Cantabria posee más de 70 cuevas con arte rupestre
paleolítico, erigiéndose como una de las regiones con mayor
concentración de conjuntos rupestres paleolíticos en Europa.
Su importancia radica en:
– la cantidad de conjuntos,
– la diversidad de técnicas, temática y estilística,
– la concentración de imágenes, antigüedad y continuidad en el tiempo,
– la calidad y excelente estado de conservación.
by Daniel GARRIDO PIMENTEL [i]
[CAA 2015 – session 3C abstract]
In the latest three years, we have applied our own documentation methodology over 45 rock-art shelters from different regions of Spain. We developed a register system that combines the data acquired by 3D scanning technology, photogrammetry, high-resolution spherical images …
by Jorge ANGAS, Manuel BEA
[CAA 2015 – session 3C abstract]
We propose photogrammetry as a technique that allow us to create a 3D model, oriented to reduce the different problems of subjectivity that are present in the old systems of registry, and furthermore to study the rock surface without touching it…
by Benito VILAS, Alia VÁZQUEZ, Miguel CARRERO
Here is integrally reported a long FB photographic thread started by Ángel L. Mayoral Castillo on June 2011. It is completely devoted to footprints; no matter about their chronological or geographical origin. You may intend it as a little bit casual, or, better, serendipitous, like some (few? many?) FB posts. Anyway it seems useful to share it, to get some starting points: an intriguing subject, surely not a secondary one concerning some aspects of rock art interpretation.
by FB thread (A.L.M.C.)
Among the Vermelhosa Palaeolithic scratched figures, an elephant head stands out. Eighteen years after its publication, it’s time to recall the attention of Palaeolithic rock art scholars over this case: having been the Iberian peninsula the last European refuge of the straight-tusked elephant, are we facing an Elephas antiquus depiction? (PDF available)
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by Andrea Arcà
SIMÕES DE ABREU M., ARCÀ A., FOSSATI F., JAFFE L., 1998. Palaeolithic rock engravings at Vermelhosa, Côa valley archaeological park, Portugal, in UISPP – International Union of Prehistoric and Protohistoric Sciences, Proceedings of the XIII Congress, Volume 3, Forlì
| full text-image PDF | English.
by Mila SIMÕES DE ABREU, Andrea ARCÀ, Angelo FOSSATI, Ludwig JAFFE
A contemporary land-art performance curiously produces the same patterns engraved on prehistoric petroglyphs. Maybe a relationship with the landscape, real or symbolical, should be considered? Here the voices of Sonja Hinrichsen, the artist, and of Andrea Arcà, the archaeologist. The debate is open.
by Andrea Arcà and Sonja Hinrichsen
A set of engravings are located on a rock in the highest part of the chain of mountains named Serrat de la Torrassa o Torratxa, in the village of Santa Coloma de Cervelló, Barcelona, Catalonia. The paper describes this engravings and compare them with similar engravings in Catalonia. By their type we think they can be dated in the Calcholitic or Bronze periods.
by F. Anguas, A. Fàbrega, J.M. Huélamo, J.M. Solias
En este artículo se presentan nuevas representaciones de arte rupestre paleolítico que han sido halladas recientemente en Extremadura. En dos de los casos se trata de figuras que se añaden a un repertorio iconográfico ya conocido. El tercero de los hallazgos es inédito..
by Hipólito Collado Giraldo
Archaeology Gathering, Freixo de Espada à Cinta, Trás-os-Montes, Portugal, 2 – 4 April 2004. Presentation and programme.
by Mila Simões de Abreu
The area, extremely rich in Palaeolithic-to-contemporary rock art, is now submerged, like the bordering Portuguese ones, by the huge artificial lake of the Guadiana dam. Photo gallery.
by Hipolito Collado Giraldo
The impact of dams on the rock art of Portugal was, in the last fifty years, devastating. Six major areas were affected.
by Mila Simões de Abreu
The rock art community first heard of the existence of a major rock-art site in the Côa river valley on 8 November 1994. In the Anuário da Região Duriense of 1939, José Silvério Andrade refers to several engravings. Andrade’s note never reached the attention of the right scholars. He is the first and real discoverer of the Côa area engravings.
by Mila Simões de Abreu and Alexandre Parafita
TRACCE Online Rock Art Bulletin no. 13
29 April 2001 – cover, index and intro only
TRACCE no. 13 – by Robert G. Bednarik
This is a black day in the history of global endeavours to preserve the cultural heritage of humanity, and in more ways than one. For one thing, it condemns one of Europe’s greatest art treasures to permanent destruction.
TRACCE no. 13 – by Mila Simoes de Abreu, Andrea Arcà
Alea jacta est. Within few hours the Portuguese-Spanish Alqueva dam water will start to submerge thousands of years of human history and archaeological remains: hundreds of prehistoric engraved rocks, Roman mills, millenarian olive-groves and cork-plantations will be lost forever under the Portuguese Archaeological Institute blessing.
TRACCE no. 13 – by TRACCE editor
Durante los meses de Enero y Febrero de 2001 un equipo de 15 realizaron todos los trabajos de documentación pertinentes del conjunto de grabados rupestres prehistóricos localizados en este pequeño enclave geográfico de la provincia de Badajoz.
TRACCE no. 13 – by M. Simoes de Abreu, A. Arcà, A. Fossati
With the complicity of the European Union new large and important rock art areas will be submerged by the Alqueva dam (Portugal – Spain).
TRACCE no. 13 – TRACCE open access papers
Arcà A., Bednarik R.G., Fossati A., Jaffe L., Simões De Abreu M. 2001.
Damned dams again: the plight of Portuguese rock art, Rock Art Research 2001, volume 18, n. 1, special report insert, pp. i-viii
TRACCE no. 13 – by UISPP
Lors de la réunion du Conseil Permanent du vendredi 7 septembre 2001, réunie à Liège (Belgique), la motion suivante a été proposée et acceptée. Par la suite, elle a été présenté lors de l’Assemblée générale de l’UISPP, tenue à Bruxelles le samedi 8 septembre.
