Le comportement symbolique des derniers chasseurs cueilleurs paléolithiques : regard sur l’art rupestre du Magdalénien cantabrique

Review of the Animal Figures in the Palaeolithic Rock Art of the Romito Shelter. New Discoveries, New Data and New Perspectives

“…Despite uncertainty on the chronology of the figures, and accepting indeed that it cannot be stated whether all of the five zoomorphic figures at the Romito site were produced in a short period or over a longer period of time, it is however clear that the figures were all engraved within the same stylistic‐cultural tradition. These figures form a palimpsest, whose geographical and chronological limits are not of the ‘Mediterranean artistic province’ as defined by Graziosi (1968; 1973), but whose definitions are possibly more fluid and variable, encompassing the territories from the Iberian peninsula to Azerbaijan and from Egypt up to Belgium, reflecting a wide scale system of human mobility, as highlighted in some recent publications (see: Ruiz‐Redondo 2016; Fuentes 2017; Fuentes et al . 2019).…”

“…2011; Sigari 2013). More recent publications have attempted to establish a social dimension to Magdalenian rock art, looking into the existence of possible Palaeolithic networks, the movement of people, and revealing wider regions for shared symbology (Ruiz‐Redondo 2016; Fuentes 2017; Fuentes et al . 2019; Ruiz‐Redondo et al .…”

The end of the Ice Age in southern Europe: Iberian images in the Palaeolithic to Post-Palaeolithic transition

“…A general summary would compare parietal cave art in southern Europe, which disappeared around the 10 th millennium, to portable art of undoubted antiquity and continuity in the Upper Palaeolithic, Epipalaeolithic and Holocene cultures in northern Europe. However, this striking dichotomy is being questioned, as decorated caves continue to be found in continental Europe (Pakhunov et al 2014;Devlet et al 2018;Carciumaru et al 2019;Ruiz-Redondo The end of the Ice Age in southern Europe (Fugazzola Delpino 2001;Mussi 2012;Simón Vallejo et al 2012;Figueiredo et al 2014Figueiredo et al , 2016García Diez & Cacho 2015;Boriç & Cristiani 2016;Naudinot et al 2017;Paris et al 2017;Santos et al 2018).…”

“…This is especially true of the depopulation hypothesis in southern Europe, regarding the precise areas where climate first improved and created optimal conditions for the expansion of easily-hunted woodland species and plants, which provided more food options (Fernandez López de Pablo et al 2019). The population at outdoor sites (Araújo 2003;Fernández López de Pablo et al 2011;Angevin 2012;Schwendler 2012;Dumarçay & Caron 2010;Peeters & Momber 2014;Canals et al 2014;Naudinot et al 2014;Sterling 2015;Vialou 2015;Jones 2016;Bergadà et al 2018), as well as the number of graphic representations with territorial impact (Bahn 1982;Conkey 1990;Mangado et al 2010;Gárate Maidagán et al 2015;Ruiz-Redondo 2016;Fuentes 2017;Man-Estier & Paillet 2019;Fuentes et al 2019), increased during the Magdalenian. Funerary sequences that, at some sites, reach the 8 th millennium BP should also be considered in this context (Gibaja et al 2012(Gibaja et al , 2015Fernández López de Pablo et al 2013;Grünberg 2016;Peyroteo 2016;Bicho et al 2016;Orschiedt 2018;Bueno Ramírez et al 2018;Domingo et al 2018;Sparacello et al 2018;Zagorska et al 2018).…”

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

“…Despite this, drawing analogies between sites from the same chronology may serve to disclose cultural links between human groups (e.g. Sieveking 2003;Fortea Pérez et al 2004;Ruiz-Redondo 2016). Finding the place of Kapova cave within UP cultural dynamics is especially interesting, due to its 'isolated' geographic location within the distribution of Palaeolithic decorated caves.…”