Article

The cave of Atxurra: A new major Magdalenian rock art sanctuary in Northern Spain

Authors:

Diego Garate

Universidad de Cantabria

Olivia Rivero

Universidad de Salamanca

Joseba Rios-Garaizar

Arkeologi Museoa

Martin Arriolabengoa

Universidad del País Vasco / Euskal Herriko Unibertsitatea

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The discovery of Palaeolithic parietal art in the cave of Atxurra took place within an archaeological surveying project that has been carried out over the last decade in the eastern Cantabrian region. As a consequence of this project, the number of caves with parietal art known in this region has tripled. The case of Atxurra Cave is a remarkable contribution because of the number of parietal representations and the presence of a related external and internal archaeological context. Through this contribution, we present the main data derived from the cave study project that is currently underway, as well as its implications for the reformulation of symbolic interaction during the late Upper Palaeolithic.

Decorated caves in Eastern Cantabrian Spain and the Western Pyrenees (base: https://maps-for-free.com): black discovered during the 20th century; red found in the 21st century. (For interpretation of the references to colour in this figure legend, the reader is referred to the web version of this article.)

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Topographic plan of Atxurra Cave with the area decorated enhanced (Gim-Geomatics).

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Digital documentation of the decorated walls in the high sectors of Atxurra Cave (D. Garate).

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Section N of the 2014–2015 excavation (J. Rios-Garaizar). I(a,b) - Holocene; II(a,b,c,d) - Upper Magdalenian; III- Middle Magdalenian; IV(a,b) - Lower Magdalenian; V - Lower Magdalenian; VI- Gravettian; VII - Paleontological; VIII - Sterile.

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Horse represented by a deep engravings in a calcite flowstone full of bear claw marks in the Alcove of the Claw Marks in Atxurra Cave (D. Garate).

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Figures - uploaded by Diego Garate

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Painting the place: insights from Cueva de Ardales into the symbolic role of caves in the Middle Paleolithic

Article

Jul 2021

Cueva de Ardales in Málaga, Spain, is one of the richest and bestpreserved Paleolithic painted caves of southwestern Europe, containing over a thousand graphic representations. Here, we study the red pigment in panel II.A.3 of “Sala de las Estrellas,” dated by U-Th to the Middle Paleolithic, to determine its composition, verify its anthropogenic nature, infer the associated behaviors, and discuss their implications. Using optical microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectroscopy, micro-Raman spectroscopy, and X-ray diffraction, we analyzed a set of samples from the panel and compared them to natural coloring materials collected from the floor and walls of the cave. The conspicuously different texture and composition of the geological samples indicates that the pigments used in the paintings do not come from the outcrops of colorant material known in the cave. We confirm that the paintings are not the result of natural processes and show that the composition of the paint is consistent with the artistic activity being recurrent. Our results strengthen the hypothesis that Neanderthals symbolically used these paintings and the large stalagmitic dome harboring them over an extended time span.

veille numérique 1-15 juillet 2021

Research

Full-text available

Oct 2021

Anne-Lise Millan-Brun

veille numérique 1-15 juillet 2021

Research Proposal

Full-text available

Oct 2021

Anne-Lise Millan-Brun

veille numérique juillet 2021

The symbolic role of the underground world among Middle Paleolithic Neanderthals

Article

Full-text available

Aug 2021
P NATL ACAD SCI USA

Significance The emergence of symbolic behavior in our genus is a controversial issue. The dating of paintings in three caves from the Iberian Peninsula supports the view that Neanderthals developed a form of cave art more than 20,000 years before the emergence of anatomical modernity in Europe. In this study, we confirm that the paintings on a large speleothem from one of these sites, Cueva de Ardales, were human made, and we show that the pigments do not come from the outcrops of colorant material known inside the cave. Variations in the composition of the paint correspond to differences in the age of the paintings, supporting the hypothesis that Neanderthals used the speleothems symbolically over an extended time span.

The conquest of the dark spaces: An experimental approach to lighting systems in Paleolithic caves

Article

Full-text available

Jun 2021
PLOS ONE

Artificial lighting was a crucial physical resource for expanding complex social and economic behavior in Paleolithic groups. Furthermore, the control of fire allowed the development of the first symbolic behavior in deep caves, around 176 ky BP. These activities would increase during the Upper Paleolithic, when lighting residues proliferated at these sites. The physical peculiarities of Paleolithic lighting resources are very poorly understood, although this is a key aspect for the study of human activity within caves and other dark contexts. In this work, we characterize the main Paleolithic lighting systems (e.g., wooden torches, portable fat lamps, and fireplaces) through empirical observations and experimental archeology in an endokarstic context. Furthermore, each lighting system’s characteristic combustion residues were identified to achieve a better identification for the archaeological record. The experiments are based on an exhaustive review of archaeological information about this topic. Besides, we apply the estimated luminous data of a Paleolithic cave with Paleolithic art (Atxurra in northern Spain) in 3D through GIS technology to delve into the archeologic implications of illumination in Paleolithic underground activities.

veille numérique 1-15 juin 2021

Research

Full-text available

Jun 2021

Anne-Lise Millan-Brun

Table des matières L’express : Préhistoire : le plus ancien conflit armé connu livre certains de ses secrets 2 Communiqué de presse CNRS : L’une des premières guerres préhistoriques était plutôt une succession de violences 4 Plos One : The first quantitative assessment of radiocarbon chronologies for initial pottery in Island Southeast Asia supports 8 Unidivers.fr : Chasseur sachant chasser. Solutré-Pouilly, 16 juillet 2021-16 juillet 2021, Solutré-Pouilly. 13 Nice : « Un faux mouvement et tout se détruit », décrit l'archéologue Sybille Legendre sur son travail dans les fonds marins|outline 14 Unesco : Le Sénégal s’engage pour le renforcement de la protection de ses biens culturels : consultation nationale pour la révi 17 L’Etoile du Lac : De nouvelles découvertes archéologiques à Mashteuiatsh (Canada) 19 France bleu : Yves Coppens et le pourquoi de la disparition de Neandertal 21 Radio Prague International : Le plus ancien génome humain moderne découvert grâce à un crâne retrouvé près de Prague 22 Next Impact : Antarctique : les « variations de température depuis la dernière glaciation » 28 CNRS : Antarctique : quelles variations de température depuis la dernière glaciation ? 29 Techno-Science.net : Homo georgicus - Définition et Explications 33 Figaro Sciences : Néandertal et Homo sapiens mangent des sucres depuis longtemps 35 France Inter : ANTHROPOLOGIE - Evelyne Heyer : 36 La Marne :Archéologie à Chelles : des objets préhistoriques découverts rue Gustave Nast 39 Sciences et Avenir audio : Les mystérieuses origines des groupes sanguins ABO 44 Philosophie magazine : T’as d’beaux os, tu sais 47 Zone Bourse : BOURBON remporte le contrat de gestion des navires spécialisés du DRASSM 49 Histoire naturelle de l'Homme préhistorique UMR 7194 : Séminaire : L’apport des ongulés herbivores aux études environnementales et archéologiques 51 Journal of Paleolithic Archaeology : La Noira Site (Centre, France) and the Technological Behaviours and Skills of the Earliest Acheulean in Western Europe Between 700 and 600 ka 53 Histoire Naturelle de l’Homme Préhistorique : soutenances de Master 2 QPB 56

