Universidad Complutense de Madrid
Prehistoria, Historia Antigua y Arqueología
CHAPTER 7 Same Tradition, Different Views: The Côa Valley Rock Art and Social Identity Luís Luís and Marcos García Díez The Côa Valley rock art is an interesting case study in rock art and social identity theory (for example, Tajfel and... more
CHAPTER 7 Same Tradition, Different Views: The Côa Valley Rock Art and Social Identity Luís Luís and Marcos García Díez The Côa Valley rock art is an interesting case study in rock art and social identity theory (for example, Tajfel and Turner 1986). Importantly, it presents one of ...
The history of urology starts with written documents making express reference to procedures, practices and descriptions of morbid processes related with the male genitourinary tract. Oddly, the most recent prehistoric period, the superior... more
The history of urology starts with written documents making express reference to procedures, practices and descriptions of morbid processes related with the male genitourinary tract. Oddly, the most recent prehistoric period, the superior Paleolithic (from approximately 40.000 years to 12.000 years ago; the longest period since our species entered the history of humanity) also has graphic documents expressing how the human being understood the physiologic phenomena and how he observed the pathologic processes of this organism. The representations with genitality expressions enable us to understand the meaning of erection from the Paleolithic perspective, and even the possible existence of a culture based on preputial retraction or rituals of circumcision. Several urologic disorders such us phimosis, paraphimosis, discharge, priapism, and even scrotal mass appear represented at that time and constitute the first sign of knowledge of what can be called primitive urologic knowledge.
"To report on the likely existing evidence about the practice of circumcision in prehistory, or at least a culture of foreskin retraction, and also the meaning of erection in Paleolithic minds. The origin of the ritual of circumcision has... more
"To report on the likely existing evidence about the practice of circumcision in prehistory, or at least a culture of foreskin retraction, and also the meaning of erection in Paleolithic minds. The origin of the ritual of circumcision has been lost in time. Similarly, the primitive anthropologic meaning of erection is undefined. We studied the archeologic and artistic evidence regarding human representations performed during the Upper Paleolithic period, 38 000 to 11 000 years BCE, in Europe, with a focus on genital male representations in portable and rock art.
Drawings, engravings, and sculptures displaying humans are relatively scarce, and 100 examples of male genitals are specifically represented. Some depict a circumcised penis and other represent urologic disorders such as phimosis, paraphimosis, discharge, priapism, or a scrotal mass. In addition, a small number of phalluses carved in horn, bone, or stone, with varying morphology, has survived to the present and also reveals a sustained cult for male erection and foreskin retraction not limited to a particular topographical territory. The very few noncoital human or humanoid figures with marked erection appear in a context of serious danger or death. Therefore, erection could be understood as a phenomenon related to the shamanic transit between life and death.
The erection in Paleolithic art is explicitly represented in almost all the figures defined as unequivocally male that have survived to the present and in many objects of portable art. Circumcision and/or foreskin retraction of the penis are present in most of the works."
Drawings, engravings, and sculptures displaying humans are relatively scarce, and 100 examples of male genitals are specifically represented. Some depict a circumcised penis and other represent urologic disorders such as phimosis, paraphimosis, discharge, priapism, or a scrotal mass. In addition, a small number of phalluses carved in horn, bone, or stone, with varying morphology, has survived to the present and also reveals a sustained cult for male erection and foreskin retraction not limited to a particular topographical territory. The very few noncoital human or humanoid figures with marked erection appear in a context of serious danger or death. Therefore, erection could be understood as a phenomenon related to the shamanic transit between life and death.
The erection in Paleolithic art is explicitly represented in almost all the figures defined as unequivocally male that have survived to the present and in many objects of portable art. Circumcision and/or foreskin retraction of the penis are present in most of the works."
La cueva de Maltravieso (Cáceres) es conocida por su conjunto de arte parietal del Paleolítico superior. En el año 2002 comenzaron las intervenciones sistemáticas en la cueva, evidenciando inicialmente su potencial arqueológico como... more
La cueva de Maltravieso (Cáceres) es conocida por su conjunto de arte parietal del Paleolítico superior.
En el año 2002 comenzaron las intervenciones sistemáticas en la cueva, evidenciando inicialmente su potencial arqueológico como yacimiento pleistoceno. Trabajos posteriores permitieron obtener los primeros datos sobre el Paleolítico superior en la Sala de las Chimeneas: dataciones radiométricas, datos paleoecológicos, elementos simbólicos y los análisis zooarqueológico y tecnotipológico. Además, se resaltan las implicaciones del conjunto en el marco del Paleolítico superior del suroeste peninsular, donde se conocen pocos yacimientos de esta cronología (17500-18500 BP), siendo éste el primero de Extremadura."
