La dalle gravée no 2 de la tombe néolithique de Crampoisic (Saint-Mayeux, Côtes-d’Armor)

La dalle gravée dite de Crampoisic (Saint-Mayeux) fut extraite d’un filon de métadolérite et intégrée au centre de la paroi d’une chambre funéraire de type allée couverte. Le monument était encore entouré d’un tertre peu élevé au moment de la fouille conduite en 1906 par M. Baudouin, mais sera détruit en 1940. La dalle est reconnue avec ses gravures en 1974 par P. Brouté qui la recueille. L’ensemble iconographique peut être scindé en deux entités. La première est malheureusement tronquée et au surplus égalisée par piquetage au Néolithique. La seconde, centrée sur le support, présente une gravure complexe comportant deux motifs superposés, aux contours quadrangulaires. Le motif inférieur est cerné de cupules périphériques internes. Le motif du dessus, qui empiète sur le précédent, révèle deux paires de protubérances circulaires (« seins ») et deux motifs courbes en relief réalisés au-dessous, respectivement composés de quinze petites capsules assimilables aux « perles » d’un collier ; l’ensemble est recouvert de « chevrons » juxtaposés. Des agencements comparables seront recherchés au nord et au sud de la Bretagne.The engraved slab known as Crampoisic (Saint-Mayeux, near the Plussulien Neolithic quarries) was extracted from a dolerite vein and integrated into the centre of the wall of a funerary chamber of the gallery grave type. The monument was still surrounded by a low mound at the time of the excavation carried out in 1906 by M. Baudouin, but was destroyed in 1940. The slab was recognized with its engravings in 1974 by P. Brouté who collected it. The engraved iconographic set is divided into two entities. The first one is unfortunately truncated and moreover the surface was reshaped by picketing in the Neolithic period. The second, centred on the monolith, presents a complex engraving comprising two superimposed motifs with quadrangular contours. The lower motif is configured with internal peripheral cup-marks. The other motif, which encroaches on the previous one, shows two pairs of circular protuberances (“breasts”) and two curved motifs below, respectively composed of fifteen small capsules similar to the "pearls" of a necklace; the whole is covered at the top with juxtaposed “chevrons”. Comparable arrangements will be sought in the north and south of Brittany

In search of a representation of the Gavrinis megalithic tomb (Morbihan, France)

[EN] Gavrinis, on the estuary of the river Vannes (Brittany, France), is known for the extraordinary abundance of engravings preserved on the monolithic wall pillars and capstone. Our objective is to re-qualify these representations using a new frame of reference, based on a new corpus of engraved signs, including their architectural context and position in the volume of the rock. Recording of the topographical, archaeological, petrographic and acoustic data of the cairn and the passage grave provides a representation of both architecture and engraved and painted signs[ES] Gavrinis, en el estuario del río de Vannes (Bretaña, Francia), es conocido por la abundancia extraordinaria de grabados conservados en los pilares monolíticos de la pared. Nuestro objetivo es calificar de nuevo a estas representaciones usando un nuevo marco de referencia, basado en una nueva recopilación de signos grabados por escáner y fotografías, incluso su contexto arquitectónico y posición en el volumen de la roca. Un registro de los datos topográficos, arqueológicos, petrographicos y acústicos del tumulo y de la tumba permiten una representación tanto de la arquitectura como de los signos grabados y pintados.This program and work in progress is financed by the Ministry of Culture and communication, the National centre for scientific research (CNRS) and the Morbihan departmentCassen, S.; Lescop, L.; Grimaud, V.; Querré, G.; Suner, B. (2015). In search of a representation of the Gavrinis megalithic tomb (Morbihan, France). Virtual Archaeology Review. 4(8):61-63. https://doi.org/10.4995/var.2013.4319OJS616348CASSEN Serge, LESCOP Laurent, GRIMAUD Valentin, QUERRE Guirec, SUNER Bruno (2012): "Une approche multiscalaire du monument néolithique de Gavrinis (Larmor-Baden, Morbihan). Campagne d'acquisition 2011". In: Journée du « CReAAH » Archéologie, Archéosciences, Histoire. Rennes: Univ. Rennes 1, pp. 13-14.CLOSMADEUC, Gustave (1886): "Gavrinis. Dernières fouilles sous le dallage de la chamber". Bull. Soc. Polym. Morbihan, 2, pp. 63-69.LE ROUX, Charles.-Tanguy (1984): "À Propos des fouilles de Gavrinis (Morbihan). Nouvelles données sur l'art mégalithique Armoricain". Bull. Société Préhistorique Française, 1, 8, pp. 240-245.SHEE-TWOHIG, Elisabeth (1981): The Megalithic Art of western Europe. Oxford: Clarendon Press, 560 p