From cave geomorphology to Palaeolithic human behaviour: speleogenesis, palaeoenvironmental changes and archaeological insight in the Atxurra‐Armiña cave (northern Iberian Peninsula)

Article

Jun 2020

A detailed geomorphological study was performed in the Atxurra‐Armiña cave system (northern Iberian Peninsula) to decode landscape evolution, palaeoenvironmental changes and human use of a cave within an Inner Archaeological Context. The results show an average incision rate of the river of <0.083 mm a–1 for at least the last 419 ka, with interruptions due to sedimentary inputs. Moreover, allostratigraphic units comprising fluviokarstic deposits at the base and flowstone formation at the top have been shown to be climatically controlled, formed either during glacial–interglacial cycles or during interstadial cycles. Finally, when the cave was used by humans in the Late Magdalenian, the lower entrance was closed, and they must therefore have entered the cave through the upper entrance. To reach the sectors selected to decorate the panels, they probably travelled from the upper cave level, as the current crawlway was wider than today, according to our U/Th dating. Once these visitors reached the panels, the floor in the main gallery would have been around 15 cm lower than at present. However, the morphology of the conduit was similar; this has significant implications for understanding and interpreting the human use of the cave during the Palaeolithic.

Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art

Article

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Feb 2022
J ARCHAEOL METHOD TH

The endokarst landscape is the result of long erosion and sedimentation processes that have modelled an environment in which capricious forms abound. Despite being a hostile environment for human life, these caves must have attracted the attention of human groups from as early as the Palaeolithic. It is striking that many examples of rock art appear to be closely symbiotic with their natural support; nevertheless, it is difficult to confirm any relationship in the distribution of the decorated spaces, based on their morphology. Moreover, if we start from the hypothesis—widely accepted, but not demonstrated—that Palaeolithic cave art is a system of visual communication, the visibility of the art or the number of people who could be accommodated in the decorated sectors should be determining factors. In order to avoid making subjective appraisals when analysing these factors, we have designed a Python script with a workflow to work directly with 3D models of caverns using GISs, which can be easily replicated and edited by other researchers. Application of this script in the Magdalenian caves of Atxurra, Santimamiñe and Altxerri (Northern Spain) has allowed us to compare them accurately based on their visibility features. This has shown that in some cases, there may have been prior planning to enhance the visibility of some figures. In all cases, the groups of figures are located in deep and hidden parts of the caves, usually in sectors with limited capacity to accommodate people, which would be consistent with a system of restricted communication.

Hidden images in Atxurra Cave (Northern Spain): A new proposal for visibility analyses of Palaeolithic rock art in subterranean environments

Article

Apr 2020
QUATERN INT

Visibility has been the subject of study in Palaeolithic rock art research ever since the discovery of Altamira Cave in 1879. Nevertheless, until now, the different approaches have been based on subjective assessments, due to computational limitations for a more objective methodology. Nowadays, cutting-edge technologies such as GIS allow us to address spatial studies in caves and overcome their geomorphologically complex and closed characteristics. Here we describe an innovative methodology that uses computing tools available to any researcher to study the viewsheds of the graphic units in decorated caves. We have tested its validity on the recently discovered rock art ensemble of Atxurra Cave, in Northern Spain. We demonstrate that this technology (GIS), widely used in other fields of archaeology, especially in outdoor studies, is also usable in caverns, taking into account the complex morphologies -ceilings and diverse floor-levels, for example. These programmes have also allowed us to consider the lighting systems used by the prehistoric groups inside the cave, as well as various data previously estimated by other authors, such as the height of individuals during the European LUP. The dynamism of these tools −2.5D-, as well as the advancement of new 3D GIS technologies, will allow in the future remarkable progress in these types of structural studies for a better understanding of Palaeolithic cave art phenomena.

El conjunto rupestre de la cueva de Armintxe (Lekeitio, Bizkaia). Un centro ceremonial magdaleniense con figuras raspadas.

