Relevant bibliographies by topics / Art rupestre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art rupestre'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 June 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Art rupestre.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Art rupestre"

1

Lhote, H., G. Camps, and G. Souville. "Art rupestre." Encyclopédie berbère, no. 6 (January 1, 1989): 918–39. http://dx.doi.org/10.4000/encyclopedieberbere.2599.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lage, Maria Conceição Soares Meneses. "Chemical analysis of pigments in Brazilian rock art (Piaui)." Revista do Museu de Arqueologia e Etnologia. Suplemento, supl.2 (December 10, 1997): 89. http://dx.doi.org/10.11606/issn.2594-5939.revmaesupl.1997.113443.

Full text
Abstract:
O presente trabalho apresenta uma nova proposta de estudo dos sítios de arte rupestre da região Sudeste do Piauí onde utilizamos técnicas de exame e de análises físico-químicas para fornecer dados sobre a técnica de execução dos grafismos, casos de pinturas retocadas, superposições, técnicas de fabricação dos pigmentos, constituição química dos pigmentos, localização de fontes de matéria-prima, relações existentes entre pinturas rupestres e camadas estratigráficas e estado de conservação das pinturas. Nosso estudo visou sobretudo o conhecimento mais preciso dos pigmentos utilizados nesta arte rupestre, sua composição química, mineralógica e suas relações com o suporte rochoso.
APA, Harvard, Vancouver, ISO, and other styles
3

Hachid, M. "Outre : art rupestre historique." Encyclopédie berbère, no. 36 (June 2, 2013): 6004. http://dx.doi.org/10.4000/encyclopedieberbere.2878.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Pigeaud, Romain. "Art Rupestre. Bulletin du GERSAR." L'Anthropologie 105, no. 4 (October 2001): 646. http://dx.doi.org/10.1016/s0003-5521(01)80071-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Lefebvre, G. "Kabylie : Art rupestre en Grande Kabylie." Encyclopédie berbère, no. 26 (May 1, 2004): 3999. http://dx.doi.org/10.4000/encyclopedieberbere.1399.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Clegg, John. "Art rupestre et Histoire de l’art." L'Anthropologie 113, no. 3-4 (July 2009): 478–514. http://dx.doi.org/10.1016/j.anthro.2009.10.002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Otte, Marcel. "Coliboaia, art rupestre aurignacien en Roumanie." L'Anthropologie 122, no. 2 (April 2018): 261–63. http://dx.doi.org/10.1016/j.anthro.2018.02.005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Pessis, Anne-Marie, and Gabriela Martin. "AS PINTURAS RUPESTRES DA TRADIÇÃO NORDESTE NA REGIÃO DO SERIDÓ, RN, NO CONTEXTO DA ARTE RUPESTRE BRASILEIRA." CLIO – Arqueológica 35, no. 3 (January 5, 2021): 18. http://dx.doi.org/10.20891/clio.v35n3p18-59.

Full text
Abstract:
Este artigo é uma reflexão sobre as pinturas rupestres da tradição Nordeste na região arqueológica do Seridó, que precisam ainda de estudos pormenorizados do seu vasto acervo arqueológico. Se pode afirmar que, paralelamente às pinturas do Parque Nacional Serra da Capivara, no estado do Piauí, os conjuntos rupestres do Seridó representam o maior acervo gráfico do nordeste do Brasil. Esta afirmativa não está apenas baseada na quantia dos sítios e dos registros, mas na riqueza imagética que os mesmos representam. Retratam as numerosas atividades da vida cotidiana e cerimonial dos povos que as fizeram, além da manifestação da cultural material, imaterial e técnica do pensamento abstrato indígena na pré-história brasileira. THE RUPESTRAL PAINTINGS OF THE NORTHEAST TRADITION IN THE SERIDÓ REGION, RN, IN THE CONTEXT OF BRAZILIAN RUPESTRY ART ABSTRACTThis article is a reflection on the cave paintings of the Northeast tradition in the archaeological region of Seridó, which still need detailed studies of their vast archaeological collection. It can be said that, in parallel to the paintings in the Serra da Capivara National Park in the state of Piauí, the rock paintings ensembles of Seridó represent the largest graphic heritage in the northeast of Brazil. This statement is not just based on the number of sites and records, but on the wealth of images that they represent. They portray the numerous activities of the daily and ceremonial life of the peoples who did them, as well as the manifestation of the material, immaterial and technical culture of indigenous abstract thought in Brazilian prehistory.Keyword: Rock Art; Seridó; Northeast tradition.
APA, Harvard, Vancouver, ISO, and other styles
9

