Wadi Hammeh 27, Jordan Valley

InhaltsverzeichnisTable of Contents Preface Dedication 1 Natufian Art Introduction 2 The Natufian – ‘a Dramatic and Brilliant Appearance on the Scene’ Discovery of the Natufian The Natufian Culture The Natufian Setting – Geography and Environment Precursors to Natufian Art – Examples from the Levant 3 Wadi Hammeh 27 Introduction Excavation of Wadi Hammeh 27 Site Chronology Site Formation Processes Architecture Decorated Artefact Types Fauna Flora Mineral Resources Human Burials Conclusion 4 Classifying Natufian Art Introduction Defining Natufian Art Quantifying Natufian Art A Classification System for Natufian Art Natufian Art – the Motif Categories Gendering Natufian Figurines Geometric Motifs Natufian Art – the Artefact Types Making Natufian Art – the Manufacture Process Examining Natufian Art 5 The Art Items from Wadi Hammeh 27 Introduction Catalogue of Art Items from Wadi Hammeh 27 Figures of Art Items from Wadi Hammeh 27 6 The Wadi Hammeh 27 Art Assemblage Introduction A Quantitative Analysis of Motifs Represented at Wadi Hammeh 27 Raw Materials Used in the Production of Art at Wadi Hammeh 27 Manufacturing Techniques Applied to the Art Items from Wadi Hammeh 27 Distribution of Phase 1 Art Items at Wadi Hammeh 27 Distribution of Art Items through Phases 1–4 Evidence for Re-ues of Art Items Conclusion 7 A Temporal, Spatial and Technological Analysis of Natufian Art Introduction The Significance of the Wadi Hammeh 27 Assemblage The Distribution of Natufian Art and Its Relationship to Site Type Motifs Used in Figurative and Geometric Representations – an Evaluation of the Evidence for Shared Artistic Traditions and Site Specific Identities Raw Materials and Manufacture Techniques Employed in the Production of Natufian Art Conclusion Tables Figures 8 Interpreting Natufian Art Objects Introduction Evidence for Narrative in Natufian Art Natufian ‘Notation’ Devices and the Challenges to Their Identification and Verification Natufian Art – Ambiguous Forms and Elusive Intent Found Objects – Shaped Stones and Manuports Gender in Natufian Art – the Predominance of Male Iconography Public Performance and Ritual at Wadi Hammeh 27 9 Conclusion Bibliography