Just as modern societies interpret ancient monuments and incorporate them in their political and cultural life, so people in the past often re-used their own monuments and places. Illustrated with plates and photographs and including articles by international specialists, this book should appeal to graduates, academics and anyone curious about the re-use of ancient monuments right up to the present day.

Expanded and revised in its sixth edition, The Art of Mesoamerica surveys the artistic achievements of the high prehispanic civilizations of Central America - Olmec, Maya, Teotihuacan, Toltec and Aztec - as well as those of their lesser-known contemporaries. Providing an in-depth examination of central works, this book guides readers through the most iconic palaces, pyramids, sculptures and paintings. From the Olmec Colossal Head 5 recovered from San Lorenzo to the Aztec Calendar Stone found in Mexico City's Zocalo in 1790, this book reveals the complexity and innovation behind the art and architecture produced in prehispanic civilizations. This new edition incorporates new lavish colour images and extensive updates based on the latest research and dozens of recent discoveries, particularly in Maya art, where excavations at Teotihuacan, the largest city of Mesoamerica, and Tenochtitlan, the capital of the Aztecs, have yielded new sculptures.

The First Signs is the first-ever exploration of the little-known geometric images that accompany most cave art around the world-the first indications of symbolic meaning, intelligence, and language. Join renowned archaeologist Genevieve von Petzinger on an Indiana Jones-worthy adventure from the open-air rock art sites of northern Portugal to the dark depths of a remote cave in Spain that can only be reached by sliding face-first through the mud. Von Petzinger looks past the beautiful horses, powerful bison, graceful ibex, and faceless humans in the ancient paintings. Instead, she's obsessed with the abstract geometric images that accompany them, the terse symbols that appear more often than any other kinds of figures-signs that have never really been studied or explained until now. Part travel journal, part popular science, part personal narrative, von Petzinger's groundbreaking book starts to crack the code on the first form of graphic communication. It's in her blood, as this talented scientist's grandmother served as a code-breaker at Bletchley. Discernible patterns emerge that point to abstract thought and expression, and for the first time, we can begin to understand the changes that might have been happening inside the minds of our Ice Age ancestors-offering a glimpse of when they became us.

In 1962, after a period of secret looting, the location of a shrine for the Greek Goddess Eileithyia was discovered by the police in south-central Crete at the modern town of Tsoutsouros, ancient Inatos. The cave dedicated to this ancient goddess of childbirth and motherhood was excavated that year by Nikolaos Platon and Costis Davaras on behalf of the Archaeological Museum in Herakleion. It was filled with remarkable votive gifts including over 100 items of gold along with Egyptian figurines and seal stones, bronze objects, and hundreds of clay figurines. The dates of the shrine's use extended from before 2000 B.C. to the Roman Imperial period. Many of the clay images are especially appropriate for this deity because they include pregnant women, embracing couples, figures in preparation for childbirth, mothers holding babies, and a young child in its crib. A Greek language book highlighting the shrine and its major discoveries is now translated into English. It provides images, catalog entries, and explanatory texts for the most important discoveries from this unique shrine.

This volume presents the salvage excavation of a Minoan settlement at Bramiana in southeastern Crete that was destroyed during the creation of a new system of agriculture in the 1980s. Excavation of the site provides new evidence for a Bronze Age economy based on trade, agriculture, and craftwork. This publication is a test case for a highly successful new system of organizing all the pottery based on its petrography, sorting it by materials and workshop practices. The results show the existence of an unsuspected large trade network operating across hundreds of kilometers for the routine distribution of cooking pots and other clay vessels and their contents. The Minoan settlement used the lustrous and silky smooth fine ceramics invented presumably in the still undiscovered palace near modern Ierapetra; this technology would be used for the fine Mycenaean tableware of the Late Bronze Age.

'Arnold Hausers Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hausers extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989

This excavation of a Late Bronze Age town on the island of Mochlos in northeastern Crete includes the House of the Metal Merchant (with two large bronze hoards) and 13 other structures. Each building is described with its stratigraphy, architecture, small finds, ecofactual materials, function, and room use. This is a two volume set. Volume 1 contains the text and Volume 2 contains the Concordance, Tables, Figures, and Plates.

The Element summarises the state of knowledge about four styles of prehistoric rock art in Europe current between the late Mesolithic period and the Iron Age. They are the Levantine, Macroschematic and Schematic traditions in the Iberian Peninsula; the Atlantic style that extended between Portugal, Spain, Britain and Ireland; Alpine rock art; and the pecked and painted images found in Fennoscandia. They are interpreted in relation to the landscapes in which they were made. Their production is related to monument building, the decoration of portable objects, trade and long distance travel, burial rites, and warfare. A final discussion considers possible connections between these separate traditions and the changing subject matter of rock art in relation to wider developments in European prehistoric societies.

Petroglyphic rock art in three valleys of Mongolia's Altai Mountains reveals the anatomy of deep time at the boundary between Central and North Asia. Inscribed over a period of twelve millennia, its subject matter, styles, and manner of execution reflect the constraints of changing geology, climate, and vegetation. These valleys were created and shaped by ancient glaciers. Analysis of their physical environment, projected from the deep past to the present, begins to explain the rhythm of cultural manifestations: where rock art appears, when it disappears, and why. The material and this remote arena offer an ideal laboratory to study the intersection of prehistoric culture and paleoenvironment.

