5,200-year-old grains in the eastern Altai Mountains redate trans-Eurasian crop exchange

5,200-year-old grains in the eastern Altai Mountains redate trans-Eurasian crop exchange

Agricultural crops dispersed across Eurasia more than five millennia ago, causing significant cultural change in human populations across the ancient world. New discoveries in the Altai Mountains illustrate that this process occurred earlier than believed

trans-Eurasian crop exchange
Dr. Xinying Zhou and his team from the IVPP in Beijing excavated the Tangtian Cave site during the summer of 2016. Credits: Xinying Zhou

Most people are familiar with the historical Silk Road, but fewer people realize that the exchange of items, ideas, technology, and human genes through the mountain valleys of Central Asia started almost three millennia before organized trade networks formed. These pre-Silk Road exchange routes played an important role in shaping human cultural developments across Europe and Asia, and facilitated the dispersal of technologies such as horse breeding and metal smelting into East Asia. One of the most impactful effects of this process of ancient cultural dispersal was the westward spread of northeast Asian crops and the eastward spread of southwest Asian crops. However, until the past few years, a lack of archaeobotanical studies in Central Asia left a dearth of data relating to when and how this process occurred.

This new study, led by scientists from the Chinese Academy of Sciences and the Max Planck Institute for the Science of Human History, provides details of recently recovered ancient grains from the far northern regions of Inner Asia. Radiocarbon dating shows that the grains include the oldest examples of wheat and barley ever recovered this far north in Asia, pushing back the dates for early farming in the region by at least a millenium. These are also the earliest domesticated plants reported from the northern half of Central Asia, the core of the ancient exchange corridor. This study pulls together sedimentary pollen and ancient wood charcoal data with archaeobotanical remains from the Tiangtian archaeological site in the Chinese Altai Mountains to reveal how humans cultivated crops at such northern latitudes. This study illustrates how adaptable ancient crop plants were to new ecological constraints and how human cultural practices allowed people to survive in unpredictable environments.

The Northern Dispersal of Cereal Grains

The ancient relatives of wheat and barley plants evolved to grow in the warm and dry climate of the eastern Mediterranean and southwest Asia. However, this study illustrates that ancient peoples were cultivating these grasses over five and a half thousand kilometers to the northeast of where they originally evolved to grow. In this study, Dr. Xinying Zhou and his colleagues integrate paleoenvironmental proxies to determine how extreme the ecology was around the archaeological cave site of Tangtian more than five millennia ago, at the time of its occupation. The site is located high in the Altai Mountains on a cold, dry landscape today; however, the study shows that the ecological setting around the site was slightly warmer and more humid at the time when people lived in and around this cave.

The slightly warmer regional conditions were likely the result of shifting air masses bringing warmer, wetter air from the south. In addition to early farmers using a specific regional climate pocket to grow crops in North Asia, analysis showed that the crops they grew evolved to survive in such northern regions. The results of this study provide scholars with evidence for when certain evolutionary changes in these grasses occurred, including changes in the programed reliance of day length, which signals to the plant when to flower, and a greater resistance to cold climates.

trans-Eurasian crop exchange
Charred seeds from Tontian Cave site. Credits: Xinying Zhou

The Trans-Eurasian Exchange and Crop Dispersal

The ancient dispersal of crops across Inner Asia has received a lot of attention from biologists and archaeologists in recent years; as Dr. Spengler, one of the study's lead authors, discusses in his recent book Fruit from the Sands, these ancient exchange routes shaped the course of human history. The mingling of crops originating from opposite ends of Asia resulted in the crop-rotation cycles that fueled demographic growth and led to imperial formation. East Asian millets would become one of the most important crops in ancient Europe and wheat would become one of the most important crops in East Asia by the Han Dynasty. While the long tradition of rice cultivation in East Asia made rice a staple of the Asian kitchen, Chinese cuisine would be unrecognizable without wheat-based food items like steamed buns, dumplings, and noodles. The discovery that these plants dispersed across Eurasia earlier than previously understood will have lasting impacts on the study of cultivation and labor practices in ancient Eurasia, as well as the history cultural contact and shifts in culinary systems throughout time.

These new discoveries provide reason to question these views, and seem to suggest that mixed small-scale human populations made major contributions to world history through migration and cultural and technological exchange. "This study not only presents the earliest dates for domesticated grains in far North Asia," says Professor Xiaoqiang Li, director of the Institute of Vertebrate Paleontology and Paleoanthropology in Beijing, "it represents the earliest beginning of a trans-Eurasian exchange that would eventually develop into the great Silk Road".

Dr. Xinying Zhou, who headed the study and directs a research team at the IVPP in Beijing, emphasizes that "this discovery is a testament to human ingenuity and the amazing coevolutionary bond between people and the plants that they maintain in their cultivated fields."

photo of the stone men (????? Chimulchek Culture) in the steppe area of Altai Mountains. These figures are characteristic of the peoples who live in the area around the time of occupation at Tongtian. These specific examples are located at the Chimulchek site (ca. 4000 years old) and not far from Tongtian Cave. Ceramic sherds from the cave suggest that the occupants in the cave shared similar cultural traits to other people in the region. Credits: Jianjun Yu

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Title: 5200-year-old cereal grains from the eastern Altai Mountains predate the trans-Eurasian crop exchange
Authors: Xinying Zhou, Jianjun Yu, Robert Nicolas Spengler, Hui Shen, Keliang Zhao, Junyi Ge, Yige Bao, Junchi Liu, Qingjiang Yang, Guanhan Chen, Peter Weiming Jia, and Xiaoqiang Li
Publication: Nature Plants
DOI: https://doi.org/10.1038/s41477-019-0581-y

 

The press release about the trans-Eurasian crop exchange is from Max Planck Institute for the Science of Human History / DE


Neandertals underwater clam shells

Neandertals went underwater to collect clam shells and pumice for their tools

Neandertals went underwater for their tools

Neandertals collected clam shells and pumice from coastal waters to use as tools

Neandertals underwater clam shells
General morphology of retouched shell tools, Figs C-L are from the Pigorini Museum. Credit: Villa et al., 2020 CC-BY

Neandertals collected clam shells and volcanic rock from the beach and coastal waters of Italy during the Middle Paleolithic, according to a study published January 15, 2020 in the open-access journal PLOS ONE by Paola Villa of the University of Colorado and colleagues.

Neandertals are known to have used tools, but the extent to which they were able to exploit coastal resources has been questioned. In this study, Villa and colleagues explored artifacts from the Neandertal archaeological cave site of Grotta dei Moscerini in Italy, one of two Neandertal sites in the country with an abundance of hand-modified clam shells, dating back to around 100,000 years ago.

