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Premières observations sur deux nappes de ponctuations de la grotte chauvet (Vallon-Pont-d'Arc, France) - First observations on two panels of dots in the Chauvet cave (Vallon-Pont-d'Arc, Ardèche, France)
... An entrance porch leads to a 100-m-long gallery hollowed out of Urgonian limestone. The rock art is confined to the middle of the gallery and consists of 59 dots (called points-paumes), produced by pressing the palm of the hand on the wall (Baffier and Feruglio, 1998), five animal figures (three ibex, a horse and a bison), an angular line, and a few indeterminate marks consisting of single lines and dots (Monney, 2018b). Expansion processes (Jaillet and Monney, 2018) have caused fragments, some of them pigmented, to flake off the walls, and several flakes bearing red pictorial matter applied with the palm of the hand have been found at the foot of the walls in the Grands Signes area. ...
Analysing the colouring matter used to make prehistoric rock art is essential in order to retrace the chaînes opératoires involved. Despite the well-documented limitations of portable analysis systems, the need to conserve rock art led us to reassess the capabilities of portable X-ray fluorescence (pXRF) spectrometry. Thus, we compared in-situ and laboratory analyses of materials from the Points cave (France), and laboratory pXRF results with analyses obtained using other methods and with reference samples. Results confirmed that current pXRF systems are unable to provide data suitable for elucidating the chaînes opératoires of ferruginous colouring matter.
... Several authors have brought to light elements enabling us to place Chauvet Cave in a wider artistic context. Let us cite, in particular, the comparison of the "hand-dots" from Chauvet, recorded by D. Baffier and V. Feruglio (Baffier, Feruglio, 1998, with their counterparts in the Grotte aux Points (Gély, 2005). D. Sacchi also underlines the formal similarities between the "arc-shaped" rhinoceros ears from Chauvet with Aldène Cave in Hérault (Sacchi, 2000;Tosello, Fritz, 2004), and the almost identical ear on a representation (rhinoceros) from La Baume Latrone (Azéma et al., 2012). ...
... La presencia de manos positivas no es muy común en el arte parietal paleolítico cantábrico , en comparación con las negativas, aunque están presentes, al menos, en las cuevas de Altamira y Fuente del Salín. Pero la aplicación de las palmas es un hecho totalmente excepcional, solamente paralelizable con las palmas rojas que forman una figura animal en la sala Brunel de la cueva de Chauvet (Baffier y Feruglio, 1998 ). Indudablemente, resultaría muy aventurado establecer cualquier tipo de vinculación, más allá de la coincidencia técnica entre ambas cavidades, pero no por ello deja de ser un dato de notable valor. ...
... La presencia de manos positivas no es muy común en el arte parietal paleolítico cantábrico , en comparación con las negativas, aunque están presentes, al menos, en las cuevas de Altamira y Fuente del Salín. Pero la aplicación de las palmas es un hecho totalmente excepcional, solamente paralelizable con las palmas rojas que forman una figura animal en la sala Brunel de la cueva de Chauvet (Baffier y Feruglio, 1998 ). Indudablemente, resultaría muy aventurado establecer cualquier tipo de vinculación, más allá de la coincidencia técnica entre ambas cavidades, pero no por ello deja de ser un dato de notable valor. ...
: La cueva de La Peña (Candamo, Asturias) contiene uno de los conjuntos de arte parietal paleolítico más significativos de la Cornisa Cantábrica. La cavidad fue descubierta en los albores del siglo XX, habiendo sufrido con posterioridad diversos procesos de alteración debido a su utilización como refugio durante la Guerra Civil o por su acondicionamiento para la explotación turística. Recientemente, ha sido declarada Patrimonio de la Humanidad por la UNESCO y se ha retomado el estudio del arte parietal. Como resultado preliminar, se da a conocer el hallazgo de una serie de grafías parietales inéditas, tanto pintadas como grabadas, que se distribuyen por todos los sectores de la cavidad, ofreciendo así una nueva visión del conjunto parietal de la cavidad que enlaza con lo observado en otras cuevas del occidente de la Región cantábrica.
