133 research outputs found
La cueva de Tito Bustillo. Ribadesella. Asturias
No full textThe Tito Bustillo cave is the centre of a complex made
up of at least twelve caves, six of which contain remains of wall decoration. Many of them were already
known, but our cave was discovered in 1968 by the Torreblanca speleological group, of which Celestino Fernández Bustillo, Tito Bustillo, was a member for whom the
cave is named.
The excavations, started by M. A. García Guinea in
1970, were carried out in the Main Gallery or Decoration
Area, and in the old entrance, or the Stay Area. J. Alfonso
Moure Romanillo continued them from 1972 to 1988.
In 1974, the artistic documentation began, under the direction of Rodrigo de Balbín Behrmann and J. A. Moure
Romanillo, and lasted until 1981. Since 1998, we have
resumed excavations in the Hall of the old entrance, in
the Area of Stay, at some distance from the excavations of
A. Moure, and in the Ensemble V, inside the Gallery of
the Anthropomorphs. In this second moment, we prospected the whole Massif, and we probed La Cuevona and
La Lloseta. This stage was directed by Rodrigo de Balbín
Behrmann and J. Javier Alcolea González until 2007.
Our intention from 1998 was to integrate Tito
Bustillo into the Ardines massif, and to examine all the
occupied caves together, to get an idea of the whole. To
do this, we prospected in the following caves:
La Lloseta, La Cuevona, Les Pedroses, El Cierru,
Cova Rosa, Cueva de Pandu, Cueva de San Antonio,
Cueva del Tenis o La Viesca, Cuevas de Los Fornos y El
Cuetu, Cueva del Cuetu de La Hoz, Cueva del Fresnu,
Cueva del Requexau, Cantera de Corcubión.Consejería de Cultura, Política Lingüística y Turismo, a través de la Sociedad Pública
de Gestión y Promoción Turística y Cultural del Principado de Asturia
La couleur dans les monuments mégalithiques de l’Ouest de la France Découverte de peintures préhistoriques à Barnenez (Finistère) et quelques autres monuments du Morbihan
No full textGouézin Philippe, Laporte Luc, De Balbin Behrmann Rodrigo, Bueno-Ramirez Primitiva. La couleur dans les monuments mégalithiques de l’Ouest de la France Découverte de peintures préhistoriques à Barnenez (Finistère) et quelques autres monuments du Morbihan. In: Bulletin de la Société préhistorique française, tome 110, n°3, 2013. pp. 541-545
El arte rupestre en Canarias. Antecedentes y perspectiva de futuro
No full textThe Prehistory of the Canary Islands has elapsed by the roads of the romantic tradition until the present. Only from the 80's, has begun an interesting movement, that in spite all, continues submerged in the nationalism and in the isolation, rejecting all the novelties that yet there are produced.
We have begun by studying the linear engravings of the south of Tenerife, demonstrating their graphic affinities with the African continent, and the responsible human groups for the settlement. From finding of the Zinete stone, we have attempted to locate the Prehistory of the Canary Islands in the Ancient World of the Mediterranean, proposing a Phoenico-punic origin for a settling based on economic motives, essentially the obtainment of the garum.La préhistoire des îles Canaries a été parcourue par les chemins de la tradition romantique. À partir des années 80 seulement, est apparu un regain d'intérêt, qui, malgré tout, continue à être submergé dans le nationalisme et l'isolationnisme, refusant toutes nouveautés.
Nous avons commencé par étudier les gravures linéaires du sud de Tenerife, en démontrant leurs affinités graphiques avec le continent africain, et les groupes humains responsables du peuplement. À partir de la découverte de la pierre Zanata, nous avons tenté d'insérer la Préhistoire des Canaries dans le monde ancien de la Méditerranée, en proposant une origine fénico-punique à une colonisation basée sur des motifs économiques, essentiellement sur l'obtention du garum.De Balbin Behrmann Rodrigo, Bueno-Ramirez Primitiva. El arte rupestre en Canarias. Antecedentes y perspectiva de futuro. In: Antiquités africaines, 34,1998. pp. 1-10
Arte paleolítico al aire libre en el sur de la Península Ibérica: Andalucía.
No full textActas Arte Prehistórico al aire libre en el Sur de Europa. Junta de Castilla y León, p. 237-258. Salamanca
Sorprendente, colorido, suave, raro: recursos líticos y preferencias culturales en la arquitectura, escultura y artefactos portables del monumento tipo tholos de Palacio III (Sevilla, España)
No full textThe investigation of the Iberian megalithic phenomenon has only recently begun to benefit from the expansion of the technical and scientific potential of modern archaeology. There are still very few Iberian megaliths for which high resolution scientific research has been carried out, providing detailed data on their design, uses and biographies. This paper presents the results of the multi-disciplinary study of the Palacio III tholos, part of a larger megalithic complex located in Almadén de la Plata (Seville). This study is based on a wide-spectrum methodology that integrates geoarchaeology, techno-morphological and functional analysis of portable material culture and graphic analysis, all combined within a meticulously contextual perspective. The results provide a wealth of data on how, through a series of carefully constructed cultural choices, this monument represents a true place of encounter between the locally available geological resources and other resources that were only accessible through contact with neighbouring communities. Whether in its raw state, finely carved in the form of engraved and painted sculptures or transformed into artefacts of high technical and personal value, the materiality of the stone in the Palacio III tholos acquires multiple cultural dimensions that only a modern scientific approach is able to reconstructSolo recientemente la investigación del fenómeno megalítico ibérico ha comenzado a beneficiarse de la ampliación del potencial técnico y científico de la arqueología moderna. Todavía son muy pocos los megalitos ibéricos para los que se han realizado investigaciones científicas de alta resolución, capaces de aportar datos detallados sobre su diseño, usos y biografías.En este trabajo se presentan los resultados del estudio del tholos del complejo megalítico de Palacio III (Almadén de la Plata, Sevilla), abordado mediante una metodología multidisciplinar que integra la geoarqueología, el estudio tecnomorfológico y funcional de la cultura material portable y el análisis gráfico, dentro de una meticulosa valoración contextual.Los resultados aportan datos muy novedosos respecto a cómo, a través de una serie de elecciones culturales cuidadosamente construidas, este monumento representa un verdadero lugar de encuentro entre los recursos geológicos localmente disponibles y los recursos accesibles mediante contacto con otras comunidades.Bien en su forma bruta, bien labrada en forma de esculturas grabadas y pintadas o transformada en artefactos de alto valor técnico y personal, la materialidad de la piedra adquiere en Palacio III múltiples dimensiones culturales que solo a través de la moderna investigación científica es posible reconstruir
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