The authors examined 171 modified shells, most of which had be retouched to be used as scrapers. All of these shells belonged to the Mediterranean smooth clam species Callista chione. Based on the state of preservation of the shells, including shell damage and encrustation on the shells by marine organisms, the authors inferred that nearly a quarter of the shells had been collected underwater from the sea floor, as live animals, as opposed to being washed up on the beach. In the same cave sediments, the authors also found abundant pumice stones likely used as abrading tools, which apparently drifted via sea currents from erupting volcanoes in the Gulf of Naples (70km south) onto the Moscerini beach, where they were collected by Neandertals.

These findings join a growing list of evidence that Neandertals in Western Europe were in the practice of wading or diving into coastal waters to collect resources long before Homo sapiens brought these habits to the region. The authors also note that shell tools were abundant in sediment layers that had few stone tools, suggesting Neandertals might have turned to making shell tools during times where more typical stone materials were scarce (though it's also possible that clam shells were used because they have a thin and sharp cutting edge, which can be maintained through re-sharpening, unlike flint tools).

The authors add: "The cave opens on a beach. It has a large assemblage of 171 tools made on shells collected on the beach or gathered directly from the sea floor as live animals by skin diving Neandertals. Skin diving for shells or fresh water fishing in low waters was a common activity of Neandertals, according to data from other sites and from an anatomical study published by E. Trinkaus. Neandertals also collected pumices erupted from volcanoes in the gulf of Naples and transported by sea to the beach."

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Citation: Villa P, Soriano S, Pollarolo L, Smriglio C, Gaeta M, D'Orazio M, et al. (2020) Neandertals on the beach: Use of marine resources at Grotta dei Moscerini (Latium, Italy). PLoS ONE 15(1): e0226690. https://doi.org/10.1371/journal.pone.0226690

Funding: National Science Foundation Grant 1118143, BCS Archaeology, to PV (PI) and SS (co-PI). The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript.

Competing Interests: The authors have declared that no competing interests exist.

 

Press release from the Public Library of Science

Beach-combing Neanderthals dove for shells

Did Neanderthals wear swimsuits? Probably not. But a new study suggests that some of these ancient humans might have spent a lot of time at the beach. They may even have dived into the cool waters of the Mediterranean Sea to gather clam shells.

The findings come from Grotta dei Moscerini, a picturesque cave that sits just 10 feet above a beach in what is today the Latium region of central Italy.

In 1949, archaeologists working at the site dug up some unusual artifacts: dozens of seashells that Neanderthals had picked up, then shaped into sharp tools roughly 90,000 years ago.

Now, a team led by Paola Villa of the University of Colorado Boulder has uncovered new secrets from those decades-old discoveries. In research published today (editor's note: January 15) in the journal PLOS ONE, she and her colleagues report that the Neanderthals didn't just collect shells that were lying out on the beach. They may have actually held their breath and went diving for the perfect shells to meet their needs.

Villa, an adjoint curator in the CU Museum of Natural History, said the results show that Neanderthals may have had a much closer connection to the sea than many scientists thought.

"The fact they were exploiting marine resources was something that was known," Villa said. "But until recently, no one really paid much attention to it."

Cave discoveries

When archaeologists first found shell tools in Grotta dei Moscerini, it came as a surprise. While Neanderthals are well-known for crafting spear tips out of stone, few examples exist of them turning shells into tools.

But the find wasn't a fluke. The 1949 excavation of the cave unearthed 171 such tools, all valves from shell belonging to a local species of mollusk called the smooth clam (Callista chione). Villa explained that the ancient humans used stone hammers to chip away at these shells, forming cutting edges that would have stayed thin and sharp for a long time.

"No matter how many times you retouch a clam shell, its cutting edge will remain very thin and sharp," she said.

But did the Neanderthals, like many beachgoers today, simply collect these shells while taking a stroll along the sand?

To find out, Villa and her colleagues took a closer look at those tools. In the process, they found something they weren't expecting. Nearly three-quarters of the Moscerini shell tools had opaque and slightly abraded exteriors, as if they had been sanded down over time. That's what you'd expect to see, Villa said, on shells that had washed up on a sandy beach.

The rest of the shells had a shiny, smooth exterior.

Those shells, which also tended to be a little bit bigger, had to have been plucked directly from the seafloor as live animals.

"It's quite possible that the Neanderthals were collecting shells as far down as 2 to 4 meters," Villa said. "Of course, they did not have scuba equipment."

Researchers also turned up a large number of pumice stones from the cave that Neanderthals had collected and may have used as abrading tools. The stones, Villa and her colleagues determined, washed onto the Moscerini beach from volcanic eruptions that occurred more than 40 miles to the south.

Going for a dip

She's not alone in painting a picture of beach-loving Neanderthals.

In an earlier study, for example, a team led by anthropologist Erik Trinkaus identified bony growths on the ears of a few Neanderthal skeletons. These features, called "swimmer's ear," can be found in people who practice aquatic sports today.

For Villa, the findings are yet more proof that Neanderthals were just as flexible and creative as their human relatives when it came to eking out a living--a strong contrast to their representation in popular culture as a crude cavemen who lived by hunting or scavenging mammoths.

"People are beginning to understand that Neanderthals didn't just hunt large mammals," Villa said. "They also did things like freshwater fishing and even skin diving."

Other coauthors on the new study included researchers from the French National Centre for Scientific Research, the University of Geneva, Roma Tre University, Sapienza University of Rome and the University of Pisa.

Press release from the University of Colorado at Boulder

 

 

 

 

 


Pachacamac Idol

The colors of the Pachacamac idol, an Inca god, finally revealed

Pachacamac Idol of ancient Peru was symbolically painted

Chemical analysis of the statue reveals its age and original polychromatic design

Pachacamac Idol
The wooden statue of the Pachacamac Idol. Credit: Sepúlveda et al, 2020. CC-BY

The Pachacamac Idol of ancient Peru was a multicolored and emblematic sacred icon worshipped for almost 700 hundred years before Spanish conquest, according to a study published January 15, 2020 in the open-access journal PLOS ONE by Marcela Sepúlveda of the University of Tarapacá, Chile and colleagues.

The Pachacamac Idol is a symbolically carved wooden statue known from the Pachacamac archaeological complex, the principal coastal Inca sanctuary 31 km south of Lima, Peru during the 15th-16th centuries. The idol was reportedly damaged in 1533 during Spanish conquest of the region, and details of its originality and antiquity have been unclear. Also unexplored has been the question of whether the idol was symbolically colored, a common practice in Old World Antiquity.

In this study, Sepúlveda and colleagues obtained a wood sample from the Pachacamac Idol for chemical analysis. Through carbon-dating, they were able to determine that the wood was cut and likely carved approximately 760-876 AD, during the Middle Horizon, suggesting the statue was worshipped for almost 700 years before Spanish conquest. Their analysis also identified chemical traces of three pigments that would have conferred red, yellow, and white coloration to the idol.

