Hostname: page-component-7b7567c8c-7pwfn Total loading time: 0 Render date: 2026-11-12T20:14:47.866Z Has data issue: false hasContentIssue false
  • English
  • Français

Cave art without the caves

Published online by Cambridge University Press:  02 January 2015

Paul G. Bahn
Paul G. Bahn*
Affiliation:
428 Anlaby Road, Hull HU3 6QP, England
Get accessRights & Permissions [Opens in a new window]

Extract

It is over a decade since Palaeolithic parietal art was first spotted in Europe on exposed open-air surfaces—cave art without the caves. Now the major site in Portugal is threatened by the lake behind a river-dam under construction. Here is a report on what cave art outside the caves amounts to, and of the confrontations over the Côa site that were in the headlines early this year.

Information

Type
Reports
Information
Antiquity , Volume 69 , Issue 263 , June 1995, pp. 231 - 237
Copyright
Copyright © Antiquity Publications Ltd. 1995

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

Abelanet, J. 1985. Le premier site d’art rupestre paléolithique à l’air libre: le rocher gravé de Campôme, Conflent 133: 2–7.Google Scholar
Bahn, P.G. 1985. Ice Age drawings on open rock-faces in the Pyrenees, Nature 313: 530–31.Google Scholar
Bahn, P.G. 1992. Open air rock art in the Palaeolithic, in Lorblanchet, M. (ed.), Rock Art in the Old World: 395–400. New Delhi: Indira Gandhi National Centre for the Arts.Google Scholar
Bahn, P.G. & Vertut, J. 1988. Images of the Ice Age. Leicester: Windward.Google Scholar
De Balbín Behrmann, R. & Alcolea González, J.J. 1994. Arte paleolítico de la meseta española, Complutum 5: 97–138.Google Scholar
De Balbín Behrmann, R., Alcolea González, J. Santonja, M. & Peréz Martín, R. 1991. Siega Verde (Salamanca). Yacimiento artístico paleolítico al aire libre, in Del Paleolítico a la Historia: 33–48. Salamanca: Museo de Salamanca.Google Scholar
De Balbín Behrmann, R. & Moure Romanillo, J.A. 1988. El arte rupestre en Domingo García (Segovia), Revista de Arqueología 87: 16–24.Google Scholar
Bednarik, R.G. 1994. The Hell‘s Canyon petroglyphs in Portugal, Rock Art Research 11(2): 151–2.Google Scholar
Bednarik, R.G. 1995. More news from Hell‘s Canyon, Portugal, AURA Newsletter 12(1): 7–8.Google Scholar
Clottes, J. 1995. Paleolithic petroglyphs at Foz Côa, Portugal, International Newsletter on Rock Art 10: 2.Google Scholar
Jorge, S.O., Jorge, V.O. De Almeida, C.A.F. Sanches, M.J. & Soeiro, M.T. 1981. Gravuras rupestres de Mazouco (Freixo da Espada à Cinta), Arqueologia (Porto) 3: 3–12.Google Scholar
Jorge, S.O., Jorge, V.O. De Almeida, C.A.F. Sanches, M.J. & Soeiro, M.T. 1982. Descoberta de gravuras rupestres em Mazouco, Freixo da-Espada-à-Cinta (Portugal), Zephyrus 34/35: 65–70.Google Scholar
Jorge, S.O., Jorge, V.O. De Almeida, C.A.F. Sanches, M.J. & Soeiro, M.T. 1987. Arte rupestre en Portugal, Revista de Arqueología 76: 10–19.Google Scholar
Jorge, S.O., Jorge, V.O. Sanches, M.J. & Ribeiro, J.P. 1981/ 2. Mazouco (Freixo de Espada à Cinta). Nótula arqueológica, Portugalia n.s. 2/3: 143–5.Google Scholar
Martín Santamaría, E., & Moure Romanillo, J.A. 1981. El caballo de estilo paleolítico de Domingo García (Segovia), Trabajos de Prehistoria 38: 97–108.Google Scholar
Martínez García, J. 1986/7. Un grabado paleolítico al aire libre en Piedras Blancas (Escúllar, Almería), Ars Praehistorica 5/6: 49–58.Google Scholar
Martínez García, J. 1992. Arte paleolítico en Almería. Los primeros documentos, Revista de Arqueología 130: 24–33.Google Scholar
Ripoll López, S. & Municio González, L. 1992. Las representaciones de estilo paleolítico en el conjunto de Domingo García (Segovia), Espacio, Tiempo y Forma, Serie 1: Prehistoria y Arqueología 5: 107–38. Madrid.Google Scholar
Ripoll López, S. & Municio González, L. 1994. A large open air grouping of Paleolithic rock art in the Spanish Meseta, International Newsletter on Rock Art 7: 2–5.Google Scholar
Ripoll López, S., Municio González, L. Muñoz Ibáñez, F.J. Peréz Marín, S. & López Moreno De Redrojo, J.R. 1994. Un conjunto excepcional del arte paleolítico. El Cerro de San Isidro en Domingo García. Nuevos descubrimientos, Revista de Arqueología 157:12–21.Google Scholar
Sacchi, D. 1987. L’art paléolithique des Pyrénées roussillonnaises, in Abelanet, J. et al. (ed.), Etudes Roussillonnaises offertes à Pierre Ponsich: 47-52.Perpignan: Le Publicateur.Google Scholar
Sacchi, D., Abelanet, J. & Brulé, J-L. 1987. Le rocher gravé de Fornols-Haut, Archéologia 225: 52–7.Google Scholar
Sacchi, D., Abelanet, J. & Brulé, J-L. 1988. Un témoin de l’art paléolithique de plein air en Roussillon: le rocher de Fornols-Haut, 7e Colloqui Internacional d’Arqueologia de Puigcerdá (June 1986): 37’42.Google Scholar
Sacchi, D., Abelanet, J. Brulé, J-L. Massiac, Y. Rubiella, C. & Vilette, P. 1988a. Le rocher gravé de Fornols-Haut à Campôme, Pyrénées Orientales, France. Etude préliminaire, in I Congreso Internacional de Arte Rupestre, Bajo Aragon Prehistoria 7/8 (1986/7): 279–93.Google Scholar
Sacchi, D., Abelanet, J. Brulé, J-L. Massiac, Y. Rubiella, C. & Vilette, P. 1988b. Les gravures rupestres de Fornols-Haut, Pyrénées-Orientales, L’Anthropologie 92: 87–100.Google Scholar