Mortuary treatments are ways in which archaeologists can learn about the culture and lifestyle of past societies, in terms of how they view the dead. The dead, however, can continue to play a role in the lives of the living, which may also be reflected in funerary rites and burial treatments. This article explores the social agency of the dead, focusing on the ‘vampire burials’ of the post-medieval Polish site of Drawsko 1. These burials, identified through their grave goods, provide a unique opportunity to learn how vampire folklore and the deceased ‘vampires’ influenced the living, most notably as ways to encourage social order, as an explanation for the unknown, and as an economic commitment.

Taking as a point of departure the in-depth analysis and description of an exceptional discovery, consisting of a large hammered gold sheet decorated with embossed motifs from the well-known Chalcolithic settlement of Valencina de la Concepción (Seville, Spain), this article presents a general appraisal of the social and ideological role of gold in Copper Age Iberia. The information available for this find, including both its context and its inherent characteristics, opens up new perspectives for research into the technology, use, sociology and symbolism of gold during this time period. We describe and analyse this unique item in detail, including the characterization of the raw material used and the manufacturing process (via SEM-BSE and LA-ICP-MS), as well as an extensive reconstruction of the graphic motifs that are represented, by using digital imaging processing techniques (RTI). We compare this find with the data currently available for the (approximately) 100 Chalcolithic golden artefacts (or fragments of artefacts) found in Iberia to date. Finally, we present an appraisal of the social and ideological framework in which gold was used in Copper Age Iberia, discussing its relevance in aspects such as the dynamics of social complexity, worldviews or artistic creations.

Megalithic art has often been treated as a unitary phenomenon, related to the spread of farming across Western Europe. This approach does not do justice to the very different ways in which tomb decoration was employed by particular communities. This article focuses on the megalithic art of Orkney, much of it recorded for the first time during a recent field survey. This is normally interpreted as a local variant of the style of ‘art’ found in Neolithic Ireland, but on close examination it has much stronger links with the abstract motifs found in local settlements. Whereas the megalithic art of Ireland may have celebrated the passage of the dead to another world, in Orkney it was used to emphasize their continued involvement in the affairs of the living.

Theoretical approaches to the agency of inanimate objects have gained traction in bioarchaeological conceptualizations of the dead body and its capacity to shape human action and emotion. In the late prehispanic Andes (ad 1000–1532), new forms of burial involving above-ground funerary structures emplaced ancestral bodies on the landscape and facilitated their incorporation into the unfolding affairs of political and social life. Architectural data from the funerary complex of Yuraq Qaqa in the central Colca Valley suggest that the sequential construction of funerary chambers played a vital role in the elaboration of ancestral agency and its extension into past and future time. Applying a morphogenetic approach to the long-term development of the site, this study demonstrates how the agency of the dead body emerges in relation to other forms of materiality and operates across multiple temporal scales inclusive of, but not limited to, the interval of human–corpse interaction.

There were differences in the representation of humans and animals between the regions of Thessaly and the central Balkans during the earlier Neolithic. These differences imply the constitution of distinct worlds. Representation is anthropocentric in Thessaly and it focuses on particular actions of the human body. In the central Balkans, there is more animal imagery, although here too humans predominate. The lack of specific traits suggests an ontological principle of generic identity.

During the Middle Pre-pottery Neolithic B in the southern Levant the use of lime plaster in both ritual and domestic contexts increased significantly relative to previous periods. Its properties of whiteness, purity, plasticity and antisepsis would have made it a natural choice for decorating, and through the act of colouring disparate categories of objects were linked together. Plaster appears to have transcended its own inherent value as a material due to its interconnectedness with mortuary ritual. Because of its ubiquity, this socially ascribed value was accessible to everyone. This article will claim that plaster, and the act of plastering both ritual and domestic contexts played a key role in the creation and maintenance of community cohesion and social well-being.

This article offers new understanding to commoner ritual in central Mexico before the rise of the Aztec Empire through an examination of domestic ritual and everyday practice in Early to Middle Postclassic (AD 900–1350) households in Xaltocan. It also seeks to better understand the ways in which elites negotiate and reinvent ritual traditions to gain and maintain power. In this study, I integrate multiple lines of evidence including ethnohistory, household archaeology and burials to understand the organization, practice and meaning of ritual among commoners before the rise of the Aztec Empire. I argue that pre-Aztec commoner ritual worked to foster solidarity, social continuity and collective memory and was intimately concerned with the protection of household members and the maintenance of household and universal equilibrium. While some of the symbolism and rituals documented in pre-Aztec domestic contexts appear similar to those depicted in Aztec contexts, I argue that state rituals held different meanings as Aztec elites adopted and transformed widely-held commoner rituals and symbols to craft an ideology that promoted their own political agenda. Ultimately, domestic- and state-level ritual should be seen as part of an ever-changing, but necessarily intertwined, historical and political process.

