In Cave Art Animals Are Shown in a Lifelike or Manner

Abstruse

Humans seem to have an adaptive predisposition for inventing, telling and consuming stories^ane. Prehistoric cave art provides the most straight insight that nosotros take into the earliest storytelling^2,iii,4,v, in the course of narrative compositions or 'scenes'^two,5 that characteristic articulate figurative depictions of sets of figures in spatial proximity to each other, and from which one tin can infer deportment taking identify amidst the figures^five. The Upper Palaeolithic cave art of Europe hosts the oldest previously known images of humans and animals interacting in recognizable scenes^2,5, and of therianthropes^{half dozen,7}—abstract beings that combine qualities of both people and animals, and which arguably communicated narrative fiction of some kind (folklore, religious myths, spiritual beliefs and so on). In this tape of creative expression (spanning from almost 40 thousand years agone (ka) until the beginning of the Holocene epoch at effectually 10 ka), scenes in cavern art are generally rare and chronologically tardily (dating to about 21–14 ka)^seven, and articulate representations of therianthropes are uncommon⁶—the oldest such image is a carved figurine from Germany of a human with a feline head (dated to about 40–39 ka)^viii. Here nosotros describe an elaborate stone art panel from the limestone cave of Leang Bulu' Sipong four (Sulawesi, Indonesia) that portrays several figures that appear to represent therianthropes hunting wild pigs and dwarf bovids; this painting has been dated to at least 43.9 ka on the ground of uranium-series assay of overlying speleothems. This hunting scene is—to our cognition—currently the oldest pictorial record of storytelling and the earliest figurative artwork in the world.

This is a preview of subscription content

Access options

Subscribe to Journal

Go full periodical access for one year

185,98 €

only 3,65 € per effect

All prices are Cyberspace prices.
VAT volition be added later on in the checkout.
Tax calculation will be finalised during checkout.

Buy article

Get fourth dimension limited or full article access on ReadCube.

$32.00

All prices are Cyberspace prices.

Additional admission options:

• Log in
• Learn about institutional subscriptions

Data availability

All relevant data are bachelor from the corresponding author upon reasonable asking.

References

1. Boyd, B. The evolution of stories: from mimesis to language, from fact to fiction. Wiley Interdiscip. Rev. Cogn. Sci. 9, e1444 (2018).

   Google Scholar

2. Azéma, Thousand. & Rivère, F. Animation in Palaeolithic art: a pre-echo of movie house. Artifact 86, 316–324 (2012).

   Article  Google Scholar

3. Mithen, S. in Becoming Homo: Innovation in Prehistoric Textile and Spiritual Culture (eds Renfrew, C. & Morley, I.) 123–134 (Cambridge Univ. Press, 2009).

4. Wynn, T., Coolidge, F. & Brilliant, M. Hohlenstein-Stadel and the evolution of homo conceptual idea. Camb. Archaeol. J. xix, 73–84 (2009).

   Commodity  Google Scholar

5. Davidson, I. in Making Scenes: Global Perspectives on Scenes in Rock Art (eds Davidson, I. & Nowell, A.) (Berghahn, in the printing).

6. Taçon, P. S. C. & Chippindale, C. in Theoretical Perspectives in Rock Art Research: ACRA: the Alta Briefing on Rock Art (ed. Helskog, K.) 175–210 (Oslo: Novus forlag: lnstituttet for Sammenlignende Kulturforskning, 2001).

7. Bahn, P. G. & Vertut, J. Journeying through the Ice Age (Weidenfeld & Nicolson, London, 1997).

8. Kind, C.-J., Ebinger-Rist, Northward., Wolf, South., Beutelspacher, T. & Wehrberger, Thou. The smile of the Lion Human being. Recent excavations in Stadel Cave (Baden-Württemberg, south-western Deutschland) and the restoration of the famous Upper Palaeolithic figurine. Quartär 61, 129–145 (2014).

   Google Scholar

9. Aubert, M. et al. Pleistocene cave fine art from Sulawesi, Indonesia. Nature 514, 223–227 (2014).

   CAS  ADS  Commodity  Google Scholar

10. Aubert, 1000. et al. Palaeolithic cavern fine art in Borneo. Nature 564, 254–257 (2018).

    CAS  ADS  Article  Google Scholar

11. Aubert, M., Brumm, A. & Taçon, P. S. C. The timing and nature of human colonization of Southeast Asia in the Late Pleistocene – a rock art perspective. Curr. Anthropol. 58, S553–S566 (2017).

