Las cuevas del desfiladero. Arte rupestre paleolítico en el valle del río Carranza (Cantabria-Vizcaya)

Saínz, César González; Llamosas, Carmen San Miguel

doi:10.22429/euc2021.014

Cited by 24 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The second figure in Gallery A that we have reinterpreted is also in Breuil et al's (1913) group 5. This figure had previously been interpreted as an incomplete image of a deer (Breuil et al 1913: 8;González Sainz & Balbín Berhmann 2002). Taking into account the natural formations of the cave wall, we reinterpret this as an almost complete deer figure (IV.A-A.6; Figure 4).…”

Section: Gallery Amentioning

confidence: 77%

“…The main corridor of Zone D leads to two 'rooms', one on top of the other. In the 1950s, two painted horse figures were discovered on the ceiling of the upper room, both assigned on stylistic grounds to the advanced Style III (Lower Magdalenian; González Echegaray & Ripoll 1953/54;González Sainz & Balbín Berhmann 2002). Here, we reinterpret the incomplete figure of horse 5 in Gallery D, showing how the natural features of the rock surface permit the identification of a complete horse figure (VI.D-D.5; Figure 7).…”

Section: Zone Dmentioning

confidence: 78%

“…In this study, we have reinterpreted this image (here labelled, III.A-A.5) as a complete horse figure by taking into consideration the shape of the cave wall (Figures 3 & 4). The anatomical components of this figure that have been previously described are the head and mane (Breuil et al 1913: 8;González Sainz & Balbín Berhmann 2002). The head is outlined in red using a simple line and the mane depicted with dots.…”

Section: Gallery Amentioning

confidence: 97%

“…The majority of these images are located in the final 25m of the gallery, where it narrows at the rear of the cave, and include zoomorphic figures (e.g. horse, aurochs, deer), quadrangular symbols, engraved lines and painted dots and stripes (Balbín Berhmann & González Sainz 1993González Sainz & Balbín Berhmann 2002). Based on Leroi-Gourhan's 1965 classification, most of these images have been assigned to Style III (Upper Solutrean/Lower Magdalenian); some transitional figures have been classed as Style IV (Middle-Upper Magdalenian; Balbín Berhmann & González Sainz 1993).…”

Section: Gallery Amentioning

confidence: 99%

See 3 more Smart Citations

Animals hidden in plain sight: stereoscopic recording of Palaeolithic rock art at La Pasiega cave, Cantabria

Asiain,

Ontañon,

Saura

2023

Antiquity

View full text Add to dashboard Cite

Cantabrian cave art is familiar from photographs reproduced in textbooks, but these two-dimensional images do not capture the irregularities of the rock surfaces on which animals and other designs were painted or engraved. Here, the authors use stereoscopic photography to review the parietal art of La Pasiega cave. By documenting the uneven surfaces of the cave's walls alongside painted and engraved marks, they identify new animal figures and reinterpret others, previously thought to be partial representations, as complete. The results show the positioning of animal figures to make use of concave/convex surfaces and rock edges to define the outlines of animals, reinforcing the need to record and interpret cave art three-dimensionally.

show abstract

Section: Gallery Amentioning

confidence: 77%

Section: Zone Dmentioning

confidence: 78%

Section: Gallery Amentioning

confidence: 97%

Section: Gallery Amentioning

confidence: 99%

See 2 more Smart Citations

Animals hidden in plain sight: stereoscopic recording of Palaeolithic rock art at La Pasiega cave, Cantabria

Asiain,

Ontañon,

Saura

2023

Antiquity

View full text Add to dashboard Cite

show abstract

“…New sites found since the start of the twenty‐first century include, for example, Poço do Caldeirão (2003), Costalta (2006), Askondo (2011), Cova Eirós (2011), Redor do Porco (2011), Lumentxa (2012), Aitzbitarte IV (2012), Danbolinzulo (2014), Atxurra (2015), La Salud (2015), Armintxe (2015), Arroyo de las Almas (2015), etc. Second, some caves have been re‐documented and old figures have been re‐interpreted, with examples including Santimamiñe (Gorrotxategi 2000), Venta Laperra (González‐Sainz and San Miguel 2001), El Pindal (González‐Pumariega 2011), El Niño (Garate and García 2012), Hornos de la Peña (Rivero and Garate 2013), El Bosque (Ruiz‐Redondo and Garate 2014), Altxerri (Ruiz‐Redondo 2014), Alkerdi (Garate and Rivero 2015), Coimbre (Álvarez‐Alonso and Yravedra 2017), El Salitre (Salazar et al . 2019) and Candamo (Corchón et al .…”

Section: Discussionmentioning

confidence: 99%

Making a Difference: Palaeolithic Iconography as a Trait of Identity in the Iberian Peninsula

García‐Bustos,

Rivero

2023

Oxford J Archaeology

View full text Add to dashboard Cite

SummaryThe study of the figurative repertoire of Palaeolithic artists allows us to approach aspects such as iconographic diffusion and cultural preferences. This paper presents an updated corpus of figurative rock art for the Iberian peninsula and analyses its distribution in the Cantabrian region, inland Iberia and the Mediterranean basin, three areas frequently used in the literature. This corpus contains 3341 graphic units that were analysed using multivariate statistics and hypothesis testing. The results show that the main figurative themes can be classified according to their discriminating power. Horse, ibex and deer were the animal motifs that formed the common background of this artistic expression. In contrast, Palaeolithic artists used different proportions of bison, hind and aurochs to create a possible distinctive identity. Finally, it is discussed whether the iconographic selection is due to palaeoecological reasons, cultural motivations, or a combination of both.

show abstract

Why Do Old Dates Fascinate Prehistorians?

Sauvet

2024

Interdisciplinary Contributions to Archaeology

View full text Add to dashboard Cite

Archaeologists have always been interested in placing things into chronological sequences. Prior to the discovery of numerical dating techniques, the sequence of prehistoric events was only known relatively within large approximations and with high degrees of uncertainty. From the 1950s onwards, radiocarbon dating appeared as the most important method to obtain the chronometric age of prehistoric materials. Later, accelerator mass spectrometry (AMS) became the prevalent technique and began to be used to date rock art paintings. The precision of this method improved, and the age of much rock art was pushed back. New techniques based on luminescence (e.g., TL, OSL) and the disequilibrium in the U-series (e.g., U/Th) have been developed in the last years. Engaged in an international race toward the oldest dates, prehistorians from all over the world have seemed to move away from their primary objective, which is the understanding of past societies. In rock art studies, research is now shaped by the search for the ‘earliest art’ and the oldest manifestation of ‘symbolic behaviour.’ Through the examination of the different dating techniques developed in the second half of the twentieth century, several examples of this time-driven prehistory will be given. Behind an illusory mathematical rigor, the leaden weights of preconception and ulterior motive reappear in many cases, reminding us that prehistory is not only a ‘human science,’ but a science made by humans.

show abstract

Las cuevas del desfiladero. Arte rupestre paleolítico en el valle del río Carranza (Cantabria-Vizcaya)

Cited by 24 publications

References 0 publications

Animals hidden in plain sight: stereoscopic recording of Palaeolithic rock art at La Pasiega cave, Cantabria

Animals hidden in plain sight: stereoscopic recording of Palaeolithic rock art at La Pasiega cave, Cantabria

Making a Difference: Palaeolithic Iconography as a Trait of Identity in the Iberian Peninsula

Why Do Old Dates Fascinate Prehistorians?

Contact Info

Product

Resources

About