Studies of introduced subject matter in rock-art assemblages typically focus on themes of cross-cultural interaction, change and continuity, power and resistance. However, the economic frameworks guiding or shaping the production of an assemblage have often been overlooked. In this paper we use a case study involving a recently recorded assemblage of introduced subject matter from Marra Country in northern Australia's southwest Gulf of Carpentaria region to explore their production using a hybrid economy framework. This framework attempts to understand the nature of the forces that shape people's engagement with country and subsequently how it is being symbolically marked as adjustments to country occur through colonization. We argue that embedding these motifs into a hybrid economy context anchored in the pastoral industry allows for a more nuanced approach to cross-cultural interaction studies and adds another layer to the story of Aboriginal place-marking in colonial contexts. This paper aims to go beyond simply identifying motifs thought to represent introduced subject matter, and the cross-cultural framework(s) guiding their interpretation, and instead to direct attention to the complex network of relations that potentially underpin the production of such motifs.

Cassowaries (Casuarius) are one of the largest indigenous animal species of New Guinea. Researchers have long been trying to understand their local socio-cultural significance. Here we present new results from interviews recorded in 2018 on ethnography associated with bone daggers, a material culture ornament and tool carved from the cassowary's tibiotarsus. We present a ‘storied notion’—a contemporary narrative from oral history of why cassowary is not simply a bird, and briefly describe cassowary bone ornamentation in Auwim, East Sepik Province of Papua New Guinea. By exploring the material history of Casuarius through a ‘storied notion’ approach, we reveal that cassowary bone daggers in rock art are narrative ideas of the species from its landscape to ornamentation and through to people's cosmological beliefs surrounding Casuarius. We argue that the cassowary bone dagger stencil can be seen as part of the life history of this animal.

Discussions of spatial relationships are persistent features of research on the organization of craft production. Despite the centrality of spatial issues, the correspondence between spatial patterning and economic organization remains relatively under-theorized, especially around questions of power and control. Drawing from the literature on craft ecology, specialization and landscape archaeology, I develop an approach that considers spatial scales of patterning, the power projection of elites and institutions and the articulation between elements of the crafting landscape. This approach recognizes the complex sets of factors affecting spatial patterning and ultimately produces a more robust understanding of how ancient economic systems were organized. These ideas are explored through a case study on Late Bronze and Early Iron Age metal production in the Caucasus, clarifying the organizational logics of the metal economy and highlighting how this industry differed in significant ways from other contemporary metal-producing regions in the ancient Near East.

Inference to religion and ritual does not require scripture. Since the early twentieth century, archaeologists have identified hundreds of deposits containing Buddhist scriptures, images and ritual objects throughout the Japanese archipelago, the majority dating to the late Heian period (794–1185 ce). Previous research suggests that scripture was the central feature of these deposits. This article argues that these deposits resulted from a range of highly variable contexts of religious and social practice, not limited to a focus on scripture. I survey early excavations and interpretations of sutra burial and then turn to two main case studies. These examples show that these deposits were complex assemblages that implicated diverse religious meanings, time frames and social actors. Scripture deposits can demonstrate how religious ritual illuminates, underwrites and interweaves variant scales of agency, time and social practice.

Early urban societies feature specialized processes that integrate disparate populations as part of their social construction. One such process is commensalism and the associated display of exotica from interregional interaction. Hosts of a feast between 400 and 300 bce at the early urban centre of Etlatongo, in the Mixteca Alta of Oaxaca, Mexico, displayed pottery that manifested relationships with urban elites at Monte Albán and other regions of Oaxaca, but also expressed connections with something fundamentally different. The hosts sacrificed a greenstone sculpture in the Mezcala style from Guerrero state, located to the west and previously unknown in Oaxaca aesthetics. The discovery of this figure contributes to reassessing the extent of interaction during a time often marked by regionalism in Oaxaca as well as providing information on the little-known Mezcala civilization. A relational ontology explores how the discovery of this agentive object and the alterity of its aesthetics facilitates understanding perceptions of distant others or imaginaries, and how such entanglements facilitated processes of status differentiation for nascent urban elites, particularly their role as mediators.