    Article  Google Scholar

12. Burton, J. A., Mustari, A. H. & Rejeki, I. S. in Ecology, Conservation and Management of Wild Pigs and Peccaries (eds Melletti M. & Meijaard, E.) 184–192 (Cambridge Univ. Printing, 2018).

13. Hoffmann, D. Fifty. et al. U–Th dating of carbonate crusts reveals Neandertal origin of Iberian cavern fine art. Science 359, 912–915 (2018).

    CAS  ADS  Article  Google Scholar

14. Aubert, M., Brumm, A. & Huntley, J. Early dates for 'Neanderthal cave art' may be incorrect. J. Hum. Evol. 125, 215–217 (2018).

    Commodity  Google Scholar

15. Pearce, D. One thousand. & Bonneau, A. Problem on the dating scene. Nat. Ecol. Evol. 2, 925–926 (2018).

    Article  Google Scholar

16. Slimak, Fifty. et al. Comment on "U–Th dating of carbonate crusts reveals Neandertal origin of Iberian cave art". Science 361, eaau1371 (2018).

    Article  Google Scholar

17. Pike, A. W. G. et al. U-serial dating of Paleolithic art in 11 caves in Spain. Scientific discipline 336, 1409–1413 (2012).

    CAS  ADS  Article  Google Scholar

18. Allain, J. & Rigaud, A. Les petites pointes dans fifty'industrie osseuse de La Garenne: fonction et figurations. Anthropologie 96, 135–162 (1992).

    Google Scholar

19. Davenport, D. & Jochim, M. A. The scene in the shaft at Lascaux. Antiquity 62, 558–562 (1988).

    Article  Google Scholar

20. Le Quellec, J.-L. 50'homme de Lascaux et 50'enigme du Puits (Camille Bercot, Tautem, 2017).

21. McDonald, R. C. Limestone morphology in South Sulawesi, Indonesia. Z. Geomorphol. 26 (Suppl.), 79–91 (1976).

    Google Scholar

22. Brumm, A. et al. Early homo symbolic behavior in the Late Pleistocene of Wallacea. Proc. Natl Acad. Sci. USA 114, 4105–4110 (2017).

    CAS  Article  Google Scholar

23. van Heekeren, H. R. Stone-paintings and other prehistoric discoveries nigh Maros (South West Celebes). Laporan Tahunan Dinas Purbakala 1950, 22–35 (1952).

    Google Scholar

24. Eriawati, Y. Lukisan di Gua-Gua Karst Maros–Pangkep, Sulawesi Selatan: Gambaran Penghuni dan Matapencahariannya (Indonesian Ministry of Cultural Media Development, 2003).

25. Kurniawan, R. et al. Chemical science of prehistoric stone art pigments from the Indonesian isle of Sulawesi. Microchem. J. 146, 227–233 (2019).

    CAS  Article  Google Scholar

26. Saiful, A. K. & Burhan, B. Lukisan animate being, pola sebaran dan lanskap budaya di kawasan kars Sulawesi bagian selatan. Walennae 15, 75–88 (2017).

    Article  Google Scholar

27. Groves, C. P. & Grubb, P. Ungulate Taxonomy (John Hopkins Univ. Press, 2011).

28. Lorblanchet, M. in Animals into Art (ed. Morphy, H.) 109–141 (Unwin Hyman, London, 1989).

29. Lewis-Williams, D. J. The Mind in the Cave: Consciousness and the Origins of Fine art (Thames & Hudson, 2002).

30. Ludwig, K. R. User'due south Manual for Isoplot 3.75. A Geochronological Toolkit for Microsoft Excel (Berkeley Geochronology Center Special Publication No. 5) (Berkeley Geochronology Center, Berkeley, 2012).

31. Cheng, H. et al. The one-half-lives of uranium-234 and thorium-230. Chem. Geol. 169, 17–33 (2000).

    CAS  ADS  Article  Google Scholar

32. Oktaviana, A. A. et al. Hand stencils with and without narrowed fingers at two new stone fine art sites in Sulawesi, Indonesia. Rock Art Res. 33, 32–48 (2016).

