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[PDF] Top 20 The Upper Palaeolithic rock art of Portugal in its Iberian context

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The Upper Palaeolithic rock art of Portugal in its Iberian context

The Upper Palaeolithic rock art of Portugal in its Iberian context

... outside the shelter on a panel to the right of the ...to the Neolithic or Chalcolithic ...possible Palaeolithic engravings was also found to the right of the ... See full document

15

The Quaternary rock art of the Côa Valley (Portugal)

The Quaternary rock art of the Côa Valley (Portugal)

... Furthermore, in the upper part of rock no. 2 of Piscos ...set of super- imposed, incised motifs, with a figurative stratigraphy that we consider extremely signifi- cant, ... See full document

22

Directing the eye. The Côa Valley Pleistocene rock art in its social context

Directing the eye. The Côa Valley Pleistocene rock art in its social context

... legs in an oblique or straight biangular perspective; legs have usually a triangular shape, with a clear, but schematic, difference between thighs and canons; no anatomical details are ...visible. The ... See full document

8

The Holocene transition and post-palaeolithic rock art from the Sabor Valley (Trás-os-Montes, Portugal)

The Holocene transition and post-palaeolithic rock art from the Sabor Valley (Trás-os-Montes, Portugal)

... that the motifs in the “Santo Antão da Barca” and “Veado do Cabeço do Aguilhão” rocks find their most obvious ...acknowledge the strong connection existing in terms of style and ... See full document

19

The raw material procurement at the Upper Palaeolithic settlements of the Côa Valley (Portugal): new data concerning modes of resource exploitation in Iberia

The raw material procurement at the Upper Palaeolithic settlements of the Côa Valley (Portugal): new data concerning modes of resource exploitation in Iberia

... The rock art of lhe Côa Valley has been compared with lhe engraved and painted slabs recovered in lhe Parpalló sequence, and it has been pointed out that lhe bestiary depicted is simila[r] ... See full document

15

The Upper Paleolithic Rock Art of Iberia

The Upper Paleolithic Rock Art of Iberia

... seen the attractive, color photo-laden, trade-market publications of Altamira (Saura and Beltr´an, 1998 ) and of Ekain and Altxerri (Altuna, 1997 ...). In response to concern for conservation, ... See full document

71

Palaeolithic engravings and sedimentary environments in the Côa River Valley (Portugal): implications for the detection, interpretation and dating of open-air rock art

Palaeolithic engravings and sedimentary environments in the Côa River Valley (Portugal): implications for the detection, interpretation and dating of open-air rock art

... at the base of the Quinta do Vale do Meão sequence and between the two levels considered as re flecting cold events and rock slope weathering (probably W1 and W2) at Fariseu (FA-5 and 6; ... See full document

15

Fariseu: new chronological evidence for open-air Palaeolithic art in the Côa valley (Portugal)

Fariseu: new chronological evidence for open-air Palaeolithic art in the Côa valley (Portugal)

... elements of portable art in occupation deposits dating to the end of the Upper Palaeolithic, already encountered in 1999 in front of ... See full document

10

Fariseu: First confirmed open-air Palaeolithic parietal art site in the Côa Valley (Portugal).

Fariseu: First confirmed open-air Palaeolithic parietal art site in the Côa Valley (Portugal).

... wisdom the idea that Palaeolithic parietal art was confined to caves where it could be kept hidden from uninitiated ...that the age of hundreds of petroglyphs discovered on ... See full document

9

Stone consolidation experiments in rock art outcrops at the Côa Valley Archaeological Park, Portugal

Stone consolidation experiments in rock art outcrops at the Côa Valley Archaeological Park, Portugal

... inscribed the Côa Valley in the World Heritage List, the value of the engravings was generally accepted by the Portuguese public ...from its discovery in ... See full document

11

Quartz use in the absence of flint: Middle and Upper Palaeolithic raw material economy in the C^oa Valley (North-eastern Portugal)

Quartz use in the absence of flint: Middle and Upper Palaeolithic raw material economy in the C^oa Valley (North-eastern Portugal)

... located in the Hercynian Massif, a long way from the nearest flint ...sources. In this area, quartz and Ordovician quartzite are available as pebbles and cobbles in secondary position ... See full document

17

Illustrating the Sabor Valley (Trás-os-Montes, Portugal): rock art and its long-term diachrony since  the Upper Palaeolithic until the Iron Age

Illustrating the Sabor Valley (Trás-os-Montes, Portugal): rock art and its long-term diachrony since the Upper Palaeolithic until the Iron Age

... intention of the organization of space by recent Pre-Historic ...unlike the Medal Terrace or the Crestelos area, which are both places of habitat (although in the ... See full document

21

Slope orientation of rock art sites in the Côa Valley, Portugal: A case study in the spatial distribution of open-air Upper Palaeolithic rock art

Slope orientation of rock art sites in the Côa Valley, Portugal: A case study in the spatial distribution of open-air Upper Palaeolithic rock art

... is the “quality” of outcrops 19 ...panels in outcrops located in East and South facing slopes are smoother and with less fractured and wider areas to ...as the West facing important ... See full document

21

"On endless motion": depiction of movement in the Upper Palaeolithic Côa Valley rock art (Portugal)

"On endless motion": depiction of movement in the Upper Palaeolithic Côa Valley rock art (Portugal)

... that the depiction of movement and subsequent invention of motion pictures in the Upper Palaeolithic deserves, in its own right, to be inscribed as a ... See full document

17

Rock art as land art. A diachronic view of the Côa Valley (NE Portugal) Post-Palaeolithic rock art

Rock art as land art. A diachronic view of the Côa Valley (NE Portugal) Post-Palaeolithic rock art

... Epipalaeolithic art seems to continue the Upper Palaeolithic model, but the scarceness of remains doesn’t allow much ...Although the region continued to be occupied, there ... See full document

22

Open-air rock-art, territories and modes of exploitation during the Upper Palaeolithic in the Côa Valley (Portugal)

Open-air rock-art, territories and modes of exploitation during the Upper Palaeolithic in the Côa Valley (Portugal)

... from these locations, suggest an association with undated and defined human occupation activi- ties on floodplain erosiorial deposits. Mean- while, we must he cautious in generaliz[r] ... See full document

15

Damned dams again: the plight of Portuguese rock art

Damned dams again: the plight of Portuguese rock art

... by the European Union (euros 202.7 million, or 53.9% of the total expenditure), the remainder being provided by the national authorities, the private sector and other ...to ... See full document

9

Palaeolithic open-air art: the impact and implication of a "new phenomenon"

Palaeolithic open-air art: the impact and implication of a "new phenomenon"

... for palaeolithic figures in the open air came from Siberia, where Okladnikov’s work at the site of Shishkino, by the river Lena, led to his belief that several of ... See full document

12

Iberian Studies: A state of the art and future perspectives

Iberian Studies: A state of the art and future perspectives

... is in fact some evidence in academic communities from both sides of the Atlantic that support our claim for the establishment of Iberian Studies as a ...From the ... See full document

16

Testing the Upper Echelons Theory in the European context

Testing the Upper Echelons Theory in the European context

... consider the same amount of information with little routine adaptation, failing to adapt to the ...(1981), the impact of rigidity is twofold and depends on the threat ...If ... See full document

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