Category Archives: 2013 # 5

2013-Symposium-09

Symposium 9

Signs, symbols, myth, ideology…

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SIG 00

Dario SEGLIE, Enrico COMBA

FOREWORD


SIG 01

Ellen DISSANAYAKE

THE DEEP STRUCTURE OF PLEISTOCENE ROCK ART:
the “Artification Hypothesis”


SIG 02

Margaret BULLEN

FINDING THE FIRST INTENTIONAL MARK MAKERS:
Clues in Brain Development


SIG 03

Marin CÂRCIUMARU, Elena-Cristina NIŢU, Minodora ŢUŢUIANU-CÂRCIUMARU

EVIDENCE FOR SYMBOLIC BEHAVIOR IN THE MOUSTERIAN


SIG 04

Larissa MENDOZA STRAFFON

SEX & DRUGS & ROCK ART:
Revisiting Three Hypotheses on the Origins of Visual Art in the Pleistocene


SIG 05

Matteo Wladimiro SCARDOVELLI

THE DOUBLE AND THE VISION:
What Cognitive Level is Necessary to Associate a Drawing with its Referent?


SIG 06

Thomas HEYD, Tilman LENSSEN-ERZ

ROCK ART AND HUMAN DIMENSIONS OF CLIMATE CHANGE


SIG 07

Anthony SINCLAIR, Natalie UOMINI

LEARNING FROM ARTS AND CRAFTS IN THE PLEISTOCENE


SIG 08

Iain DAVIDSON

SYMBOLISM AND BECOMING A HUNTER-GATHERER


SIG 09

Marcel OTTE

BEAUTY AS MEANING


SIG 10

Simona PETRU

THE POWER OF COLOUR


SIG 11

Steven J. WALLER

THUNDEROUS REVERBERATION AND ROCK ART THUNDERSTORM IMAGERY


SIG 12

Iegor REZNIKOFF

THE EXISTENCE OF ACOUSTIC SIGNS AND THEIR MEANINGS IN PALEOLITHIC CAVES


SIG 13

Anne-Catherine WELTÉ, Georges LAMBERT

MYTHS AND SYMBOLS IN UPPER PALEOLITHIC ART:
the Role of Animal/Animal and Animal/Human Assemblages


SIG 14

Georges SAUVET, Robert LAYTON, Tilman LENSSEN-ERZ,
Esther LÓPEZ-MONTALVO, Paul TAÇON, André WOLDARCZYZ

FROM THE ICONOGRAPHY OF ROCK ART TO ITS ANTHROPOLOGICAL INTERPRETATION


SIG 15

Liliana JANIK

HER AND HIM, EXPLORING THE CREATION MYTH AND SYMBOLISM OF GENDER
IN UPPER PALAEOLITHIC PORTABLE ART OF EURASIA


SIG 16

Margherita MUSSI

GROTTA DI POZZO (AQ, CENTRAL ITALY), A CAVE DECORATED WITH A “WOMAN’S TOUCH”


SIG 17

Dario SEGLIE

PALAEOLITHIC CAVE ART IN ITALY:
From the Iconography of Signs to the Underlying Symbols


SIG 18

François DJINDJIAN

FUNCTIONS, MEANING AND SYMBOLISM
OF EUROPEAN UPPER PALAEOLITHIC ANIMAL REPRESENTATIONS


SIG 19

Lioudmila IAKOVLEVA

ARTISTIC MANIFESTATIONS:
a Vector of Sociocultural Knowledge in Upper Paleolithic Societies


SIG 20

Livio DOBREZ

TOWARDS A MORE RIGOROUS DEFINITION OF TERMS:
Are there Scenes in European Palaeolithic Art?