The French National 3D Data Repository for Humanities: Features, Feedback and Open Questions

We introduce the French National 3D Data Repository for Humanities designed for the conservation and the publication of 3D research data in the field of Humanities and Social Sciences. We present the choices made for the data organization, metadata, standards and infrastructure towards a FAIR service. With 437 references at the time of the writing, we have feedback on some challenges to develop such a service and to make it widely used. This leads to open questions and future developments.Comment: CAA 2021 - "Digital Crossroads" full paper version (in review

Complementarity of acquisition techniques for the documentation of Neolithic engravings:Lasergrammetric and photographic recording in Gavrinis passage tomb (Brittany, France)

International audienceThe Neolithic tomb of Gavrinis is famous for its rich and complex engraved art that has inspired a large number of interpretative studies. However, all of these are based on unsatisfactory drawings. This article describes the methodological results of a new project for recording the Gavrinis engravings that combines 3D laser and 2D photographic techniques. Laser scanning not only provides accurate contextual information such as the stone relief and architectural setting in which the art is found. Specially designed processing of point clouds also makes it possible to highlight the contours of the pecked motifs and to record them directly from the 3D model of the decorated stones. This can be further improved by photography using oblique lighting and image processing techniques in order to obtain more detailed recordings of the motifs as well as insights into their chronological relationships. In the unusual case of barely visible engravings made with very slight peckmarks, experimental application of the DStretch colour detection programme has been unexpectedly successful. A comparison of all these results shows that laser and photographic techniques have different strengths and weaknesses that complement each other. Thus, combined use of these techniques within a single methodological process produces innovative and comprehensive documentation of Neolithic tomb art

