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The Social Context for European Palaeolithic Art.
Proceedings of the Prehistoric Society, 1991 My aim in this paper is to put the question, ‘Where was the centre of the Upper Palaeolithic world?’. I promise no answers and I will confine the discussion to Europe.The purpose behind raising such a seemingly irrelevant problem is that its investigation leads us directly into issues of palaeolithic society, the interpretation of art in such contexts ...
Gamble, Clive
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Discovery of Palaeolithic cave art in Britain
Antiquity, 2003We are pleased to present here a preliminary account of the first discovery of Palaeolithic cave art in Britain.On 14 April 2003 we made the first discovery of Palaeolithic cave art in Britain. Since portable art of the period has long been known in this country (Sieveking 1972; Campbell 1977: vol.
Paul G. Bahn +2 more
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Uranium–thorium dating method and Palaeolithic rock art
Quaternary International, 2017Abstract Dramatic progress was seen in 14C-dating with the introduction of accelerator mass spectroscopy (AMS) which made possible the direct dating of prehistoric artworks painted or drawn with charcoal. However, in the case of engravings and red paintings, only indirect methods can be used that allow us to date deposits that have covered the works ...
Sauvet, Georges +7 more
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Art as information: Explaining Upper Palaeolithic art in western Europe
World Archaeology, 1994Abstract Proceeding from the information exchange theory of style, we argue that the changing temporal and spatial distributions of mobile and parietal art in Paleolithic Europe are related aspects of a single evolutionary process: alternating selective pressures differentially favoring the expression of assertive and emblemic style over the 30–7 kyr ...
C. Michael Barton +2 more
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EUROPEAN PALAEOLITHIC ART ‐ TYPICAL OR EXCEPTIONAL?
Oxford Journal of Archaeology, 1993Summary: The recent discovery of the first Palaeolithic art object from China is discussed in the context of relevant Chinese and other Asian evidence, and considered within the framework of current models of very early art evolution as they pertain to Eurasia.
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Palaeolithic Art and Archaeology: The Mobiliary Evidence.
Proceedings of the Prehistoric Society, 1991Art is unique amongst the categories of evidence which survive from the Palaeolithic period in that it was originally structured to communicate. It is true that style is an aspect of tool-making, and the particular forms adopted in the manufacture of tools may be intended as practical innovations or as recognizable types that define distinct social ...
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Palaeolithic Art in Isolation: The Case of Sicily and Sardinia
2007The archaeological record of Italy is long and complex, suggesting continuous peopling since the Middle Pleistocene (Mussi 2001; Mussi et al. in press). The evidence of Palaeolithic art, however, is rather restricted: Early Upper Palaeolithic (EUP) art is close to nil, including just a few notched implements; the Middle Upper Palaeolithic (MUP ...
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The Discovery of Palaeolithic Art in Portugal
2023António Carlos Silva +2 more
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