SIG 21

Enrico COMBA

MIXED HUMAN-ANIMAL REPRESENTATIONS IN PALAEOLITHIC ART:
an Anthropological Perspective


SIG 22

Estelle BOUGARD

COMPARISON OF TWO CONTEXTS OF CLAY USE IN THE EUROPEAN UPPER PALEOLITHIC


SIG 23

Hipólito COLLADO GIRALDO

ANALYZING THE TOPOGRAPHIC DISTRIBUTION
OF PALAEOLITHIC ROCK ART AT CUEVA DE MALTRAVIESO


SIG 24

Lyudmila LBOVA, Darya KOZHEVNIKOVA, Pavel VOLKOV

MUSICAL INSTRUMENTS IN SIBERIA (EARLY STAGE OF THE UPPER PALEOLITHIC)


SIG 25

Lynda D. McNEIL

SOCIAL MEMORY INSCRIBED IN ROCK ART:
Bear Restoration Complex in Pleistocene-Holocene Transition Siberia and North America


SIG 26

Patricio BUSTAMANTE Díaz, W. Fay YAO, Daniela BUSTAMANTE

FROM PLEISTOCENE ART TO THE WORSHIP OF MOUNTAINS IN CHINA:
Methodological Tools for Mimesis in Paleoart


SIG 27

Éric ROBERT

SIGNS, WALLS AND SPACES
Modalities of Expression in the western European Upper Paleolithic


2013-Symposium-08

Symposium 8

Pleistocene portable art

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AMO 0

Aline AVERBOUH, Valérie FERUGLIO

PLEISTOCENE PORTABLE ART:
Current Research Orientations


I. Definitions and characterization


AMO 1-1

Mauro COLTORTI, Cristina LEMORINI, Marco PERESANI, Sandro POLZINETTI,
Pierluigi PIERUCCINI, Mara SILVESTRINI, Daniela ZAMPETTI

A NEW LATE PALEOLITHIC “OFFERING VENUS” FROM FRASASSI GORGE (CENTRAL ITALY)


AMO 1-2

Konstantin N. GAVRILOV

NEW FEMALE FIGURINES FROM THE SITE KHOTYLEVO 2


AMO 1-3

Jesús ALTUNA, Koro MARIEZKURRENA, Federico RÍOS, Jan WESBUER

THE BIRD CONTOUR DÉCOUPÉ AT THE SITE OF EKAIN (DEVA, BASQUE COUNTRY)


AMO 1-4

Martina LÁZNIČKOVÁ-GALETOVÁ

TECHNOLOGICAL DATA ON MAMMOTH IVORY ENGRAVING IN THE EPIGRAVETTIAN:
the Case of Mezin (Ukraine)


II. Chronology: beginnings and évolution


AMO 2-1

Pierre-Jean TEXIER, Guillaume PORRAZ

ENGRAVED OSTRICH EGGSHELL CONTAINERS FROM THE MIDDLE STONE AGE
AT DIEPKLOOF ROCK SHELTER (SOUTH AFRICA):
a 60 000 Year-old Graphic Tradition


AMO 2-2

Andrei A. SINITSYN

FIGURATIVE AND DECORATIVE ART OF KOSTENKI:
Chronological and Cultural Differentiation


AMO 2-3

Marin CÂRCIUMARU, Elena Cristina NIŢU, Minodora ŢUŢUIANU

GRAVETTIAN AND EPIGRAVETTIAN PORTABLE ART IN ROMANIA


AMO 2-4

Tomasz BOROŃ, Halina KRÓLIK, Tomasz KOWALSKI

THE FEMALE FIGURINES IN FLAKED FLINT FROM THE MAGDALENIAN SITE
OF WILCZYCE 10 (SANDOMIERZ DISTRICT, POLAND)


AMO 2-5

Roberto ONTAÑÓN, Pablo ARIAS

DECORATED PLAQUETTES FROM MAGDALENIAN HABITATION FLOORS
IN THE LOWER GALLERY AT LA GARMA (CANTABRIA, SPAIN)


AMO 2-6

Olivia RIVERO

A NEW LOOK AT PORTABLE ART FROM THE MIDDLE MAGDALENIAN
IN CANTABRIA AND THE PYRENEES:
Analyzing Operational Sequences


AMO 2-7

María Soledad CORCHÓN, Olivia RIVERO

THE HORSE MORPHOTYPE IN THE MIDDLE MAGDALENIAN PORTABLE ART
OF LAS CALDAS CAVE (ASTURIAS, SPAIN):
Technical and Formal Analysis