This nondestructive analysis not only confirms that the idol was painted, but also that it was polychromatic, displaying at least three colors and perhaps others not detected in this study. The fact that the red pigment used was cinnabar, a material not found in the local region, demonstrates economic and symbolic implications for the coloration of the statue. The authors point out that coloration is a rarely discussed factor in the symbolic, economic, and experiential importance of religious symbols of the pre-Columbian periods, and that more studies on the subject could illuminate unknown details of cultural practices of the Andean past in South America.

The authors add: "Here, polychromy of the so-called Pachacamac Idol is demonstrated, including the presence of cinnabar."

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Citation: Sepúlveda M, Pozzi-Escot D, Angeles Falcón R, Bermeo N, Lebon M, Moulhérat C, et al. (2020) Unraveling the polychromy and antiquity of the Pachacamac Idol, Pacific coast, Peru. PLoS ONE 15(1): e0226244. https://doi.org/10.1371/journal.pone.0226244

Funding: This work was support by the National Research Agency under the program Future Investments bearing the reference ANR-11-IDEX-0004-02 (programs INCA and ARCIC of Sorbonne Universités)(MS,PW). We thank the financial support from the Ile-de-France region (DIM Analytics, project IMAPAT) for the building of new instruments for a mobile laboratory for art studies (PW), and the NASA PICASSO program for funding the MapX instrument development (PS,PW). The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript.

Competing Interests: The authors have declared that no competing interests exist.

Press release from the Public Library of Science

The colors of the Pachacamac idol, an Inca god, finally revealed

Pachacamac Idol
In the last picture, the red arrows mark the presence of red pigments containing mercury. © Marcela Sepulveda/Rommel Angeles/Museo de sitio Pachacamac

The legend of Pachacamac will not soon die. Since the 16th century, Spanish chroniclers have said that Hernando Pizarro had destroyed the idol of the deity when he conquered the Inca Empire in the Andes. But a carved wooden post representing Pachacamac was discovered on the archaeological site of the same name in 1938, so it was considered that the Spaniards may have been wrong in thinking that the idol had been completely destroyed. Now we have a new mystery! What is the nature of the red colour observed on the object? Is it blood residue, the remnants of sacrificial practices?

Thanks to close collaboration with the museum at the Pachacamac archaeological site in Peru, an international research team* has been able to conduct never-before-seen analysis -- non-invasive and non-destructive analysis -- of the idol's polychromy. They first revealed that red was not the only colour present on the piece of wood: we see white on the teeth of a personage and yellow on some headdresses.

What is even more interesting is that the researchers were able to determine the chemical composition of the pigments and show that red is not blood but mercury, no doubt from cinnabar, a mercury mineral known in that region for over 2000 years. Cinnabar sources in the Andes are 400 km from Pachacamac, at high altitude. So the idol was painted intentionally, no doubt to show economic and political power by carrying a pigment from a faraway region even though others were available on site.

Finally, the Pachacamac idol was carbon-14 dated for the first time. The object was made around 731 AD, probably by the Waris, i.e. about 700 years before the height of the Incan empire. This confirms that the Pachacamac site already had local ritual importance before the Incas arrived. They then made it one of their main pilgrimage centres, to the point that it housed an oracle that advised the emperor himself.

These results are part of a broad study of painted objects and walls at the Pachacamac archaeological site that aims to better understand the materials, practices and knowledge related to colour in the Andes during the pre-Hispanic period.

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*- French participants were from the Laboratoire d'Archéologie Moléculaire et Structurale (Lams - CNRS/Sorbonne Université), the Laboratoire Archéologie des Amériques (Archam - CNRS/Université Paris 1 Panthéon-Sorbonne), the Laboratoire Histoire Naturelle de l'Homme Préhistorique" (CNRS/Muséum National d'Histoire Naturelle/Université de Perpignan - Via Domitia) and the Musée du quai Branly - Jacques Chirac.

Press release from CNRS / FR

 

 


The Met Acquires Works by Pakistani Artist Lala Rukh

Lala Rukh
(New York, January 9, 2020)—The Metropolitan Museum of Art announced today the acquisition of two important works by the Pakistani artist and activist Lala Rukh (Lahore, 1948–2017): the collage Mirror Image, 1, 2, 3 (1997) and the digital animation Rupak (2016). The works were purchased by the Museum with funds from the Tia Collection, part of the private foundation's commitment to enabling the acquisition of works by South Asian female artists for The Met's Department of Modern and Contemporary Art. The Tia Collection's support of the Museum began in 2018 with the gift of Ranjani Shettar's installation Seven ponds and a few raindrops (2017).
The Met also announced that the Estate of Lala Rukh has gifted the Museum a group of six posters to compliment the acquisition of Mirror Image, 1, 2, 3 and Rupak. Rukh created the posters, which call for the equal rights and freedom of women, during her years with the Women's Action Forum (WAF), the Pakistani women's rights organization that she co-founded.
"These powerful works by Lala Rukh add great strength to our holdings of contemporary art from South Asia, and we are extremely grateful to the Tia Collection for their generous support and commitment to the Museum," said Max Hollein, Director of The Met. "We also thank the Lala Rukh Estate for their important gift, which further enhances our understanding of Rukh's practice."
The Met is the first museum in the United States to acquire Rukh's work. Considered one of Rukh's most important pieces, Mirror Image 1, 2, 3 (1997) was made in response to the aftermath and ensuing communal violence following the destruction of the Babri Masjid Mosque in Ayodhya, India, in 1992, including the riots that took place for years in cities such as Mumbai, Dhaka, and Lahore. To create Mirror Image, Rukh cut out newspaper images of the riots and acts of damage and then blackened them, using charcoal and other media, thus abstracting the images, and finally attached them in pairs to sheets of grid paper. The gesture of obfuscating the imagery was her riposte to the negative and propagandist impact that such widely circulated images could have.
The single-channel video Rupak (2016), the artist's final work, is the culmination of her abiding preoccupation with Hindustani classical music, a source of inspiration throughout her career. Commissioned for Documenta 14, Rupak is a stop-motion animation built around the percussive scheme of a Hindustani classical taal called rupak, which has a seven-beat structure. Rukh collaborated with composer musician Sunny Justin to compose the 12-second rupak taal table solo that forms the basis of the animation. Once the score was completed, Rukh devised her own method of transcribing the beats to paper. Over a two-month period, she would draw and re-draw the sounds of the rupak taal on a grid in a dot-based system. She made these dots using the angled tip of aqalam (a dried reed pen used in calligraphy). Rukh completed a set of 88 drawings that were then scanned and animated, with her marks coalescing as a single white dot that moves rhythmically along the screen.

