Palaeolithic representations can be approached from different perspectives. Studying the creative processes, we can glimpse the decisions that the Palaeolithic artists made and the actions they carried out to materialize an idea. Additionally, the combined study of both graphic and functional actions performed on an object provides a comprehensive approach and understanding of the evidence: in the first place, it allows us to hypothesize about the presence or absence of symbolic purpose of the representations; secondly, it makes the potential choice of eliminating such symbolism discernible for us. The monographic study of a Magdalenian pebble from Coímbre Cave (Asturias, Spain) engraved between 15,680 and 14,230 cal. bp shows that a mistake was made during the engraving process; subsequently an attempt was made to eliminate the representations, and finally the pebble was used as a hammerstone. This paper provides argumentation to reconstruct a complex biography of an object of Palaeolithic portable art, discussing intentional loss of symbolic value of both the decoration and the object and the latter's reuse (as raw material) for an economic or domestic purpose.

旧石器时代的表现可以从不同的角度进行探讨。研究创作过程，我们可以窥见旧石器时代艺术家做出的决定以及他们为实现想法而采取的行动。此外，对对象执行的图形和功能动作的综合研究提供了对证据的全面方法和理解：首先，它允许我们假设表示的象征目的的存在或不存在；其次，它使我们可以识别消除这种象征意义的潜在选择。来自 Coímbre 洞穴（西班牙阿斯图里亚斯）的 Magdalenian 鹅卵石的专题研究，雕刻时间在 15,680 到 14,230 cal 之间。bp表明雕刻过程中出现错误；随后尝试消除这些表示，最后将鹅卵石用作锤石。本文为重构旧石器时代便携式艺术品的复杂传记提供了论证，讨论了装饰和物体的象征性价值的有意损失以及后者出于经济或家庭目的而再利用（作为原材料）。