Delnoÿ, David. "L’Art rupestre d’Alta, Norvège. Art et conscience." L'Anthropologie 123, no. 1 (January 2019): 100–115. http://dx.doi.org/10.1016/j.anthro.2019.02.007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Faria, Flávio Silva. "Comparison of rock art paintings of the Middle São Francisco river with graphic motifs of the Tucanoan linguistic groups: testing the shamanic hypothesis." Revista do Museu de Arqueologia e Etnologia, no. 7 (December 19, 1997): 23. http://dx.doi.org/10.11606/issn.2448-1750.revmae.1997.109293.

Full text
Abstract:
Uma amostragem de pinturas rupestres da região do Médio São Francisco (Canyon Fonte Grande, Central, BA) foi comparada com motivos gráficos da arte Tukâno (Reichel-Dolmatoff 1978). Esses mesmos exemplos de pintura rupestre foram paralelamente comparados com os motivos fosfênicos utilizados por Lewis-Williams e Dowson (1987) em um modelo que tenta descrever a origem das representações rupestres a partir de visões de seres humanos que experimentaram estados alterados de consciência (no caso, transe xamânico). Os resultados indicam 1) forte semelhança em forma entre não-figurativos e antropomorfos de Central com a arte Tukâno, ocorrendo também indícios de associações semelhantes de motivos gráficos em painéis complexos; 2) identidade parcial entre os não-figurativos e as formas fosfênicas previstas por LewisWilliams e Dowson.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Art rupestre"

1

Le, Quellec Jean-Loïc. "Symbolisme et art rupestre au Sahara /." Paris : Éd. l'Harmattan, 1993. http://catalogue.bnf.fr/ark:/12148/cb35613873f.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Rodrigue, Alain. "L'art rupestre du Haut Atlas marocain /." Paris ; Montréal (Québec) : l'Harmattan, 1999. http://catalogue.bnf.fr/ark:/12148/cb37093023k.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Vourc'h, Marie. "L'art rupestre préhistorique du nord de la Scandinavie." Toulouse 2, 2008. http://www.theses.fr/2008TOU20027.

Full text
Abstract:
A travers une étude essentiellement iconographique fondée sur des données bibliographiques et de terrain, ce travail de thèse propose d’analyser les phénomènes de diffusions et/ou d’interactions entre les groupes pré- et protohistoriques du nord de la Scandinavie (Trøndelag, Nordland, Troms et Finnmark pour la Norvège, Norrland central et septentrional pour la Suède). Cette étude se place également dans une dynamique diachronique afin d’envisager les modes de transferts et de transmissions culturels du Mésolithique jusqu’à l’âge du Fer. La première partie expose les contextes environnementaux et archéologiques ; la seconde partie est une description des sites pris en compte dans ce travail. La troisième partie concerne les gravures et peintures rencontrées, étudiées par thèmes, avec notamment la mise en place de typologies appuyées par des analyses statistiques pour les figures de bateaux et les figures anthropomorphes. Ces expressions graphiques ont été envisagées dans une perspective globale, en prenant en compte leur organisation spatiale, leurs relations au support et les autres vestiges archéologiques de la culture matérielle, ce qui m’a permis de mettre en évidence et de préciser des voies privilégiées de diffusions iconographiques et d’échanges culturels au sein de cette Europe septentrionale. Enfin dans une dernière partie, une analyse technologique des piquetages de certains secteurs du site de Hjemmeluft (Alta, Norvège) a été initiée, parallèlement à une expérimentation, afin de mieux comprendre les procédés de réalisation des gravures pré et protohistoriques de ce site
Through a mainly iconographic study based on bibliographic and field data, this thesis proposes to analyze the phenomena of diffusions and/or interactions between pre- and protohistoric groups in northern Scandinavia (Trøndelag, Nordland, Troms and Finnmark for Norway, central and northern Norrland in Sweden). This study also takes place in a diachronic dynamic in order to consider ways of cultural transfers and transmissions from Mesolithic to Iron Age. The first part of this thesis outlines environmental and archaeological contexts, the second part describes the sites considered throughout this work. The third part deals with rock carvings and paintings, studied by themes, including establishment of typologies supported by boats and anthropomorphic figures statistical analysis. These graphic expressions were considered in a global perspective, taking into account their spatial organization, relationship to the rock surface and other archaeological remains of material culture, which enabled me to identify and specify preferred ways of iconographic spreading and cultural exchanges in ancient northern Europe. In a last part, technological analysis, along experimental work, are used to define pre and proto-historical carving processes used in some areas at the Hjemmeluft site (Alta, Norway)
APA, Harvard, Vancouver, ISO, and other styles
4

