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788461 7299379
ISBN 978-8-461-72993-7
Sobre rocas y huesos:
las sociedades prehistóricas y
sus manifestaciones plásticas
Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
Coords./Eds.: Mª Ángeles Medina-Alcaide, Antonio J. Romero Alonso, Rosa Mª Ruiz-Márquez, José L. Sanchidrián Torti
Coords./Eds.:
Mª Ángeles Medina-Alcaide
Antonio J. Romero Alonso
Rosa Mª Ruiz-Márquez
José L. Sanchidrián Torti
FACULTAD DE
FILOSOFÍA Y LETRAS
PATROCINAN
COLABORAN
Sobre rocas y huesos:
las sociedades prehistóricas
y sus manifestaciones plásticas
Coords./Eds.:
Mª ÁNGELES MEDINA-ALCAIDE
ANTONIO J. ROMERO ALONSO
ROSA Mª RUIZ-MÁRQUEZ
JOSÉ L. SANCHIDRIÁN TORTI
2014
[ 4 ]
Comité Científico
Dr. Hipólito Collado Giraldo (Consejería de Cultura y Turismo Junta de Extremadura, España)
Dr. Felipe Criado Boado (CSIC, España)
Dra. Carole Fritz (CREAP-Université de Toulouse II-Le Mirail/CNRS, France)
Dr. César González Sainz (Universidad de Cantabria, España)
Dr. Mauro S. Hernández Pérez (Universidad de Alicante, España)
Dra. Esther López-Montalvo (CREAP-Université de Toulouse II-Le Mirail/CNRS, France)
Dr. Luiz Oosterbeek (Instituto Politécnico Tomar, Portugal & UISSP)
Dr. José Luis Sanchidrián Torti (Universidad de Córdoba, España)
Dr. Georges Sauvet (CREAP-Université de Toulouse II-Le Mirail/CNRS, France)
Dr. Gilles Tosello (CREAP-Université de Toulouse II-Le Mirail/CNRS, France)
Dra. Pilar Utrilla Miranda (Universidad de Zaragoza, España)
Dr. Juan M. Vicent García (CSIC, España)
Dr. Valentín Villaverde Bonilla (Universidad de Valencia, España)
Coordinadores/editores:
Mª Ángeles Medina-Alcaide
Antonio J. Romero Alonso
Rosa Mª Ruiz-Márquez
José L. Sanchidrián Torti
© del texto e imágenes: los autores
© imagen de portada: Dr. Gilles Tosello
ISBN: 978-84-617-2993-7
Depósito Legal: CO. 511/2015
Diseño, maquetación e impresión:
Imprenta Luque, S. L.
www.imprentaluque.es
[ 5 ]
In memoriam
Ana María Márquez Alcántara
Arqueóloga-Directora del Museo de Nerja
[ 7 ]
Páginas 7-9 ISBN 978-84-617-2993-7
ÍNDICE
1. LAS SOCIEDADES PREDADORAS Y SUS MANIFESTACIONES PLÁSTICAS .... 13
DU BON USAGE DES COMPARAISONS DANS L’ART RUPESTRE : LE CAS DES
SIGNES
Georges Sauvet ............................................................. 14
EL ARTE PARIETAL EN EL GOLFO DE BIZkAIA: NUEVOS DESCUBRIMIENTOS,
NUEVAS INTERPRETACIONES
Diego Garate, Aitor Ruiz-Redondo, Olivia Rivero, Joseba Rios-Garaizar ............... 26
CRUZAR LA FRONTERA: CONTACTOS E INTERRELACIóN DE LAS
SOCIEDADES PALEOLÍTICAS DE LA PENÍNSULA IBÉRICA A TRAVÉS DE SU
ARTE (ca. 33000 - 16000 BP)
Clara Hernando Álvarez ...................................................... 40
LE STyLE DANS TOUS SES êTAS !