AMO 2-8

Paola ASTUTI, Renata GRIFONI CREMONESI

EPIGRAVETTIAN PORTABLE ART IN CENTRAL AND SOUTHERN ITALY:
the Case of the Grotta Continenza (Abruzzo) and the Grotta delle Veneri (Apulia)


III. Analysis and interprétation


AMO 3-1

Jiří SVOBODA

GRAVETTIAN ART OF PAVLOV I AND VI:
an Aggregation Site and an Episodic Site Compared


AMO 3-2

Delphine DUPUY

THE INCOMPLETENESS AND SEGMENTATION OF FEMALE BODIES
IN THE PALEOLITHIC IMAGINATION:
the Gravettian Sculptures of Kostenki 1-I (Russian Plain 22 000-23 000 BP)


AMO 3-3

Lise AURIÈRE

THOUGHTS ON TECHNOLOGICAL CHOICES
AND PALEOLITHIC PORTABLE ART MADE FROM BONE MATERIALS:
First Data from the Sites of Plantade, Lafaye, Courbet and Montastruc (Aveyron Valley)


AMO 3-4

Claire LUCAS

THE UPPER MAGDALENIAN GEOMETRIC MOTIFS OF ISTURITZ CAVE (PYRÉNÉES-ATLANTIQUES):
Did they Play a Specific Role?


AMO 3-5

Marco SERRADIMIGNI, Marta COLOMBO, Neva CHIARENZA, Renata GRIFONI,
Paola ASTUTI, Annachiara GALOTTA, Marco USALA

SPATIAL ANALYSIS OF THE PORTABLE ART OBJECTS IN THE EPIGRAVETTIAN DEPOSIT OF THE GROTTA CONTINENZA (ABRUZZO, ITALY) AND THEIR RELATIONSHIP TO THE BURIALS AND COMBUSTION FEATURES


AMO 3-6

Yulia VOLKOVA

ETHNOGRAPHIC RESEARCH AND ANALYSIS OF UPPER PALEOLITHIC PORTABLE ART


AMO 3-7

Geneviève PINÇON

PORTABLE ART AND PARIETAL ART OF THE ROC-AUX-SORCIERS
(ANGLES-SUR-L’ANGLIN, VIENNE, FRANCE):
Disparities or Common Meanings?


AMO 3-8

Iain DAVIDSON

WHAT A CARRY ON?
Portable Art and Changes of Symbolic Meaning


AMO 3-9

Carmen de las HERAS, José Antonio LASHERAS, Pedro RASINES,
Ramón MONTES, Pilar FATÁS, Alfredo PRADA, Emilio MUÑOZ

DATING AND ARCHAEOLOGICAL CONTEXT OF THE NEW ENGRAVED SCAPULA AT ALTAMIRA


AMO 3-10

Gillian MORRISS-KAY

A NEW HYPOTHESIS ON THE CREATION OF THE HOHLE FELS “VENUS” FIGURINE


2013-Symposium-07

Symposium 7

Application of forensic techniques to Pleistocene palaeoart Investigations

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FOR 1

Yann-Pierre MONTELLE, Robert G. BEDNARIK

THE RELEVANCE OF FORENSIC SCIENCE IN PLEISTOCENE INVESTIGATIONS


FOR 2

Yann-Pierre MONTELLE

INDEXING THE TRACES OF ANTHROPOGENIC ACTIVITIES
AND MODIFICATIONS IN DEEP KARST ENVIRONMENTS


FOR 3

Jaroslav BRŮŽEK, Martina LÁZNIČKOVÁ-GALETOVÁ, Patrik GALETA, Jéremy MAESTRACCI

HANDPRINTS IN PARIETAL ART:
Interpretive Possibilities and Limits from the Perspective of Forensic Anthropology


FOR 4

Leslie Van GELDER

NEW METHODS AND APPROACHES IN THE STUDY OF FINGER FLUTINGS


FOR 5

Marc AZÉMA, Bernard GÉLY, Raphaëlle BOURRILLON, David LHOMME

THE DECORATED PALEOLITHIC CAVE OF BAUME LATRONE (FRANCE, GARD):
3D Time Travelling…


FOR 6

Ram KRISHNA, Giriraj KUMAR

UNDERSTANDING THE CREATION OF SMALL CONICAL CUPULES IN DARAKI-CHATTAN (INDIA)