Pessis, Anne-Marie. "Art rupestre préhistorique premiers registres de la mise en scène /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376088444.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Pessis, Anne-Marie. "Art rupestre préhistorique : premiers registres de la mise en scène." Paris 10, 1987. http://www.theses.fr/1987PA100206.

Full text
Abstract:
Au sud-est de l'État du Piaui se trouve la concentration la plus importante de sites d'art rupestre du brésil. Parmi les nombreuses variétés de registres rupestres, la tradition Nordeste est la plus intéressante. Sa caractéristique principale est la présence de graphismes reconnus agences de façon à représenter des actions de la vie cérémonielle et quotidienne des plus anciens hommes américains. Ces registres graphiques ont pu être datés grâce aux vestiges retrouves dans plusieurs niveaux archéologiques. Une équipe de chercheurs franco-brésilienne travaille sur ce corpus. Des méthodes adaptées à l'étude de ces registres visuels ont été développés en vue d'identifier les systèmes de présentation graphique caractéristiques des divers groupes qui ont habité cette région et exécute cette pratique graphique. Ce travail porte sur la méthode utilisée pour l'étude de cet art rupestre et traite de la démarche employée pour dégager les composantes de la présentation graphique de chaque système. Les composantes retenues sont de nature thématique ainsi que des éléments de la mise en scène. Parmi les variables de la mise en scène nous aurions le traitement du temps et de l'espace, l'établissement des distances, la représentation de la profondeur, l'analyse des postures, des gestes et des attributs culturels, et la hiérarchie accordée au divers composantes de la mise en scène. La démarche proposée a été appliquée à l'étude d'un site uniquement en vue de l'illustrer. L’ensemble des classes stylistique de la tradition Nordeste est étudiée à partir de plusieurs sites représentatifs. La conclusion propose des hypothèses pour la microanalyse des 260 sites
At the southeast of Piaui state exist the most important concentration of rock art sites of Brazil. Among the variety of rock registers existing in this area, one of the most interesting is the Nordeste tradition. Its main characteristic is the presence or figures representing facts of ceremonial and day-to-day life of the most ancient American men. These graphic registers had been dated by vestiges founded on several and differents archeological levels. A French-Brazilian staff works over this corpus and has developed a procedure for study this visual registers based on the identification of graphic presentation systems which characterize diverse peoples who lived and accomplished this graphic practice. This work deals with a methodological approach for rock art study which aim is to bring out the specific graphic presentation components of each systems. By components we designate thematic identification figures and presentation variables. Among the variables we can mention the time and space graphic representations, the distances establishment, depth representations, treatment of postures, gestures and culturels attributes and hierarchy granted to these components. The macroanalyse of de site Boqueirao do Sitio da Pedra Furada illustrates this proposal. Founded on the study of several sites representatives of stylistic classes the whole Nordeste tradition is studied. The conclusion presents some hypotheses for the microanalyse of 260 sites uncovered in this area
APA, Harvard, Vancouver, ISO, and other styles
6

Buhagar, Saad Abdulla. "L'art rupestre du Sud-Est Libyen (Région de KUFRA)." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00915778.