About the Artist

Born in Lahore, Pakistan, Lala Rukh was raised in a progressive and liberal household that instilled in her the political awareness that came to inform aspects of her practice in later years. She received her MFA from Punjab University in Lahore and then from the University of Chicago in 1976. Her time in the United States had an important impact on her art and activism, exposing her to the practices of artists such as Robert Rauschenberg, John Baldessari, and Christo as well as a collaborative performance by Merce Cunningham and John Cage. She returned to Lahore in 1977, a time of an increasingly oppressive environment for women and severe Islamization under the military dictatorship of General Zia Ul Haq. As a result, Rukh involved herself with the women's movement and co-founded the Women's Action Forum (WAF), commencing a life-long commitment to political activism. She taught for 30 years at Punjab University, in the Department of Fine Art, and the National College of Arts, retiring near the end of her life. Alongside her teaching and activism, she maintained a rigorous studio practice.
About the Tia Collection
 
The Tia Collection is an international, private collection of modern and contemporary art based in Santa Fe, New Mexico. The Tia Collection is committed to supporting The Met in strengthening its holdings of South Asian art, with a particular focus on female artists.

Press release from the Metropolitan Museum of Art.


Citi exhibition Arctic: culture and climate

"Arctic: culture and climate", an exhibition on the history of the Arctic people

British Museum announces major exhibition on the Arctic
The Citi exhibition Arctic: culture and climate

28 May – 23 August 2020
Sainsbury Exhibitions Gallery

Lead supporter Citi
Supported by
Julie and Stephen Fitzgerald
AKO Foundation

There's Another One

In May 2020 the British Museum will open the first major exhibition on the history of the Arctic and its indigenous peoples, through the lens of climate change and weather. The Arctic has been home to resilient communities for nearly 30,000 years, cultures that have lived with the opportunities and challenges of one of the most dramatic and dynamic environments on the planet. Today climate change is transforming the Arctic at the fastest rate in human history. The Citi exhibition Arctic: culture and climate is the first to look at the circumpolar region through the eyes of contemporary Arctic communities, revealing how Arctic peoples have adapted to climate variability in the past and addresses the global issue of changing climate through their stories in a transforming world.

Citi exhibition Arctic: culture and climate
Arctic Foliage wall hanging

Bringing together the largest and most diverse circumpolar collection ever displayed in the UK, including objects from the British Museum’s world-class Arctic collection and international lenders and commissions, this exhibition will reveal a wealth of artistic expression and ecological knowledge, from the past right up to the present day. From rare 28,000 year old archaeological finds excavated from the thawing ground in Siberia, unique tools and clothing adapted for survival, artworks reflecting the respectful relationship between Arctic people and the natural world, to stunning photography of contemporary daily life, the exhibition will show the great diversity of cultures and ingenuity of communities responding to dramatic changes in seasonal weather and human-caused climate change.

Walrus ivory needles, Yana-site, Russia

The Arctic Circle is the most northern region in the world encompassing the area of midnight sun in summer and the polar night in winter that covers 4% of the Earth. It is home to 4 million people including 400,000 indigenous peoples belonging to one or more of 40 different ethnic groups with distinct languages and dialects. Most of the Arctic’s indigenous inhabitants rely on hunting, fishing and reindeer herding. These subsistence resources are supplemented by employment in industries such as government infrastructures, energy, commercial fishing and tourism.

Arctic peoples have traded and engaged across the Circumpolar North for millennia. From Russia, Greenland, Canada and the USA to the Scandinavian nations, the peoples of the region have thrived within this ever-changing and evolving landscape. Scientists predict that the Arctic will be ice-free in 80 years, which will bring dramatic and profound change to the people that live there and will affect us all.

Citi exhibition Arctic: culture and climate
Sledge

Twyla Thurmond, tribal coordinator, from Shishmaref, Alaska says “Shishmaref and other Alaska Native communities are demonstrating how people can stay strong and unified in their search for answers to climate change, the most challenging problem of the 21st century.”

The exhibition will feature many highlight objects from across the circumpolar region, including an 8-piece Igloolik winter costume made of caribou (wild reindeer) fur, illustrating the relationship between humans and animals in the Arctic. The hunted animal provides food for the community as well as clothing, perfectly adapted to help humans survive the extreme cold. All available natural materials are put to use. A delicate and unique household bag from western Alaska, crafted from tanned salmon skin, demonstrates the beautiful properties that emerge from fishskin when skilled practitioners work and expose material to particular weather conditions.

Icon into mask

Over the past 300 years, Arctic peoples have faced dramatic social, economic, and political changes as a result of European and Russian exploration to the region, quests for the Northwest Passage, and the global fur trade. A key object from this period is the Inughuit (Greenlandic) sled made from narwhal and caribou bone and pieces of driftwood. It was traded to Sir John Ross on his 1818 expedition, marking the first encounter between Inughuit and Europeans. Arctic peoples’ responses to the establishment of colonial governments and state-sponsored religions in the Arctic will feature, including a bronze carved Evenki spirit mask that was made from a 17th century Russian Orthodox icon. Today, Arctic peoples are transforming traditional heritage to meet contemporary needs and safeguard their culture. From performances adapted from ritual practices to commercial artwork inspired by storytelling and material traditions.

Citi exhibition Arctic: culture and climate
Inukshuk

Stunning contemporary photography of the Arctic landscape and local communities will form part of the immersive exhibition design. There will be a number of new artworks commissioned for the exhibition. These include a limestone Inuksuk, an iconic Arctic monument of stacked stones used to mark productive harvesting locations or to assist in navigation, built by Piita Irniq, from the Kivalliq Region of Nunavut, Canada. A new installation from the art collective Embassy of Imagination will present traditional clothing made from Japanese paper and printmaking by Inuit youth in Kinngait (Cape Dorset) and Puvirnitug, Nunavut, Canada.

Citi exhibition Arctic: culture and climate
Sami hat

The Citi exhibition Arctic: culture and climate will tell inspirational stories of human achievement while celebrating the region’s natural beauty. It will encourage debate about the future of this globally significant landscape in the light of the global climate change. Arctic peoples have faced different kinds of change, developing strategies and tools to mitigate the disruptive effects of social and environmental change from which we can all learn.

Lead supporter Citi

Supported by Julie and Stephen Fitzgerald, and AKO Foundation

Amber Lincoln, Curator, Americas Section, British Museum, said ‘Through the generosity of indigenous Arctic people and Arctic scholars, this exhibition weaves together compelling stories, objects and landscapes of the Circumpolar North, at a time when the Arctic is changing before our very eyes.’

Hartwig FischerDirector of the British Museum, said ‘The Citi exhibition Arctic: culture and climate is a bold and ambitious exhibition that reflects the expanding vision of the British Museum. The show directly addresses the essential question of how humans can live with the impacts of extreme weather. The future and past come together in the present, united by the shared experiences of Arctic peoples. I would like to thank Citi, whose on-going support has allowed the Museum to realise this ground-breaking exhibition.’

James Bardrick, Citi Country Officer, United Kingdom says: “As a global bank, we play an essential role in financing a sustainable economy and supporting indigenous peoples’ rights. We are particularly proud to partner with the British Museum for the forthcoming Arctic: culture and climate exhibition that sheds light on the formidable artistic expression and ecological knowledge of the Arctic populations. We are committed to financing and facilitating clean energy, infrastructure and technology projects that support environmental solutions and reduce the impacts of climate change, on rich and diverse communities such as those that inhabit the circumpolar Arctic.”

