Papers by Raphaëlle Bourrillon
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espanolLos autores exponen las dificultades por las que hubo de pasar la respuesta a un ar-ticulo... more espanolLos autores exponen las dificultades por las que hubo de pasar la respuesta a un ar-ticulo, publicado en Science en 2018, en el que se afirmaba que el Neandertal era el autor de ciertas pinturas de tres cuevas espanolas, segun dataciones obtenidas por el metodo del uranio-torio. En esa respuesta, se explicitaban las distintas fuentes de error que pue-den conducir a fechas anormalmente envejecidas y se recapitulaban los argumentos ar-queologicos que contradicen dataciones tan antiguas. Muchos de los evaluadores de las revistas americanas prefirieron confiar en la arqueometria mas que en la Arqueologia europea, para ellos desconocida. Asi, el articulo circulo por las manos de numerosos re-visores, transcurriendo un ano y medio antes de que pudiera, por fin, salir en el Journal of Human Evolution. Este proceso ilustra la opacidad que subyace tras la aparente obje-tividad y neutralidad del procedimiento de evaluacion cientifica de revision por pares cuando se trata de contradecir...
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For six years, an interdisciplinary team carried out the study of a Bronze Age underground networ... more For six years, an interdisciplinary team carried out the study of a Bronze Age underground network. This program has been labelled by the Institute of Ecology and Environment of the French Research Council (CNRS), who wants to promote new methodologies and experimental studies in Global Ecology. It takes advantage of the support of the French Ministry of Culture. The archaeological cave of Les Fraux (Saint-Martin-de-Fressengeas, Dordogne) is the only protohistorical site in Europe wherein are gathered testimonies of domestic, spiritual and artistic activities. Fortunately, the cave was closed at the end of the Bronze Age, following to the collapse of its entrance. The site is currently registered in the French Historical Monuments. The cave forms a wide network of galleries, characterized by the exceptional richness of its archaeological remains such as ceramic and metal deposits, numerous parietal representations (engravings or fingerings incised in the clay-walls and paintings som...
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Paléo, 2012
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Paléo, 2012
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Paléo, 2013
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Paléo, 2013
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Journal of Human Evolution, 2019
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Palethnologie, 2015
Depuis 2007, la reprise de l’etude des surfaces ornees des sites aurignaciens de Blanchard et de ... more Depuis 2007, la reprise de l’etude des surfaces ornees des sites aurignaciens de Blanchard et de Castanet, dans le cadre de fouilles programmees dirigees par R. White permet aujourd’hui, d’aborder l’un des temoignages les plus anciens d’art rupestre dans son contexte culturel, chronologique et environnemental. L’analyse de ses caracteristiques artistiques, tant formelles que techniques, au sein de ses propres contextes archeologiques, mise en perspective avec l’ensemble des supports calcaires ornes retrouves sur des sites d’habitats en abri-sous-roche de la partie nord de la region d’Aquitaine, dessine alors les contours d’un territoire culturel. Bien que certains des choix graphiques, mais aussi socio-economiques, semblent fonctionner pour partie a l’Aurignacien comme des marqueurs identitaires, certaines convergences avec d’autres regions europeennes peuvent etre notees. Les representations graphiques semblent alors partagees entre la necessite de marquer son territoire et, tout a la fois, son appartenance a une entite culturelle plus large. Cette dichotomie contribue tres certainement a la grande diversite stylistique rencontree aux debuts du Paleolithique superieur. En somme, nous nous demanderons quelles peuvent etre les raisons a l’origine d’une telle diversite de comportements et de types de figuration au sein de la culture aurignacienne.