Full text
Abstract:
À la lumière de l'analyse des animaux rencontrés sur les cinq sites d'art rupestre étudiés dans le Bassin de Kufra, nous pouvons proposer une classification en trois périodes : 1) une première phase bovidienne, observée à Bzima, Rebiana, Bir el-Awadel, ne concernent que des gravures. Le nombre de découvertes est peu important, et les figurations humaines demeurent rares. Dans cette première période, la chasse occupe une place importante. On y rencontre, à côté de bovins, représentés dans un style plutôt réaliste, plusieurs espèces d'antilopes, peut-être un éléphant et d'autres animaux non identifiés. La plupart des gravures de cette période sont localisées en hauteur, sur la paroi verticale de petites falaises ; 2) la période pastorale bovidienne a laissé des traces dans toute la région du Bassin de Kufra, particulièrement dans la région du jebel el-Uweinat, riche en œuvres peintes. Les sujets des gravures sont variés, mais sont largement dominés par les représentations de bovidés, associés à quelques figurations d'hommes et de différents animaux sauvages. Les compositions décrivant un aspect de la vie quotidienne sont rares, à l'exception de quelques représentations de chasse. On note également la présence de nombreuses figurations géométriques et d'empreintes de pattes d'animaux, notamment à Bzima 2. Les dimensions des gravures varient avec le temps, les plus grandes semblant les plus anciennes et l'on ne constate pas de superpositions de gravures, hormis à Bir el-Awadel. Toutes les techniques de réalisation des gravures sont utilisées, l'incision présentant des profondeurs et des largeurs diverses, de même que le piquetage et le bouchardage. Elles sont parfois combinées. Les rares peintures conservées autour de Kufra sont de petites tailles, et seule la couleur rouge a résisté aux dommages causés par les intempéries ; 3) la période cameline est essentiellement représentée à Bzima et Rebiana. Cette période comporte exclusivement des gravures. Les blocs gravés de cette période se situent généralement à proximité des lieux d'habitation et de sépultures. Les camélidés représentent l'essentiel des figurations et apparaissent tantôt en groupes, tantôt individuellement, parfois accompagnés par des chameliers. Les autres espèces animales sont rares, tandis que des figures géométriques apparaissent régulièrement en association avec les camelins incisés. Les mises en scènes sont nombreuses, souvent des caravanes ou troupeaux de dromadaires, et une représentation de conflit armé oppose deux groupes d'hommes à la Gara el-Mekhaze. Quelques gravures camelines recouvrent des gravures bovidiennes, mais le plus souvent ces dernières sont respectées et parfois copiées maladroitement. Les techniques utilisées recouvrent l'incision, le piquetage, le bouchardage et le polissage. Cependant, c'est l'incision - technique très facile à exécuter - qui a été la plus utilisée. La grande variété d'aspect et de maîtrise des tracés indique par ailleurs que les artistes ont été nombreux à se succéder pour graver dans la pierre le fruit de leur imagination. Il n'y a aucune inscription en langue ancienne, mais des inscriptions en arabes souvent récentes. La période cameline semble parfois, dans notre secteur d'étude, en adéquation avec une position de refuge des populations concernées, probablement face à une situation de conflit et rezzous. C'est pourquoi, comme à Rebiana, les sites sont dans les éboulis rocheux au pied des reliefs. A Bzima la situation est plus contrastée, avec des implantation en plaine et dans les éboulis. Aucun des cinq sites étudiés n'a livré jusqu'à présent de représentations de la période cabaline. Le style " Tête-ronde d'el-Uweinat " reste cantonné à ce massif. Une différence très claire se manifeste ainsi entre les cultures du Sud-Est et du Sud-Ouest libyen, de part et d'autre du Waw en-Namus.
APA, Harvard, Vancouver, ISO, and other styles
7

Guedes, Carolina Machado. "A semântica dos signos na arte rupestre: estruturas da cognição." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-28112014-150709/.