    Google Scholar

33. Bourdon, B., Henderson, G. M., Lundstrom, C. C. & Turner, Southward. P. Uranium-serial Geochemistry (Mineralogical Society of America, Chantilly, 2003).

34. Zhao, J. X., Yu, K. F. & Feng, Y. X. Loftier-precision ²³⁸U–²³⁴U–²³⁰Thursday disequilibrium dating of the recent past – a review. Quat. Geochronol. 4, 423–433 (2009).

    Article  Google Scholar

35. Clark, T. R. et al. Spatial variability of initial ²³⁰Th/²³²Thursday in mod Porites from the inshore region of the Slap-up Bulwark Reef. Geochim. Cosmochim. Acta 78, 99–118 (2012).

    CAS  ADS  Article  Google Scholar

36. Clark, T. R. et al. Discerning the timing and crusade of historical mortality events in mod Porites from the Swell Bulwark Reef. Geochim. Cosmochim. Acta 138, 57–80 (2014).

    CAS  ADS  Article  Google Scholar

37. Zhou, H. Y., Zhao, J. Ten., Wang, Q., Feng, Y. Ten. & Tang, J. Speleothem-derived Asian summertime monsoon variations in Central China during 54–46 ka. J. Quat. Sci. 26, 781–790 (2011).

    Commodity  Google Scholar

38. Westaway, K. E. et al. An early on mod human presence in Sumatra 73,000–63,000 years ago. Nature 548, 322–325 (2017).

    CAS  ADS  Article  Google Scholar

39. St Pierre, Eastward., Zhao, J. X. & Reed, Due east. Expanding the utility of uranium-serial dating of speleothems for archaeological and palaeontological applications. J. Archaeol. Sci. 36, 1416–1423 (2009).

    Article  Google Scholar

40. Hellstrom, J. U–Th dating of speleothems with high initial ²³⁰Th using stratigraphical constraint. Quat. Geochronol. 1, 289–295 (2006).

    Article  Google Scholar

41. Plagnes, V. et al. Cantankerous dating (Th/U-¹⁴C) of calcite covering prehistoric paintings in Borneo. Quat. Res. 60, 172–179 (2003).

    CAS  Article  Google Scholar

42. Vanghi, Five., Frisia, S. & Borsato, A. Genesis and microstratigraphy of calcite coralloids analysed past high resolution imaging and petrography. Sedim. Geol. 359, sixteen–28 (2017).

    CAS  ADS  Article  Google Scholar

Download references

Acknowledgements

This enquiry was funded by Australian Research Council (ARC) fellowships awarded to M.A. (FT170100025) and A.B. (FT160100119), with further financial support from Griffith Academy. We thank Indonesia's Land Ministry of Research and Technology (RISTEK), I. Mahmud (Balai Arkeologi Sulawesi Selatan) and L. Aksa (Balai Pelestarian Cagar Budaya Makassar) for authorizing the research; and P. T. Semen Tonasa for providing access to the site. We acknowledge K. Kottermair, A. Jalandoni, D. P. McGahan, K. Newman and M. Langley for assistance with effigy production. We give thanks P. Veth, B. David and P. Southward. C. Taçon for comments on the paper.

Author information

Writer notes

1. Unaffiliated: Hamrullah

2. These authors contributed equally: Maxime Aubert, Adhi Agus Oktaviana, Adam Brumm

Affiliations

1. Identify, Evolution and Stone Art Heritage Unit of measurement (PERAHU), Griffith Centre for Social and Cultural Research, Griffith University, Gold Coast, Queensland, Commonwealth of australia

   Maxime Aubert & Adhi Agus Oktaviana

2. Australian Enquiry Eye for Man Evolution, Environmental Futures Inquiry Constitute, Griffith University, Brisbane, Queensland, Australia