Chapter

Full-text available

Apr 2022

César González Sainz

RESUMEN El conjunto parietal de la cueva de Armintxe, descubierto en 2016, introduce algunas novedades técnicas, iconográficas y expositivas en el conocimiento de la actividad gráfica paleolítica de la región Cantábrica, con una densa red de más 150 centros parietales en la actualidad. La cueva se sitúa en el área de desembocadura del río Lea, esto es, inmediata a la banda hoy sumergida de unos 10 km de anchura, que durante el Pleistoceno superior canalizó tanto el acceso de algunos animales a los valles de la región, como los contactos a larga distancia entre las poblaciones cantábrica y del SO francés. Armintxe se integra en una red comarcal de sitios de habitación y conjuntos parietales (cuevas de Santa Catalina, Lumentxa, Larrotegi II, Atxurra-Armiña, Goikolau, Abittaga...) de notable densidad en los compases finales del Paleolítico superior y tiempos epipaleolíticos posteriores. Se trata de una cueva de tránsito y estancia complicados, dominada por empinados taludes y fuertes desniveles. La actividad gráfica se desplegó, en su práctica totalidad, en tres espacios de la parte alta de la cueva, incluyendo en el Corredor elevado (sectores 1 y 2) los raros espacios de suelo llano y cierta capacidad de albergue. El conjunto parietal estudiado es de tamaño medio, con 75 unidades gráficas. Casi la mitad son animales (caballos -dominante en los tres sectores decorados- bisontes, cabras, leones y cérvidos, en algún caso, reno). Entre los signos abstractos, casi todos agrupados en el techo del sector 1, destacan los claviformes tardíos (con algunas variantes inéditas) y un signo subrectangular. Uno de los rasgos más distintivos del conjunto es la profusión de bandas de trazos paralelos, realizadas arrastrando un utensilio con varias puntas sobre la superficie rocosa. Estas BTP aparecen en los tres sectores decorados, pero solo en el panel principal (sector 1) se entremezclan con las figuras animales, en ocasiones rodeándolas y, en general, enmarcando y subrayando una abigarrada y densa composición. En ocasiones, estas BPT han sido completadas con trazos simples en bucle para conformar grandes signos claviformes, también dispuestos en paralelo. Todos los motivos están grabados, adaptándose a un soporte calizo inusual en la región (calizas bioclásticas de grano grueso). Esta caliza muestra en el interior de la cueva una fina capa de alteración superficial de color marrón-rojizo oscuro, fácilmente desmantelable. Las líneas, raspadas con un objeto duro de extremo no aguzado, son siempre de notable anchura (unos 12 mm) y de gran visibilidad a distancia al revelar el fondo más claro de la roca. Las figuras son, en consecuencia, de buen tamaño y tienden a agotar el campo manual. Su disposición es sistemáticamente horizontal en los lienzos verticales y más variada en los techos planos. Son muy esporádicos los trazos grabados simples, anchos sobre soporte arcilloso, y más finos sobre caliza, empleados para completar algunas figuras de contorno raspado. Armintxe es un conjunto unitario e internamente sincrónico. Las representaciones muestran un similar planteamiento gráfico en toda la cueva. Solo en alguno de los aspectos estilísticos valorados (grado de acabado, perspectiva) se aprecian pequeñas diferencias, que pueden vincularse a las distintas condiciones y posiciones de trabajo en esos tres sectores decorados. Por el contrario, las diferencias compositivas entre esos sectores son más notables, y se ajustan a las definidas en la capacidad de albergue y visibilidad a distancia de los lienzos seleccionados. Destaca una gran composición de animales y signos, sobre las paredes laterales y techo del sector 1. Agrupa figuras de bisontes, caballos y cabras, junto a varios leones y un probable reno, entreverados con bandas de trazos paralelos y algunas series cortas de signos claviformes y un rectangular. En el extremo contrario, los paneles monotemáticos de caballos, u otros motivos no figurativos en los pequeños lienzos del sector 3, a menudo solo visibles desde el lugar de realización y en condiciones de estancia y trabajo más precarias. La morfología de los espacios seleccionados para la decoración, la distribución de las figuras de sectores 1 y 2, dispuestas en yuxtaposición muy estrecha sobre los lienzos de más amplia exposición visual, y algunas variaciones en el grado de incidencia de los trazos raspados (que tiende a ser mayor en los lienzos de mayor potencialidad visual), permiten entender la reunión en un mismo ceremonial de grabadores y otros participantes, situados en planos más bajos. El carácter unitario del conjunto y su mismo tamaño sugieren que fue realizado en un tiempo breve, en visitas seguramente cortas y de grupos reducidos. La alteración de los espacios interiores fue mínima: los grabados parietales son el único testimonio detectado, en tanto que la prospección y los sondeos practicados al pie de los paneles decorados del sector 1 y en la misma entrada antigua a la cavidad no han ofrecido restos de actividad atribuibles el Paleolítico superior, aunque sí un notable conjunto paleontológico de inicios de ese periodo. El estilo de las figuras animales y su misma distribución temática, o los tipos de signos abstractos presentes facilitan su atribución a las fases centrales del periodo Magdaleniense. Los paralelos más claros (estilo, presencia de claviformes y de similares BTP) se centran en el conjunto parietal del Tuc d´Audoubert, datado por radiocarbono en unos 13.700 BP (16.600 cal BP), en una cronología Magdaleniense medio. Armintxe se integra entre los conjuntos parietales cantábricos del Magdaleniense reciente, muy cercano temporalmente a sitios como Covaciella, La Cullalvera, Ekain, última fase de El Pindal, de La Garma y de La Pasiega C, y algo anterior a otros como Castillo (última fase), Santimamiñe, Urdiales, Atxurra o Las Monedas. Es, por último, el mejor exponente de la notable interacción cultural entre las poblaciones cantábricas y francesas (especialmente pirenaicas) en esos compases finales del Paleolítico superior, en un contexto de atemperamiento ambiental y expansión demográfica que, tal como lo interpretamos, es el contrapunto al arte de las poblaciones cantábricas durante el Último máximo glaciar, de notable personalidad. ABSTRACT The parietal ensemble in Armintxe Cave, discovered in 2016, introduces some technical, iconographic and compositional novelties in our knowledge of Palaeolithic graphic activity in northern Spain, with its dense network of 150 parietal sites currently known. The cave is located near the mouth of the River Lea, which is to say, close to the band 10km wide that is now submerged but which during much of the Upper Pleistocene channelled both the access of some animals to the valleys in the region and the long-distance contacts between the populations in northern Iberia and the south-west of France. Armintxe formed part of a local network of occupied sites and parietal ensembles (caves of Santa Catalina, Lumentxa, Larrotegi II, Atxurra-Armiña, Goikolau, Abittaga, …) of considerable density in the final stages of the Upper Palaeolithic and the later Epipalaeolithic. It is a cave where it is difficult to move about and stand, owing to its steep slopes and changes in level. Almost all the graphic activity was located in three places in the upper part of the cave, including the high Corridor (Sectors 1 and 2), the few places with a flat floor and certain capacity for people. The studied ensemble is of an average size, with 75 graphic units. Nearly half of these are of animals (horses, which are dominant in the three decorated sectors, bison, ibex, lions and cervids, including some reindeer). Late claviforms (with some new variants) and a sub-rectangular motif stand out among the abstract signs, nearly all of them grouped on the roof of Sector 1. One of the most distinctive traits of the ensemble is the profusion of bands of parallel lines (BPL), made by dragging a utensil with several points over the rock surface. These BPL appear in the three decorated sectors but are only mixed among the animal figures in the main panel of Sector 1 where they sometimes surround the figures and in general frame and underline a jumbled, dense composition. In addition, the BPL are sometimes completed with simple, loop-shaped lines to form large claviform signs, also arranged in parallel. All the motifs are engraved and adapted to an unusual limestone rock in the region (coarse-grained bioclastic limestone). The rock inside the cave is covered by a thin superficial altered layer, dark reddish-brown in colour, that is easily lifted off. The lines, scraped with a hard and blunt object, are always quite wide (about 12mm) and perfectly visible from a distance as they reveal the lighter colour of the underlying rock. The figures are consequently large and tend to occupy the full manual range. They are systematically arranged horizontally on the vertical walls and in more varied positions on the flat roofs. Simple engraved lines, wider on the clay surfaces and finer on the limestone, are more sporadic and used to