FOR 7

Robert MARK, Evelyn BILLO

USING SUPER-HIGH RESOLUTION PANORAMAS (GIGAPANS)
TO DOCUMENT AND STUDY ROCK ART PANELS


2013-Symposium-06

Symposium 6

Dating and taphonomy of Pleistocene palaeoart

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DAT 1

Robert G. BEDNARIK

DATING AND TAPHONOMY OF PLEISTOCENE ROCK ART


DAT 2

Ahmed ACHRATI

FROM FROZEN-MEAT CARVING TO IVORY SCULPTING


DAT 3

Catherine FERRIER, Évelyne DEBARD, Bertrand KERVAZO, Norbert AUJOULAT, Dominique BAFFIER, Alain DENIS, Valérie FERUGLIO, Carole FRITZ, Bernard GÉLY, Jean-Michel GENESTE, Stéphane KONIK, Delphine LACANETTE, Roland LASTENNET, Frédéric MAKSUD, Philippe MALAURENT, Frédéric PLASSARD, Gilles TOSELLO

TAPHONOMIC APPROACH TO THE WALLS OF DECORATED CAVES


DAT 4

Bryan GORDON

DATING ROCK ART:
Two New Methods for Pictographs and Petroglyphs


DAT 5

Antonio ROMERO, Araceli CRISTO, María Ángeles MEDINA, José Luís SANCHIDRIÁN

DATING THE ARCHAEOLOGICAL CONTEXT AND ESTABLISHING PLEISTOCENE FREQUENTATION
IN CUEVA DE NERJA (MÁLAGA, SPAIN)


DAT 6

Lyudmila LBOVA

THE CHRONOLOGICAL CONTEXT OF PLEISTOCENE ART IN SIBERIA


DAT 7

Paul S. C. TAÇON, Michelle C. LANGLEY

ROCK ART DATING IN AUSTRALIA AND BEYOND:
What Does it Tell us?


DAT 8

Giriraj KUMAR, Robert G. BEDNARIK

THE DIFFICULTIES OF DETERMINING THE APPROXIMATE ANTIQUITY
OF LOWER PALAEOLITHIC PETROGLYPHS IN INDIA


2013-Symposium-05

Symposium 5

Pleistocene art in Australia

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AUS 1

Graeme K. WARD

PLEISTOCENE ROCK PAINTING IN AUSTRALIA


AUS 2

Jo McDONALD, Peter VETH

PLEISTOCENE ROCK ART:
a Colonizing Repertoire for Australia’s Earliest Inhabitants


AUS 3

Mike DONALDSON

THE GWION OR BRADSHAW ART STYLE OF AUSTRALIA’S KIMBERLEY REGION IS UNDOUBTEDLY AMONG THE EARLIEST ROCK ART IN THE COUNTRY – BUT IS IT PLEISTOCENE?


AUS 4

Ken MULVANEY

HOW OLD IS OLD LOOKING?
The Dampier Petroglyphs in Review


AUS 5

June ROSS

TOWARDS A CHRONOLOGY OF ENGRAVED ROCK ART
FROM THE CENTRAL AUSTRALIAN ARID ZONE


AUS 6

Noelene COLE

ANCIENT ART AND MODERN AUSTRALIANS:
Continuity in the Laura Art System (Cape York Peninsula)


AUS 7

John B. CAMPBELL, William J. ELLWOOD, Nicola B. WINN

INVISIBLE LATE PLEISTOCENE ROCK ART:
Lessons from Northern Australia and the British Isles


AUS 8

Robert G. BEDNARIK

THE NATURE OF AUSTRALIAN PLEISTOCENE ROCK ART


2013-Symposium-04


Symposium 4

Pleistocene art in Asia

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ASI 1

Robert G. BEDNARIK

INDIAN PLEISTOCENE ROCK ART IN A GLOBAL CONTEXT


ASI 2

Giriraj KUMAR, Narayan VYAS, Robert G. BEDNARIK, Arakhita PRADHAN

LOWER PALAEOLITHIC PETROGLYPHS AND HAMMERSTONES OBTAINED
FROM THE EXCAVATIONS AT DARAKI-CHATTAN CAVE (INDIA)