En el año 2002 comenzaron las intervenciones sistemáticas en la cueva, evidenciando inicialmente su potencial arqueológico como yacimiento pleistoceno. Trabajos posteriores permitieron obtener los primeros datos sobre el Paleolítico superior en la Sala de las Chimeneas: dataciones radiométricas, datos paleoecológicos, elementos simbólicos y los análisis zooarqueológico y tecnotipológico. Además, se resaltan las implicaciones del conjunto en el marco del Paleolítico superior del suroeste peninsular, donde se conocen pocos yacimientos de esta cronología (17500-18500 BP), siendo éste el primero de Extremadura."
- by Marcos García-Diez and +1
- •
Se presenta un pequeño fragmento de hueso recuperado en contexto estratigráfico del Paleolítico superior en el abrigo de La Balma de la Griera (Calafell, Baix Penedès, Tarragona). El objetivo muestra un conjunto de surcos que componen una... more
Se presenta un pequeño fragmento de hueso recuperado en contexto estratigráfico del Paleolítico superior en el abrigo de La Balma de la Griera (Calafell, Baix Penedès, Tarragona). El objetivo muestra un conjunto de surcos que componen una decoración de carácter lineal paralela y angular. En el presente trabajo se describe el objeto, se analiza el proceso técnico, las acciones tafonómicas y se valora dentro del contexto mediterráneo peninsular.
The site of Galería del Sílex, part of the Atapuerca complex in Burgos, Spain, is exceptional for the conditions of its discovery, as well as for the good state of preservation of the graphic manifestations and archaeological assemblage... more
The site of Galería del Sílex, part of the Atapuerca complex in Burgos, Spain, is exceptional for the conditions of its discovery, as well as for the good state of preservation of the graphic manifestations and archaeological assemblage it contains. As a result, it has been possible to learn about
some of the burial practices and ritual behavior of the Bronze Age societies that lived in this region. Certain charcoal-drawn figures have been found in the Galería del Sílex, a rare form for Post-Paleolithic rock art, that is commonly dominated by engravings and red paintings located in open-air sites or rockshelters. Under the exceptional cave conditions, we
have obtained dates of 3,530±110 yr BP and 3,670±40 yr BP for Galería del Sílex drawings, representing one of the first
results of this kind obtained for Post-Palaeolithic rock art in Western Europe. These results provide us with a solid evidence for the development of graphic manifestations in early complex societies and bring into question previous stylistic proposals, that were mainly based on artistic
arguments and comparisons with limited ceramic decorated assemblages."
some of the burial practices and ritual behavior of the Bronze Age societies that lived in this region. Certain charcoal-drawn figures have been found in the Galería del Sílex, a rare form for Post-Paleolithic rock art, that is commonly dominated by engravings and red paintings located in open-air sites or rockshelters. Under the exceptional cave conditions, we
have obtained dates of 3,530±110 yr BP and 3,670±40 yr BP for Galería del Sílex drawings, representing one of the first
results of this kind obtained for Post-Palaeolithic rock art in Western Europe. These results provide us with a solid evidence for the development of graphic manifestations in early complex societies and bring into question previous stylistic proposals, that were mainly based on artistic
arguments and comparisons with limited ceramic decorated assemblages."
- by Marcos García-Diez and +2
- •
Le Paléolithique supérieur de la Catalogne a été caractérisé jusqu’à présent par une très faible représentation des manifestations artistiques. Cette carence était étonnante si on considère le grand nombre de trouvailles constaté dans... more
Le Paléolithique supérieur de la Catalogne a été caractérisé jusqu’à présent par une très faible représentation des manifestations artistiques. Cette carence était étonnante si on considère le grand nombre de trouvailles constaté dans d’autres régions de la Péninsule Ibérique (Valencia, le Cantabrique). Dans cet article nous présentons quatre pièces d’art mobilier trouvées dans le gisement du Molí del Salt (Vimbodí, Conca de Barberà, Tarragona). Au-dessous d’une couche mésolithique, datée autour de 8 ka BP, il y a une séquence correspondant au Magdalénien supérieur datée entre 10,8 et 12,5 ka BP. Ces niveaux magdaléniens ont livré quatre plaques de schiste avec des gravures, parmi lesquelles on a identifié plusieurs figures animales et une figure humaine. Après la description des manifestations, nous les avons situées dans le contexte de l’art mobilier de la fin du Paléolithique supérieur de l’Espagne méditerranéenne. À partir de ces données, on remet en question les périodisations chronoculturelles fondées sur la distinction entre Magdalénien supérieur et Épipaléolithique microlaminaire.