   Maxime Aubert, Basran Burhan & Adam Brumm

3. Balai Pelestarian Cagar Budaya, Makassar, Indonesia

   Rustan Lebe, Muhammad Tang, Andi Jusdi &  Abdullah

4. Pusat Penelitian Arkeologi Nasional (ARKENAS), Jakarta, Republic of indonesia

   Adhi Agus Oktaviana, I. Made Geria & Priyatno Hadi Sulistyarto

5. Balai Arkeologi Sulawesi Selatan, Makassar, Indonesia

   Budianto Hakim & Ratno Sardi

6. School of Earth and Ecology Sciences, Academy of Queensland, Brisbane, Queensland, Australia

   Jian-xin Zhao

Contributions

A.B. and Thousand.A. conceived and led the research with senior collaborators B.H., P.H.S., I.M.G. and R.L. The rock art site was discovered by H. as part of a BPCB Makassar field survey led past K.T., and involving specialist input from A.J. and A. Rock art was recorded and analysed in the field by A.A.O., B.B. and R.S., and A.A.O. produced the digital tracings of parietal motifs. Thousand.A. identified and collected the coralloid speleothem samples at the stone art site and conducted the micromilling and subsampling of each speleothem sample. All in-field sampling involving rock fine art carried out past M.A. was done nether the straight supervision of R.L. J.-x.Z. conducted the U-series dating. M.A. and J.-x.Z. analysed and interpreted U-series information, and discussed and approved correction factors and other methodological details pertinent to the dating results. A.B. and Thou.A. wrote the newspaper, with key contributions from the other authors. The figures were produced and/or designed by A.B. M.A. and J.-ten.Z. prepared the Methods. All authors reviewed and edited the paper.

Corresponding author

Correspondence to Adam Brumm.

Ethics declarations

Competing interests

The authors declare no competing interests.

Additional information

Publisher'south notation Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Extended data figures and tables

Extended Information Fig. 1 The oldest hunting scene and therianthrope images known from Europe.

a, b, The shaft scene from Lascaux (about 21–14 ka) (a). This stone art panel is widely interpreted as depicting a bird-headed human effigy (b) beingness charged by a bison that information technology has wounded with a spear; in a, the latter object is visible below the partly disembowelled bison. Some other object depicted in this scene perhaps represents a spearthrower with a sculpted representation of a bird at the proximal stop^xix,20. c, d, The panthera leo-man figurine from Hohlenstein–Stadel^viii. Carved in mammoth ivory, this 31.1-cm-alpine epitome of Aurignacian historic period (well-nigh 40–39 ka) appears to represent a male person human effigy with the head of a cave lion⁸. The image in b is a digital tracing of the relevant department in a. Sources: Alamy, used under licence (a, c); Shutterstock, used under licence (d).

Extended Data Fig. 2 Leang Bulu' Sipong 4 rock fine art site.

a, b, The site is located on the east side of an isolated limestone karst tower. c, Cross-section and program view of the cave site. The cave with the dated rock fine art console is positioned in a limestone cliff face and forms the upper level or 'annex', above a valley-floor entrance cave and shelter complex (a, c). The entrance to Leang Bulu' Sipong iv is a small opening about 7.5 m above the footing floor of the lower cavern (a). The cavern is lit by a natural opening on the northeast confront (c). The cave itself is formed in a sharply curved phreatic passage measuring iv yard in maximum width, and which is 5.ix m high at the entrance and 5.half-dozen m high at the deepest point inside. The main stone art console is situated in the light zone on the western wall of the cave, nearly 3 1000 to a higher place the ground flooring surface (b). Other rock fine art within the cave includes poorly preserved mitt stencils and animal paintings. Bated from art, no other evidence for human being occupation was observed in the cave.

Extended Data Fig. three Details of pig 1 and pig 2.

a, b, Pig ane shown in a digital tracing (a) and a photograph enhanced using DStretch (b). c, Photograph of pig 2 enhanced using DStretch. Sus scrofa 1 measures 123 × 58 cm. The painting is desperately weathered. Much of the body area, and some of the head and mouth, are missing owing to at least two temporally distinct phases of erosion and flaking of the cavern-wall surface. In the time that separated these periods of weathering, three narrow-fingered manus stencils³² were created in the upper trunk expanse of the pig. No canine tusks are axiomatic, just the animal is patently portrayed with a row of premolars and molars in the maxilla and mandible; the teeth are precipitous and thus possibly relatively unworn—perhaps indicating that the pig was a relatively young adult. No sexual characteristics are axiomatic. Pig two measures 84 × 42 cm and is besides essentially deteriorated: most of the head area, and considerable portions of the body, are missing. This pig is positioned to the rear of squealer 1 and faces in the same direction as this larger suid. It appears as though it is following backside it. A prominent crest or tuft of head hair, represented by a row of short vertical lines on the crown, is evident in the surviving office of the head expanse; this is a diagnostic morphological trait of the endemic Sulawesi warty pig (S. celebensis)¹².