Stephane Petrognani ......................................................... 56
L’APPROCHE DES IDENTITÉS AU MAGDALÉNIEN MOyEN : LE RôLE DE
MARQUEUR IDENTITAIRE DES REPRÉSENTATIONS HUMAINES EN CONTExTE
« LUSSAC-ANGLES » ET « NAVETTES »
Oscar Fuentes .............................................................. 66
EL ARTE RUPESTRE PALEOLÍTICO DEL ABRIGO DE LA VIñA (OVIEDO,
ASTURIAS). PRESENTACIóN DE SU ESTUDIO ACTUAL DENTRO DEL
PROyECTO DE INVESTIGACIóN DEL yACIMIENTO
María González-Pumariega Solís ............................................... 84
ExPRESSION INDIVIDUELLE, ExPRESSION COLLECTIVE : CONFRONTATION
DES MOTIFS DU PALÉOLITHIQUE SUPÉRIEUR
Eric Robert ................................................................ 96
LOS SIGNOS INTEGRADOS DE PILETA-E: ANÁLISIS A DIFERENTES
PROFUNDIDADES DE CAMPO
Mª Ángeles Medina-Alcaide, José Luis Sanchidrián Torti ............................ 116
TIPO-CRONOLOGÍA DE LAS COMPOSICIONES GEOMÉTRICAS
MAGDALENIENSES DEL PIRINEO NOROCCIDENTAL
Claire Lucas ............................................................... 130
[ 8 ] Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
ÍNDICE
SÍNTESIS DE LAS MANIFESTACIONES GRÁFICAS PALEOLÍTICAS EN
CAVIDADES POCO PROFUNDAS DEL CAMPO DE GIBRALTAR (CÁDIZ)
Antonio Ruiz Trujillo, Ana María Gomar Barea, María Lazarich ...................... 152
2. LAS SOCIEDADES PRODUCTORAS Y SUS MANIFESTACIONES PLÁSTICAS .. 171
NOVEDADES EN EL ARTE RUPESTRE DE ARAGóN
Manuel Bea, Pilar Utrilla ..................................................... 172
THE HOLOCENE TRANSITION AND POST-PALAEOLITHIC ROCk ART FROM
THE SABOR VALLEy (TRÁS-OS-MONTES, PORTUGAL)
SoaSoaresdeFigueiredo,PedroXavier,AndreiaSilva,DárioNeves,IsabelDomínguez
García .................................................................... 192
LAS PINTURAS ESQUEMÁTICAS EN LA PROVINCIA DE LEóN: DESDE LOS
PRIMEROS DESCUBRIMIENTOS A LA ACTUALIDAD
Feliciano Cadierno Guerra ................................................... 204
NUEVOS ENCLAVES CON ARTE RUPESTRE EN LA MESETA CASTELLANO-
LEONESA. LAS REPRESENTACIONES PINTADAS y GRABADAS EN LAS
CUEVAS DE LA ZARZAMORA y EL PORTALóN (PEROGORDO, SEGOVIA,
ESPAñA)
Lázaro Rodríguez, José Manuel Torrado, Mónica Villalba, Jairo González, Ángel
Domínguez, Elena García, Hipólito Collado, Nohemi Sala, Milagros Algaba, Juan Luis
Arsuaga, José Julio García, Isabel Domínguez, Luis F. Nobre, Martí Mas, Mónica Solís ... 216
LA ESTACIóN RUPESTRE DE LA CORNISA DE LA CALDERITA (LA ZARZA,
BADAJOZ): úLTIMAS INTERVENCIONES y RECIENTES APORTACIONES SOBRE
SUS CONJUNTOS DE PINTURAS ESQUEMÁTICAS
José Julio García Arranz, Hipólito Collado Giraldo, Luis F. da Silva Nobre, Isabel Mª
Domínguez García, Esther Rivera Rubio, Pierluigi Rosina, Hugo Gomes, José Enrique
Capilla Nicolás ............................................................. 228
LA DESCONTExTUALIZACIóN DEL ARTE RUPESTRE: EL EJEMPLO DEL
MUSEO DE MARTOS (JAÉN)
José Jiménez-Mena, José Antonio Peña-Villaverde, Nuria Rodríguez-Ruiz, Rosa Mª
Ruiz-Márquez, Ana María Gomar Barea, Antonio Ruiz Trujillo ....................... 258