ASI 3

Robert G. BEDNARIK, Giriraj KUMAR

TYPOLOGICAL CONTEXT OF THE LOWER PALAEOLITHIC LITHICS
FROM DARAKI-CHATTAN CAVE (INDIA)


ASI 4

Ram KRISHNA, Giriraj KUMAR

PHYSICO-PSYCHOLOGICAL APPROACH FOR UNDERSTANDING
THE SIGNIFICANCE OF LOWER PALAEOLITHIC CUPULES


ASI 5

Giriraj KUMAR, Ragini ROY

LATE PLEISTOCENE ART OF INDIA


ASI 6

Malahat FARAJOVA

PLEISTOCENE ART IN AZERBAIJAN


ASI 7

Robert G. BEDNARIK

AN OVERVIEW OF ASIAN PALAEOART OF THE PLEISTOCENE


ASI 8

Luc-Henry FAGE

THE ROCK ART OF BORNEO:
Presentation and New Observations on some Exceptional Hand Stencils


ASI 9

Lydia ZOTKINA

TECHNOLOGICAL STUDIES OF SIBERIAN PETROGLYPHS
(SITE OF SHALOBOLINO, KRASNOYARSK REGION)


2013-Symposium-03


Symposium 3

Pleistocene art of the Americas

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I. North America


AMN 01

Marvin W. ROWE

DATING OF ROCK PAINTINGS IN THE AMERICAS:
a Word of Caution


AMN 02

David S. WHITLEY, Ronald I. DORN

THE EARLIEST ROCK ART IN FAR WESTERN NORTH AMERICA


AMN 03

Alice M. TRATEBAS

LATE PLEISTOCENE PETROGLYPH TRADITIONS
ON THE NORTH AMERICAN PLAINS


AMN 04

Jack STEINBRING

THE HENSLER PETROGLYPH SITE (47 DO 461):
an Early Engraving Site in the North American Mid-Continent


AMN 05

Lawrence LOENDORF

OLD PETROGLYPHS ON THE NORTH AMERICAN HIGH PLAINS


AMN 06

Ekkehart MALOTKI

PRECURSORS OF FIGURATIVE DEPICTIONS IN THE NONICONIC WESTERN
ARCHAIC TRADITION ROCK ART OF THE AMERICAN WEST


AMN 07

William Breen MURRAY

EARLY ROCK ART OF THE AMERICAS AS REFLECTED
IN THE NORTHEAST MEXICAN CORRIDOR


AMN 08

Jack STEINBRING, Norman MULLER

NORTH AMERICAN PETROFORMS:
Questions of the Chronological and Cultural Placement


AMN 09

D. Clark WERNECKE, Michael B. COLLINS

PATTERNS AND PROCESS:
Some Thoughts on the Incised Stones from the Gault Site (Central Texas, USA)


AMN 10

Barbara Olins ALPERT

A CONTEXT FOR THE VERO BEACH ENGRAVED MAMMOTH


AMN 11

Danny N. WALKER, Michael T. BIES, Todd SUROVELL, George C. FRISON, Mark E. MILLER

PALEOINDIAN PORTABLE ART FROM WYOMING (USA)


II. South America


AMS 01

Niède GUIDON, Gabriela MARTIN, Anne-Marie PESSIS

CHRONOLOGY OF THE ROCK PAINTINGS IN THE SERRA DA CAPIVARA NATIONAL PARK (BRAZIL)


AMS 02

André PROUS

THE OLDEST ROCK ART IN CENTRAL BRAZIL:
Current Knowledge


AMS 03

Leonel CABRERA PÉREZ

EARLY ROCK ART IN NORTHERN URUGUAY


AMS 04

Hugo D. YACOBACCIO, Patricia SOLÁ, María Susana ALONSO, Marta S. MAIER,
Mariana ROSENBUSCH, Cristina VÁSQUEZ, María Paz CATÁ

PLEISTOCENE/HOLOCENE ROCK ART IN LA PUNA DE ATACAMA (JUJUY, ARGENTINA)


AMS 05

María Mercedes PODESTÁ, Carlos A. ASCHERO

EARLY EVIDENCE OF HUNTER-GATHERER ROCK ART IN LA PUNA
(NORTHWEST OF ARGENTINA)