Extended Data Fig. 4 Details of therianthrope ane.

a, b, Therianthrope 1 shown in a photograph enhanced using DStretch (a) and in a digital tracing (b). c, Photo of therianthrope ane, enhanced using DStretch, positioned adjacent to the head area of hog 1. On the leftmost side of the panel, therianthrope 1 (26 × 12 cm) is facing towards pig one and is possibly crouched down in an agile position. In its left hand it is belongings a long spear or rope that appears to exist pointed directly at the head surface area of this animal, and may once have continued with it; it is not possible to be certain because this part of the panel is missing attributable to exfoliation. Therianthrope 1 is depicted with a short, curved mammal-like tail (d, highlighted with red pointer). Although the head area of therianthrope 1 is incomplete considering of the deterioration of the cave wall, a muzzle or beak-like confront is also axiomatic.

Extended Data Fig. v Details of therianthrope 2, anoa 1 and anoa two.

a, b, Therianthrope 2 and anoa 2 shown in a digital tracing (a) and photograph (b). c, Photo of therianthrope ii, enhancing using DStretch. d, Photograph, enhancing using DStretch, of the unidentified, possible human figure to the left of anoa 1. Anoa 2 measures 74 × 29 cm. Although deteriorated, anoa two is clearly a dwarf bovid based on the overall body course, long tapering neck and the two straight horns visible in the head surface area. Therianthrope 2 is much smaller in size than anoa 2, and is positioned directly in a higher place it; therianthrope 2 appears to be property a spear or rope that is entering (or attached to) the back of anoa 2. The area in which the head of therianthrope 2 would have been has been obliterated past exfoliation of the cavern-wall surface, only although both of its artillery are definitely homo-like and it is evidently grasping a spear or rope, the line of the back and the shape of the neck seem to be notably similar to that of an anoa. Moreover, the bottom one-half of the figure is distinct from that of the top half, with a tapering profile that possibly merges into the base of operations of a thick tail and with short, curved limbs splayed out to the side. In our stance, this part of the body resembles the lower half of a lizard or crocodile. It is thus possible that therianthrope ii represents a composite of at to the lowest degree 3 different kinds of animals: a homo, an anoa and a quadrupedal reptile. Anoa 1, a small and incomplete animal figure (51 × 24 cm) is too visible in this office of the rock fine art panel. The head is missing simply the overall form of the surviving portions of the body (which includes a tail) implies that it is an anoa. A possible man figure next to anoa i, and another motif above and to the left of it, are also poorly preserved for identification.

Extended Data Fig. 6 Details of therianthropes three–8.

All photographs accept been enhanced using DStretch. a, Therianthrope iii (5 × 3 cm) is a stick-like figure with upraised arms and a projecting cage-similar face up. Therianthrope 3 is the but one of the therianthropes at Leang Bulu' Sipong 4 non depicted with a spear or rope. b, Therianthrope four (6.5 × 1 cm) is an patently bird-headed man figure holding a spear or rope. c, Therianthrope 5 (8 × 2 cm) is poorly preserved, but seems to be a human figure with a face similar to that of therianthrope i. The effigy is positioned near an object that may be a spear or rope. d, Therianthrope half-dozen (five × 1 cm) has a sinuous reptilian body and a bird-like confront. A spear or rope is lying below this figure. e, Therianthrope seven (6 × 2 cm) apparently has a homo body and upper artillery (the legs are besides poorly preserved for analysis), merely has a pointy head and face that are not human being-like in form. This figure is seemingly property a very long spear or rope that is trailing from the chest area of anoa 3, just below the pharynx (Fig. 2c, d). f, Therianthrope 8 (iv × 1.seven cm) is also grasping an extremely long spear or rope using 2 human-like arms, but the shape of the trunk, neck and head of this figure—especially the elongate, projecting face—are not human being-like. The object held by therianthrope eight appears to trail from the lower neck or upper shoulder of anoa 3 (Fig. 2c, d).

Extended Data Fig. 7 Coralloid speleothem sample BSP4.2, and U-serial dates.

a, b, Location of the in situ speleothem overlying part of pig 1. c, Cross-department of BSP4.2 showing the pigment layer sandwiched between the cave-wall surface and layers of calcite comprising the speleothem that formed over the artwork. Solution U-series dates for a full of five micromilled subsamples (n = 5) (BSP4.2.ane to BSP4.2.5) are indicated. The dotted lines represent schematically the micromilling spits used during the subsampling procedure. Minimum dates are quoted as the measured age minus 2σ, rounded to ii decimal places.