Full text
Abstract:
Nas últimas décadas a Arqueologia Cognitiva vem lucrando com uma profícua interdisciplinaridade, unindo forças com as ciências do conhecimento, notadamente a Psicologia Evolutiva e as Neurociências, proporcionando ainda nesse debate o surgimento de linhas como a Neuroarqueologia. Em nossa tese propomos analisar os sítios rupestres de temática não-figurativa, ou os chamados sinais, ou ainda os geométricos, das regiões da Cidade de Pedra no município de Rondonópolis/MT e da região do município de Pão de Açúcar/AL a partir de duas abordagens: a análise das organizações dos dispositivos rupestres buscando identificar as associações existentes entre os registros como um todo e a organização simbólica produzida por essas construções. Discutiremos assim questões da cognição humana a partir da articulação das ciências do conhecimento, a Arqueologia Cognitiva e nosso objeto. Trabalharemos com questões das estruturas dos dispositivos rupestres e das estruturas da cognição humana, discutindo ainda as especificidades culturais e as manifestações universalistas.
In the last few decades Cognitive Archaeology has been gaining with a fruitful interdisciplinary approach, on joining efforts with Evolutionary Psychology and Neuroscience, delivering with this debate appearance of the so called Neuroarchaeology. In our thesis we propose to analyse some rock art sites from the regions of Cidade de Pedra, Rondonópolis / MT and Pão de Açúcar/ AL from two perspectives: the analysis of the panel organizations seeking to identify the relations that exists between the painted units and the symbolic organization produced by these constructs associations. Thus we discuss issues of human cognition xviii from the articulation of the sciences of knowledge, Cognitive Archaeology and our object. Therefore we will also work with issues concerning the structures of rock art panels and the structures of human cognition, discussing also the cultural specificities and the universals behaviours.
APA, Harvard, Vancouver, ISO, and other styles
8

Breuil-Martinez, Véronique. "Art rupestre en zone maya : l'archéologie des grottes de la zone PUUC." Paris 1, 1993. http://www.theses.fr/1993PA010683.

Full text
Abstract:
L'objet de cette thèse est d'étudier l'archéologie des grottes de la zone PUUC (Yucatan, Mexique) à partir de l'analyse d'un corpus de données archéologiques de surface et de fouilles recueillies sur le terrain entre 1986 et 1990. Elle comprend trois grandes parties subdivisées en neuf chapitres. La première partie introductive regroupe une présentation géographique et archéologique de la zone ainsi qu'une historiographie des travaux présentant les réalisations effectuées sur les cavités souterraines. La deuxième partie est consacrée à la présentation et l'analyse des vestiges archéologiques (céramique et autres artefacts, art rupestre et autres vestiges immobiliers). Enfin la troisième partie est consacrée à l'inventaire et aux hypothèses relatives aux différentes fonctions des grottes en mettant l'accent sur les diverses utilisations quotidiennes très peu étudiées jusqu'à présent dans l'aire maya
This thesis aims the study of the archeology of the caves in the PUUC zone (Yucatan, Mexico) and is based on the analysis of the material collected on surface and in the excavations during 1986 and 1990. It includes 3 main parts divided in nine chapters. The introductive first part contains a geographical and archeological presentation of the area and the previous works concerning caves. The second part is dedicated to the presentation and the analysis of the archeological material (ceramics, artefacts, rocks art, etc). The third part contains the inventory and hypothesis on the various functions of the caves, and especially on the seldom study of its running usages until now in the maya area
APA, Harvard, Vancouver, ISO, and other styles
9

Kechagia, Hermione. "Sémiotique visuelle et art rupestre : application sur un corpus de Namibie." Toulouse 2, 1995. http://www.theses.fr/1995TOU20074.

Full text
Abstract:
Le travail consiste en une application de la methode semiotique sur un corpus d'art rupestre. Par consequent, un apercu des travaux dans le domaine des etudes en art rupestre est presente ainsi que des reflexions methodologiques concernant la semiotique visuelle. L'hypothese du travail consiste plus precisement en la recherche des structures spatio-temporelles de ce langage. Un modele de segmentation du corpus est elabore suivant les principes de la theorie de la gestalt. Basee sur une definition ternaire du signe iconique, une etude des constituants des gestalts est entreprise. Par la suite, les entites de la segmentation, a savoir supragestalts, gestalts et constituants sont etudiees du point de vue cinetique et syntaxique. Un modele actantiel est mis en place introduisant des concepts comme programme narratif, fonction, actant et acteur. Les resultats de l'analyse sont reconstruits afin d'esquisser un essai d'interpretation qui donnera matiere a discussion
The present work is an application of semiotic method to a rock art corpus. Relative works in rock art studies are presented and methodological considerations about visual semiotics as well. The work hypothesis consists of spatio-temporal structure of rock art. A model of corpus segmentation is elaborated in accordance with principles of the gestalt theory. Based on a ternary definition of the iconic sign, a study of the gestalt consituents is attempted. Furthermore, the units of segmentation, such as supragestalts, gestalts and constituents, are studied from a kinetic and syntactical point of view. An actantial model is established introducing concepts such as narrative program, function, actant and actor. The results of the work are reconstructed in order to outline an interpretation attempt for further discussions
APA, Harvard, Vancouver, ISO, and other styles
10