No term in the ancient Egyptian language corresponds neatly with Western usages of ‘art’, and Egyptologists have often argued that there is no such thing as ‘Egyptian art’. Yet aesthetically organized structures and artefacts constitute the majority of evidence from Egypt, a legacy created mainly for a small élite. The genres of these materials, all of which had functions additional to the purely aesthetic, are similar to those of many other cultures. They constitute a repository of civilizational values, related to the system of hieroglyphic writing, that was maintained and transmitted across periods. Civilization and artistic style are almost identified with each other. Funerary material constitutes one central context for artistic forms; others are temples and such poorly-preserved locations as palaces. The importance attached to artistic activities in Egypt, high-cultural involvement in them, and idiosyncratic developments can be illustrated from many periods. Egyptian art is a typically inward-looking and almost self-sustaining product of a professional group. It is no less ‘art’ for the wide range of functions and purposes it fulfilled.

In China, a number of signs from some Late Neolithic contexts suggest that recoding activities were well developed before Chinese writing became widespread during the Shang period. Archaeological and palaeographic evidence indicates that mature writing is likely to have evolved from these earlier signing systems as a result of the increasing social and political complexity of the societies of the Late Neolithic. This article analyses three Late Neolithic signing systems that may have led to the mature Chinese writing of the Shang oracle bone inscriptions, and argues that non-linguistic visual signing played a role in the emergence of writing systems.

A phenomenon noted in early sedentary and semi-sedentary settlements in the southern Levant is the use of groundstone tools as ‘building material’ incorporated into structure walls. It is argued in this article that these artefacts should not be perceived merely as construction material, but rather they should be seen as having a symbolic purpose owing to the social and economic significance that groundstone tools acquired during the transition to agriculture and the growing importance of food processing. This assumed symbolic purpose may also originate from ritual contexts in which these artefacts processed foodstuffs and other substances, thereby becoming ‘positive’ symbols of prosperity and success. Such symbolic content may result from their economic significance interlaced with their association with specific persona and familial and personal heritage. It is suggested that the qualities of the tools lent an element of potency to these artefacts and probably led to their inclusion in structure walls. The linkage between persona, space and positive potency may have granted status or protection to the structures and also may have assisted in marking ownership of the property.

While many studies of inequality focus on the role that specialized craft production plays in the emergence of elite identities, variations in non-specialized crafts can also provide insights into political trajectories as they may reflect diverse choices made by multiple social segments whose socio-political roles are in transition. This article examines non-specialized potting during a time of increasing inequality in the first-millennium ad community of Kirikongo, Burkina Faso. In exploring production at the house level, ceramic analyses demonstrate increasing investment in potting throughout the community and increasing variance between house traditions coinciding with the co-option of ritual and political power by the community's founding house. While these transformations suggest the expression of newly significant house identities, potting is used primarily to express differentiation rather than elite power as, in contrast to other lines of evidence, the pottery from lower-ranked houses is higher in quality and diversity. These expressions of emerging elite and non-elite house identities at Kirikongo, and potential tensions between them, may have spurred inventions and adoptions of technologies and stylistic elements contributing to the divergence of regional potting traditions.

Mortuary practices of the Pre-Pottery Neolithic Near East have been identified with skull cult and ancestor worship, as a means of creating and eliminating social boundaries. Artificial cranial modification is recognized as related to these practices, but its incidence is under-recognized and the precise nature of its significance is rarely discussed. In this study a skull, not previously reported as artificially modified, was reassessed by radiography to provide further insight on this subject. The cranial modification identified must have occurred in childhood but did not dramatically alter the cranium. We therefore argue that the post-mortem treatment of artificially modified skulls should be viewed in the context of ritual practices that were of significance during life, not just after death.

The temporality of bodies has featured prominently in bioarchaeologists’ studies of embodiment, lifecycle, plasticity and ancestor veneration, amongst other topics. We focus here on the temporality of violence, as evidenced by peri-mortem marks on and post-mortem treatments of bodies. Such evidence can signal violence that is either interpersonal or symbolic, though we realize the distinction may be a materially subtle one. To this end, we look to archaeologists’ recent theoretical forays into temporality. More specifically, we deliberate about relationality, which invites reflective comparison between past and present bodies. Relationality allows bioarchaeologists to examine bodies qua bodies, as well as demands that they contextualize their ancient (or historic) case studies and present-day research in time and place. To explore these ideas, we draw upon a variety of sources, not all of which are traditional (i.e. impersonal) academic discussions. The latter can obfuscate or overlook the more emotional or politicized dimensions of violated bodies.

