The issue addressed in this article is essentially whether the same cognitive processes are at work for mimetic prehistoric graphic productions and schematic ones. Holocene schematic rock art is one of the main graphic expressions of European prehistory, from the Iberian peninsula to Italy. Despite its wide distribution and the incomparable insight it may provide on the functioning of prehistoric human groups and the cultural geography of the western European Neolithic, this rock art's imprecise chronology and geometric and schematic nature has often led to its exclusion from research on these societies, particularly in France. This paper proposes a study of schematic rock art from the perspective of the pragmatic and cognitive semiotics of visual culture and suggests that the production and purpose of diagrams, which compose so-called schematic rock art and which are common to all human societies, are different to those of figurative images, as is their cognitive origin. This demonstration sheds a new light on schematic rock art and the social practices it involved and invites us to rethink its coexistence with the Levantine imagery from the Spanish Levant.

中文翻译：

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新石器时代岩画艺术背后的认知过程。考古意义和研究假设

本文解决的问题本质上是相同的认知过程是否适用于拟态史前图形作品和示意图作品。全新世示意图岩画是从伊比利亚半岛到意大利的欧洲史前史的主要图形表现形式之一。尽管它分布广泛，而且它可能对史前人类群体的功能和西欧新石器时代的文化地理学提供无与伦比的洞察力，但这种岩石艺术不精确的年代顺序以及几何和示意图的性质常常导致它被排除在对这些社会的研究之外，特别是在法国。本文提出从视觉文化的语用学和认知符号学的角度对图解岩画进行研究，并提出图解的产生和目的，组成所谓的示意性岩石艺术并且为所有人类社会所共有的，与具象图像的图像不同，它们的认知来源也是如此。该演示为示意性岩石艺术及其所涉及的社会实践提供了新的视角，并邀请我们重新思考它与来自西班牙黎凡特的黎凡特图像的共存。