Extended Information Fig. eight Coralloid speleothem sample BSP4.3, and U-serial dates.

a,b, Location of the in situ speleothem overlying function of pig 1. c, Cross-department of BSP4.three showing the paint layer sandwiched between the cave-wall surface and layers of calcite comprising the speleothem that formed over the artwork. Solution U-series dates for a full of 5 micromilled subsamples (n = five) (BSP4.3.1 to BSP4.3.five) are indicated. The dotted lines represent schematically the micromilling spits used during the subsampling procedure. Minimum dates are quoted as measured historic period minus iiσ, rounded to two decimal places.

Extended Data Fig. 9 Coralloid speleothem sample BSP4.4, and U-series dates.

a, Location of the in situ speleothem overlying part of anoa 2. b, Cross-section of BSP4.four showing the pigment layer sandwiched between the cavern-wall surface and layers of calcite comprising the speleothem that formed over the artwork. Solution U-series dates for a total of three (north = 3) micromilled subsamples (BSP4.4.i to BSP4.4.3) are indicated. The dotted lines represent schematically the micromilling spits used during the subsampling process. Minimum dates are quoted as measured historic period minus 2σ, rounded to two decimal places.

Extended Data Fig. 10 Coralloid speleothem sample BSP4.5, and U-serial dates.

a, Location of the in situ speleothem overlying part of anoa 3. b, Cross-department of BSP4.5 showing the pigment layer sandwiched between the cavern-wall surface and layers of calcite comprising the speleothem that formed over the artwork. Solution U-series dates for a total of five (n = 5) micromilled subsamples (BSP4.5.1 to BSP4.v.5) are indicated. The dotted lines represent schematically the micromilling spits used during the subsampling process. Minimum dates are quoted as measured historic period minus 2σ, rounded to two decimal places.

Supplementary information

Supplementary Figure

3D PhotoScan model of the dated rock fine art panel at Leang Bulu' Sipong iv.

Reporting Summary

Supplementary Table

Uranium-series dating results for coralloid speleothem samples from Leang Bulu' Sipong iv. This table contains the results of uranium-series disequilibrium dating of rock fine art motifs (n=4). Notation: Ratios are activity ratios calculated from the atomic ratios. Errors are at 2δ level. The ages are calculated using Isoplot 3.75 Program³⁷ with decay constants from ref. 36. Corrected ages were calculated assuming initial/detrital ²³⁰Th/²³²Th activity ratio equal 0.825 (± 50%) (the majority-Earth value, which is the virtually ordinarily used for initial/detrital ²³⁰Th corrections).

Rights and permissions

Most this article

Cite this article

Aubert, G., Lebe, R., Oktaviana, A.A. et al. Earliest hunting scene in prehistoric art. Nature 576, 442–445 (2019). https://doi.org/10.1038/s41586-019-1806-y

Download commendation

• Received: 09 May 2019

• Accepted: 18 Oct 2019

• Published: 11 Dec 2019

• Issue Date: 19 December 2019

• DOI : https://doi.org/x.1038/s41586-019-1806-y

Further reading

• Five years of Nature Human Behaviour

  • Samantha Antusch
  • Aisha Bradshaw
  • Mary Elizabeth Sutherland

  Nature Human Behaviour (2022)

• Ages for Commonwealth of australia's oldest rock paintings

  • Damien Finch
  • Andrew Gleadow
  • Vladimir A. Levchenko

  Nature Human Behaviour (2021)

• Australian Pleistocene rock fine art

  • Paul Due south. C. Taçon

  Nature Human Behaviour (2021)

• The furnishings of climate change on the Pleistocene rock art of Sulawesi

  • J. Huntley
  • M. Aubert
  • A. Brumm

  Scientific Reports (2021)

• Pleistocene Water Crossings and Adaptive Flexibility Within the Human being Genus

  • Dylan Gaffney

  Journal of Archaeological Research (2021)

Comments

By submitting a comment you agree to abide by our Terms and Community Guidelines. If you find something abusive or that does not comply with our terms or guidelines delight flag it equally inappropriate.

thententonarmstead.blogspot.com

Source: https://www.nature.com/articles/s41586-019-1806-y