Monney, Julien. "Les miroirs imparfaits : une approche anthropologique de l’art rupestre." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100013.

Full text
Abstract:
De toutes les questions qui agitèrent et agiteront encore pour longtemps le champ de la recherche en art rupestre, la plus fondamentale est sans doute celle de son sens ou, plus exactement, de la production de son sens. Comment, d’une manière générale, rendre compte de l’existence d’images rupestres sur les parois de certaines grottes d’Europe occidentale, mais aussi comment produire du sens quant aux conditions ayant prévalu à leur formation ? Partant des débats soulevés depuis près d’un siècle en archéologie préhistorique par l’usage de comptes-rendus ethnographiques afin d’interpréter l’art pariétal paléolithique européen, la thèse présentée ici ouvre sur une réflexion plus large quant à la nature des objets et des expériences qui sont employés en archéologie afin de rendre compte des événements du passé. Elle questionne ainsi : (a) la nature des comptes-rendus ethnographiques disponibles, dont un inventaire de 795 cas est présenté. Elle aborde aussi (b) les modes de construction des données archéologiques au travers de l’exemple des grottes ornées paléolithiques de la région Gard-Ardèche-Hérault. Elle interroge enfin (c) la place de la subjectivité dans le processus de création de connaissances sur le passé. A chaque fois, la nécessité d’un retour à l’individu est soulignée, que ce soit l’individu en tant que cas ethnographique (fruit d’une rencontre entre deux personnes), l’individu archéologique (l’entité rupestre) ou encore l’individu-chercheur en tant que sujet. Au travers d’une discussion quant au rapport au temps, à la notion de phénomène ou encore à l’altérité, cette thèse s’attache ainsi à analyser les implications d’une expression sur le passé et la création
Among all the questions that have arisen in the field of rock art research, the most fundamental is probably the question of meaning, or more exactly the question of producing meaning. How to account for the existence of rock art on the walls of some caves of Western Europe, but also how to create meaning about the conditions in which those images were produced? Taking as a starting point the debates that have been going on for almost a century in prehistoric archaeology about the uses (and abuses) of ethnographic accounts to interpret European Palaeolithic cave art, this thesis opens up on a broader reflection on the nature of objects and experiences that are used in archaeology to account for past events. Thus, it questions (a) the nature of ethnographic data available, through a database of 795 ethnographic accounts linked with the production, the refection or the use of rock images worldwide. It also addresses (b) the ways of constructing archaeological data through the example of the palaeolithic rock art caves in the Gard-Ardèche-Hérault region (South-eastern France). Finally, it discusses (c) the role played by subjectivity in the process of creating knowledge about the past. Each time, the need for a return to the individual cases is emphasized: at an ethnographic level, the individuals consisting of first hand records resulting from the meeting between two different persons; at an archaeological level, single rock art images; and at a scientific level, the researcher himself. Through a discussion of the notions of time, phenomenon and alterity (otherness), this thesis attempts to analyze the implications of any expression dealing with the past and creation
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Art rupestre"

1

International Congress of Prehistoric and Protohistoric Sciences (15th 2006 Lisbon, Portugal). Rock art and museum =: Art rupestre et musée. Oxford: Archaeopress, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