EL ABRIGO DE COy (TOUS, VALENCIA). CUANDO EL ARTE LEVANTINO CRUZó
EL xúQUER
XimoMartorellBriz,TrinidadMartíneziRubio ................................... 272
ARTE RUPESTRE PREHISTóRICO EN LA SERRA DE SEGàRIA (ALICANTE,
ESPAñA)
VirginiaBarcielaGonzález,XimoMartorellBriz,FranciscoJavierMolinaHernández .... 286
ICONOGRAFÍA NÁUTICA EN EL ARTE DE LAS SOCIEDADES PREHISTóRICAS
DE LA PENÍNSULA IBÉRICA. CERTEZAS E INCERTIDUMBRES
Imanol Vázquez Zabala ...................................................... 300
NORMES ICONOGRAPHIQUES ET TECHNIQUES DES « PIERRES à CERFS » DE
MONGOLIE
Clémence Breuil ............................................................ 318
[ 9 ]
Páginas 7-9 ISBN 978-84-617-2993-7
ÍNDICE
3. NUEVAS TECNOLOGÍAS APLICADAS AL ANÁLISIS Y EL REGISTRO DEL
ARTE PREHISTÓRICO .................................................... 329
PROPUESTA METODOLóGICA PARA ESTABLECER LA SECUENCIA
ESTRATIGRÁFICA DE UN PANEL RUPESTRE: LA COQUINERA II (OBóN,
TERUEL, ESPAñA)
Miguel Ángel Rogerio Candelera ............................................... 330
PROPUESTA CONCEPTUAL y METODOLóGICA EN LA DOCUMENTACIóN
GRÁFICA y GEOMÉTRICA DEL ARTE RUPESTRE: PROYECTO ARAM (ARTE
RUPESTRE Y ACCESIBILIDAD MULTIMEDIA)
Jorge Angás Pajas, Manuel Bea Martínez ........................................ 344
THE TAGUS VALLEy ROCk ART COMPLEx: RESEARCH, METHODOLOGy AND
RESULTS
Sara Garcês, Luiz Oosterbeek ................................................. 362
PEINTURES RUPESTRES EN TERRITOIRE JAwOyN, TERRE D’ARNHEM
(AUSTRALIE) : UNE ÉTUDE INTÉGRÉE
Geráldine Castets, Emilie Chalmin, Bruno David, Jean Michel Geneste,
Jean-JacquesDelannoy,RobertGunn,FayçalSou,SébastienPairis,PaulineMartinetto,
Sophie Cersoy, Bryce Barker, Lara Lamb, Stéphane Hoerlé, Élisa Boche ............... 378
ARCHAEOMETRIC CHARACTERIZATION ANALySES ON ROCk ART PIGMENTS
AND NATURAL CONCRETIONS AT FRISO DEL TERROR - MONFRAGüE
NATIONAL PARk, CÁCERES, SPAIN
Hugo Gomes, Pierluigi Rosina, Hipólito Collado Giraldo, José Julio García Arranz,
Luis F. da Silva Nobre, Isabel Mª Domínguez García, Esther Rivera Rubio, Lázaro
Rodríguez Dorado, José Manuel Torrado Cárdeno, Mónica Villalba de Alvarado,
Magdalena Nacarino de los Santos ............................................. 406
CHRONOLOGIES CROISÉES (C-14 ET U/Th) POUR L’ÉTUDE DE L’ART
PRÉHISTORIQUE DANS LA GROTTE DE NERJA : MÉTHODOLOGIE
Anita Quiles, Carole Fritz, Mª Ángeles Medina-Alcaide, Edwige Pons-Branchu,
José Luis Sanchidrián Torti, Gilles Tosello, Hélène Valladas ......................... 420
REASSEMBLy METHODOLOGy IN PALAEOLITHIC ENGRAVED PLAQUES FROM
FOZ DO MEDAL TERRACE (TRÁS-OS-MONTES, PORTUGAL)
SoaSoaresdeFigueiredo,LuísNobre,AraceliCristoRopero,PedroXavier,RitaGaspar,
Joana Carrondo ............................................................ 428
Abstract: Trás-os-Montes is a region located on the northwest corner of Portugal and has, in recent years, been
the object of large-scale public works. The Hydroelectric Exploitation of Baixo Sabor is one of its most prominent
projects, responsible for the submersion of a 3.000 hectares area.