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Collection EDYTEM. Cahiers de géographie, 2011
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Bulletin de la Société préhistorique française, 2014
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Current Anthropology, 2017
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Quaternary International, 2017
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Quaternary International, 2017
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Bulletin de la Société préhistorique française, 2012
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Bulletin de la Société préhistorique française, 2012
ABSTRACT The cave of Etxeberriko karbia, in the “Massif des Arbailles” (Western Pyrenees), has be... more ABSTRACT The cave of Etxeberriko karbia, in the “Massif des Arbailles” (Western Pyrenees), has been the subject of spelunking expeditions since the early 20th century. But, during a visit in May, 1950, P. Boucher, with G. Laplace, discovered a small painting of a red horse, on their way out of the cave before crossing through a crawlway. The following year, Laplace decided to study the rock art of this cave and, in 1952, he published the results along with the cave of Sasiziloaga (Laplace, 1952a et b). The general shape of the cave of Etxeberri is a 200 m long north-south gallery, with a difficult passage. It begins with a large chamber littered with huge blocks from the partially collapsed vault. Accessing the decorated areas is particularly challenging because of the narrowness of the gallery and the presence of three underground lakes. The first chamber with parietal art is of modest size with extensive figures on both walls. Next, down a vertical passage of ten meters, is the end of the cave system where four decorated areas (la salle du gouffre, l’étroiture, la fissure, la corniche), and a 20 meters deep chasm can be found. Laplace reports a total of 38 figures for the entire cavity, including a complex type of sign described as “pectiforme”, ten horses, two bison, two ibex and a few points and indeterminate lines. A later publication by P. Paillet (Paillet, 1989), based on existing literature, reports poor conservation of the paintings, with some vandalism. Indeed, several years of uncontrolled cave visits have caused the disappearance and/or irreversible deterioration of a significant portion of the representations. The resuming of research at the cave of Etxeberri, by a team under D. Garate Maidagan (2007-2010) is accompanied by the study of the other decorated caves in “Massif des Arbailles”: Sasiziloaga et Sinhikole. The recent investigations, which have discovered new paintings and engraving in all of the three cavities, can now offer an updated interpretation of the graphical representations and their context. Indeed, in 2008, during the study of the cave of Etxeberri’s rock art, we found archaeological material (ocher and flint) on the ground beneath the decorated walls of the “Salle des Peintures”. After authorization by the Service Régional de l’Archéologie of Aquitaine, we performed a test excavation in 2010 to extract these remains and unearth others. Radiocarbon dates (by Beta Analytic Laboratory) were obtained from two fragments of burnt bones and a fragment of littorina obtusata shell. The fragments of burnt bones yield two statistically different dates: 13370 ± 60 BP (equivalent to 16040 à 15690 cal. BP) and 13770 ± 60 BP (equivalent to 16550 à 16240 cal. BP). These dates are perfectly consistent with the known limits for the Middle Magdalenian. They therefore fit well with the “Old Style IV” suggested by A. Leroi-Gourhan in 1971 based on stylistic comparisons (Leroi-Gourhan, 1971). The date of the first bone is slightly more recent which may indicate the two painting stages within the Middle Magdalenian period. However, several arguments suggest a unique visit (stylistic coherence between decorated sectors, depth and danger of the cavity, etc.). However, the dating of the shell is even older and would correspond to the Lower Magdalenian (16570 ± 60 BP equivalent to 19470 à 19190 cal. BP). This date should be interpreted cautiously, as it is generally accepted that a date obtained on marine shell is 400 to 500 years older than one with a terrestrial origin. We cannot, however, totally exclude the idea of a quick visit before the Middle Magdalenian, unrelated to artistic events, as this could confirm another lithic artifact found in the "Salle du Gouffre” in 2009. To conclude, these dates offer the possibility of chronologically situating the human art activity during the Middle Magdalenian in the chamber called “Salle des Peintures” and, by extension, the other decorated chambers away from the cave entrance. In recent years, direct AMS-C14 dating of paintings and archaeological contexts in decorated caves has become more common and now can contribute to a discussion about the place of Etxeberri in the art of the Magdalenian in the Franco-Cantabrian region (including the sites of Bédeilhac, Niaux, Marsoulas, Le Portel, Trois-Frères, Oxocelhaya and Covaciella, Tito Bustillo, Altamira, La Garma, Santimaniñe, etc.). Thus, formal and stylistic parallels, supported by the new dates, can link Etxeberri with other relatively contemporary decorated caves in this geographical area.
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Oxford Journal of Archaeology, 2015
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ADLFI. Archéologie de la France - Informations, 2007
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ADLFI. Archéologie de la France - Informations, 2007
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Papers by Raphaëlle Bourrillon