Results 41 to 50 of about 12,979 (224)
PLoS ONE, 2018 Though many European Upper Palaeolithic sites document early examples of symbolic material expressions (e.g., cave art, personal ornaments, figurines), there exist few reports on the use of earth pigments outside of cave art-and occasionally Neanderthal ...
Elizabeth C Velliky +2 more
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Colour, form, animals and deception in the ice age
Documenta Praehistorica, 2008 Vision is the main sense through which we observe and recognise the outside world. Humans are among the few mammals with trichromatic vision, which is important for food procurement and evading predators.
Simona Petru
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Rock art of the Mediterranean basin on the Iberian Peninsula. From El Cogul to Kyoto [PDF]
Catalan Historical Review, 2013 Roca dels Moros in El Cogul is the first set of prehistoric paintings documented in Catalonia, and since its discovery in 1908 it has been a referent in prehistoric art on the Iberian Peninsula.
Gemma Hernández, Mauro S. Hernández
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Amber imitation? Two unusual cases of Pinus resin-coated beads in Iberian Late Prehistory (3rd and 2nd millennia BC) [PDF]
, 2019 A group of beads from the artificial cave of La Molina (Lora de Estepa, Sevilla) and Cova del Gegant (Sitges, Barcelona) were made from a biogenic raw material and intentionally covered by a layer of resin.
Avilés Escaño, Miguel Ángel +5 more
core +2 more sources
Prima e al di là dell’arte: origine dei segni e delle figurazioni nell’arte paleolitica
Aisthesis, 2013 Figurative experience, as a codified system of images, emerges in Europe about 40.000 years ago. Together with the development of a figurative system, Homo sapiens acquired his modern cognitive architecture: an entirely articulated language, as well ...
Fabio Martini
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Review of Artistic Education, 2016 This study will only deal with the Neolithic period which we distinguish from the Eneolithic one in the sense that in this period man only used tools made of stone and later on, in Eneolithic (Chalcolithic), he started using copper.
Olaru Ioana-Iulia
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Before and Beyond Representation: Towards an enactive conception of the Palaeolithic image\ud [PDF]
, 2007 For most archaeologists the meaning of prehistoric art appears to be grounded upon, if not synonymous with, the notion of representation and symbolism.
Malafouris, Lambros
core
Topics in Cognitive Science, EarlyView.Abstract The majority of Pleistocene figurative cave art in Western Europe consists of line drawings depicting large herbivores from the side view, and outlines were sometimes abbreviated to the head‐neck‐dorsal line. It is often assumed that the side view was used because it facilitates animal recognition compared to other views, and that abbreviated ...
Murillo Pagnotta +4 more
wiley +1 more source
Espacio, Tiempo y Forma. Serie I, Prehistoria y Arqueología, 2008 El ciervo fue el animal prioritario en las prácticas de caza para las comunidades paleolíticas cantábricas y al mismo tiempo una de las especies más representadas en el Arte paleolítico.
Mario Menéndez Fernández +1 more
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Reflections on Palaeolithic Cave Art, Girls at Puberty and the Origin of Religion [PDF]
, 2015 It is not a stretch of imagination to link seclusion of girls at puberty with the Palaeolithic cave art. The widely accepted view about cave art suggests that the cave artists had been shamans.
Darshi Arachige
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