Citi exhibition Arctic: culture and climate
Umiaq and north wind during spring whaling by Kiliii Yuyan

If you want to read more about Arctic: culture and climate, follow the British Museum blog at blog.britishmuseum.org

 

Press release from the British Museum

Pictures courtesy of the British Museum


Rök runestone

The Vikings erected the Rök runestone out of fear of a climate catastrophe

The Vikings erected a runestone out of fear of a climate catastrophe

Rök runestone
The Rök runes. Credit: Helge Andersson

Several passages on the Rök stone - the world's most famous Viking Age runic monument - suggest that the inscription is about battles and for over a hundred years, researchers have been trying to connect the inscription with heroic deeds in war. Now, thanks to an interdisciplinary research project, a new interpretation of the inscription is being presented. The study shows that the inscription deals with an entirely different kind of battle: the conflict between light and darkness, warmth and cold, life and death.

The Rök runestone, erected in Östergötland around 800 CE, is the world's most famous runestone from the Viking Age, but has also proven to be one of the most difficult to interpret. This new interpretation is based on a collaboration between researchers from several disciplines and universities.

"The key to unlocking the inscription was the interdisciplinary approach. Without these collaborations between textual analysis, archaeology, history of religions and runology, it would have been impossible to solve the riddles of the Rök runestone," says Per Holmberg, professor in Swedish at the University of Gothenburg, who led the study.

A previous climate catastrophe

The study is based on new archaeological research describing how badly Scandinavia suffered from a previous climate catastrophe with lower average temperatures, crop failures, hunger and mass extinctions. Bo Gräslund, professor in Archaeology at Uppsala University, points to several reasons why people may have feared a new catastrophe of this kind:

"Before the Rök runestone was erected, a number of events occurred which must have seemed extremely ominous: a powerful solar storm coloured the sky in dramatic shades of red, crop yields suffered from an extremely cold summer, and later a solar eclipse occurred just after sunrise. Even one of these events would have been enough to raise fears of another Fimbulwinter," says Bo Gräslund.

Nine riddles

According to the researchers' new interpretation now being published, the inscription consists of nine riddles. The answer to five of these riddles is "the Sun". One is a riddle asking who was dead but now lives again. The remaining four riddles are about Odin and his warriors.

Olof Sundqvist, professor in History of Religions at Stockholm University, explains the connection:

"The powerful elite of the Viking Age saw themselves as guarantors for good harvests. They were the leaders of the cult that held together the fragile balance between light and darkness. And finally at Ragnarök, they would fight alongside Odin in the final battle for the light."

Parallels with other Old Norse texts

According to the researchers, several points in the inscription have clear parallels with other Old Norse texts that no one has previously noted.

"For me, it's been almost like discovering a new literary source from the Viking Age. Sweden's answer to the Icelandic Poetic Edda!" says Henrik Williams, professor in Scandinavian Languages with a specialty in Runology at Uppsala University.

 

The Rök runestone. Credit: Helge Andersson

Links to article and other media

The Rök runestone and the end of the world (Futhark: International Journal of Runic Studies): https://doi.org/10.33063/diva-401040

English translation of the inscription, with the answer to the nine riddles with textual parallels on Old Norse or Anglo-Saxon poetry (CC-BY: Henrik Williams, Per Holmberg, Bo Gräslund, Olof Sundqvist)
(Choose English): https://hum.gu.se/aktuellt/Nyheter/fulltext//svensk-oversattning-av-rokstenens-text.cid1668443

Audio recording of Henrik Williams reading the inscription (CC-BY: Henrik Williams): https://commons.wikimedia.org/wiki/File:R%C3%B6k_runestone_interpretation_2020.opus

Press release from the University of Gothenburg.


Researchers learn more about teen-age T.Rex

Researchers learn more about teen-age T.Rex

A study of two juvenile T.rex skeletons show how the large predator grew up

Tyrannosaurus Rex T. Rex Nanotyrannus
Skeletal mount of "Jane" the 11 year-old Tyrannosaurus rex, on display at the Burpee Museum of Natural History, Rockford, Illinois. Picture by Zissoudisctrucker, CC BY-SA 4.0

Without a doubt, Tyrannosaurus rex is the most famous dinosaur in the world. The 40-foot-long predator with bone crushing teeth inside a five-foot long head are the stuff of legend. Now, a look within the bones of two mid-sized, immature T. rex allow scientists to learn about the tyrant king's terrible teens as well.

In the early 2000s, the fossil skeletons of two comparatively small T. rex were collected from Carter County, Montana, by Burpee Museum of Natural History in Rockford, Illinois. Nicknamed "Jane" and "Petey," the tyrannosaurs would have been slightly taller than a draft horse and twice as long.

The team led by Holly Woodward, Ph.D., from Oklahoma State University Center for Health Sciences studied Jane and Petey to better understand T. rex life history.

The study "Growing up Tyrannosaurus rex: histology refutes pygmy 'Nanotyrannus' and supports ontogenetic niche partitioning in juvenile Tyrannosaurus" appears in the peer-reviewed journal Science Advances.

Co-authors include Jack Horner, presidential fellow at Chapman University; Nathan Myhrvold, founder and CEO of Intellectual Ventures; Katie Tremaine, graduate student at Montana State University; Scott Williams, paleontology lab and field specialist at Museum of the Rockies; and Lindsay Zanno, division head of paleontology at the North Carolina Museum of Natural Sciences. Supplemental histological work was conducted at the Diane Gabriel Histology Labs at Museum of the Rockies/Montana State University.

"Historically, many museums would collect the biggest, most impressive fossils of a dinosaur species for display and ignore the others," said Woodward. "The problem is that those smaller fossils may be from younger animals. So, for a long while we've had large gaps in our understanding of how dinosaurs grew up, and T. rex is no exception."

The smaller size of Jane and Petey is what make them so incredibly important. Not only can scientists now study how the bones and proportions changed as T. rex matured, but they can also utilize paleohistology-- the study of fossil bone microstructure-- to learn about juvenile growth rates and ages. Woodward and her team removed thin slices from the leg bones of Jane and Petey and examined them at high magnification.

"To me, it's always amazing to find that if you have something like a huge fossilized dinosaur bone, it's fossilized on the microscopic level as well," Woodward said. "And by comparing these fossilized microstructures to similar features found in modern bone, we know they provide clues to metabolism, growth rate, and age."

The team determined that the small T. rex were growing as fast as modern-day warm-blooded animals such as mammals and birds. Woodward and her colleagues also found that by counting the annual rings within the bone, much like counting tree rings, Jane and Petey were teenaged T.rex when they died; 13 and 15 years old, respectively.

There had been speculation that the two small skeletons weren't T. rex at all, but a smaller pygmy relative Nanotyrannus. Study of the bones using histology led the researchers to the conclusion that the skeletons were juvenile T. rex and not a new pygmy species.

