A remark on a theorem of V. V. Andrievskii

Shirokov, N. A.

doi:10.1007/bf01665057

Cited by 2 publications

(3 citation statements)

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“…All these species were present in the area at the time the Kapova paintings were made, with the camel being restricted to the Southern Urals within the European territory (Kosintsev 2007). This catalogue diverges from the previous ones (Bader 1965;Ščelinskij and Širokov 1999;Lyakhnitsky et al 2013;Zhitenev 2016;Shirokov 2018). The first variation is the camel, which does not appear in the oldest publications, as it was discovered in 2017 after perforating a calcite layer that covered it (Devlet et al 2018).…”

Section: Iconographymentioning

confidence: 88%

“…The anthropomorphs CP.L1.04 and CP.L2.13 ( Fig. 6; ab) have been interpreted before (Shirokov 2018). CC.R1.09 and CC.R5.08 ( Fig.…”

Section: Iconographymentioning

confidence: 93%

“…Also new is the documentation of a second rhinoceros (CP.L2.06). It was previously claimed to be a mammoth (Bader 1965; Ščelinskij and Širokov 1999; Lyakhnitsky et al 2013;Shirokov 2018). Recently, some doubts were expressed, identifying it as a 'mammoth or rhinoceros' (Zhitenev 2016).…”

Section: Iconographymentioning

confidence: 99%

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The Easternmost European Palaeolithic Artists: Iconography and Graphic Features at Kapova Cave (Southern Urals, Russia)

2020

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Palaeolithic rock art is one of the most distinctive cultural traits of Upper Palaeolithic societies in Europe. Traditionally restricted to Southwestern Europe, especially to the Franco-Cantabrian province, in recent years, the geographic distribution of this phenomenon has noticeably expanded. Several years before these discoveries, the first decorated site found beyond southern Europe was Kapova cave, in Russia. This site, at the edge of the distribution area of European Palaeolithic art and far away from other cave sanctuaries, is key to define and understand potential long-distance cultural networks during the Upper Palaeolithic. In this paper, we present the first comprehensive inventory of the artworks, a renewed documentation of the graphic units (including the first digital tracings), the spatial distribution and the stylistic analysis of the different motifs. This led us to understand the role of Kapova within the Palaeolithic symbolism and to better integrate it in the Palaeolithic cultural dynamics.

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Section: Iconographymentioning

confidence: 88%

“…The anthropomorphs CP.L1.04 and CP.L2.13 ( Fig. 6; ab) have been interpreted before (Shirokov 2018). CC.R1.09 and CC.R5.08 ( Fig.…”

Section: Iconographymentioning

confidence: 93%