The concealed shoe is, possibly by design, shrouded in mystery. All that is known for certain on this subject is that a large number of shoes, usually old and damaged, were concealed in various, unconventional locations within buildings throughout England, and that this practice was particularly popular during the eighteenth and nineteenth centuries. Other than these few facts, all other information on the subject is speculation. With no contemporaneous written sources on the practice of concealing shoes, this article will utilize the archaeological evidence in order to ascertain the motivations behind the act of concealment. An analysis of two case studies of concealed shoe caches from North Yorkshire, with a particular focus on their locations and conditions, will hopefully prove invaluable in the investigation into this unusual practice, together with an examination of the relevant folk beliefs and superstitions of the period. It will also be questioned where the concealed shoe stands in relation to our everyday classificatory systems. As a marginal, mutable object, the concealed shoe boasts a highly complex biography, calling into question the pertinence of such categories as valuable/rubbish, and particular attention will be given to the shoes’ numerous recontextualizations, from practical footwear, to apotropaic device, to archaeological artefact; transitions which I have dubbed ‘ritual recycling’.

This article investigates the degree and nature of ‘imposed form’ in Middle Palaeolithic scrapers, the most common category of stone tool produced by Neanderthals. Novice flintknappers unfamiliar with Middle Palaeolithic tool forms were found to consistently employ two rules in manufacturing scrapers: the striking platform and any adjacent blunt edges were left intact to facilitate prehension, and the longest edge with the most acute spine-plane angle was retouched. Scrapers from three major Middle Palaeolithic sites adhered to these rules in over 90 per cent of cases, but significant divergence from these rules was found in a sample from Skhul cave (Israel) level B1, associated with early anatomically modern Homo sapiens. It is concluded that Middle Palaeolithic scraper manufacture was structured by the need to create a suitable working edge, and to locate that edge to maximize ease and comfort during manufacture and use. The overall shape of the resulting tools was thus not an expression of ‘imposed form’ in the conventional sense. The discovery of violations of these rules in the Skhul B1 collection provides evidence of increased use of imposed form, as well as potentially significant behavioural differences between early anatomically modern Homo sapiens and contemporary Neanderthals.

Petroglyph sites in the Yinshan and Helanshan ranges were documented during a recent survey. Archaeological remains indicate that these areas have for millennia been both militarized borders and osmotic trading zones connecting the pastoral people of northern Asia and the Chinese world. Petroglyphs form a significant part of the material and symbolic culture of this transitional zone from the Neolithic down to the later dynastic phases (nineteenth century). By using newly-gathered data, this article moves away from interpretations which see rock art as a wholly shamanistic phenomenon, introducing territory and iconography as key elements for the understanding of local geographies, cultural interactions, and the agencies of identity. The location of the sites indicates that petroglyphs were next to travel routes and may have served as territory markers and meeting places. In addition, the scattering of marked rocks in key locations suggests that petroglyphs were markers of identity essential for a people who were engaged in a dialectic contention with the expanding agricultural world. The sense of identity can be perceived also in the subject matter (wild and domesticated animals, hunting and herding scenes, faces) which seems to emphasize respect for, or even enjoyment of, pastoral and nomadic life.

This paper proposes that the organization of crafts may be a key catalyst in the emergence of urban communities. This is argued through a reassessment of finds from a non-ferrous metal workshop from the eighth century excavated in Ribe, Denmark. We analyse 3D laser scans in order to classify previously unidentified mould fragments, which show that the workshop produced a range of metal parts for composite products like wooden chests, belts and horse harnesses. Such production required an operational network, or réseau opératoire, to combine the necessary skills and expertise of several artisanal specializations. The need for collaboration between specialized craftspeople would have been a decisive incentive for the formation of permanent communities of an urban character. These observations point to a neglected bottom-up driver for the development of early urbanization.

Traditional accounts of animals in Mesolithic Northwest Europe have ultimately been economic in character, with a particular focus of the larger ungulate species that formed the dietary mainstay. Smaller mammalian species, regularly grouped as ‘fur-bearing’ species, also play a role in such accounts, as the source of important non-nutritional materials, namely their fur. However, how has placing these species in this broad category impacted archaeology's interpretation of their remains in the Mesolithic? This paper argues economic categorization of these species has led to an automatic interpretation of their remains, which may overlook evidence for other uses and treatments. This research proposes that the remains of ‘fur-bearing’ species were not just waste products from fur extraction, but were also wrapped up in complex and meaningful human-nonhuman relationships, which impacted how these remains were treated, and ultimately shaped the archaeological record.

The Dynamic figures are a distinctive component in the earlier rock-art of western Arnhem Land, north Australia. They include therianthropic (hybrid human–animal) images. Recent vision experience ethnographically known in the region, and the wider pattern of Altered States of Consciousness (ASC) in hunter-gatherer societies, are consistent with elements of the Dynamics. One key feature is the use of dots and dashes in the Dynamic images, explicable as a depiction of some intangible power, of a character comparable with that in the ‘clever men's knowledge’ of modern Arnhem Land. Tropical Australia thereby is added to the number of regions where a visionary element is identified in rock-art; the specific circumstances in Arnhem Land, permitting the use together of formal and of informed methods, provide unusually strong evidence.