Instead, Woodward points out, because it took T. rex up to twenty years to reach adult size, the tyrant king probably underwent drastic changes as it matured. Juveniles such as Jane and Petey were fast, fleet footed, and had knife-like teeth for cutting, whereas adults were lumbering bone crushers. Not only that, but Woodward's team discovered that growing T. rex could do a neat trick: if its food source was scarce during a particular year, it just didn't grow as much. And if food was plentiful, it grew a lot.

"The spacing between annual growth rings record how much an individual grows from one year to the next. The spacing between the rings within Jane, Petey, and even older individuals is inconsistent - some years the spacing is close together, and other years it's spread apart," said Woodward.

The research by Woodward and her team writes a new chapter in the early years of the world's most famous dinosaur, providing evidence that it assumed the crown of tyrant king long before it reached adult size.

 

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Thomas Becket 2020

Thomas Becket 2020: a year-long programme of events for the 850th anniversary of his murder

2020 programme commemorating the murder of Thomas Becket unveiled

  • 2020 is the 850th anniversary of the murder of Thomas Becket, Archbishop of Canterbury
  • Year-long programme of Becket2020 events unveiled
  • British Museum to host first ever major UK exhibition on Thomas Becket’s life, death and legacy
Thomas Becket 2020
Reliquary, Limoges, c. 1200. The image on the front panel shows the murder of Thomas Becket in Canterbury Cathedral. © The Trustees of the British Museum

A year-long programme of events marking the 850th anniversary of one of the most shocking crimes in European history, the murder of Thomas Becket, are unveiled today. ‘Becket2020’ will see venues in London, Canterbury and beyond host a range of events across the year to commemorate his murder - a moment which changed the course of history. The programme includes performances, pageants, talks, film screenings and religious services, and culminates in the first ever major UK exhibition to explore Becket’s life, death and legacy which will open at the British Museum in October.

Thomas Becket 2020
A second Reliquary, Limoges, c. 1200. The image on the front panel shows the murder of Thomas Becket in Canterbury Cathedral. © The Trustees of the British Museum

Thomas Becket, Archbishop of Canterbury, was murdered on 29 December 1170 – 849 years ago tomorrow. He was killed in Canterbury Cathedral by four knights with close ties to his former friend King Henry II, as eye-witnesses looked on. Becket was quickly canonised a saint by the Pope and his shrine at Canterbury became a major centre of European pilgrimage before being destroyed on the orders of Henry VIII in the early years of the English Reformation. In both the Roman Catholic and Anglican Church he is recognised as a saint and a martyr.

Canterbury Cathedral at night – © Canterbury Cathedral

In 2020, Canterbury will be the centre of activity celebrating Becket. A major new production of T. S. Eliot’s Murder in the Cathedral will be performed for the first time in Canterbury Cathedral in October and is a joint initiative with The Marlowe Theatre. The Cathedral will also host a special choral evensong service to commemorate Becket’s martyrdom on the 29 December 2020. Elsewhere in the city, other highlights include Saint Thomas Becket – World Celebrity Healer at The Beaneya community creative project focusing on mental and physical health and wellbeing in the context of Becket’s fame. In July, Canterbury’s fifth annual Medieval Pageant and Trail will take place, and this year commemorates Henry ll’s pilgrimage to Canterbury to perform penance for his association with the murder of Becket.

Thomas Becket 2020
Pilgrim badge from the shrine of St Thomas Becket at Canterbury Cathedral. This badge depicts the scene of Becket’s martyrdom. © Museum of London.

London, the city of Becket’s birth, will also host a range of important events. Thomas Becket (title tbc) at the British Museum will be the first time Becket’s life, death and legacy has been explored in a major exhibition in the UK. Opening in October, it will showcase an incredible array of over 100 objects associated with Becket, including manuscripts, jewellery, sculpture, stained glass and paintings, and will feature artefacts from the Museum’s collection as well as important loans from the UK and around the world. It will present Becket’s tumultuous journey: from London-merchant’s son to Archbishop; and from a revered saint in death, to a ‘traitor’ in the eyes of Henry VIII, over 350 years later. Highlights include a number of beautiful sacred reliquaries which once contained precious relics of Thomas Becket. These were taken across Continental Europe and speak to the profound international spread of his cult.

Thomas Becket 2020
Pilgrim badge, pewter, a standing figure of St Thomas Becket, wearing archbishop's vestments and holding a cross-staff.  Becket's shrine at Canterbury was the most popular in England.  14th century. © Museum of London.

Also in the capital, The Museum of London will display a selection of their extraordinary collection of pilgrim badges. For over 300 years, Londoners flocked to Becket's shrine in Canterbury often returning with a badge as a keepsake. The Museum of London will use examples to illustrate Becket’s extraordinary life and his connections to the capital. Visitors will be encouraged to undertake their own mini-pilgrimage through the museum’s Medieval London Gallery from 14 February to October 2020. In June, the Becket Pageant for London will be a landmark community project centred around a new 70-minute stage-work and set against the iconic backdrop of medieval Guildhall Yard. The event will seek to re-imagine the only known Becket pageant, performed in London in 1519, and will be a playful musical entertainment for a modern audience. His Grace The Most Reverend and Right Honourable Justin Welby, The Archbishop of Canterbury, will preach at Southwark Cathedral in December 2020, in commemoration of Thomas Becket's final sermon which took place at the same site shortly before his death. The Cathedral will also host an art installation by artist Michelle Rumney during Lent.

Naomi Speakman, co-curator of Thomas Becket at the British Museum, said: “the story of Thomas Becket’s life, death and legacy has all the hallmarks of a Game of Thrones plot. There’s drama, fame, royalty, power, envy, retribution, and ultimately a brutal murder that shocked Europe. These events had repercussions that have echoed out through time, and we’re delighted to be telling this important story for the first time in a major exhibition.”

Thomas Becket (title tbc) is at the British Museum from 15 October 2020 until 14 February 2021.

Canterbury Cathedral – © Canterbury Cathedral

Becket2020 programme of events.

This is a draft programme of events, to which others are in the process of being added, based on information derived from partners.

Canterbury Cathedral will take the lead on the leaflet and website for Becket 2020.

Events:

23 January - 'Lecture: 'Thomas Becket and the Young Henry III' by Professor David Carpenter, Professor of Medieval History (King’s College London)

7.00pm Claggett Auditorium, Canterbury Cathedral Lodge.

Free to Historical Association members and students; £3 for others

14 February (to October) – Becket 2020 pilgrim badge display at the Museum of London (free)

St Thomas Becket is an internationally renowned figure but his connections to London are rather less well-known. For over 300 years, Londoners flocked to Becket's shrine in Canterbury often returning with a pewter badge as a keepsake. Hundreds of these pilgrim souvenirs have been recovered from London excavations and mudlarking activity along the Thames and the museum holds the largest collection in the country.