... Over the last 60 years, several attempts have been made to analyze these prints from a biological anthropological point of view by evaluating the width of the palm and the Bdelicate^or Brobust^nature of the fingers in order to infer a sex of the maker, based on statistical results that have suggested that women generally have slimmer hands than men. Thus, in the famous Chauvet Cave (Ardèche, France), a panel of 48 prints Bof small sizes^has been attributed to Bthe hand of a woman or adolescent^ (Baffier and Feruglio 1998:2) (Fig. 3). Another panel of 92 handprints (the highest of which are 2.30 m from the floor level) is attributed to a man of a height of around1.80 m. ...
n an attempt to introduce concerns with social identities into the discussion and understanding of the making of what we call Paleolithic art, this article considers issues of gender, skill, apprenticeship, and tradition. We note that, as in every period of history, Paleolithic art can be seen as embedded in the society that studies it. Over the last 20 years, the research attention given to women in Paleolithic societies has grown considerably, leading us to ask what could have been the roles of women in Paleolithic art. On what criteria could we base a determination of those roles or of other social identities that were likely part of the making and viewing of Paleolithic art?
Thanks to our microscopic analysis of engravings, it is possible to identify the skill level and expertise of the artists and thus to address the question of apprenticeship and how these techniques were transmitted. We observe many similarities that allow us to group together various works of art, sometimes from very distant sites, which indicate a movement of ideas, objects, and people. Are we talking about “imitation”? How can we define an “invention” within a social context strongly bound by traditions?
CLOTTES J. (dir.) 2012. — L'art pléistocène dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo Actes du Congrès IFRAO, Tarascon-sur-Ariège, septembre 2010 – Symposium « Signes, symboles, mythes et idéologie… » Signes, parois, espaces. Modalités d'expression dans le Paléolithique supérieur ouest-européen Éric ROBERT * Aborder la place des signes dans l'art préhistorique revient le plus souvent à aborder des questions de forme ou de type. La nature même de ces représentations incline vers cette orientation de la recherche. L'abstraction de ces tracés, leur caractère le plus souvent géométrique, mais surtout l'impossibilité de les rattacher à une image identifiable, qu'elle soit animale, végétale ou minérale, sont autant d'éléments qui nous conduisent à de simples classifications formelles. Pourtant, dans l'art paléolithique de l'Europe de l'Ouest, ils constituent pendant plus de 20 000 ans la création graphique privilégiée des différentes cultures qui se succèdent dans cet espace. Plusieurs milliers se répartissent sur les parois des grottes, des abris, mais aussi sur les objets en matière dure animale, outils, armes ou parure. Si les clefs pour révéler leur sens nous manquent, nous pouvons en revanche aborder la question de leur fonction, de leur statut au sein des ensembles ornés. Pour cela, il faut dépasser la seule approche liée à la morphologie, et intégrer l'échelle du support et du cadre naturel que constituent les parois des grottes. Les dimensions spatiale et pariétale sont indissociables du message graphique que nous ont laissé les artistes de la Préhistoire. En cela, elles sont porteuses de sens, au même titre que les images auxquelles elles servent de support.
From fauna to bestiary: The cave of Chauvet–Pont-d'Arc, at the origin of the Palaeolithic parietal art. The radiocarbon dating and the pluridisciplinary studies held since seven years in the Chauvet Cave revealed an European parietal art from the origins that trace back to the first upper Palaeolithic culture: the Aurignacian. Could a climatic change have promoted his emergence? Could have it led new human groups in some more auspicious lands? Moreover, which role the environment plays in the artistic creation of the Palaeolithic ages? From what we can see in Chauvet art, we will attempt to deduce the palaeoenvironment and the conditions that presided at its occurrence. To cite this article: V. Feruglio, C. R. Palevol 5 (2006).
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