Results 171 to 180 of about 1,907 (212)
World Archaeology, 2020 How have our visual brains evolved, and exactly how did this constrain the specific way that animals were depicted in Upper Palaeolithic art? Here, we test predictions derived from visual neuroscience in this field.
Robert W Kentridge, Paul Pettitt
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Painted in red: In search of alternative explanations for European Palaeolithic cave art
Quaternary International, 2018 Traditionally, studies of Palaeolithic cave art have largely ignored or directly overlooked the red marks of anthropogenic origin that do not belong to figurative categories, in spite of their importance in quantitative terms in this type of art.
Mª Angeles Medina-Alcaide +1 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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Recent Studies on Palaeolithic Art
Cambridge Archaeological Journal, 1996We print here the text of the Sixth McDonald Lecture, which Dr Jean Clottes delivered in Cambridge in November 1995. Dr Clottes is well-known as a leading figure in the study of Palaeolithic art, and has been closely involved with the recent discoveries at the Grotte Cosquer and Grotte Chauvet.
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Antiquity, 1961
It is a curious reflection that although palaeolithic art has been known and recognized as such for over a century, and despite the fact that during this time an enormous volume of literature has accumulated on the subject, yet the publications consist almost exclusively of articles dealing with limited aspects.
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It is a curious reflection that although palaeolithic art has been known and recognized as such for over a century, and despite the fact that during this time an enormous volume of literature has accumulated on the subject, yet the publications consist almost exclusively of articles dealing with limited aspects.
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WHO AND WHY IN PALAEOLITHIC ART
Oxford Journal of Archaeology, 1989Summary. No consideration has ever been given to the possibility that women may have had a part in the execution of European Upper Palaeolithic art; however, an examination of the history of research in this field suggests that preconceptions, prejudice, and the acceptance of unproved theories have perhaps been responsible for the view that it was a ...
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Ecological Interpretations of Palaeolithic Art.
Proceedings of the Prehistoric Society, 1991To describe, let alone explain, the paintings, engravings and sculpture of the Upper Palaeolithic as ‘adaptations’ may sound absurd. These are products of the human mind — a world of symbols and dreams, myths and fantasies. So to suggest that this art can be understood in an ecological framework may strike one as facile.
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European Art: the Palaeolithic Legacy?
Cambridge Archaeological Journal, 1997The recent discovery of open-air rock engravings in the Côa valley of northern Portugal has been followed by a vigorous debate over their true age. On grounds of style and of stylistic parallels, many rock art specialists attribute the Côa engravings (and similar carvings at a handful of other sites in Iberia and southern France) to the Upper ...
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Utilitarian art and art-related objects in the Urals’ Palaeolithic
L'Anthropologie, 2022Jiri Chlachula, Yuriy B. Serikov
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