The Museum of London will use some of its pilgrim badges to illustrate St Thomas Becket’s extraordinary life and his connections to the capital. Visitors will be encouraged to undertake their own mini-pilgrimage through the museum’s Medieval London Gallery from 14 February to October 2020. The display will deal with Thomas Becket the man and his early life in London, his exile and murder, the impact of his death and rise in miracle cures and finally, Becket’s shrine and the Jubilee of the Martyrdom in 1220.

25 February - Lecture on Becket & London by Prof Caroline Barron, Mercers' Hall, London

26 March - "The two Thomases" talk by Dean of Hereford, Hereford Cathedral

27 March - Annual Thomas Becket Lecture, a talk by Lord Rowan Williams on ‘Bede and Canterbury’ to anticipate the opening of the Medieval Canterbury Weekend (Venue: Canterbury Christ Church University).

3-5 April - Medieval Canterbury Weekend. 3-5 April 2020. Includes 'Becket was a Londoner' lecture on 5/4/20). Venue: Canterbury Christ Church University https://www.canterbury.ac.uk/arts-and-humanities/school-of-humanities/medieval-canterbury-weekend/medieval-canterbury-weekend.aspx

April to October 2020 - Canterbury Cathedral Eastern Crypt set aside as Pilgrimage Chapel for Becket2020

16 May – 27 September - ‘Becket - World Celebrity Healer’ exhibition at The Beaney House of Art and Knowledge, Canterbury https://canterburymuseums.co.uk/events/saint-thomas-becket-world-celebrity-healer/

18 May - ‘Church, Saints and Seals, 1150-1300’ (a one-day conference at Canterbury Cathedral and Canterbury Christ Church University).

24 May - Friends of Southwark Cathedral pilgrimage set off from London to Canterbury Cathedral. Arrive 1st June

30 May - Day of Prayer and Pilgrimage, plus Beacon Event (Canterbury Cathedral)

25 June–2 July – King’s Week (The King’s School, Canterbury) will include Becket-themed events.

27 June – Becket on Film screenings (Dr Tim Jones, Canterbury Christ Church University)

Late June (one of the final two weekends) - London pageant, Guildhall Yard (Emmeline Winterbotham)

4 July - Canterbury Medieval Pageant and Family Trail (An annual Becket-themed community event, led by the Canterbury Business Improvement District, involving community groups, re-enactors, and heritage organisations across the city).

4 July - Blessing of Becket Copes at Evensong (Canterbury Cathedral)

4 July – An evening screening of the 1960s film ‘Becket’ at the Gulbenkian (Venue: University of Kent, Canterbury).

5 July – Canterbury Cathedral major service for the Translation of Becket. 10.00 Eucharist, 15.00 ecumenical service

6th July - 31st Dec 2020 - "The Two Thomases" Exhibition at Hereford Cathedral

7 July - St Thomas Day

19 July – Canterbury Cathedral’s ‘Night of the Cathedral’ event 17.30 - 21.00

July (date TBC) - Film Screening by Dr Tim Jones of the 1970 anniversary of Becket’s martyrdom (Venue: Canterbury Christ Church University).

26 August - Pilgrimage Visit to Canterbury Cathedral from the Friends of Hereford Cathedral

Late August / September – A 3-week exhibition and series of talks on Kentish saints (Venue: Centre for Kent History and Heritage, in partnership with Canterbury Archaeological Trust, the Kent Archaeological Society and other local partners):

  • Monday 31 August: St Martin's: An introduction to the cult of saints: Dr Sarah James (University of Kent)
  • Tuesday 1 September: St Paul's: Early Episcopal Saints: Dr Diane Heath (CCCU)
  • Wednesday 2 September: St Mildred's: Anglo-Saxon female saints: Dr Hilary Powell (CCCU)
  • Thursday 3 September: St Dunstan's: ‘Conflicting convictions:  martyrs of the 16th century’: Dr Doreen Rosman (retired, University of Kent)
  • Friday 4 September: St Peter's: Late medieval minor and failed cults: Dr Sheila Sweetinburgh (CCCU)
  • Saturday 5 September: St Thomas RC church: St Thomas of Canterbury: Professor Rachel Koopmans (York University, Toronto)

September - A Sandwich to Canterbury relay walk (incorporating local parishes between Sandwich and Canterbury - tbc).

September – The Annual Education Day hosted by the Canterbury Tales Attraction with local partners.

September – Heritage Open Days will have a Becket theme.

19 September - Canterbury Cathedral Friends ‘Friends Day’, for members only, with a Becket theme (Venue: Canterbury Cathedral).

27 September - Lees Court Singing Compline for Becket at Canterbury Cathedral

3 October - Joint Evensong Portsmouth & Dio Pilgrimage (Canterbury Cathedral)

15 Oct 2020 onwards - British Museum Thomas Becket exhibition, London (end date and title TBC)

22-24 Oct 2020 - Murder in the Cathedral in Canterbury Cathedral. Major joint production with Marlowe Theatre.

27-29 Oct 2020 - Canterbury Cathedral: Big Draw and Childrens Pilgrimage activities

11-13/14 November – ‘Thomas Becket: Life, Death and Legacy’ Conference (Canterbury Cathedral, Canterbury Christ Church University and University of Kent – dates and keynotes confirmed including Prof. Anne Duggan, Prof. Rachel Koopmans, Prof. Alec Ryrie, Prof. Nick Vincent, Dr Paul Webster; Venue: Canterbury Cathedral; funded by the British Academy).

29 December – Special choral evensong service to commemorate Becket’s martyrdom (Venue: Canterbury Cathedral).

Other Canterbury events in planning include:

  • Annual Anselm Lecture (University of Kent at Canterbury – date tbc).
  • St Dunstan’s Church, Canterbury, will produce a leaflet on Henry II and Becket.
  • St Thomas’s Church, Canterbury, will have a musical event, a possible exhibition and has a strong interest in pilgrimage.
  • The Canterbury Society will also host a Becket-related talk.
  • The St Dunstan’s underpass in Canterbury will have a new mural depicting medieval pilgrims through to modern students.
  • Canterbury Archaeological Trust Activities: (1) a workshop on Canterbury in the age of Becket, with object handling; (2) holding one or more walking tours of Canterbury in the age of Becket; (3) running an East Kent tour of individual sites (monuments, churches, etc.); (4) developing Apps for 20 centuries of Canterbury; and (5) producing a new book on Canterbury and a new map of Canterbury.