Resničen in idealen evropski morski transfer ob Atlantski obali v neolitiku

The history of research on the Neolithic of the Atlantic façade shows how speculation about prehistoric mobility, especially across the sea, is mainly based on three types of archaeological evidence: megalithic monuments, rare stones, and pottery decoration. With the aim of approaching the issue from other perspectives, we have focused on the Morbihan area, a focal point of the European Neolithic during the mid-5th millennium BC. The analysis of this area has allowed us to grasp which objects, ideas and beliefs may have been desired, adopted and imitated at the time. We shall begin with an architectural concept, the standing stone. These were sometimes engraved with signs that can be directly compared between Brittany, Galicia (NW Spain) and Portugal, but for which there are no intermediate parallels in other areas of the French or Spanish coast. The unique accumulation and transformation of polished blades made of Alpine rocks and found inside tombs or in other sort of depositions in the Carnac region allowed us to establish a second link with Galicia and the Atlantic coast of the Iberian Peninsula, where certain types of the axes were imitated using a set of different rocks (sillimanite, amphibolite). Finally, the variscites and turquoises from different Spanish regions were used for the manufacture of beads and pendants at the Carnacean tombs, without it being possible – once again – to retrieve similar objects in the intermediate areas. The mastery ofdirect Atlantic sea routes is posed as an explanation for this geographical distribution. But, beyond the information drawn from specific artefacts – whose presence/absence should not be used in excess as an argument to endorse or underrate such movements across the ocean – we will return to a more poetic and universal phenomenon: the spell of the sea. Therefore, we will focus on the depictions of boats on the stelae of Morbihan to open such a debate.Zgodovina raziskav obdobja neolitika ob Atlantski obali kaže na to, da so domneve o premikih ljudi v prazgodovini, predvsem premiki po morju, osnovani predvsem na treh vrstah arheoloških podatkov: na megalitskih spomenikih, na redkih kamninah in na okrasu na lončenini. V članku se bomo te teme lotili iz drugega vidika, in sicer se bomo osredotočili na območje departmaja Morbihan, ki je bil v središču dogajanja v evropskem neolitiku v sredini 5. tisočletja pr. n. št. Z analizo tega območja lažje razumemo, katere objekte, ideje in verovanja so v tem obdobju ljudje najbolj pogosto želeli, posvojili in posnemali. Začeli bomo z arhitekturnim konceptom, menhirji/stoječimi kamni. Takšni kamni imajo občasno gravure z znaki, ki jih lahko neposredno vežemo na območje Bretanje, Galicije (SZ Španija) in Portugalske, medtem ko nimajo primerjav v vmesnih območjih ob francoski in španski obali. Enkraten zbir in preoblikovanje glajenih rezil, izdelanih na kamninah iz Alp, ki so bila odkrita v grobnicah ali drugih depozicijah na območju Carnaca, predstavlja drugopovezavo z območjem Galicije in Atlantsko obalo na Iberskem polotoku, kjer so bili najdeni posnetki nekaterih tipov sekir, izdelani iz različnih kamnin (silimanit, amfibolit). Tudi jagode in obeski, najdeni v grobnicah v Carnacu v Bretanju, so bili izdelani iz mineralov variscita in turkiza, ki izvirata iz španskih regij, medtem ko takšni predmeti – ponovno – na vmesnih območjih niso bili odkriti. Takšna geografska porazdelitev se razlaga z obvladovanjem neposrednih morskih poti po Atlantiku v prazgodovini. Kljub informacijam, ki jih dobimo s takšnimi posebnimi najdbami – katerih prisotnost/odsotnost naj ne bi preveč pogosto uporabljali kot argument v podporo ali podcenjevanje takšnih premikov po oceanu – se bomo vrnili na bolj poetičen in univerzalen fenomen: čarobnost morja. Pri tem se bomo osredotočili in razpravljali predvsem na upodobitve ladij na stelah, najdenih na območju departmaja Morbihan

Share - Publish - Store - Preserve. Methodologies, Tools and Challenges for 3D Use in Social Sciences and Humanities

Through this White Paper, which gathers contributions from experts of 3D data as well as professionals concerned with the interoperability and sustainability of 3D research data, the PARTHENOS project aims at highlighting some of the current issues they have to face, with possible specific points according to the discipline, and potential practices and methodologies to deal with these issues. During the workshop, several tools to deal with these issues have been introduced and confronted with the participants experiences, this White Paper now intends to go further by also integrating participants feedbacks and suggestions of potential improvements. Therefore, even if the focus is put on specific tools, the main goal is to contribute to the development of standardized good practices related to the sharing, publication, storage and long-term preservation of 3D data

PETrA automatisé! Protocole d'Exploitation des représentations TRidimensionnelles en Archéologie

International audienc

Représentation multi-échelle pour la documentation du patrimoine mégalithique orné

Note : ce billet a été réalisé à partir d'un poster présenté lors des Folles journées de l'imagerie nantaise (7 février 2017). En archéologie, les acquisitions tridimensionnelles sont devenues très courantes pour documenter les objets d'étude, et les architectures funéraires ornées du Néolithique armoricain n'échappent pas à cette règle. Les techniques d'acquisition peuvent s'appliquer à des échelles très diverses : de l'échelle kilométrique du paysage aux détails inframillimétriques d'une gr..

La clef de la mer. Une étude des représentations gravées sur la Pierre de Saint-Samson (Côtes-d'Armor)

International audienc