This article uses results from the recent excavations at Çatalhöyük in Turkey to propose that continuous tensions between egalitarian and hierarchical impulses were dealt with in two principal ways during the Neolithic of the Middle East. A tendency towards overall balance and community (termed molar) is seen as in tension with more particulate and molecular tendencies, with both being brought into play in order to combat inequalities. It is also suggested that tendencies towards more molecular systems increased over time, at different rates and in different ways in different places, partly as a response to constraints associated with more molar articulations. Finally, it is proposed that a shift to molecular autonomy was associated with agricultural intensification. Staying egalitarian can be seen as an active process that contributed to the Neolithic transformations.

Human communities belonging to different times and places often adopt a set of ideal rules, sometimes related to alimentary prescriptions. For different reasons, foods and/or specific resources are, in fact, prohibited to some social or religious groups, but sometimes these can elaborate special strategies to find a compromise between a high social status and the access to ‘prohibited’ resources. For past societies, a careful archaeological study, crossing data emerging from a multidisciplinary approach, written contemporary sources and the rules the community must follow, can depict what was an interplay of ideal rules and actual practice. The paper aims to study a significant population of the past, namely an early medieval monastic community, from a human ecology perspective, but also investigating food storage and preparation at the time, along with the practical respect of the Benedictine Rule about foods with its social implications. The site under study is San Vincenzo Abbey, one of the most important monastic power centres in Italy, which was destroyed in 881 ad by a Saracen raid followed by a destructive fire. This caused the collapse of some structures sealing the contexts of the kitchen's complex, thereby preserving many bioarchaelogical remains related to daily monastic life.

In this paper we study several panels with incised engravings, which have been discovered in recent years, from two shelters in the area of the River Martín (Teruel), Cañada de Marco and Los Borriquitos. They are of great scientific interest for several reasons. Firstly, because they represent an expansion of the Late Upper Palaeolithic engraving facies of Mediterranean Iberia, limited until now to ten sites. In these two new sites, these incised engravings are underlying Levantine and Schematic pictographs, and occasionally are interstratified with Levantine paintings, an exceptional fact which is published in its entirety for the first time. These stratigraphic relationships reflect continuity/change dynamics during the Pleistocene–Holocene transition and throughout the Holocene artistic cycle, topics which are crucial on a European scale. Finally, we have identified iconographic continuities between Epimagdalenian engravings and Levantine art, suggesting a possible link between these two graphic expressions. These findings may constitute solid support for the hypothesis about the pre-Neolithic origin of the exceptional Levantine art of the Iberian peninsula.

In memoriam Ramiro Alloza

Here I evaluate Andean concepts understood from the Quechua and Aymara languages to test their applicability to Moche archaeology—a region where the languages once spoken are now extinct. By focusing on geographical features common to the highlands and the coast (mountains and rivers) and archaeological evidence, I look at broad patterns of Moche material culture and consider how these relate to canal-fed irrigation systems, ceramic spatial patterning and fractaline socio-political organization documented in the colonial-era Chicama Valley. I then present a case study from Licapa II in the Chicama Valley to show that the physical components of the site's layout and the spatial patterns of artifact distribution relate to temporal and socio-political divisions that have their roots in long-standing ideas in Andean thought. Overall, this study shows that through careful evaluation some Quechua and Aymara concepts, namely tinku—or two parts coming together to make a whole—is relevant to the Moche worldview. This concept is manifest through canals uniting and dividing physical space, both socio-politically and temporally. Liquids running through the canals ensure the well-being and energetic flow of Moche society.

Depictions of mythical beings appear in many different forms of art world-wide, including rock art of various ages. In this paper we explore a particular type of imagery, back-to-back figures, consisting of two human-like figures or animals of the same species next to each other and facing in opposite directions. Some human-like doubles were joined at the back rather than side-by-side, but also face opposite directions. In this paper, we report on new research on rock art, bark paintings and recent paintings on paper and chart a 9000-year history of making aesthetically, symbolically and spiritually powerful back-to-back figures in Arnhem Land, Northern Territory, Australia.