Secuencias gráficas Paleolítico-Postpaleolítico en la Sierra de San Pedro. Tajo internacional. Cáceres

Ramírez, Primitiva Bueno; Behrmann, Rodrigo de Balbín; Bermejo, Rosa Barroso; Ramírez, Fernando Carrera; Carballo, Juana Alfonso; Vasco, Jesús Alonso; Carreras, Juan José; Bravo, Gonzalo Berzas; Expósito, Mayte; Cilleros, Patricia Salgado

doi:10.3989/tp.2010.10036

Cited by 3 publications

(3 citation statements)

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“…This is true the case of the forms that Breuil connected with the schematic motifs on Azilian pebbles, as mentioned above, and the presence of human and animal figures that can easily be compared with schematic figures in southern Europe (Breuil 1933(Breuil -1935Santamaría Santamaría et al 2010). These Palaeolithic art / schematic art graphic sequences are common in other cave or rock-shelter sites, as well as in outdoor sites (Baptista & Garcia Diez 2002;Gomes 2007;Bueno Ramírez 2009;Bueno Ramírez et al 2010;Oliveira et al 2014;Balbín Behrmann et al 2017).…”

Section: Geographical Updated Spread Of Style V Sites In Iberia: Parietal Artmentioning

confidence: 95%

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

Ramírez¹,

BEHRMANN²

2021

Comptes Rendus Palevol

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The documentation of Palaeolithic art in the open air, together with direct dates for parietal art and the study of territories marked by the last hunter groups in southern Europe, supports new interpretations of Palaeolithic art and its continuity in the early Holocene. We provide updated information about the graphic representations in that time of transition, grouped under the term Style V. We also reflect on the chronological framework of some themes and techniques for which dates are available, from the Upper Palaeolithic to the Neolithic. These topics reveal the strength of the Palaeolithic background in more recent versions of prehistoric art, especially the schematic art associated with the first farmers. These new considerations are added to the presence of Palaeolithic and Post-Palaeolithic art throughout Europe and all over the world, which shows how symbols are social traits of communication associated with human groups. The study of connections through these archaeological items, with their undeniable materiality, is a future challenge that will undoubtedly produce interesting results.

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Section: Geographical Updated Spread Of Style V Sites In Iberia: Parietal Artmentioning

confidence: 95%

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

Ramírez¹,

BEHRMANN²

2021

Comptes Rendus Palevol

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“…In the Guadiana basin, the site of Molino Manzánez, at Cheles, Badajoz, is formed by a series of rocks with Palaeolithic and post-Palaeolithic engravings, including phases that can be attributed to the post-glacial period that is catalogued as Style V (Collado, 2006(Collado, , 2009 recently published are found in painted rock-shelters, in the same space as panels of Schematic art (Bueno et al, 2010;Gomes 1990Gomes , 2000Gomes , 2001. Palaeolithic and post-Palaeolithic forms are both found in Ribera Aurela, which the Sierra de San Pedro divides from north to south.…”

Section: Graphic Sequences and Materials Se-quencesmentioning

confidence: 99%

“…Supported by stratigraphies with radiocarbon dates (D'Errico and Possenti, 1999;Langlais et al, 2012, Lorblanchet, 1989, as well as direct dates in caves and the analysis of the graphic sequences on the same surfaces (Aubry et al, 2010;Bueno et al, 2007Bueno et al, , 2010Bueno and Balbín, 2016;Viñas et al, 2010), the data from the Iberian Peninsula have acquired great importance. Portable art and parietal art indicate a continuous sequence that goes beyond the classic date of 10,000 BP for the disappearance of Palaeolithic art, revealing the process of transformation and adaptation of the contents of the art after the Ice Age.…”

Section: Final Reflectionsmentioning

confidence: 99%

Images of the Past in the Lands of Antequera, Málaga, Spain. Palaeolithic to Post-Palaeolithic Transition in Southern Europe

Balbín-Behrmann¹,

Bueno‐Ramírez²,

Bermejo³

et al. 2017

Munibe, Antropol.-Arkeol.

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RESUMENLos casos de paisajes antiguos cuya temporalidad está marcada en las rocas por medio de los símbolos que utilizaron quienes transitaron por ellos, son muchos en el Sur de Europa en general y en la Península Ibérica, en particular. Pero es precisamente Andalucía y en concreto las tierras de Antequera, uno de los ámbitos en los que se puede seguir bien este proceso a partir de las secuencias gráficas de algunos de sus yacimientos decorados. Un Arte Paleolítico en cuevas y al aire libre, con una versión pintada de mayor desarrollo que la hasta ahora documentada en el resto de la Península Ibérica, es la base de un desarrollo de sitios grabados y pintados a lo largo del postpaleolítico en los mismos territorios. LABURPENAEuropa hegoaldean, oro har, eta Iberiar Penintsulan, bereziki, antzinako paisaien denborazkotasuna adierazita dago arroketan, leku horietan bizi izan zirenek haietan marraztutako sinboloen bidez. Baina Andaluzian, eta Antequera inguruan zehazki, bereziki ongi egin daiteke prozesu horren jarraipena, apaindutako aztarnategietako batzuetako segida grafikoetatik abiatuta. Haitzuloetako eta aire zabaleko Arte Paleolitikoa da, Iberiar Penintsulan ordura arte dokumentatuta daudenak baina margolan garatuagoak dituena, eta lurralde bereko Paleolitiko osteko grabatutako eta margotutako lekuen garapenaren abiapuntua dena. ABSTRACTMany examples are known, in southern Europe in general and in the Iberian Peninsula in particular, of ancient landscapes where the passing of time was marked on rocks with the symbols used by the people who transited by them. However, Andalusia and especially the area around Antequera is one of the regions in which this process can be followed most clearly, through the graphic sequences at some of the decorated sites. Palaeolithic art in caves and the open air, with a better-developed painted version than documented so far in the rest of the Iberian Peninsula, was the basis for the development of engraved and painted sites in the same regions in the post-Palaeolithic period.

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Tradiciones gráficas e interacción cultural: arte mueble paleolítico del interior peninsular

Ibero

2022

Complutum

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En los últimos treinta años se ha documentado un notable incremento de manifestaciones artísticas paleolíticas en el interior de la península ibérica. Esto ha permitido llenar el vacío generado más allá de las tradicionales áreas de estudio del arte paleolítico peninsular. Si bien en los años 90 la atención se centró en el fenómeno parietal al aire libre, las excavaciones realizadas han aportado nuevos datos sobre el arte mobiliar. En este trabajo se presenta una síntesis de las evidencias mobiliares paleolíticas del interior peninsular con el objetivo de reconocer dinámicas culturales de los últimos cazadores-recolectores de la península. A partir de esta síntesis se propone una interpretación en clave diacrónica de su secuencia cronológica y se plantea como hipótesis la coexistencia de dos tradiciones gráficas diferenciadas en el interior peninsular, basada en la distribución geográfica de su simbolismo y en los ritmos de interacción gráfica identificables en su arte mobiliar. El resultado muestra una tendencia a la intensificación en las relaciones culturales a medida que el Paleolítico superior alcanza sus fases terminales.

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Secuencias gráficas Paleolítico-Postpaleolítico en la Sierra de San Pedro. Tajo internacional. Cáceres

Cited by 3 publications

References 5 publications

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

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

Images of the Past in the Lands of Antequera, Málaga, Spain. Palaeolithic to Post-Palaeolithic Transition in Southern Europe

Tradiciones gráficas e interacción cultural: arte mueble paleolítico del interior peninsular

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