Siega Verde and the open-air rock art of the Northern Iberian Peninsula (Spain)
Siega Verde was the third open-air rock art site to be discovered in the Iberian Peninsula, even before Côa and the controversy that followed that discovery. Its practicable size and the study carried out without any publicity allowed the analysis of a new reality that would change the interpretatio...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Universidad de Alcalá (UAH) |
| Repositorio: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Idioma: | inglés |
| OAI Identifier: | oai:ebuah.uah.es:10017/60163 |
| Acceso en línea: | http://hdl.handle.net/10017/60163 https://dx.doi.org/10.5852/cr-palevol2021v20a24 |
| Access Level: | acceso abierto |
| Palabra clave: | Palaeolithic art Open air Religion Motifs Communication Art paléolithique Art de plein air Historia History |
| Sumario: | Siega Verde was the third open-air rock art site to be discovered in the Iberian Peninsula, even before Côa and the controversy that followed that discovery. Its practicable size and the study carried out without any publicity allowed the analysis of a new reality that would change the interpretation of Palaeolithic art. From the start of the research, stylistic criteria were used to date the art in the absence of archaeological excavations. Although this has often been criticized, it meant that Siega Verde and Côa could be dated from Leroi-Gourhan’s Style II onwards. Excavations at Fariseu, a site belonging to Côa in Portugal, have proved that hypothesis archaeologically, as well as supporting the applicability of Leroi-Gourhan’s styles. Siega Verde is a good representative of Palaeolithic art in the open, on rocks by a river-bank or on prominent hills, but it is not the only form that can be catalogued as open-air rock art, because there are intermediate forms. Th ese are found in cave entrances and in rock-shelters all over the Iberian Peninsula, especially in areas where little evidence of Palaeolithic art used to be known, such as on the southern Mediterranean coast and in Andalusia. Th is site possesses an exterior Upper Palaeolithic art ensemble, similar to the art found inside caves and of the same age, but in a diff erent location. Formal relationships are usual inside and outside the caves and in both cases they represent a communicative code that did not need the dark and mystery to be expressed. |
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