Other events to be aware of:

  • Lambeth 2020. 27 July - 1 Aug 2020 (University of Kent and Canterbury Cathedral)
  • The Open Golf, 12-19 July 2020 Sandwich, Kent
  • Canterbury Festival (17-31 October 2020)

 

Press release for the 2020 programme commemorating the murder of Thomas Becket from the British Museum


Tollense Vallery Bronze Age battlefield

A warrior on a unique Bronze Age battlefield site in the Tollense Valley

Lost in Combat? Researchers discover belongings of a warrior on unique Bronze Age battlefield site

Tollense Vallery Bronze Age battlefield
This collection of objects was found by divers in the Tollense river and is probably the contents of a personal pouch of a warrior who died 3,300 years ago on the battlefield. Credit: Volker Minkus

Recent archaeological investigations in the Tollense Valley led by the University of Göttingen, the State Agency for Cultural Heritage in Mecklenburg-Vorpommern and the University of Greifswald have unearthed a collection of 31 unusual objects. Researchers believe this is the personal equipment of a Bronze Age warrior who died on the battlefield 3,300 years ago.  This unique find was discovered by a diving team headed by Dr Joachim Krüger, from the University of Greifswald, and seems to have been protected in the river from the looting, which inevitably followed fighting.  The study was published in Antiquity.

Tollense Vallery Bronze Age battlefield
These are the battlefield remains from the layer where objects were found at the site near the Tollense river in Weltzin. Credit: Stefan Sauer

The archaeological records of the European Bronze Age are dominated by settlement finds, hoards and evidence of funeral sites.  However, the site at the river Tollense in Northern Germany is very different and provides for the first time in Europe the evidence of a prehistoric battlefield.  Over 12,000 pieces of human bone have already been recovered from the valley and osteoanthropologist Ute Brinker, from the State Agency has identified more than 140 individuals – young adult males in good physical condition. Their bones showed signs of recent trauma – the result of close and long-range weapons – and healed lesions, which probably indicate they were accustomed to combat. Isotopic results suggested that at least some of the group were not from the local area, but until now, it was not clear how far they travelled.

 

The discovery of a new set of artefacts from the remains of battle provides important new clues. The divers could document a number of Bronze finds in their original position on the river ground, among them a decorated belt box, three dress pins and also arrow heads. Surprisingly they also found 31 objects (250g) tightly packed together, suggesting they were in a container made of wood or cloth that has since rotted away. The items include a bronze tool with a birch handle, a knife, a chisel and fragments of bronze. Radiocarbon dating of the collection of objects demonstrates that the finds belong to the battlefield layer and they were probably the personal equipment of one of the victims. The finds were studied in a Master’s thesis by Tobias Uhlig and the new results make it increasingly clear that there was a massive violent conflict in the older Nordic Bronze Age (2000–1200 BC). In fact, recent evidence suggests that it is likely to have been on a large scale, clearly stretching beyond regional borders.

Tollense Vallery Bronze Age battlefield
This is a human skull found in the Tollense valley with fatal trauma caused by a Bronze arrowhead. Credit: Volker Minkus

Professor Thomas Terberger, from the Department of Pre- and Early History at the University of Göttingen, says, “This is the first discovery of personal belongings on a battlefield and it provides insights into the equipment of a warrior. The fragmented bronze was probably used as a form of early currency. The discovery of a new set of artefacts also provides us with clues about the origins of the men who fought in this battle and there is increasing evidence that at least some of the warriors originated in southern Central Europe.”

 

Original publication: Tobias Uhlig et al. Lost in combat? A scrap metal find from the Bronze Age battlefield site at Tollense (2019), Antiquity. DOI: 10.15184/aqy.2019.137

 

Press release (No. 207 - 15.10.2019) from the University of Göttingen / DE


A Stone Age boat building site has been discovered underwater

A Stone Age boat building site has been discovered underwater

This is an oblique view of site from the north showing eroding edge of the peat platform. Credit: Maritime Archaeological Trust

The Maritime Archaeological Trust has discovered a new 8,000 year old structure next to what is believed to be the oldest boat building site in the world on the Isle of Wight.

Director of the Maritime Archaeological Trust, Garry Momber, said "This new discovery is particularly important as the wooden platform is part of a site that doubles the amount of worked wood found in the UK from a period that lasted 5,500 years."

The site lies east of Yarmouth, and the new platform is the most intact, wooden Middle Stone Age structure ever found in the UK. The site is now 11 meters below sea level and during the period there was human activity on the site, it was dry land with lush vegetation. Importantly, it was at a time before the North Sea was fully formed and the Isle of Wight was still connected to mainland Europe.

The site was first discovered in 2005 and contains an arrangement of trimmed timbers that could be platforms, walkways or collapsed structures. However, these were difficult to interpret until the Maritime Archaeological Trust used state of the art photogrammetry techniques to record the remains. During the late spring the new structure was spotted eroding from within the drowned forest. The first task was to create a 3D digital model of the landscape so it could be experienced by non-divers. It was then excavated by the Maritime Archaeological Trust during the summer and has revealed a cohesive platform consisting of split timbers, several layers thick, resting on horizontally laid round-wood foundations.

Garry continued "The site contains a wealth of evidence for technological skills that were not thought to have been developed for a further couple of thousand years, such as advanced wood working. This site shows the value of marine archaeology for understanding the development of civilisation.

Yet, being underwater, there are no regulations that can protect it. Therefore, it is down to our charity, with the help of our donors, to save it before it is lost forever."

The Maritime Archaeological Trust is working with the National Oceanography Centre (NOC) to record and study, reconstruct and display the collection of timbers. Many of the wooden artefacts are being stored in the British Ocean Sediment Core Research facility (BOSCORF), operated by the National Oceanography Centre.

Stone Age boat
This is the structure following reconstruction. Credit: Maritime Archaeological Trust

As with sediment cores, ancient wood will degrade more quickly if it is not kept in a dark, wet and cold setting. While being kept cold, dark and wet, the aim is to remove salt from within wood cells of the timber, allowing it to be analysed and recorded. This is important because archaeological information, such as cut marks or engravings, are most often found on the surface of the wood and are lost quickly when timber degrades. Once the timbers have been recorded and have desalinated, the wood can be conserved for display.

Dr Suzanne Maclachlan, the curator at BOSCORF, said "It has been really exciting for us to assist the Trust's work with such unique and historically important artefacts. This is a great example of how the BOSCORF repository is able to support the delivery of a wide range of marine science."

When diving on the submerged landscape Dan Snow, the history broadcaster and host of History Hit, one of the world's biggest history podcasts, commented that he was both awestruck by the incredible remains and shocked by the rate of erosion.

This material, coupled with advanced wood working skills and finely crafted tools suggests a European, Neolithic (New Stone Age) influence. The problem is that it is all being lost. As the Solent evolves, sections of the ancient land surface are being eroded by up to half a metre per year and the archaeological evidence is disappearing.

Research in 2019 was funded by the Scorpion Trust, the Butley Research Group, the Edward Fort Foundation and the Maritime Archaeology Trust. Work was conducted with the help of volunteers and many individuals who gave their time and often money, to ensure the material was recovered successfully.

Stone Age boat
This is historian Dan Snow inspecting the site. Credit: Maritime Archaeological Trust

Press release from National Oceanography Centre