Following on this project, an excavation was conducted at the Foz do Medal Terrace, a site presenting a complex
sedimentary sequence and registering an occupation span between the Middle Palaeolithic and the Bronze Age
periods. With regards to portable art, the most significant levels are from the Upper Palaeolithic, mostly recovered
from the Stratigraphic Unit 1055. Over 1.500 engraved plaque fragments and 150.000 chipped lithic artefacts have
been recollected from this deposit. This stratigraphic unit sustained a post-depositional relocation leading mate-
rials to be discovered in secondary contexts, despite the integrity of the collection being fully maintained.
The Foz do Medal mobile art collection is composed by 1504 fragments of engraved plaques, from which 1259
belongs to the layer 1055. The supports are schist and greywacke of unequal characteristics and qualities.
The particularities of the deposit, the high number of uncovered engraved fragments and their respective features
justified the development of a unique work methodology for the study of the engraved material, from the field- to
laboratory work. Therefore, this paper aims to both detail the applied methodology in the reassembly of the co-
llection and present its results.
Keywords: Upper Palaeolithic, Portable art, Fluvial Terrace, Reassembly, Methodology
Resumen: Trás-os-Montes es una region situada en el nordeste de Portugal y que en los últimos años ha experi-
mentado la ejecución de grandes obras públicas. Entre estas obras destaca la construcción del embalse del río Sa-
bor, que va a dejar bajo el agua 3 000 ha de valle.
En este contexto se realizó la excavación de la terraza fluvial de la Foz de Medal. Este yacimiento presenta una
secuencia sedimentaria compleja y con una ocupación que se prolonga desde el Paleolítico Medio hasta la Edad del
Bronce. En relación al arte mueble, los niveles más importantes se adscriben al Paleolítico Superior, en particular
a la unidad estratigráfica 1055, donde fue encontrado un importante conjunto de placas grabadas junto a más de
150 000 piezas líticas talladas. Esta unidad estratigráfica sufrió un deslizamiento postdeposicional que produjo la
recogida de los materiales en un contexto secundario, a pesar de que el conjunto se encuentra íntegro.
En total se recuperaron 1504 fragmentos de placas grabadas de diverso tamaño, de las que 1259 pertenecen al
depósito citado. Todas ellas sobre esquisto y grauvaca, de desiguales características y calidades.
Las peculiaridades del depósito como de los suportes hicieron necesaria la definición de una metodología propia
para la realización del estudio del material grabado, desde su registro en campo hasta su tratamiento en laboratorio.
Con esta comunicación pretendemos detallar la metodología aplicada y los resultados obtenidos.