Deep underground, hidden from view, some of humanity's earliest artistic endeavours have lain buried for thousands of years. The most ancient artworks were portable objects, left on cave floors. Shell beads signal that 100,000 years ago humans had developed a sense of self and a desire to beautify the body; ostrich eggshells incised with curious geometric patterns hint at how communities used art, through the power of symbols, to communicate ways of doing things and bind people together. In time, people came to adorn cave walls with symbols, some abstract, others vivid arrangements of animals and humans. Often undisturbed for tens of thousands of years, these were among the first visual symbols that humans shared with each other. However, as archaeologist Bruno David reveals, we have ways of unlocking their secrets. Sometimes these lie in the art itself, sometimes lying on the ground, or buried beneath where people have left traces of what they did, footprints of the ancestors. In pictures and words, David tells the story of this mysterious world of decorated caves, from the oldest known 'painting kits', found virtually intact after their use 100,000 years ago in South Africa, to the magnificent murals of the European Ice Age that are so famous today. Showcasing the most astounding discoveries made in the past 150 years of archaeological exploration, Cave Art explores these creative achievements, from our remotest ancestors to recent times, and what they tell us about the human past and ourselves today.

There have been many accounts of prehistoric 'art', but nearly all of them begin by assuming that the concept is a useful one. In this extensively illustrated study, Richard Bradley asks why ancient objects were created and when and how they were used. He considers how the first definitions of prehistoric artworks were made, and the ways in which they might be related to practices in the visual arts today. Extended case studies of two immensely popular and much-visited sites illustrate his argument: one considers the megalithic tombs of Western Europe, whilst the other investigates the decorated metalwork and rock carvings of Bronze Age Scandinavia.

Creativity is an integral part of human history, yet most studies focus on the modern era, leaving unresolved questions about the formative role that creativity has played in the past. This book explores the fundamental nature of creativity in the European Bronze Age. Considering developments in crafts that we take for granted today, such as pottery, textiles, and metalwork, the volume compares and contrasts various aspects of their development, from the construction of the materials themselves, through the production processes, to the design and effects deployed in finished objects. It explores how creativity is closely related to changes in material culture, how it directs responses to the new and unfamiliar, and how it has resulted in changes to familiar things and practices. Written by an international team of scholars, the case studies in this volume consider wider issues and provide detailed insights into creative solutions found in specific objects.

It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture. Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors. Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition.

This book examines ancient figurines from several world areas to address recurring challenges in the interpretation of prehistoric art. Sometimes figurines from one context are perceived to resemble those from another. Richard G. Lesure asks whether such resemblances play a role in our interpretations. Early interpreters seized on the idea that figurines were recurringly female and constructed the fanciful myth of a primordial Neolithic Goddess. Contemporary practice instead rejects interpretive leaps across contexts. Dr Lesure offers a middle path: a new framework for assessing the relevance of particular comparisons. He develops the argument in case studies that consider figurines from Paleolithic Europe, the Neolithic Near East and Formative Mesoamerica.

Prehistoric rock art is the markings paintings, engravings, or pecked images left on rocks or cave walls by ancient peoples. In this book, Paul G. Bahn provides a richly illustrated overview of prehistoric rock art and cave art from around the world. Summarizing the recent advances in our understanding of this extraordinary visual record, he discusses new discoveries, new approaches to recording and interpretation, and current problems in conservation. Bahn focuses in particular on current issues in the interpretation of rock art, notably the shamanic interpretation that has been influential in recent years and that he refutes. This book is based on the Rhind Lectures that the author delivered for the Society of Antiquaries of Scotland in 2006."

What France's ancient cave drawings may reveal about the origin of language, art, and human thought--insights into one of the greatest mysteries in anthropology They roam deep underground in the recesses of French (and some Spanish) caves: Bulls and bison. Horses and stags. Rhinos, bears, human-like creatures, and more. Painted, drawn, or engraved, these incredible images are 32,000 years old, yet they seem full of personality and life. Who were the artists? How did they make these paintings miles into labyrinthine caves with only stone candles to light the way? Why did the artists make them and what do they mean? What about the undecipherable signs accompanying the art? Popular science writer Amir Aczel examines the cave drawings and the theories scientists have put forward to explain them, including religious iconography, hunting trophies, and a leap in human brain development. Drawing on years of research and his own visits to Paleolithic caves, Aczel takes us underground on an unforgettable journey of discovery at the crossroads of art, science, and history in the quest to solve the mysteries of this Stone Age art and deepen our understanding of human evolution. Amir D. Aczel (Brookline, MA) is a research fellow in the history of science at Boston University and former visiting scholar at Harvard University. He is the author of 14 books, including Fermat's Last Theorem (978-0-385-31946-1), Descartes's Secret Notebook (978-0-7679-2034-6), and The Jesuit and the Skull (978-1-59448-956-3). He has appeared on the CBS Evening News, CNN, CNBC, and ABC's Nightline, as well as NPR's Weekend Edition and Morning Edition.