complete some figures with a scraped outline. Armintxe forms a single, internally synchronic ensemble. The representations display a similar graphic design in the whole cave. Solely in some of the aesthetic aspects (degree of finishing and perspective) can small differences be seen, and these may be linked to the different working conditions and positions in each decorated sector. In contrast, the compositional differences between the three sectors are considerable and are adapted to variations in the holding capacity and visibility of the selected walls at a distance. A large composition of animals and signs is located on the side-walls and roof in Sector 1. It assembles figures of bison, horses and ibex, together with several lions and a probable reindeer, combined with bands of parallel lines and some short series of claviform signs and a rectangle. At the opposite extreme, the monothematic panels of horses and other non-figurative motifs in the small walls of Sector 3 are often only visible from the place where they were drawn and in more precarious access and working conditions. The morphology of the places chosen for decoration, the distribution of the figures in Sectors 1 and 2, more closely juxtaposed on walls with a larger visibility range, and some variations in the degree of impact of the scraped lines (which tends to be greater on walls of larger potential visibility) suggests that the engravers and other participants, on lower levels, might have been gathered in the same ceremonial. The unity in the ensemble and their similar sizes indicates that they were probably produced in a short period of time, in the course of short visits and in small groups. The alteration to the inner space of the cave was minimal. The parietal engravings are the only evidence that has been found since the exploration of the cave and test pits excavated at the foot of the decorated panels in Sector 1 and in the original cave entrance have not yielded remains of activity attributable to the Upper Palaeolithic. However, a significant palaeontological assemblage dated in the start of that period was found. The style of the animal figures and the frequencies of the different representations, together with the type of abstract signs, mean that they can be attributed to the central and late stages of the Magdalenian period. The clearest parallels (style, presence of claviforms and similar BPL) are found in the parietal ensemble in Tuc d’Audoubert, dated by radiocarbon to 13,700 BP (16,600 cal. BP), in the Middle Magdalenian. Armintxe can be incorporated among the recent Magdalenian parietal ensembles in northern Spain, very close in time to sites like Covaciella, Cullalvera, Ekain, Pindal (last phase), La Garma and Pasiega C; and a little before such others as Castillo (last phase), Santimamiñe, Urdiales, Atxurra and Las Monedas. It is, finally, the best example of the considerable cultural interaction between Iberian and French (especially Pyrenean) populations in those last stages of the Upper Palaeolithic, in a context of climate amelioration and demographic growth that, as we interpret it, was the counterpoint to the art of the northern Iberian populations in the Last Glacial Maximum, with its singular personality. LABURPENA 2016an aurkitu zen Armintxe haitzuloko multzo parietalak berrikuntza tekniko, ikonografiko eta erakusketazko batzuk sartu ditu Kantauriko eskualdeko jarduera grafiko paleolitikoaren ezagutzan, gaur egun 150 horma zentro baino gehiagoko sare trinkoarekin. Leizea Lea ibaiaren bokalean dago, hau da, gaur egun urpean dagoen 10 km inguruko zabalerako bandaren ondo-ondoan. Horrek, goiko Pleistozenoaren zati handi batean, animalia batzuen sarbidea bideratu zuen eskualdeko haranetara, bai eta Kantauriko eta Frantziako hego aldeko herrien arteko distantzia luzeko kontaktuak ere. Armintxe eskualde mailako bizileku eta multzo parietalen sare batean integratzen da (Santa Katalina, Lumentxa, Larrotegi II, Atxurra-Armiña, Goikolau, Abittaga... kobazuloak), dentsitate handikoa Goi Paleolitoko azken konpasetan eta ondorengo garai epipaleolitikoetan. Igarobide eta egonleku zaileko kobazuloa da, eta ezponda aldapatsuak eta desnibel handiak ditu nagusi. Jarduera grafiko osoa kobaren goiko aldeko hiru espaziotan zabaldu zen, eta goiko korridorean (1. eta 2. sektoreak) lurzoru laueko espazio arraroak eta nolabaiteko aterpe-edukiera sartu ziren. Aztertutako multzo parietala tamaina ertainekoa da, 75 unitate grafikorekin. Ia erdiak animaliak dira (zaldiak -hiru sektore apainduetan nagusi dena-, bisonteak, ahuntzak, lehoiak eta zerbidoak, kasuren batean elur-oreinak). Zeinu abstraktuen artean, gehienak 1. sektoreko sabaian multzokatuak, klabiforme berantiarrak (aldaera berri batzuekin) eta zeinu sublaukizuzen bat nabarmentzen dira. Multzoaren ezaugarririk bereizgarrienetako bat, marra paraleloen banden ugaritasuna da, harkaitzezko gainazalean punta batzuk dituen tresna bat herrestan eramanez eginak. BTP horiek dekoratutako hiru sektoreetan agertzen dira, baina panel nagusian (1. sektorea) bakarrik nahasten dira animalien irudiekin, batzuetan haien inguruan, eta, oro har, konposizio nabar eta trinko bat markoztatuz eta azpimarratuz. Batzuetan, BPT hauek, begizta formako marra sinpleekin osatu dira, klabiformeko zeinu handiak osatzeko, hauek ere paraleloan jarriak. Motibo guztiak grabatuta daude, eskualdean ohikoa ez den kareharrizko euskarri batera egokituta (ale lodiko kareharri bioklastikoak). Kareharri horrek azaleko alterazio-geruza fin bat erakusten du kobazuloaren barruan, marroi-gorrixka iluna, erraz desegiteko modukoa. Mutur zorroztu gabeko objektu gogor batekin karrakatutako lerroak, beti zabalera nabarmenekoak dira (12 mm ingurukoak), eta urrutitik ikuspen handikoak, harkaitzaren hondo argiena agerian uzten baitute. Ondorioz, irudiak tamaina onekoak dira eta eskuzko eremua agortzeko joera dute. Bere antolaketa sistematikoki horizontala da horma-atal bertikaletan, eta ezberdinagoa sabai lauetan. Oso noizbehinkakoak dira grabatutako marra sinpleak, buztin-euskarriaren gainean zabalak, eta finagoak kareharriaren gainean, inguru karrakatuko irudi batzuk osatzeko erabiltzen direnak. Armintxe talde unitario eta sinkroniko bat da. Irudikapenek antzeko planteamendu grafikoa erakusten dute koba osoan. Balioetsitako alderdi estilistiko batzuetan (akabera-maila, perspektiba) soilik ikusten dira desberdintasun txikiak, dekoratutako hiru sektore horietako lan-baldintza eta -posizio desberdinekin lotu daitezkeenak. Aitzitik, sektore horien arteko konposizio-desberdintasunak nabarmenagoak dira, eta hautatutako mihiseen ostatatze-gaitasunean eta urruneko ikusgaitasunean definitutakoekin bat datoz. Animalia- eta zeinu-konposizio handi bat nabarmentzen da, 1. sektoreko alboko hormen eta sabaiaren gainean. Bisonte, zaldi eta ahuntzen irudiak biltzen ditu, lehoi batzuekin eta elur-orein posible batekin batera, lerro paraleloko bandekin eta zeinu klabiformeen serie labur batzuekin eta angeluzuzen batekin tartekatuak. Beste muturrean, zaldien panel monotematikoak edo figuratiboak ez diren beste motibo batzuk daude 3. sektoreko mihise txikietan; askotan, egiten diren lekutik bakarrik ikus daitezke, eta egonaldi eta lan baldintza kaskarragoetan. Dekoraziorako hautatutako espazioen morfologiak, 1. eta 2. sektoreetako figuren banaketak – Ikusmen-esposizio handieneko horma-atalen gainean ondo-ondoan jarriak – Eta arraspatutako marren eragin-mailaren aldaketa batzuek (ikusmen-potentzialtasun handieneko horma-ataletan handiagoa izateko joera duena) ahalbidetzen dute grabatzaileen eta beste parte-hartzaile batzuen zeremonial berean biltzea, plano baxuagoetan kokatuak. Multzoaren izaera bateratuak eta tamaina berak denbora laburrean egin zela iradokitzen dute, ziurrenik bisita laburretan eta talde txikiagoetan. Barne-espazioen aldaketa oso txikia izan zen: grabatu parietalak dira antzemandako testigantza bakarra; izan ere, 1. sektoreko panel apainduen oinean eta barrunbearen sarrera zaharrean egindako prospekzioak eta zundaketek ez dute goi-mailako Paleolitoa egotz dakiokeen jarduera-aztarnarik eman, baina bai garai horren hasierako multzo paleontologiko nabarmena. Animali irudien estiloak eta euren banaketa tematiko berak, edo dauden zeinu abstraktu motek, Madeleine garaiko fase nagusi eta aurreratuei egoztea errazten dute. Paralelorik argienak (estiloa, klabiformeen eta antzeko BTPen presentzia) Tuc d ‘Audoubert-en multzo parietalean zentratzen dira, erradiokarbonoz datatua 13.700 BP inguruan (16.600 cal BP), erdi mailako kronologia magdaleniarrean. Armintxe Madalein aldiko talde horma artean dago, Cullalvera, Ekain, Pindal, La Garma eta Pasiega C bezalako tokietatik oso hurbil, eta Castillo (azken fasea), Santimamiñe, Urdiales, Atxurra edo Las Monedas baino lehenagoko zerbait. Azkenik, Kantauriko eta Frantziako (bereziki Pirinioetako) populazioen arteko elkarrekintza kultural nabarmenaren adierazgarririk onena da goi-Paleolitoko azken konpas horietan, ingurumena arintzen eta demografia hedatzen ari den testuinguru batean, eta, interpretatzen dugun moduan, populazio kantauriarren artearekiko kontrapuntua da azken glaziar gorenean.