Palabras clave: Paleolítico Superior, Arte mueble, Terraza fluvial, Remontaje, Metodología
Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
REASSEMBLY METHODOLOGY IN PALAEOLITHIC
ENGRAVED PLAQUES FROM FOZ DO MEDAL TERRACE
(TRÁS-OS-MONTES, PORTUGAL)
Metodología de remontaje en las placas paleolíticas grabadas del yacimiento de
Medal (Trás-os-Montes, Portugal)
Sofia Soares de FIGUEIREDO
Luís NOBRE
ACINEP, Prehistory Studies Institute
Araceli CRISTO ROPERO
Pedro XAVIER
Rita GASPAR
Joana CARRONDO
1. INTRODUCTION
As part of the Hydroelectric Exploitation of Baixo Sabor archaeological project, entitled Plan of
Heritage Protection, several sites revealing heritage value have been researched, being Foz do Medal
brook, the Terrace is administratively bounded to the Meirinhos parish, in the municipality of Moga-
-
Heritage Protection is part of the Environment, Quality and Safety Area coordinated by Augusta Fernandes.
recepción:
aceptación:
Figueiredo S.S. et al. (2014)
Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
acquire at the geographical point where the valley opens up, have transformed
this location into an important passageway, and into a favourable area to human
occupation since the Palaeolithic period to the Contemporary Age. Although it
the site holds a complex sedimentary sequence, and registers occupational levels
et al.
et al.,
After the extraordinary discovery of rock art at the Côa Valley and its cla-
-
al discoveries of open-air parietal Palaeolithic art, mainly in northern and central
Portugal. In western Trás-os-Montes, four rocks from this period have been iden-
sites were known in the country. In central and southern Portugal, the known sites
were the Gruta do Caldeirão, Buraca Grande, Chancuco 3 and Vale do Boi, in
-
ley, there was Quinta da Barca Sul and the important Fariseu site, where the ar-
-
Figure 1. Localization of
the Medal Fluvial Terrace
in the peninsular context.
Map by João Monteiro.
REASSEMBLY METHODOLOGY IN PALAEOLITHIC ENGRAVED PLAQUES FROM FOZ DO MEDAL TERRACE...
Páginas 428-439 ISBN 978-84-617-2993-7
broadest portable art collection known in the Portuguese territory.
-
Its sedimentary features and the location within the terrace stratigraphic sequence indicate that this de-
posit endured post-depositional processes and, consequently, performs a secondary site.
deposit. The presence of small size elements and the contours with straight fracture lines that are rather
angular and present little erosion, suggest that although the artefacts have been recovered from a secon-
dary context, their displacement has been reduced and their integrity is maintained.
In terms of portable art, and with regards to raw materials used as the support to the engravings,
the Medal Terrace collection is almost exclusively made of schist and greywacke. Given the surfaces
heterogeneity, a careful selection of used materials doesn’t seem to have existed. Also rare are surfaces
occurred.
-
the existence of intentional ruptures have been reported in some cases, with plaques being polished and
Plaques uncovered at the Foz do Medal Terrace reveal a variety of themes including conven-
tional zoomorphic elements from the Palaeolithic wildlife imagery, alongside geometrical and abstract
signs. The latter are precisely the most abundant themes. With regards to the zoomorphic represen-
et al.
In terms of naturalistic designs, some features related with style have also been reported, however
we still can’t establish parallels and they currently stand as original representations. Among these, we
highlight the existence of a line that starts on the animal’s mouth, traces the entire jaw structure, ascends
to the ears and, in parallel with the chest line, details the front paw, creating a real idea of perspective.
The line then follows the abdomen and ends the illusion in the back paw after depicting the animal’s
hindquarters. This line suggests a three-dimensional representation of the animal and its movement,
imprinting the idea of volume in our minds. This particular feature in the Palaeolithic representations of
et al.
The Medal Fluvial Terrace portable art collection is still under study, thus, and at least for the time
being, we can’t elaborate too much on it. Nevertheless, we stress the importance of this discovery given
the Palaeolithic context in which the collection was found, and this site performing one of the richest
open-air locations in terms of portable art in Europe.
Figueiredo S.S. et al. (2014)
Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
2. OBJECTIVES
required the establishment of a rigid and rigorous methodology, one that would allow us to detect the
fragments.