AMS 06

Pablo ARIAS, Eduardo CRIVELLI MONTERO,
Mabel M. FERNÁNDEZ, Luis César TEIRA MAYOLINI

ENGRAVINGS FROM THE EARLY HOLOCENE
IN CUEVA EPULLÁN GRANDE (NEUQUÉN PROVINCE, ARGENTINA):
Latest Research


AMS 07

Carlos A. ASCHERO

HUNTING SCENES AT CUEVA DE LAS MANOS:
a Regional Perspective (Santa Cruz, Argentina)


AMS 08

Rafael A. GOÑI, Juan Bautista BELARDI

ROCK ART, MOBILITY, AND CLIMATE CHANGE
IN SOUTHERN PATAGONIA IN THE HOLOCENE
Why the Change?


AMS 09

Rafael Sebastián PAUNERO

PLEISTOCENE ROCK ART IN SANTA CRUZ (PATAGONIA, ARGENTINA)


AMS 10

Laura MIOTTI, Natalia CARDEN, Rocío BLANCO

ROCK ART IN THE PLEISTOCENE-HOLOCENE TRANSITION:
Evidence from the Meseta Central in Santa Cruz (Patagonia, Argentina)


2013-Symposium-02


Symposium 2

Pleistocene art in Africa

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AFR 1

Peter B. BEAUMONT, Robert G. BEDNARIK

A BRIEF OVERVIEW OF MAJOR PLEISTOCENE PALAEOART SITES IN SUB-SAHARAN AFRICA


AFR 2

Peter B. BEAUMONT, Robert G. BEDNARIK

ON A SEARCH FOR ANCESTRAL ROCK ART IN THE SOUTH-EASTERN KALAHARI (SOUTH AFRICA)


AFR 3

Robert G. BEDNARIK, Peter B. BEAUMONT

PLEISTOCENE ENGRAVINGS FROM WONDERWERK CAVE (SOUTH AFRICA)


AFR 4

Dirk HUYGE, Dimitri A.G. VANDENBERGHE

PLEISTOCENE ROCK ART IN NORTH AFRICA:
Securing the Age of the Qurta Petroglyphs (Egypt) through OSL Dating of their Sediment Cover


2013-Symposium-01


Symposium 1

Pleistocene art in Europe

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EUR 01

Robert G. BEDNARIK

THE DISTRIBUTION OF FRANCO-CANTABRIAN ROCK ART


EUR 02

Claudine COHEN

WHO IS THE ARTIST?
Paleolithic Art and the Sexes


EUR 03

Amélie BALAZUT

ANIMALS AS THE ANAMORPHISM OF MAN


EUR 04

Oscar FUENTES

IMAGES OF THE SELF IN THE MAGDALENIAN:
the Role of Human Representation in Paleolithic Societies – Territories and Movements


EUR 05

Iegor REZNIFOFF

THE ACOUSTIC DIMENSION OF PALEOLITHIC PAINTED CAVES AND STONES


EUR 06

Marc AZÉMA, avec la collaboration de Florent RIVÈRE

ANIMATION IN PALEOLITHIC ART:
Recent Observations


EUR 07

Jean BROT

THE USE OF NATURAL RELIEFS IN PALEOLITHIC PARIETAL ART


EUR 08

José FERNÁNDEZ QUINTANO

THE MIDDLE-RANGE THEORY OF “SHARED SPACE”


EUR 09

María Ángeles MEDINA, Araceli CRISTO, Antonio ROMERO, José Luís SANCHIDRIÁN

THROWING MORE LIGHT. STATIC LIGHTING IN PALAEOLITHIC “SANCTUARIES”:
the Example of Cueva de Nerja (Málaga, Spain))


EUR 10

María Soledad CORCHÓN, Diego GARATE, Clara HERNANDO,
Paula ORTEGA, Olivia RIVERO

TOWARD A DECORATIVE MODEL FOR THE CAVE OF PEÑA DE CANDAMO
(ASTURIAS, NORTHERN SPAIN) IN THE LIGHT OF NEW DISCOVERIES


EUR 11

Marc GROENEN, Marie-Christine GROENEN,
Jose Maria CEBALLOS del MORAL, Joaquín GONZÁLEZ ECHEGARAY

