Beyond the Palaeolithic: Figurative final Palaeolithic art in Mediterranean Iberia

Sanz, Inés Domingo; Monroig, Dídac Roman

doi:10.1016/j.quaint.2020.10.034

Cited by 7 publications

(6 citation statements)

References 12 publications

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“…Epimagdalenian art is the Mediterranean Iberian version of this process. In a recent review (Domingo & Roman 2020), a solid connection was established with the final Upper Magdalenian art in the region, with a temporal context between c. 13000 and 9500 cal. bc (Martínez-Valle et al 2009; Villaverde Bonilla et al 2012).…”

Section: Discussionmentioning

confidence: 98%

“…Three variants of animal depictions have been described depending on their degree of naturalism, which could coexist over time. It has been considered that the end of this tradition marked an abrupt rupture with any later rock-art assemblage, in parallel to the cultural changes reflected by the appearance of the notch and denticulate facies of the Mediterranean Iberian Mesolithic (Domingo & Roman 2020; Villaverde Bonilla et al 2012). In consequence, Levantine art is considered of Neolithic age by these researchers.…”

Section: Discussionmentioning

confidence: 99%

“…The hatched outline of some of the engraved depictions from José Esteves shelter, in Foz Côa (Portugal), has clear reminiscences with the barbed line contour of Laborien depictions. A similar technique was applied to the back of the deer in the Sant Gregori slab, currently ascribed to Epimagdalenian (Domingo & Roman 2020).…”

Section: Discussionmentioning

confidence: 99%

“…This unexpected continuity in the production of figurative art was called Style V (Roussot 1990). In the Iberian peninsula, researchers revisited some decorated slabs and newly discovered open-air rock-art sites with engravings and suggested their LUP age, which has been corroborated by well-dated archaeological contexts (Domingo & Roman 2020). A newly abrupt rupture in graphic expressions was proposed afterwards until the arrival of the Neolithic colonizers (Domingo & Roman 2020;Villaverde Bonilla et al 2012).…”

Section: Introductionmentioning

confidence: 96%

See 3 more Smart Citations

Filling the Void: Rock-art Continuity Over the Pleistocene–Holocene Boundary in Eastern Iberia

Ruìz¹,

Royo-Lasarte²,

Royo-Guillén³

et al. 2022

CAJ

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In this paper we study several panels with incised engravings, which have been discovered in recent years, from two shelters in the area of the River Martín (Teruel), Cañada de Marco and Los Borriquitos. They are of great scientific interest for several reasons. Firstly, because they represent an expansion of the Late Upper Palaeolithic engraving facies of Mediterranean Iberia, limited until now to ten sites. In these two new sites, these incised engravings are underlying Levantine and Schematic pictographs, and occasionally are interstratified with Levantine paintings, an exceptional fact which is published in its entirety for the first time. These stratigraphic relationships reflect continuity/change dynamics during the Pleistocene–Holocene transition and throughout the Holocene artistic cycle, topics which are crucial on a European scale. Finally, we have identified iconographic continuities between Epimagdalenian engravings and Levantine art, suggesting a possible link between these two graphic expressions. These findings may constitute solid support for the hypothesis about the pre-Neolithic origin of the exceptional Levantine art of the Iberian peninsula. In memoriam Ramiro Alloza

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Section: Discussionmentioning

confidence: 98%

Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 96%

See 2 more Smart Citations

Filling the Void: Rock-art Continuity Over the Pleistocene–Holocene Boundary in Eastern Iberia

Ruìz¹,

Royo-Lasarte²,

Royo-Guillén³

et al. 2022

CAJ

View full text Add to dashboard Cite

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“…For decades, the Romanelli Cave has been considered an important reference site for this so-called 'Mediterranean artistic province', even though the cave's parietal and portable art has never been subject to a full and systematic investigation. Over the last 20 years, new discoveries and reappraisals of previous research have transformed our understanding of Palaeolithic rock art around the Mediterranean, recognising common stylistic features, which widen its known geographical distribution significantly, and blur and nuance our knowledge of these cultural spaces following the Late Glacial Maximum (Bicho et al 2007;Huyge et al 2011;Tusa et al 2013;Naudinot et al 2017;Ruiz-Redondo et al 2019;Domingo & Roman 2020;Sigari 2020). In this context, the need for a systematic study of the Romanelli Cave became increasingly important and, in 2016, a new multidisciplinary research project was initiated to investigate the cave.…”

Section: Introductionmentioning

confidence: 99%

Birds and bovids: new parietal engravings at the Romanelli Cave, Apulia

et al. 2021

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The Romanelli Cave in south-east Italy is an important reference point for the so-called ‘Mediterranean province’ of European Upper Palaeolithic art. Yet, the site has only recently been subject to a systematic investigation of its parietal and portable art. Starting in 2016, a project has recorded the cave's interior, discovering new parietal art. Here, the authors report on a selection of panels, featuring animal figures, geometric motifs and other marks, identifying the use of different types of tools and techniques, along with several activity phases. These panels are discussed with reference to radiocarbon dating of nearby deposits, posing questions about chronology, technology and wider connections between Upper Palaeolithic cave sites across western Eurasia.

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Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art

Intxaurbe

Gárate

Arriolabengoa

et al. 2022

J Archaeol Method Theory

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The endokarst landscape is the result of long erosion and sedimentation processes that have modelled an environment in which capricious forms abound. Despite being a hostile environment for human life, these caves must have attracted the attention of human groups from as early as the Palaeolithic. It is striking that many examples of rock art appear to be closely symbiotic with their natural support; nevertheless, it is difficult to confirm any relationship in the distribution of the decorated spaces, based on their morphology. Moreover, if we start from the hypothesis—widely accepted, but not demonstrated—that Palaeolithic cave art is a system of visual communication, the visibility of the art or the number of people who could be accommodated in the decorated sectors should be determining factors. In order to avoid making subjective appraisals when analysing these factors, we have designed a Python script with a workflow to work directly with 3D models of caverns using GISs, which can be easily replicated and edited by other researchers. Application of this script in the Magdalenian caves of Atxurra, Santimamiñe and Altxerri (Northern Spain) has allowed us to compare them accurately based on their visibility features. This has shown that in some cases, there may have been prior planning to enhance the visibility of some figures. In all cases, the groups of figures are located in deep and hidden parts of the caves, usually in sectors with limited capacity to accommodate people, which would be consistent with a system of restricted communication.

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Beyond the Palaeolithic: Figurative final Palaeolithic art in Mediterranean Iberia

Cited by 7 publications

References 12 publications

Filling the Void: Rock-art Continuity Over the Pleistocene–Holocene Boundary in Eastern Iberia

Filling the Void: Rock-art Continuity Over the Pleistocene–Holocene Boundary in Eastern Iberia

Birds and bovids: new parietal engravings at the Romanelli Cave, Apulia

Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art

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