La cueva de Armintxe (Lekeitio, Bizkaia). Estudio del conjunto parietal paleolítico y evaluación arqueológica de los depósitos.

Book

Full-text available

Apr 2022

Quantifying accessibility to Palaeolithic rock art: Methodological proposal for the study of human transit in Atxurra Cave (Northern Spain)

Article

Jan 2021

The systematic evaluation of accessibility to different sectors in caves with Palaeolithic rock art is crucial to interpret the contexts of prehistoric human activity that took place inside them, especially if focused on the areas that are harder to reach. 3D models have been employed in a GIS to process spatial information, calculate numerical cost values and estimate optimal transit routes or needed times to reach several sectors inside a cave, based on morphological features and movement types. These have been obtained through empirical observations and experimental archaeology. Previous geomorphological studies are necessary to determine any geological or anthropic changes that may have occurred in the endokarst since its use in the Upper Palaeolithic. The method has been applied in Atxurra Cave, with satisfactory results, and the accessibility to different archaeological sectors has been compared objectively. This will enable the objective and quantitative assessment of accessibility to the deep sectors of other prehistoric caves in the future, and thus establish recurring or specific patterns among the human groups that created the Ice Age art.

Sporadic occupation in Armiña cave during the Upper Magdalenian: What for?

Article

Apr 2020
JASR

New insights into the European Palaeolithic Art: Symbolic interactions in the Bay of Biscay

Article

Aug 2019
JASR

The geographical distribution of Upper Palaeolithic cave art in Western Europe has changed throughout the history of research. In addition to the initial nuclei that gave rise to “Franco-Cantabrian” art (Cantabria, Périgord and Pyrenees), new regions with remarkable concentrations, such as the Rhône in France or Andalusia and the Iberian Plateau in Spain and Portugal, have now appeared. This new reality favouring the emergence of other territories is probably the reason for certain lack of attention to the classic regions in the last two decades. However, since the beginning of the 21st century new discoveries especially on the Cantabrian side of the Pyrenees (Atxurra, Armintxe, Aitzbitarte IV, etc.) but also in the Périgord (Cussac), together with the revision of the Pyrenean “great sanctuaries” (Tuc d'Audoubert, Trois-Frères, Marsoulas, etc.) and large collections of portable art, have forced a reformulation of artistic interactions between these territories around the Bay of Biscay, during the whole Upper Palaeolithic.

Cazadores y artistas en Bizkaia. Una introducción al Paleolítico superior

Chapter

Full-text available

Dec 2020

César González Sainz

El estudio del depósito arqueológico y conjunto parietal de la cueva de Santimamiñe fue el punto de arranque de un proceso de investigación sobre las primeras sociedades de nuestra especie en el territorio de Bizkaia. Este proceso se ha acelerado en los últimos 25 años y las informaciones empiezan a ser abundantes en diferentes aspectos. Este trabajo pretende una consideración integrada, atenta sobre todo a los aspectos cronoestratigráficos, industriales y artísticos. E introduce algunas notas sobre la dinámica de cambio en materia artística, vinculada, entre otros factores, con modificaciones temporales en la intensidad de la interacción con poblaciones de áreas vecinas, sean del mismo corredor cantábrico o del sur de Francia. Abstract The study of the archaeological deposit and parietal complex of the Santimamiñe cave was the starting point of a research process on the first societies of our species in the territory of Bizkaia. This process has been accelerated in the last 25 years and the information is beginning to be abundant in different aspects. This work seeks an integrated consideration, paying special attention to chronostratigraphic, industrial and artistic aspects. And it introduces some notes on the dynamics of change in artistic matters, linked, among other factors, with modifications across the time in the intensity of the interaction with populations from neighboring areas, whether in the same Cantabrian corridor or in the south of France.