REVIEW OF SEVEN YEARS OF RESEARCH
IN THE DECORATED CAVE OF EL CASTILLO (CANTABRIA, SPAIN)


EUR 12

Ramon VIÑAS, Albert RUBIO, Juan F. RUIZ

PALAEOLITHIC FINE AND STRIATED LINE TECHNIQUES
AT THE ORIGINS OF THE LEVANTINE STYLE OF THE IBERIAN PENINSULA
Evidence for Further Thought


EUR 13

Aude LABARGE

SYNTHESIS OF NEW PARIETAL AND PORTABLE ART DISCOVERIES
IN THE CAVES OF ISTURITZ AND OXOCELHAYA (PYRÉNÉES-ATLANTIQUES): 1996/2009


EUR 14

Diego GARATE, Raphaëlle BOURRILLON

THE DECORATED CAVE OF ETXEBERRI (CAMOU-CIHIGUE, PYRÉNÉES-ATLANTIQUES):
an Audacious Art


EUR 15

Pascal FOUCHER, Cristina SAN JUAN-FOUCHER,
Carole VERCOUTÈRE, Catherine FERRIER

GARGAS CAVE (HAUTES-PYRÉNÉES, FRANCE):
the Archaeological Context and the Interpretations of the Parietal Art


EUR 16

Olivier HUARD

HORSE FIGURES IN THE PARIETAL ART OF GARGAS (AVENTIGNAN, HAUTES-PYRÉNÉES):
a Homogeneous Group?


EUR 17

Magali PEYROUX

OBJECTS DEPOSITED IN THE WALL CRACKS OF THE GARGAS CAVES
(HAUTES-PYRÉNÉES, FRANCE):
Analysis and Contextualization


EUR 18

François BOURGES, Éric MAUDUIT, Alain MANGIN,
Dominique d’HULST, Pierre GENTHON, Robert BÉGOUËN

THE CONTRIBUTION OF ENVIRONMENTAL MONITORING TO THE PRESERVATION
OF DECORATED PALEOLITHIC CAVES IN THE MIDI-PYRÉNÉES REGION:
the Examples of Gargas (Hautes-Pyrénées) and Marsoulas (Haute-Garonne)


EUR 19

Juan María APELLÁNIZ, Imanol AMAYRA

THE APPLICATION OF MATHEMATICAL MODELS TO THE AUTHOR ATTRIBUTION
OF THE TWO “TARPAN” HORSES AT NIAUX


EUR 20

Jacques JAUBERT, Norbert AUJOULAT, Patrice COURTAUD, Marie-France DEGUILLOUX, Marc DELLUC, Alain DENIS, Henri DUDAY, Bruno DUTAILLY, Catherine FERRIER, Valérie FERUGLIO, Nathalie FOURMENT, Jean-Michel GENESTE, Dominique GENTY, Nejma GOUTAS, Dominique HENRY-GAMBIER, Bertrand KERVAZO, Laurent KLARIC, Roland LASTENNET, François LÉVÊQUE, Philippe MALAURENT,
Jean-Baptiste MALLYE, Pascal MORA, Marie-Hélène PEMONGE, Nicolas PEYRAUBE, Magali PEYROUX, Hugues PLISSON, Jean-Christophe PORTAIS, Hélène VALLADAS, Robert VERGNIEUX, Sébastien VILLOTTE

THE COLLECTIVE RESEARCH PROJECT “CUSSAC CAVE” (DORDOGNE, FRANCE):
Study of a Decorated Cavern with Gravettian Human Remains


EUR 21

Nathalie FOURMENT, Dany BARAUD, Muriel KAZMIERCZAK, Alain RIEU

CUSSAC CAVE (LE BUISSON-DE-CADOUIN, DORDOGNE, FRANCE):
Application of the Principles of Preventative Conservation to the Case of a Recent Discovery


EUR 22

Jannu IGARASHI

CHRONOLOGY OF THE REALIZATION OF A FRIEZE OF MAMMOTHS
IN ROUFFIGNAC CAVE (DORDOGNE, FRANCE)


EUR 23

Leslie Van GELDER

TEN YEARS IN ROUFFIGNAC CAVE:
a Collective Report on Findings from a Decade of Finger Flutings Research


EUR 24

Aurélie ABGRALL

PICTORIAL ART AT LE ROC-AUX-SORCIERS (ANGLES-SUR-L’ANGLIN, VIENNE):
the “Language” of a Cultural Group?


