Les manifestations graphiques aurignaciennes sur support rocheux des environs des Eyzies (Dordogne)

Delluc, Brigitte; Delluc, Gilles

doi:10.3406/galip.1978.1594

Cited by 28 publications

(9 citation statements)

References 12 publications

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“…The earliest unambiguously dated cave art is of this nature, e.g., the engraved limestone blocks from various Aurignacian sites in the Les Eyzies region of the Dordogne (Delluc and Delluc, 1978) and the painted blocks from the Grotte de Fumane in northeast Italy (Broglio et al, 2006). With cave art, however, this approach works only if the assumption that there is a direct connection between the occupation of a cave (at least as represented by its archaeology) and the cave art is correct.…”

Section: Indirect Associative Datingmentioning

confidence: 98%

Dating European Palaeolithic Cave Art: Progress, Prospects, Problems

Pettitt

Pike

2007

J Archaeol Method Theory

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Over the last decade several dozen direct dates on cave art pigments or associated materials have supplemented more traditional style-based attempts to establish a chronological (and developmental) scheme for cave art. In the "post-stylistic" era an holistic integration of pigment "recipe" analysis, formal stylistic analysis and direct chronometric dating have been applied to a handful of dates. Here, we examine the state-of-the-art of Palaeolithic cave art dating, with particular emphasis on certain radiocarbon and Uranium-series projects. We examine the relative successes and weaknesses of this cutting edge science. We conclude that there are several weaknesses in current applications that are in serious need of addressing. Issues of sample contamination and of the heuristic relationship between materials dated and the production of the art are particularly problematic. It follows that one should at present be very cautious about straightforward interpretations of apparent "dates" of cave art.

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Section: Indirect Associative Datingmentioning

confidence: 98%

Dating European Palaeolithic Cave Art: Progress, Prospects, Problems

Pettitt

Pike

2007

J Archaeol Method Theory

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“…1), which shows one large elongate feature and three smaller satellite features all dug into the friable limestone bedrock. Delluc and Delluc 1978). A color version of this figure is available online.…”

Section: Abri Castanet and Abri Blanchardmentioning

confidence: 99%

Technologies for the Control of Heat and Light in the Vézère Valley Aurignacian

White¹,

Mensan²,

Clark³

et al. 2017

Current Anthropology

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“…What fascinated me about this engraved block was that the very first Upper Palaeolithic object I had put under the microscope a quarter of a century ago came from the earlier Aurignacian of this Dordogne region and provided a serpentine image that I had published as a notation and as a conceptual image and abstraction of 'time' (Marshack 1975;. The bone object came from the Abri Blanchard, a site which had also provided a number of limestone blocks with carved vulvas (Delluc and Delluc 1978). Some of these Aurignacian vulvas had not only been overmarked, as at La Ferrassie, but a number of vulvas from this abri and the neighbouring Abri Castenet had also been 'reused' or 'renewed' by incising a second vulva around the first (Delluc and Delluc 1978;.…”

Section: West European Variabilitymentioning

confidence: 99%

The Female Image: A ‘Time-factored’ Symbol. A Study in Style and Aspects of Image Use in the Upper Palaeolithic.

Marshack

1991

Proc. Prehist. Soc.

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The ‘art’ of the early Upper Palaeolithic refers to the images and symbols of the hunters of horse, bison and mammoth during the last European Ice Age that began more than 32,000 years ago. It is therefore interesting that it isnotthe image of the animal that develops in complexity and variability across Ice Age Europe for the next 20,000 or so years, but the image of the female. The image and theconceptof the Ice Age female has perhaps been the subject of more intense emotional debate in the last century than the image of the animal (Ucko 1962; 1969; Clottes and Cerou 1970; LeroiGourhan 1965; Ucko and Rosenfeld 1972; Stoliar 1977–78). The debate continues, both with new finds and new ideas (Rosenfeld 1977; Delporte 1979; Rice 1981; Gamble 1982; Cerda 1983; Guthrie 1984; Praslov 1985; Sonneville-Bordes 1986; Lorblanchet and Welte 1987; Gvozdover 1989; Duhard 1989).

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Les manifestations graphiques aurignaciennes sur support rocheux des environs des Eyzies (Dordogne)

Cited by 28 publications

References 12 publications

Dating European Palaeolithic Cave Art: Progress, Prospects, Problems

Dating European Palaeolithic Cave Art: Progress, Prospects, Problems

Technologies for the Control of Heat and Light in the Vézère Valley Aurignacian

The Female Image: A ‘Time-factored’ Symbol. A Study in Style and Aspects of Image Use in the Upper Palaeolithic.

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