The laboratory work, mainly in terms of reassembly mechanisms, faced some challenges on the
development of a methodology based, for example, on the study of gridded artefacts and respecting their
secondary context. Equally, the analysis parameter based upon the thickness of the support was aban-
doned as we were mainly handling fragments and the metamorphic rocks exhibited a propensity towards
horizontal cleavage. After different analysis parameters and study logics were applied with the aim of
conducting reassembly works, the methodology based on variables that will be further detailed, was the
one registering the best results. This methodology was mainly based on the nature of the support and its
description, which in turn respected attributes with wider or lesser subjectivity.
3. METHODOLOGY
3.1. Field Methodology
-
-
and recovery date.
-
sequent laboratory work was able to match these artefacts with previously recovered larger size slabs.
length and found in sieve.
All the engraved fragments detected at the excavation have been appropriately triangulated. In
-
archaeological remains detected at this deposit.
Wooden or plastic spatulas were used at the deposit excavation, in order to maintain the physical
integrity of the engraved supports. Throughout the excavations in both interventional stages, all the re-
covered schist and greywacke fragments, regardless of their size, were separated, washed and analysed,
REASSEMBLY METHODOLOGY IN PALAEOLITHIC ENGRAVED PLAQUES FROM FOZ DO MEDAL TERRACE...
Páginas 428-439 ISBN 978-84-617-2993-7
3.2. Laboratory Methodology
included inventory and reassembly work, graphic and photographic surveys for
of all the engraved plaques using several scales of analysis. The present paper
approaches the former two.
The inventory stage began with the allocation of a number to each engraved
plaque. The allocated numbers respected the total amount of numbers existing for
the Medal site artefacts, thus preventing the repetition of numbers in the group of
items recovered at the excavation.
A rigorous cleaning was conducted in addition to the individual stowing of
each plaque in hermetic bags covered in 3mm synthetic foam. Each plaque was
individually labelled with the respective inventory number and excavation data.
on both sides, we decided not to label items directly. However, we conducted an
individual photographic record of each artefact prior to any other intervention,
in order to avoid the swap of inventory numbers and, consequently, the loss of
information.
The inventory process also included the development of a broad database di-
butes. This database served and has been serving several other purposes, includ-
Figure 2. Localization of
some of the reassembled
fragments over the
the open-area excavation
and the manual survey
Patrícia Fuentes and Luís
Nobre.
Figueiredo S.S. et al. (2014)
Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
ing assisting the reassembly work. In reality, some variables have been exclu-
sively created to support the present work.
analysis of the plaques and their motifs. Thus, they discriminate and characterize
In the reassembly work, two elements have greatly contributed towards the
decision-making process, and will be further explained in the applied methodo-
logy section. They were based upon the need to study a group of extremely frag-
mented materials uncovered on a secondary context. As an example, the analysis
based upon the thickness of the support and given the propensity towards hori-
zontal cleavage exhibited by metamorphic rocks has been disregarded. A proxi-
mity analysis or an excavation grid assessment was conducted, although not ex-
clusively, given the secondary context inherent to the deposit.
After the analysis and the disregard of some study hypothesis, we focused
-
rating direct from indirect reassembly. The former refers to cases when fragments
couple or are perfectly linked, consequently indicating they belong to the same
support. Indirect reassembly deals with artefacts that due to their features, the
typology of their motifs and existing engraved techniques should belong to the
tter naturally entails a higher degree of uncertainty when compared to the former
case. Therefore, we decided to present results only related with direct reassembly
Figure 3.
Adriano Borges.
REASSEMBLY METHODOLOGY IN PALAEOLITHIC ENGRAVED PLAQUES FROM FOZ DO MEDAL TERRACE...
Páginas 428-439 ISBN 978-84-617-2993-7
mechanisms on the present paper, thus referring to results entailing no degree of
uncertainty.
their location proximity on the excavation site, and the second studied items in
terms of their support features, motifs and engraved techniques.
llection and the limited available space to display them, it was not possible to si-
multaneously study the artefacts as originally planned. Instead, we used a surface
sheet with a 3mm thickness, with the aim of avoiding physical damages on the
engraved fragments.
