![]() Animal representations are dominated by horse and mammoth, with smaller numbers of bovids, deer, reindeer, saiga, wolf, bear, lion, fish bird and seal and in a few instances, human representations. Painting with ochre or charcoal is not uncommon. They are typically engraved with figurative animals or abstract ‘signs’, which can reflect a range of artistic skill. ![]() They are rarely larger than 300mm in maximum dimension and common materials used include sandstone, limestone and schist, though organic examples on flat bone (scapulae) are also known. Plaquettes are flat pieces of stone used as a support for engraving on at least one surface. Stone plaquettes make up a significant proportion of Magdalenian mobiliary art. Bone and antler were extensively used to make hammers, barbed points, harpoons, needles, perforated batons ( bâtons percés), as well as providing material for decorative forms including engravings. 21,000–14,000 years cal BP), with the development of rich decorative forms depicting animals or geometric designs. Mobiliary art perceptibly reached its prime during the Magdalenian (ca. The appearance of portable art objects during the Upper Palaeolithic is characterised by a combination of a wide choice of techniques, use of different materials and a diversity of iconographic expression. ![]() The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript.Ĭompeting interests: The authors have declared that no competing interests exist. Beccy Scott’s work was also supported by the Calleva foundation (Pathways to Ancient Britain project). Silvia Bello’s work was part of the ‘Human Behaviour in 3D’ Project funded by the Calleva Foundation. Funding from the Universities of Manchester, Southampton and UCL supported student training at the excavation. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.ĭata Availability: All relevant data are within the paper and its Supporting Information files.įunding: Excavations at Les Varines were funded by Jersey Heritage through the States of Jersey Tourism Development Fund ( ) in 2013-15 and in 2017 (BS received the funding), by the British Museum research fund in 2016-18 ( ) (Grant nos EC164/EC208) (BS received the funding), in 2016 by British Academy ( ) small grant SG152868 (CC received the funding) and Society of Antiquaries ( ) Research Grants R121086 in 2017 and BH181355 in 2018 (CC received the funding). Received: FebruAccepted: JPublished: August 19, 2020Ĭopyright: © 2020 Bello et al. Petraglia, Max Planck Institute for the Science of Human History, GERMANY ![]() (2020) Artists on the edge of the world: An integrated approach to the study of Magdalenian engraved stone plaquettes from Jersey (Channel Islands). These engraved stone fragments represent important, rare evidence of artistic expression in what is the far northern and western range of the Magdalenian and add new insight to the wider significance of dynamic practices of artistic expression during the Upper Palaeolithic.Ĭitation: Bello SM, Blinkhorn E, Needham A, Bates M, Duffy S, Little A, et al. In this paper, we report detailed analyses of these finds, which provide new evidence for technologies of abstract mark-making, and their significance within the lives of people on the edge of the Magdalenian world. Between 20, ten fragments of stone plaquettes extensively engraved with abstract designs were uncovered at the Magdalenian site of Les Varines, Jersey, Channel Islands. Stone plaquettes, flat fragments of stone engraved on at least one surface, have been found in large quantities at numerous sites spanning the temporal and geographical spread of the Magdalenian, but they have been absent so far from the archaeological record of the British Isles. Though Magdalenian settlement exists as far northwest as Britain, there is a limited range of art known from this region, possibly associated with only fleeting occupation of Britain during this period. The Late Upper Palaeolithic Magdalenian saw a flourishing of such depictions, encompassing cave art, engraving of stone, bone and antler blanks and decoration of tools and weapons. The Upper Palaeolithic is characterised by the appearance of iconographic expressions most often depicting animals, including anthropomorphic forms, and geometric signs. ![]()
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