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Boletín de Novedades
ESPACIO GRÁFICO, VISIBILIDAD Y TRÁNSITO CAVERNARIO / GRAPHIC SPACE, VISIBILITY AND CAVE TRANSIT "EL USO DE LAS CAVIDADES CON ARTE PALEOLÍTICO EN LA REGIÓN CANTÁBRICA / THE USE OF CAVES WITH PALAEOLITHI"
por OCHOA, BLANCA
Fecha de la edición: 2017
Colección:
Encuadernación: RUSTICA
Nº Pág.: 480
pvp.115.00 €
[Disponible en 10 ó 15 días]
Resumen del libro
El punto de partida es definir si existen convergencias o divergencias en el posicionamiento del arte parietal a través del estudio combinado del arte paleolítico y el espacio concreto en el que fue ejecutado. La metodología propuesta analiza una serie de variables: la presencia de contexto arqueológico, la localización específica de las grafías, el tipo de tránsito cavernario, los espacios seleccionados, la visibilidad y aforo. La metodología propuesta se ha aplicado a ocho cavidades -Covaciella, Chufín, El Linar, Las Chimeneas, Las Monedas, La Pasiega, Covalanas y Pondra-. Los análisis nos han permitido documentar la existencia de una planificación basada en el posicionamiento de las figuras. En la Región Cantábrica se seleccionaron preferentemente espacios que dan cabida a individuos o grupos de pequeño tamaño aunque también existen áreas que potencialmente podrían haber albergado grupos de más de veinte personas. Además, hemos observado diferencias de carácter cronológico. Éstas pueden indicar funciones, usos y significados diferentes del arte parietal a lo largo del Paleolítico superior.
The primary goal of this book is to determine whether there are convergences or divergences in the positioning of cave art, through the combined study of the parietal art and the specific space in which it was executed. The methodology proposed analyses a series of variables: the presence of archaeological context, the specific location of the figures, the cave transit, the spaces selected and their potential visibility and capacity. The methodology proposed has been applied to eight caves: Covaciella, Chufín, El Linar, Las Chimeneas, Las Monedas, La Pasiega, Covalanas and Pondra. The analyses allow the author to document the existence of graphic planning through the position of the depictions. In the Cantabrian Region, spaces that allow the presence of individuals or small groups were preferentially selected, though there are also areas that potentially could have room for larger groups of more than twenty people. Moreover, chronological differences have been observed. These may indicate different functions, uses and meaning for the cave art throughout the Upper Palaeolithic.
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