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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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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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On Palaeolithic Art and the Neuropsychological Model
Current Anthropology, 1990Discussion de l'application par Bradley (CA, 30), a l'art megalithique, du modele neuropsychologique de l'A., et de ses critiques du modele selon lequel l'art paleolithique serait en grande partie ...
J. D. Lewis-Williams, T. A. Dowson
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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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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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The Social Context for European Palaeolithic Art.
Proceedings of the Prehistoric Society, 1991My 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 ...
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The lost art. An overview on the Romanian Palaeolithic art
Annales d'Université "Valahia" Târgovişte. Section d'Archéologie et d'Histoire, 2006At the moment, a simple inventory of the objects that can be considered „art” objects or presenting intentional traces of processing without having a utilitarian motivation found in Romania would include 65 objects. Out of these, almost a quarter (23%) has disappeared.
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