The Symbolic Interactionism Theory: A Systematic Literature Review of Current Research

Article

Full-text available

Sep 2021

This work is licensed under CC BY 4.0 The objective of this paper is to explore the current trend of using symbolic interactionism as an underpinning theory by revealing the gaps in the elements of the theory, methodology, and suggesting the direction for future research. This communication theory is unique because of the elements; self, society, and the environment. Normally, symbolic interactionism theory (SIT) has been used in identity and healthcare studies. While studies using this theory in entrepreneurship are still lacking. It is shown that this study mostly focuses on the sociology perspective compared to the social-psychology perspective. Therefore, this paper was adopted with a thematic analysis of 116 articles using symbolic interactionism as a theoretical underpinning. The findings show previous research that utilised symbolic interactionism in entrepreneurship is still less. This study found that previous studies have focused more on "Looking-Glass-self" by Goffman compared to the overall perspective of self-society-environment and lack of studies focusing on the entrepreneurship field. This systematic review is expected to give understanding and knowledge to readers about SIT, theory gaps through the elements, and directions for future research to consider using symbolic interactionism as a theoretical underpinning in the entrepreneurial phenomenon.

La secuencia prehistórica de la cueva de Abittaga (Amoroto, Bizkaia): evaluación de las excavaciones de J.M. Barandiarán (1964-1966). The prehistoric sequence of Abittaga cave (Amoroto, Biscay): review of J.M. Barandiarán excavations (1964-1966)

Article

Full-text available

Oct 2020

El yacimiento de la cueva de Abittaga, excavado por J.M. Barandiarán entre 1964 y 1965, contiene una secuencia arqueológica con ocupaciones del Magdaleniense Superior y de la Prehistoria Reciente. Este yacimiento apenas ha participado en los debates de la prehistoria vasca de los últimos 40 años, fundamentalmente porque el yacimiento había sido estudiado de manera parcial y porque la información estratigráfica resultaba confusa. En este trabajo presentamos la revisión la colección arqueológica de Abittaga (industria lítica, ósea, cerámica, macrofauna y restos humanos). Se presentan además nuevas dataciones para las ocupaciones magdalenienses (nivel VII), y las de la Prehistoria Reciente (niveles I-III), y los resultados de la intervención arqueológica realizada en 2016. Estos resultados proporcionan una visión actualizada de un yacimiento usado con fines sepulcrales en la Edad del Bronce y como campamento ocasional, dentro de una amplia red de emplazamientos en la cuenca del Lea, durante el Magdaleniense Superior.

Au cœur du carrefour symbolique du golfe de GascogneAt the heart of the symbolic crossroads of the Bay of Biscay: a new look at Upper Palaeolithic decorated caves: Nouveau regard sur des grottes ornées du Paléolithique supérieur

Article

Dec 2018

The Cantabrian Lower Magdalenian striated hinds on scapulae: Towards a new definition of a graphic morphotype

Article

Full-text available

Feb 2019
QUATERN INT

From the graphic point of view, the theme of the “striated hind” is a true fossil director of the Cantabrian Lower Magdalenian. Represented for the most part on scapulae in the case of portable art, it also possesses its correlation in parietal art. The C14 dates currently available do not allow any doubts about its chrono-cultural attribution. However, the concept of “striated engraving” referring to a technical/stylistic resource, has been used much more expansively to characterize chronologically a large number of representations of doubtful attribution. Therefore, this paper will define, from a precise study of technical characteristics involving both microscopic and formal analysis, the “striated hind” morphotype, as opposed to the notion of “striated engraving” which will also be reviewed in the light of the formal and technical data available. This redefinition will enable us to address more precisely the dispersion across space and time of this graphic resource so characteristic of the Cantabrian Lower Magdalenian.

Despieces ventrales “en M” en las representaciones peninsulares de équidos superopaleolíticos

Article

Full-text available

Jan 2017

Carlos Vázquez Marcos

This work presents a quantitative, morphological and typological study, both individually and grouped, of the 49 known peninsular representations of Upper Palaeolithic equids on rock surfaces, both painted and/or engraved, with a ventral quartering “in M”. For this purpose, all 1104 documented units of this animal, in the 252 examined sites, were scrutinized, in caves and rock shelters, and also those that we-re engraved on slate surfaces in the open-air. It is in this open-air environment where the numerically most relevant location is found, the Siega Verde site, in the Province of Salamanca. With this analysis we reach some relevant conclusions, of a chronological, distributive and formal character, on a conventionalism in equid representation which is not only important in group graphic transmission but is, essentially, a deliberate naturalistic reflection.

Garate, D., Rivero, O., Rios-Garaizar, J., Intxaurbe, I. (2016): “La grotte d’Atxurra : un nouveau sanctuaire majeur du magdalénien au Pays Basque”, I.N.O.R.A., nº 76, 1-4.

Article

Full-text available

Dec 2016

Dos rodetes paleolíticos procedentes de las cuevas del Linar y Las Aguas, Alfoz de Lloredo (Cantabria)

Article

Full-text available

Jun 2011

Defining Magdalenian cultural groups in Franco-Cantabria by the formal analysis of portable artworks

Article

Full-text available

Mar 2014
ANTIQUITY

The motifs, techniques and stylistic features of Upper Palaeolithic art offer enormous potential for the investigation of social and cultural interactions in southwestern France and northern Spain during the later stages of the last ice age. The key regions of Aquitaine, Cantabria and the Pyrenees clearly share an overall family resemblance, but detailed analysis of horse heads on portable objects of bone, antler and stone from Magdalenian contexts reveal that particular features can be attributed to different regions at different periods. Furthermore, the patterns of interconnection are structured very differently in the Upper Magdalenian than in the Middle Magdalenian, perhaps as rising temperatures in the latter period led to territorial expansion and social realignment. Supplementary material is published online at

Sea level and global ice volumes from the Last Glacial Maximum to the Holocene

Article

Full-text available

Oct 2014

Significance Several areas of earth science require knowledge of the fluctuations in sea level and ice volume through glacial cycles. These include understanding past ice sheets and providing boundary conditions for paleoclimate models, calibrating marine-sediment isotopic records, and providing the background signal for evaluating anthropogenic contributions to sea level. From ∼1,000 observations of sea level, allowing for isostatic and tectonic contributions, we have quantified the rise and fall in global ocean and ice volumes for the past 35,000 years. Of particular note is that during the ∼6,000 y up to the start of the recent rise ∼100−150 y ago, there is no evidence for global oscillations in sea level on time scales exceeding ∼200 y duration or 15−20 cm amplitude.

La cueva de Arlanpe (Lemoa): Ocupaciones humanas desde el Paleolítico Medio Antiguo hasta la Prehistoria Reciente.

Book

Full-text available

Jan 2013

Quantifying accessibility to Palaeolithic rock art: Methodological proposal for the study of human transit in Atxurra Cave (Northern Spain)

Article

Jan 2021

Sporadic occupation in Armiña cave during the Upper Magdalenian: What for?

