Beyond Leroi-Gourhan's Style IV: portable art at La Peña de Estebanvela Rock-shelter (Segovia, Spain)

Abstract

At La Peña de Estebanvela, 43 portable art objects have been found in late Upper Palaeolithic levels. Most of the ensemble displays linear patterns forming complex signs. Three equids have also been identified. The decorative motifs at this site are presented and assessed in the context of the art of the last hunter-gatherer groups, demonstrating the existence of art in the last moments of the Palaeolithic (12 000 and 9500-9000 BP), after the time when Palaeolithic art is traditionally thought to have disappeared, at the end of the Magdalenian. A review at a European scale shows the existence of a common symbolism in the last stages of hunter-gatherer societies, which reflects social links. The calibration of radiocarbon determinations attests three occupation periods: 17 770-17 190 calBP (Levels V and VI), 15 150-13 890 calBP (Levels III and IV) and 13 720-12 610 calBP (Levels I and II). A total of 43 objects with engravings have been found. They comprise: a) 7 objects outside an archaeological context, b) 15 objects from Level I, c) 17 objects from Level II, and d) 4 from Level III. 38 of the objects are made of slate, 2 of limestone, and 1 each of sandstone, sepiolite and bone. Thirteen of the objects are intact. Others were shaped and used in several ways. Two were used as a compressor-retoucher, and one of these was shaped like a burin. One is linked with a very intense abrasive use and another displays clear evidence of incision-abrasion. The sepiolite artefact was pierced like a pendant. The intact objects are of medium or small size (length and width between 0.9 and 11.7 cm, and between 0.3 and 1.3 cm thick). The representations are characterised by linear motifs, rather than animal figures. In the different levels: i) series of parallel lines are the most common, particularly opposing series of parallel lines, generally associated with the edges of the objects; ii) both simple and complex motifs are found throughout the sequence; iii) the thematic diversity is noticeably greater in Level I and II (Late Magdalenian); and iv) regarding the typological variability in the Late Magdalenian occupations, there is a deep-rooted common graphic base in which significantly less numerous specific types are introduced in each moment. Animal representations are scarce and monotonous: three equids on two objects. When the figures are compared with the faunal remains found at the site, horse (Equus ferus) is the most numerous species in the levels that yielded the objects. In other words, the animal figures represent the main choice of meat for the human groups. The two figures on one object display a format focused on the head and mane (which is shared by the two figures). The other horse is represented complete and the interior of the body and head are filled with more or less parallel lines to indicate anatomical shape and volume.The composition of the two horses' heads facing in opposite directions on one object shows that the decoration corresponded to a structured plan, which is manifest in the compositional duplication representing the two figures with the same mane.