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Base de datos elaborada por el Departamento de Ciencias Históricas de la Universidad de Cantabria que recoge documentación gráfica sobre el arte paleolítico en el norte de España.
The diverse papers in this volume, published in honour of Professor de Balbin, cover a wide variety of the decorated caves which traditionally defined Palaeolithic art, as well as the open-air art of the period, a subject in which he has done pioneering work at Siega Verde and elsewhere.
The Prehistoric Rock Art of Portugal presents significant interpretive perspectives in Portuguese rock art research and offers an excellent representation of core rock art areas, along with current thinking and interpretations. The various chapters deliver a personal approach to the many issues, themes and approaches that are embedded within the rock art of the outpost of western Atlantic Europe. Ethnographical perspectives have often dominated the study of rock art but unlike other well-studied regions, the western Iberian Peninsula is absent of an ethnographical or ethno-historical past and therefore the production of rock art can only be archaeologically assessed. Thus, the work promotes interpretive perspectives on Portuguese rock art, illustrating the richness, chronology and context of these unique artistic expressions and explores the variability of rock art imagery and the diversity of landscapes and social contexts in which it was produced. Although focusing on Portuguese rock art the book includes a number of universal themes that will appeal to a broad range of scholars researching in archaeology and anthropology, history of art, as well as professionals engaged in rock art heritage and conservation.
Journey through the Ice Age not only offers an invaluable synthesis of our current state of knowledge about Paleolithic people and the societies in which they lived, but also presents a visual feast of imagery. The text is illustrated with unsurpassed photography of the late Jean Vertut whose photos have never before been published on this scale.
La cueva de La Peña (San Román de Candamo, Asturias) es una de las cavidades pioneras en el descubrimiento del arte paleolítico de la Región Cantábrica. En Asturias, los primeros reconocimientos de este valioso patrimonio cultural –uno de los más importantes de Europa–, se inician en 1908 con el descubrimiento de pinturas y grabados de edad paleolítica en cuevas tan singulares como El Pindal y La Loja. Estas primeras valoraciones del arte del Pleistoceno se producen gracias a la colaboración prestada por estudiosos locales que, como Hermilio Alcalde del Río y Ricardo Duque de Estrada, más conocido como Conde de la Vega del Sella, impulsarán la investigación prehistórica prestando un apoyo decidido a los grandes arqueólogos del momento que trabajan en el norte de España: Hugo Obermaier y Henri Breuil, entre otros. La cueva de La Peña de Candamo era conocida en la comarca y visitada ocasionalmente entre 1903 y 1911, según testimonian diversos graffitis conservados en lugares retirados como la Galería de las Batiscias. El descubrimiento científico se produce en el verano de 1914, cuando un vecino de Pravia señala a Hernández-Pacheco la probable existencia de pinturas prehistóricas en la cavidad, aportando su propio testimonio y el de un vecino conocido como “El Cristo”, que penetraban en la cueva en busca de estalactitas. Paralelamente, aunque de forma independiente, el Conde de la Vega del Sella visita la cueva e improvisa un cierre provisional de la entrada, reconociendo ambos la antigüedad de las pinturas y grabados de los paneles del Gran Salón de los Grabados.
Following the discovery of Franco-Caribbean cave art in the nineteenth century, standard interpretations of these works usually revolved around hunting, magic, and fertility cults. Orthodox positions such as these have weighed heavily on later generations of art historians, archaeologists, and anthropologists, even those whose views dissented from those of their predecessors. In the last few decades, however, new approaches to cave art, often based on discoveries made in Africa, Asia, Australia, North America, and the Arctic region, have produced new insights into possible meanings and functions of prehistoric paintings and sculptures. This new collection of essays explores these insights, gathering the observations of eight experts from a variety of disciplines, and examining some of the social and spiritual functions of a variety of artistic genres ranging from 40,000 B.C. to 5,000 B.C. These insights, which derive from evolutionary biology, feminist scholarship, ritual studies, and new modes of anthropology, argue collectively that prehistoric art was a culture-specific form of communication that should be interpreted in the social context of early hunger-gatherer societies and should not be measured with the criteria and paradigms of modern art. Essential reading for anyone interested in prehistoric art or its cultural implications, this volume represents a bold step forward in the research and analysis of the very first artists.
This is the third in the five-yearly series of surveys of what is happening in rock art studies around the world. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa, and the New World. During the period in question, 1999 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and a new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the conservation of sites. With the global increase of tourism, the management of rock art sites that are accessible to the public is a theme of ever-growing importance.
Like previous series entries, this volume covers rock art research and management all over the world over a 5-year period, in this case 2015-19. Contributions once again show the wide variety of approaches that have been taken in different parts of the world and reflect the expansion and diversification of perspectives and research questions.
The book assembles new insights into humanity’s social, cultural and economic developments during the Last Glacial Maximum in Western Europe and adjacent regions. It gathers original, up-to-date research results on the Solutrean techno-complex, reflecting four major fields of research: data from current excavations; analysis of lithic assemblages; new results from studies on climatic conditions and human-environmental interactions; and insights into artistic expressions. New methodological and analytical approaches are applied, providing significant contributions to Paleolithic research beyond the Last Glacial Maximum.
Written from an archaeological perspective, Painted Caves is a beautifully illustrated introduction to the oldest art of Western Europe: the very ancient paintings found in caves. Lawson offers an up to date overview of the geographical distribution of the sites and their significance within the varied network of Palaeolithic art.