In addition, it should be stressed that the secondary context where the plaques
its primary context, located at a higher level further east. It descended towards the
west, and was located on the western extension of the excavated area extending to
the north and south. Therefore, and taking into consideration the formation of this
context, the plaque fragments reassembly probability would have been greater in
the east-west direction. Given the impossibility of reproducing the entire excava-
however kept the total occupied deposit area represented at all times with its orig-
inal east-west orientation. The artefacts were then placed starting on the southern
limit up to their northern boundary. Through this methodology we were able to si-
while considering existing fractural lines on the plaques, in addition to the type
-
Figure 4.
Photo by Adriano Borges.
Figueiredo S.S. et al. (2014)
Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
second reassembly stage were recorded and added to the database. Subsequent to
the recording process, the southern grid lines were gradually and systematically
eliminated, whereas the lines referring to the northern location were added. This
sequence was kept throughout.
With regards to the second reassembly stage, the database was of para-
one. Fields related with the support colour, the presence of thermal changes, the
existence of quartz veins or nodules and the engraving technique, among others
performed a key tool in grouping items not by physical proximity but mainly in
terms of the features inherent to the raw materials. In practical terms, the work
features on the surface were considered.
Following the end of stage two, and already with the results recorded, the
entire collection was again subjected to the analysis of items by location proxi-
mity on the excavation site.
4. RESULTS
-
graved plaque fragments. In terms of laboratory work and subsequently to the
We report the following results from the reassembly process:
Figure 5.
Adriano Borges.
REASSEMBLY METHODOLOGY IN PALAEOLITHIC ENGRAVED PLAQUES FROM FOZ DO MEDAL TERRACE...
Páginas 428-439 ISBN 978-84-617-2993-7
The table analysis reveals that reassembly between more than three frag-
ments are scarce when compared to reassembly of three or less items. Still, we
would like to highlight that the data presented is uniquely associated with direct
reassembly processes, thus referring to scenarios when the fragments couple or
are perfectly linked.
3
3
5. CONCLUSION
-
lithic chronologies.
Within the method of reassembling artefacts, lithic reassembly is the further
developed process. In terms of rock art supports, this procedure was applied in
Figure 6.
Photo by Adriano Borges.
Figueiredo S.S. et al. (2014)
Sobre rocas y huesos: las sociedades prehistóricas y sus manifestaciones plásticas
-
applied to lithic reassembly, although, the latter entails a degree of three-dimen-
sionality that in terms of rock art is reduced and supported by the two-dimension-
ality inherent to the engraved motifs.
the Foz do Medal Fluvial Terrace, a process fully described on the present paper,
aims to be linked with the approximate study of the total number of items, with
their potential use and engraved elements. Following the reassembly work, some
fragments exhibiting loose lines were allocated to a wider support that included
horses, aurochs and goats. Thus, this paper represented a paramount tool in im-
proving the overall ability to characterize and understand the Palaeolithic por-
table art from the Foz do Medal Terrace.
Although the study is still in progress, when the reassembly of portable art
fragments is associated with the lithic reassembly still on-going at the same de-
posit, this may also clarify information related with the post-depositional pro-
cesses, while improving future spatial analysis.
In conclusion, we would like to highlight that given the type of features
and should generate new data in the future.
Figure 7.
Borges.
REASSEMBLY METHODOLOGY IN PALAEOLITHIC ENGRAVED PLAQUES FROM FOZ DO MEDAL TERRACE...
Páginas 428-439 ISBN 978-84-617-2993-7
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übrigen Tierdarstellungen. Der Magdalenien Fund-
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ble paleolítico en el sur de Portugal, Trabajos de Pre-
história
Pierres gravées du Périgord
magdalénien, art, symboles, territoires, XXXVIe su-
Arte Paleolítico
de la Cova del Parpalló: Estudio de la Colección
de Plaquetas y Cantos Grabados y Pintados, Servei
vols.
