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New Insights into the Study of Paleolithic Rock Art: Dismantling the “Basque Country Void”
Journal of Anthropological Research ( IF 0.774 ) Pub Date : 2018-06-01 , DOI: 10.1086/695721
Diego Garate Maidagan

The Vasco-Cantabrian region of northern Spain, together with southwestern France, is one of the richest areas in terms of Paleolithic cave art, but, until recently, by far the highest concentration of sites had been in the central-western sector: the provinces of Cantabria and Asturias. In contrast, the eastern sector, the Basque Country—between the Asón River and the Pyrenees—was thought to have a significantly lower density of cave art loci, and few of them were major “sanctuaries.” The density of cave art sites seemed to increase again in the central French Pyrenees. This unequal distribution was difficult to explain given the homogeneity in the distribution of undecorated (i.e., habitation) Upper Paleolithic sites, as well as the lack of major lithological or orographic differences between the eastern and central-western sectors of the region. In addition, the important geostrategic position of the Basque Country between southwestern France and northwestern Iberia seemed to contradict the marginal role traditionally suggested by the parietal art record. During the past decade, however, research projects aiming to address the issue of the so-called Basque rock art void have led to the tripling of the number of known decorated caves in the eastern sector. Some of the very recent discoveries, notably in Atxurra, Armintxe, and Aitzbitarte IV, fall into the category of major cave art sites. The evidence presented here contributes to a fuller understanding of artistic production, human connections, and settlement dynamics during the entire Upper Paleolithic among the Cantabrian, Pyrenean, and Aquitaine regions, underlining the importance of the Basque Country record.

中文翻译:

旧石器时代岩画研究新见解:拆解“巴斯克地区的空虚”

西班牙北部的 Vasco-Cantabrian 地区与法国西南部一起,是旧石器时代洞穴艺术最丰富的地区之一,但直到最近,遗址最集中的地区还是中西部地区:各省坎塔布里亚和阿斯图里亚斯。相比之下,东部地区,即位于阿松河和比利牛斯山脉之间的巴斯克地区,被认为洞穴艺术遗址的密度要低得多,而且其中很少有主要的“保护区”。在法国比利牛斯山脉中部,洞穴艺术遗址的密度似乎再次增加。鉴于未装饰(即居住地)旧石器时代晚期遗址分布的同质性,以及该地区东部和中西部地区之间缺乏重大的岩性或地形差异,这种不均衡的分布很难解释。此外,位于法国西南部和伊比利亚西北部之间的巴斯克地区的重要地缘战略地位似乎与传统艺术记录所暗示的边缘角色相矛盾。然而,在过去十年中,旨在解决所谓的巴斯克岩画空白问题的研究项目导致东部地区已知装饰洞穴的数量增加了两倍。一些最近的发现,特别是在 Atxurra、Armintxe 和 Aitzbitarte IV,属于主要洞穴艺术遗址的类别。此处提供的证据有助于更全面地了解坎塔布连、比利牛斯山脉和阿基坦地区整个旧石器时代晚期的艺术创作、人类联系和定居动态,强调了巴斯克地区记录的重要性。巴斯克地区在法国西南部和伊比利亚西北部之间的重要地缘战略地位似乎与传统上由壁面艺术记录所暗示的边缘角色相矛盾。然而,在过去十年中,旨在解决所谓的巴斯克岩画空白问题的研究项目导致东部地区已知装饰洞穴的数量增加了两倍。一些最近的发现,特别是在 Atxurra、Armintxe 和 Aitzbitarte IV,属于主要洞穴艺术遗址的类别。此处提供的证据有助于更全面地了解坎塔布连、比利牛斯山脉和阿基坦地区整个旧石器时代晚期的艺术创作、人类联系和定居动态,强调了巴斯克地区记录的重要性。巴斯克地区在法国西南部和伊比利亚西北部之间的重要地缘战略地位似乎与传统上由壁面艺术记录所暗示的边缘角色相矛盾。然而,在过去十年中,旨在解决所谓的巴斯克岩画空白问题的研究项目导致东部地区已知装饰洞穴的数量增加了两倍。一些最近的发现,特别是在 Atxurra、Armintxe 和 Aitzbitarte IV,属于主要洞穴艺术遗址的类别。此处提供的证据有助于更全面地了解坎塔布连、比利牛斯山脉和阿基坦地区整个旧石器时代晚期的艺术创作、人类联系和定居动态,强调了巴斯克地区记录的重要性。
更新日期:2018-06-01
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