Carole Dudognon
Université Toulouse II Jean Jaurès, Archéologie, Art Préhistorique, Graduate Student
The stylistic study of two regions of northern Chile (southern Ataca-ma Desert and north foothills of Arica Parinacota region) draws parallels artistic tendencies that we recognize in the rock art of southern Andes. Despite the apparent... more
The stylistic study of two regions of northern Chile (southern Ataca-ma Desert and north foothills of Arica Parinacota region) draws parallels artistic tendencies that we recognize in the rock art of southern Andes. Despite the apparent diversity of aesthetic figures and scenes between these two zones, this analysis allows to find the intrinsic mechanisms that vary uniformly human and animal representation. With the archaeological contexts or figures overlays features a chrono-stylistic description can be proposed for these rock art sites from Arica foothills, less known. A detailed reading of the change in the treatment of the main figures (camelids and humans) helps us to design the new perception of a group, of their environment and themselves. But relationships between man and animal shown in scenes allow us to understand simultaneously the emergence of new socioeconomic practices and changes in the artistic treatment of the various figures. This comparison is an important starting point for understanding the profound changes taking place in the symbolic sphere of Andean cultures. Stylistic mutations are indices of the overthrow of the system of representations probably linked to the new socioeconomic context of highland artists.
Research Interests:
Placed in the northernmost part of Chile, Sierra d’Arica hides several rock art sites. These sites contain animal representations, especially camelids, drawn using a range of ochre colours and dated to the recent archaic age (6,000–4,000... more
Placed in the northernmost part of Chile, Sierra d’Arica hides several rock art sites. These sites contain animal representations, especially camelids, drawn using a range of ochre colours and dated to the recent archaic age (6,000–4,000 years ago). This phase is particularly interesting because of the deep social and cultural changes which happened in this period, among which the most remarkable event was the taming of the camelids. On the walls of the shelters in this region it is possible to observe the representations of many capturing systems, as well as entrapping and encircling techniques. Therefore, the organization complexity of the hunters may be underlined. The research D. Lavallée led at Junín, Peru (1985) has shown that the development of a hunting technique specializing in the camelids was an essential step in the route to taming other species. This paper also aims tocharacterize, through rock art, the cynegetic techniques used by archaic people. This will allow us to highlight the gradually increasing level of technical and social complexity reached in the period considered, which will help us make sense of the deep behavioural changes in relation to this animal resource.
Research Interests:
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... 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 sometimes in association with deposits) and about sixty domestic fireplaces. In that framework, 3D models of the cave constitute the common work support and the best way for scientific communication for the various studies conducted on the site by nearly forty researchers. In this specific context, a partnership among archaeologists and surveyors from INSA Strasbourg allows the team to develop, in an interdisciplinary way, new methods of data acquiring based on contact-free measurements techniques in order to acquire a full 3D-documentation. All the surveys are conducted in compliance with the integrity of the site. Different techniques based on Terrestrial Laser Scanning, Digital Photogrammetry and Spatial Imaging System have been used in order to generate a geometric and photorealistic 3D model from the combination of point clouds and photogrammetric images, for both visualization and accurate documentation purposes. Various scales of acquiring and diverse resolutions have been applied according to the subject: global volume cave, parietal representations, deposits… The aim of this paper is firstly to issue a statement of 6 years of 3D-recording in the cave and secondly to display recent methodological developments as for the integration of heterogeneous data in 3D models (i.e. magnetic field recording combined with the 3D models in order to locate magnetic anomalies in the cave). Another purpose is to give an overview of methodological and technological limitations we experienced since 2008. Finally, we attempt to present work in progress as to 3D-modelling and simulating and thinking on the way we should use 3D in archaeological caves.
Research Interests:
A l’extrême nord du Chili, dans la région d’Arica-Parinacota, ce travail de recherche, axé sur l’étude de trois abris ornés (Vilacaurani, Incani et Anocariri), vise à mettre en évidence les étapes de la transformation culturelle et... more
A l’extrême nord du Chili, dans la région d’Arica-Parinacota, ce travail de recherche, axé sur l’étude de trois abris ornés (Vilacaurani, Incani et Anocariri), vise à mettre en évidence les étapes de la transformation culturelle et socio-économiques des populations andines en lien avec le processus de la domestication animale. Entre 2800 et 3800 m dans le piémont andin, l’implantation humaine semble correspondre à l’écosystème de certaines espèces, telles que le guanaco et le taruca, abondamment chassées pendant les périodes les plus anciennes. Les plus importants témoignages, actuellement connus, de cette occupation se retrouvent au cœur d’abris sous roche ou sur de larges panneaux à travers d’imposantes fresques polychromes. Les artistes ont mis l’accent sur la figure animale, principalement les camélidés de genre lama (guanaco et lama) et sur la représentation de scènes variées telles la chasse, le piégeage ou encore la pâture. Ces représentations sont significatives, car elles évoquent des possibles phases de la domestication des camélidés qui a débuté autour de 6000 BP dans les Andes centrales (Wings, 1986 ; Wheeler et al., 1977 ; Lavallée et Julien, 1980 ; Lavallée et al., 1995) débouchant sur le développement des sociétés pastorales et d’une économie de production dans les hautes terres andines. Pourtant, les mécanismes de cette transformation restent encore mal connus. Cette recherche offre une nouvelle lecture des manifestations artistiques comme source première d’information pour comprendre la transition socio-économique et culturelle des populations des hautes terres. A travers l’étude des scènes picturales et l’imposant système de superposition des figures, nous sommes en mesure de décrire le glissement progressif, autant sur le plan technique que symbolique, et les étapes transitoires qui caractérisent le passage d’une économie principalement fondée sur la chasse à une économie pastorale.