Convenciones gráficas en el arte parietal del Paleolítico cantábrico: la perspectiva de las figuras zoomorfas

Redondo, Aitor Ruiz

doi:10.3989/tp.2011.11069

Cited by 3 publications

(1 citation statement)

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“…bp (ibex 16) and 14,076–13,519 cal. bp (horse 20) (Amormino 2000; García-Diez et al 2021; González & Balbín Behrmann 2007; González Echegaray 1952; Moure Romanillo et al 1996; Múzquiz & Cabrera Valdés 2000; Ochoa 2017, and references therein; Ripoll Perelló 1972; Ruiz-Redondo et al 2016). Apart from a lithic collection attributed to the Mousterian and a brief mention of an Aurignacian flint point found among remains of cave bears (Carrión Santafé & Baena Preysler 1998; Ochoa 2017, 298), the lack of materials attributable to the Magdalenian suggests that it may not have been habitually occupied when its art was created.…”

Section: Site Backgroundsmentioning

confidence: 99%

Conversations with Caves: The Role of Pareidolia in the Upper Palaeolithic Figurative Art of Las Monedas and La Pasiega (Cantabria, Spain)

Wisher,

Pettitt,

Kentridge

2023

CAJ

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The influence of pareidolia has often been anecdotally observed in examples of Upper Palaeolithic cave art, where topographic features of cave walls were incorporated into images. As part of a wider investigation into the visual psychology of the earliest known art, we explored three hypotheses relating to pareidolia in cases of Late Upper Palaeolithic art in Las Monedas and La Pasiega Caves (Cantabria, Spain). Deploying current research methods from visual psychology, our results support the notion that topography of cave walls played a strong role in the placement of figurative images—indicative of pareidolia influencing art making—although played a lesser role in determining whether the resulting images were relatively simple or complex. Our results also suggested that lighting conditions played little or no role in determining the form or placement of images, contrary to what has been previously assumed. We hypothesize that three ways of artist–cave interaction (‘conversations’) were at work in our sample caves and suggest a developmental scheme for these. We propose that these ‘conversations’ with caves and their surfaces may have broader implications for how we conceive of the emergence and development of art in the Palaeolithic.

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