art; ephemeral weaponry, tools and technologies only visible in the art; ephemeral practices such as climbing, and the role of women in rock art.
For the first time in LRA research geometric morphometrics were used to examine shifts in animal forms and confirm animal species.
Also key was the discovery of new rock art and archaeological sites, enhancing our understanding of human activities and settlements in the regions under study, but also increasing their heritage value. Some of these discoveries are already used as new tourism products.
LArcHer has also led discussions on pivotal periods in prehistory, such as the Pleistocene-Holocene transition and the shift from hunter-gatherer to farming societies. Worth mentioning is the publication of the first Early Mesolithic site in the north of the Valencian Country, as well as a site with the most recent dates for hunter-gatherer occupations in mediterranean Iberia, demonstrating the survival of these societies up to Neolithic times.