- by Marcos García-Diez and +1
- •
Given the continuing interest in and controversy about the Middle–Upper Paleolithic transition and the nature of human adaptations during the initial Upper Paleolithic in Europe, the extensive modern-quality excavation, radiometric... more
Given the continuing interest in and controversy about
the Middle–Upper Paleolithic transition and the nature
of human adaptations during the initial Upper Paleolithic
in Europe, the extensive modern-quality excavation, radiometric dating, and analysis of a site containing a sequence of Chatelperronian, Proto-Aurignacian, and Aurignacian occupations is of great significance to paleoanthropology.
Such sites are rare, and Labeko Koba is indeed only the
third site in the classic Cantabrian region to produce a
sequence of this kind. The other two are El Pendo and
Cueva Morı´n, the latter having been the most recently
excavated (in the late 1960s). Labeko Koba also helps to
fill a geographic gap in our knowledge of human settlement
during the period between around 35,000 and 30,000 b.p. in the region between the two above-mentioned sites (both in the Spanish province of Cantabria) and the sites of Isturitz and Gatzarria in the French Basque Country.
the Middle–Upper Paleolithic transition and the nature
of human adaptations during the initial Upper Paleolithic
in Europe, the extensive modern-quality excavation, radiometric dating, and analysis of a site containing a sequence of Chatelperronian, Proto-Aurignacian, and Aurignacian occupations is of great significance to paleoanthropology.
Such sites are rare, and Labeko Koba is indeed only the
third site in the classic Cantabrian region to produce a
sequence of this kind. The other two are El Pendo and
Cueva Morı´n, the latter having been the most recently
excavated (in the late 1960s). Labeko Koba also helps to
fill a geographic gap in our knowledge of human settlement
during the period between around 35,000 and 30,000 b.p. in the region between the two above-mentioned sites (both in the Spanish province of Cantabria) and the sites of Isturitz and Gatzarria in the French Basque Country.
- by Marcos García-Diez and +2
- •
The repertoire of Paleolithic portable art in Portugal is very meager. In December of 1999, during salvage archaeological excavations at the Fariseu Station (Vila Nova de Foz Côa, Portugal), two schist slabs were found in stratigraphic... more
The repertoire of Paleolithic portable art in Portugal is very meager. In December of 1999, during salvage archaeological excavations at the Fariseu Station (Vila Nova de Foz Côa, Portugal), two schist slabs were found in stratigraphic context. The archaeological deposit has not been dated radiometrically, but one of the slabs, containing rich thematic artwork, has been ascribed to the Magdalenian period based on the study of the lithic artifacts. The other slab, displaying a single zoomorphic figure, has been associated with early Magdalenian or Proto-Solutrean occupation. In this paper, evidence of this kind of artistic manifestations is reviewed for the context of the lberian peninsula, paying special attention to the Mediterranean region. Furthermore, the two slabs found are analysed in relation to the rock art of the Côa Valley in order to provide elements of chronological value for this rich repertoire of prehistoric rock art.
Información del artículo Evolución Paleoambiental y Poblamiento Prehistórico en las Cuencas de los Ríos Francolí y Gaià.
- by Andreu Ollé and +1
- •
Se revisan las piezas mobiliares con motivos figurativos atribuidas a contextos gravetienses de la Península Ibérica (Hornos de la Peña, Morín, El Castillo, Les Mallaetes y El Parpalló). De cada evidencia se procede a su identificación... more
Se revisan las piezas mobiliares con motivos figurativos atribuidas a contextos gravetienses de la Península Ibérica (Hornos de la Peña, Morín, El Castillo, Les Mallaetes y El Parpalló). De cada evidencia se procede a su identificación –temática, estilística y técnica– y se revisa su contexto estratigráfico y cronocultural, con el fin de evaluar su significado para la caracterización del ciclo gráfico gravetiense.
Se discuten las implicaciones estilísticas (por similitud y convergencia formal) y cronológicas del arte mueble gravetiense en los conjuntos parietales peninsulares.
Se discuten las implicaciones estilísticas (por similitud y convergencia formal) y cronológicas del arte mueble gravetiense en los conjuntos parietales peninsulares.
71.7 million researchers use this site every month. Ads help cover our server costs.