Article

Apr 2020
JASR

On the limits of 3D capture: A new method to approach the photogrammetric recording of palaeolithic thin incised engravings in Atxurra Cave (northern Spain)

Article

Jul 2019

Rock-art recording has been significantly improved in recent years by new technologies. Nonetheless, accurate documentation of certain engravings is a challenge for these cutting-edge technologies, specially the extremely thin incised lines used in many Palaeolithic engraved motifs. In this paper, we propose a new methodology for recording these engravings with the objective of producing results comparable to the information available for Palaeolithic portable art. We are currently testing a multi-scale modelling methodology for these engravings. The objective is to produce affordable ultra-high resolution 3D models. Our methodology is completely built around close-range photogrammetry techniques, capturing scenes in increasingly higher resolutions and with different light settings. These entities are referenced to a local coordinate system allowing the overlapping of the different captures. Finally, the detailed tracings achieved from the independent higher resolution 3D models can be accurately gathered in an overall 3D model of lower resolution without geometric distortions.

New Insights into the Study of Paleolithic Rock Art: Dismantling the “Basque Country Void”

Article

Jan 2018

Diego Garate

The Vasco-Cantabrian region of northern Spain, together with southwestern France, is one of the richest areas in terms of Paleolithic cave art, but, until recently, by far the highest concentration of sites had been in the central-western sector: the provinces of Cantabria and Asturias. In contrast, the eastern sector, the Basque Country—between the Asón River and the Pyrenees—was thought to have a significantly lower density of cave art loci, and few of them were major “sanctuaries.” The density of cave art sites seemed to increase again in the central French Pyrenees. This unequal distribution was difficult to explain given the homogeneity in the distribution of undecorated (i.e., habitation) Upper Paleolithic sites, as well as the lack of major lithological or orographic differences between the eastern and central-western sectors of the region. In addition, the important geostrategic position of the Basque Country between southwestern France and northwestern Iberia seemed to contradict the marginal role traditionally suggested by the parietal art record. During the past decade, however, research projects aiming to address the issue of the so-called Basque rock art void have led to the tripling of the number of known decorated caves in the eastern sector. Some of the very recent discoveries, notably in Atxurra, Armintxe, and Aitzbitarte IV, fall into the category of major cave art sites. The evidence presented here contributes to a fuller understanding of artistic production, human connections, and settlement dynamics during the entire Upper Paleolithic among the Cantabrian, Pyrenean, and Aquitaine regions, underlining the importance of the Basque Country record.

Acerca de la posición estratigráfica de los cérvidos y otros animales de trazo multiple en el Paleolítico Superior Español

Article

Jan 1979

P. Utrilla

Late Quaternary developments of Mediterranean oaks in the Atlantic domain of the Iberian Peninsula: The case of the Cantabrian region (N Spain)

Article

Oct 2016

A synthesis of the occurrence of the evergreen oak (Quercus ilex-type) in the Cantabrian region (northern Spain) is presented on the basis of integrated charcoal and pollen analyses. Archaeological charcoal comes largely from sites along the littoral and pre-littoral territories of the Basque Country, Cantabria and Asturias dated from 45 to 3.7 Kyr cal BP, and culturally ranging from Mousterian to Iron Age. Pollen information is produced from a few archaeological sites but mainly from peats and lake sediments. Q. ilex-type is observed as early as at 45-30 Kyr cal BP, with sporadic occurrences in vegetation contexts dominated by Pinus sylvestris-type, which was widely exploited by Mousterian and Aurignacian inhabitants. Afterwards, during the Upper Palaeolithic, there is an important decline, and Q. ilex-type is hardly present between 29 and 15 Kyr cal BP, with open environments dominated by heathland shrubs. From Late Magdalenian onwards, Q. ilex-type expanded again, remaining in the landscape of the Can-tabrian region throughout the Holocene, although subordinated in deciduous oak forests under the influence of oceanic climate conditions. Q. ilex-type had a more favourable position than deciduous Quercus across the Cantabrian southern slopes and northwest of the adjacent Iberian Cordillera, where oceanic influences have become attenuated by summer drought and continentality.

Contexte archéologique interne

Article

Jan 1993

J. CLOTTES

El Magdaleniense inicial en el País Vasco Peninsular

Article

Jan 1976

P. Utrilla

Polen y vegetación en la secuencia estratigráfica de Santimamiñe

Article

Jan 2011

Maria-Jose Iriarte-Chiapusso

La cabra alerta: marcador gráfico del Magdaleniense cantábrico avanzado

Article

Jan 2013

Garate Maidagan, D. (2012): Neandertales y Cromañones. Los primeros pobladores de Bizkaia. Guías del Arkeologi Museoa nº 2, Diputación Foral de Bizkaia, Bizkaikoa y Arkeologi Museoa, Bilbao, 272 p.

Book

Jan 2012

Diego Garate

Périgordian facies in the Upper Paleolithic of Cantabria /

Article

Jan 1971

Thesis--University of Pennsylvania. Includes bibliographical references (leaves xxxi-xlvi) and index. Photocopy.

Geomorphology for paleocaving: landscape evolution and palaeoenvironmental changes in Atxurra-Armiña cave (northern Iberian Peninsula)

QUATERNARY SCI REV

M Arriolabengoa
I Intxaurbe
P Bilbao
A Aranburu
J Ríos-Garaizar
M A Medinaalcaide
O Rivero
Hai Cheng
Beyong
I Líbano
D Garate

Arriolabengoa, M., Intxaurbe, I., Bilbao, P., Aranburu, A., Ríos-Garaizar, J., MedinaAlcaide, M.A., Rivero, O., Hai Cheng, Beyong, Líbano, I., & Garate, D. (submitted). Geomorphology for paleocaving: landscape evolution and palaeoenvironmental changes in Atxurra-Armiña cave (northern Iberian Peninsula). Quaternary Science Reviews.

Excavaciones Arqueológicas en Vizcaya: Silibranka, Atxurra y Goikolau, Revista de la Excelentísima Diputación de Vizcaya

Jan 1961
199-219

J M Barandiarán

Barandiarán, J.M., 1961. Excavaciones Arqueológicas en Vizcaya: Silibranka, Atxurra y Goikolau, Revista de la Excelentísima Diputación de Vizcaya, No 17. In: De Barandiarán, J.M. (Ed.), Obras Completas de José Miguel de Barandiarán XV. La Gran Enciclopedia Vasca, Bilbao, pp. 199-219.

El Paleomesolítico del Pirineo Occidental

Jan 1967

I Barandiaran Maestu

Barandiaran Maestu, I., 1967. El Paleomesolítico del Pirineo Occidental. Universidad de Zaragoza, Zaragoza.