EUR 25

Camille BOURDIER

ROCK SCULPTURE AND SYMBOLIC GEOGRAPHY IN THE MIDDLE MAGDALENIAN


EUR 26

Duncan CALDWELL

THE IDENTIFICATION OF THE FIRST PALEOLITHIC ANIMAL SCULPTURE
IN THE ILE-DE-FRANCE:
the Ségognole 3 Bison and its Ramifications


EUR 27

John CLEGG

LIFE DRAWING AND THE CHAUVET LIONS


EUR 28

Masaru OGAWA

POWER OF SEEING:
High Quality and Diversity of Parietal Art in Chauvet


EUR 29

Fabio MARTINI

COSMOPOLITAN AND LOCAL ASPECTS OF EPIGRAVETTIAN ART IN ITALY


EUR 30

Giuseppe VICINO, Margherita MUSSI

GROTTICELLA BLANC-CARDINI AT BALZI ROSSI (VENTIMIGLIA, ITALY)


EUR 31

Margherita MUSSI

THE ITALIAN GRAVETTIAN AND EPIGRAVETTIAN “VENUSES”
IN A EUROPEAN CONTEXT


EUR 32

Jean CLOTTES, Mihaï BESESEK, Bernard GÉLY, Călin GHEMIS, Marius KENESZ, Viorel Traian LASCU, Marcel MEYSSONNIER, Michel PHILIPPE, Valérie PLICHON, Françoise PRUD’HOMME, Valentin Alexandru RADU, Tudor RUS, Roxana Laura TOCIU

THE DISCOVERY OF A NEW PALEOLITHIC DECORATED CAVE
IN ROMANIA (BIHOR DEPARTMENT)


EUR 33

Alexey SOLODEYNIKOV

CATALOGING OF KAPOVA CAVE ROCK ART


2013-Foreword

Foreword

Dominique PAILLARSE

Director of Cultural Affairs – DRAC Midi-Pyrénées

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The scientific interest and the challenges were great: to bring together, for the time of a conference, the Pleistocene art specialists of the world so that they could review and assess our current knowledge of the art of our origins.

All of the participants in this manifestation, exceptional in both its subject matter and the geographic area covered – nothing less than the entire planet! – can testify to the excellent quality of the presentations and the debates that followed.

We thus applaud all of the contributors to this scientific and human adventure, beginning with the International Federation of Rock Art Organizations (IFRAO) whose initiative it was to hold this Congress, and its “bandleader” Jean Clottes; as well as the General Council of the Ariège Department, who oversaw the mechanics of the project, and the Parc de la Préhistoire of Tarascon-sur-Ariège, which served as its linchpin.

The Ministry of Culture and Communication must also be congratulated for the quality of this event held in France, and its great contribution to the diffusion of archaeological research and knowledge of the rich and fragile heritage of prehistoric art.

It is certainly not by accident that the Congress was held in the Midi-Pyrénées region, and more specifically in the Ariège Department: the abundance of prehistoric art in the Pyrenees is no small justification and the Parc de Tarascon offered an ideal showcase! Nor is it trivial to remark that the legitimacy of this location is historic: since the recognition of the ancient age of “cave art” by Émile Cartailhac in 1902, research in this field has unceasingly continued in Midi-Pyrénées.

And while we are at it, how could we not acknowledge the major role played by the director of the present publication, Jean Clottes, tireless pursuer of new research directions, promoter of the discipline in France and the world, and ardent defender of this fragile heritage. The Ministry of Culture is honored to have counted him among their ranks of researchers, after which he became Director of Prehistoric Antiquities for the Midi-Pyrénées region before fulfilling his mission as an Inspector for the central services.

Finally, we can salute the record time in which the Proceedings of this congress have been published – less than two years since the event – and wager that this publication will mark a milestone in the history of the discipline!