The 27 papers in this volume harken to the themes that Jeffrey Soles has influenced during his illustrious career in Aegean Bronze Age archaeology: ancestry, burial customs, religion, trade, jewelry, the development of the Minoan settlement of Mochlos in eastern Crete, and the rise and fall of the Minoan civilization.

A companion to The Archaeology of Rock-Art (Cambridge, 1998), this new collection addresses the most important component of the rock-art panel: its landscape. The book draws together the work of many well-known scholars from key regions of the world known for rock-art and rock-art research. It provides insight into the location and structure of rock-art and its role within the landscapes of ancient worlds.

Where do we find the world's very first art? When, and why, did people begin experimenting with different materials, forms and colours? Were our once-cousins, the Neanderthals, also capable of creating art? Prehistorians have been asking these questions of our ancestors for decades, but only very recently, with the development of cutting-edge scientific and archaeological techniques, have we been able to piece together the first chapter in the story of art. Overturning the traditional Eurocentric vision of our artistic origins, which has focused almost exclusively on the Franco-Spanish cave art, Paul Bahn and Michel Lorblanchet take the reader on a search for the earliest art across the whole world. They show that our earliest ancestors were far from being the creatively impoverished primitives of past accounts, and Europe was by no means the only 'cradle' of art; the artistic impulse developed in the human mind wherever it travelled. The long universal history of art mirrors the development of humanity.

Rock Art and the Wild Mind presents a study of Mesolithic rock art on the Scandinavian peninsula, including the large rock art sites in Alta, Namforsen and Vingen. Hunters' rock art of this area, despite local styles, bears a strong commonality in what it depicts, most often terrestrial big game in diverse confrontations with the human realm. The various types of compositions are defined as visual thematizations of the enigmatic relationship between humans and big game animals. These thematizations, here defined as motemes, are explained as being products of the Mesolithic mind 'in action', observed through repetitions, variations and transformations of a number of defined motemes. Through a transformational logic, the transition from 'animic' to 'totemic' rock art is observed. Totemic rock art reaches a peak during the final stages of the Late Mesolithic, and it is suggested that this can be interpreted as representing an increasing focus on human society towards the end of this era. The move from animism to totemism is explained as being part of the overall social development on the Scandinavian peninsula. This book will be of interest to students of rock art generally and scholars working on the historical developments of prehistoric hunter-gatherers in northern Europe. It will also appeal to students and academics in the fields of art history and aesthetics and to those interested in the work of Levi-Strauss.

This book examines the development of ancient Greek civilization through a path-breaking application of social scientific theories. David B. Small charts the rise of the Minoan and Mycenaean civilizations and the unique characteristics of the later classical Greeks through the lens of ancient social structure and complexity theory, opening up new ideas and perspectives on these societies. He argues that Minoan and Mycenaean institutions evolved from elaborate feasting, and that the genesis of Greek colonization was born from structural chaos in the eighth century. Small isolates distinctions between Iron Age Crete and the rest of the Greek world, focusing on important differences in social structure. His book differs from others on Ancient Greece, highlighting the perpetuation of classical Greek social structure into the middle years of the Roman Empire, and concluding with a comparison of the social structure of classical Greece to that of the classical Maya civilization.

This volume describes the discovery in 2003 and excavation between 2004 and 2009 of a Minoan ship that sunk near the island of Pseira around 1725/1700 BC. The recovered cargo constitutes the largest known corpus of complete and almost complete clay vessels from a single Middle Minoan IIB deposit in several categories. The 140 artifacts recovered from the area of the wreck include 46 oval-mouthed and other amphorae, 41 spouted jugs, and 11 hole-mouthed jars. The activity of each season is described, followed by a catalog with extensive discussion of the pottery, a petrographic analysis, and catalogs of weights and stone tools. The picture that emerges is of an ordinary transport boat, loaded with products from towns on the northern coast of East Crete, and it provides a rich set of information on a society that revolved around seafaring.

This book presents the results of the study of the wall paintings from the Northeast Bastion at Ayia Irini, situating them within the wider social context of the island of Kea and the Aegean world. Like the spectacularly well-preserved town of Akrotiri on Thera, with which these paintings are contemporary, Ayia Irini thrived 3,500 years ago. But unlike Akrotiri, Ayia Irini was not protected by a layer of volcanic ash. When the site was excavated in the 1960s-1970s by the University of Cincinnati under the auspices of the American School of Classical Studies at Athens, the paintings had long since collapsed, fracturing into thousands of small pieces and becoming mixed with stones, broken pottery, and accumulated debris. This study attempts to bring the wall paintings back to life through the best-preserved fragments. Within the Northeast Bastion was a miniature frieze and, in the adjacent room, large-scale panels of plants. Human action set within townscapes, landscapes, and the sea presents a vivid account of the social life and environment of the people for whom this harbor town was vital within the trading network of the time. In this book the social implications of the fascinating and often unique iconography is explored, and the setting within a fortification wall is quite extraordinary. The volume contains many catalog entries, which contain color images of the fragments, and it is also abundantly illustrated with color drawings, visualizations, and photographs.