Les cavernes de Niaux: art préhistorique en Ariège-Pyrénées

Jan 2010

J Clottes

Clottes, J., 2010. Les cavernes de Niaux: art préhistorique en Ariège-Pyrénées. Errance, Paris.

L'art pariétal paléolithique à l'épreuve du style et du carbone-14

Jan 2004
163-176

J Fortea
C Fritz
M García
J L Sanchidrian
G Saucet
G Tosello

Fortea, J., Fritz, C., García, M., Sanchidrian, J.L., Saucet, G., Tosello, G., 2004. L'art pariétal paléolithique à l'épreuve du style et du carbone-14. In La spiritualité. Actes du colloque de la commission 8, UISPP (Paléolithique supérieur) (Vol. 106, pp. 163-176). Eraul Liège.

Around art: the internal archaeological context of decorated caves

Jan 2015
127-130

D Garate
M A Medina-Alcaide
A Ruiz-Redondo
J L Sanchidrián

Garate, D., Medina-Alcaide, M.A., Ruiz-Redondo, A., Sanchidrián, J.L., 2015. Around art: the internal archaeological context of decorated caves. Arkeos 37, 127-130.

Jan 1993
7-36

González Sáinz
C Montes Barquín
R Muñoz Fernández

González Sáinz, C., Montes Barquín, R., Muñoz Fernández, E., 1993. La Cueva de Sovilla (San Felices de Buelna, Cantabria). Zephyrus 46, 7-36.

Kobie (serie BAI 5): La cueva de Morgota (Kortezubi, Bizkaia): evaluación arqueológica y estudio del conjunto parietal paleolítico

Jan 2015
105-119

M A Medina-Alcaide

Medina-Alcaide, M.A., 2015. Los restos vegetales carbonizados del contexto arqueológico interno de Morgota koba (Kortezubi Bizkaia). In: López Quintana, J.C. (Coord): Kobie (serie BAI 5): La cueva de Morgota (Kortezubi, Bizkaia): evaluación arqueológica y estudio del conjunto parietal paleolítico. 105-119. Diputación Foral de Bizkaia, Bilbao.

Painted in red: in search of alternative explanations for European Palaeolithic cave art

Jan 2018
65-77

M Á Medina-Alcaide
D Garate
J L Sanchidrián

Medina-Alcaide, M.Á., Garate, D., Sanchidrián, J.L., 2018a. Painted in red: in search of alternative explanations for European Palaeolithic cave art. Q. Int. 491, 65-77.

Beyond art: the internal archaeological context in Paleolithic decorated caves

Jan 2018
J ANTHROPOL ARCHAEOL
114-128

M A Medina-Alcaide
D Garate
A Ruiz-Redondo
J L Sanchidrián

Medina-Alcaide, M.A., Garate, D., Ruiz-Redondo, A., Sanchidrián, J.L., 2018b. Beyond art: the internal archaeological context in Paleolithic decorated caves. J. Anthropol. Archaeol. 49, 114-128.

La secuencia prehistórica de la cueva de Atxurra (Berriatua, Bizkaia): evaluación de las excavaciones de

1934-1935

J Rios-Garaizar
A San Emeterio
M Larrea
A B Marín-Arroyo
L Agudo
M Cubas
D Garate

Rios-Garaizar, J., San Emeterio, A., Larrea, M., Marín-Arroyo, A.B., Agudo, L., Cubas, M., & Garate, D. (submitted). La secuencia prehistórica de la cueva de Atxurra (Berriatua, Bizkaia): evaluación de las excavaciones de J.M. Barandiarán Ayerbe (1934-1935).

Relationships between recent Magdalenian societies in Cantabrian Spain, through the technical and formal analysis of frontal representations of Ibex

Jan 2014
589-601

O Rivero
M Fano
D Garate

Rivero, O., Fano, M., Garate, D., 2014. Relationships between recent Magdalenian societies in Cantabrian Spain, through the technical and formal analysis of frontal representations of Ibex. Otte, M., Le Brun F. (Coord.): Modes de contacts et de déplacements au Paléolithique eurasiatique. ERAUL 140, 589-601.

Fragmento de rodete decorado con el grabado de una figura incompleta de caballo del yacimiento de El Polvorín

Jan 2009
38-39

R Ruiz Idarraga

Ruiz Idarraga, R., 2009. Fragmento de rodete decorado con el grabado de una figura incompleta de caballo del yacimiento de El Polvorín. Arte mueble en Bizkaia. Una mirada al arte decorativo de la Edad de Piedra Los Cuadernos del Arkeologi 1, 38-39.

Maderas carbonizadas en la cueva de Ondaro (Nabarniz, Bizkaia)

Jan 2018

M Ruiz-Alonso

Ruiz-Alonso, M., 2018. Maderas carbonizadas en la cueva de Ondaro (Nabarniz, Bizkaia).

El arte parietal, espejo de las sociedades paleolíticas

Jan 2001
215-238

G Sauvet
A Wlodarczyk

Sauvet, G., Wlodarczyk, A., 2001. El arte parietal, espejo de las sociedades paleolíticas. Zephyrvs 53, 215-238.

El Magdaleniense inferior y medio en la costa cantábrica. Ministerio de Cultura, Dirección General de Bellas Artes

Jan 1981

P Utrilla

Utrilla, P., 1981. El Magdaleniense inferior y medio en la costa cantábrica. Ministerio de Cultura, Dirección General de Bellas Artes, Archivos y Bibliotecas, Madrid.

Bases objectives de la chronologie de l'art mobilier paléolithique sur la Côte Cantabrique. L'art des objets au Paléolithique, 1: L'art mobilier et son contexte. Colloque de Foix-Mas d'Azil 11-16 Novembre

Jan 1987
87-97

P Utrilla

Utrilla, P. 1990. Bases objectives de la chronologie de l'art mobilier paléolithique sur la Côte Cantabrique. L'art des objets au Paléolithique, 1: L'art mobilier et son contexte. Colloque de Foix-Mas d'Azil 11-16 Novembre, 87-10 1987 Ministère de la Cultures Clamecy.

Jan 2020
JASR
102120

D Garate

D. Garate, et al. Journal of Archaeological Science: Reports 29 (2020) 102120

Las culturas del Tardiglaciar en Vizcaya

Jan 1985
3-5

J Fernández Eraso
Upv-Ehu
Bilbao
J Fortea

Fernández Eraso, J., 1985. Las culturas del Tardiglaciar en Vizcaya. UPV-EHU, Bilbao. Fortea, J., 1996. La grotte de El Bosque (Carreña de Cabrales, Asturies, Espagne). INORA, n°13, pp. 3-5.