George, Dimitriadis, Seglie Dario, Muñoz Guillermo Dr, and International Union of Prehistoric and Protohistoric Sciences., eds. Rock art and museum =: Art rupestre et musée. Oxford: Archaeopress, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Art rupestre amérindien en Guyane française. Matoury: Ibis rouge éditions, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Quellec, Jean-Loïc Le. Symbolisme et art rupestre au Sahara. Paris: L'Harmattan, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Art rupestre dans le Djebel Ammour. Alger]: Editions ANEP, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Rupestra 10+: Pintura rupestre e design na Serra da Capivara. Brasilia: Senac Distrito Federal, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Rubio, Trinidad Martínez i. Arte rupestre neolítico en Millares. [Millares, Spain]: Ayuntamiento de Millares, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sèbe, Alain. Tikatoutine: 6000 ans d'art rupestre saharien. [Vidauban]: A Sèbe, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cuevas prehistóricas de Asturias: Arte rupestre paleolítico. Gijón: Trea, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lucus rupestris: Sei millenni d'arte rupestre a Campanine di Cimbergo. Capo di Ponte (Brescia): Edizioni del Centro, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Art rupestre"

1

Azimova, Shakhnoza S., and Anna I. Glushenkova. "Draba rupestris Ait." In Lipids, Lipophilic Components and Essential Oils from Plant Sources, 228. London: Springer London, 2012. http://dx.doi.org/10.1007/978-0-85729-323-7_725.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Rachad, Madiha. "VIII. Thèmes de l’art rupestre." In Art rupestre et peuplements préhistoriques au Yémen, 83–94. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1630.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Iakovleva, Lioudmila. "L’art paléolithique de la France : art pariétal, art rupestre, art mobilier." In La préhistoire de la France, 427–48. Hermann, 2018. http://dx.doi.org/10.3917/herm.djind.2018.01.0427.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Rachad, Madiha. "VII. Chronologie et styles de l'art rupestre." In Art rupestre et peuplements préhistoriques au Yémen, 73–82. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1599.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Inizan, Marie-Louise, and Madiha Rachad. "Translittération de l'arabe." In Art rupestre et peuplements préhistoriques au Yémen, 2. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1562.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Inizan, Marie-Louise, and Madiha Rachad. "Les auteurs." In Art rupestre et peuplements préhistoriques au Yémen, 4. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1563.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Rachad, Madiha. "Remerciements particuliers." In Art rupestre et peuplements préhistoriques au Yémen, 5. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1564.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Lambert, Jean. "Avant-propos." In Art rupestre et peuplements préhistoriques au Yémen, 6. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1565.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Robin, Christian Julien. "Préface." In Art rupestre et peuplements préhistoriques au Yémen, 7. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1566.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Inizan, Marie-Louise, and Madiha Rachad. "Introduction." In Art rupestre et peuplements préhistoriques au Yémen, 8–12. Centre français d’archéologie et de sciences sociales, 2007. http://dx.doi.org/10.4000/books.cefas.1568.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Art rupestre"

1

Carrión-Ruiz, Berta, and José Luis Lerma. "ANÁLISIS DE COMPONENTES PRINCIPALES DE IMÁGENES MULTIESPECTRALES EN EL ÁMBITO DEL ARTE RUPESTRE." In 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6597.

Full text
Abstract:
This paper tackles principal component analysis (PCA) in images that include wavelengths between 380-1000 nm. Our approach is focussed on taking advantage of the potencial of ultraviolet and infrarred images, in combination with the visible ones, to improve documentation process and rock art analysis. In this way, we want to improve the discrimination between pigment and support rock, and analyse the spectral behaviour of rock art paintings in the ultraviolet and infrared regions. Three images were used, one image from the ultraviolet (UV) region, one from the visible region (VIS) and another one from the near infrared region (NIR). Optical filters coupled to the camera optics were used to take the images. These filters capture specific wavelengths excluding radiation that we are not interested in registering. Finally, PCA is applied to the acquired images. The results obtained demonstrate the PCA usefulness with imagery in this field and also it is possible to extract some conclusions about the correspondent paint pigments.http://dx.doi.org/10.4995/CIGeo2017.2017.6597
APA, Harvard, Vancouver, ISO, and other styles
2

Blanco Pons, Silvia, and José Luis Lerma. "DIFUSIÓN DEL ARTE RUPESTRE A TRAVÉS DE APLICACIONES MÓVILES DE REALIDAD AUMENTADA: UN ENFOQUE PRÁCTICO." In 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6598.

Full text
Abstract:
Rock art of the Mediterranean Basin of the Iberian Peninsula was declared World Heritage Site by UNESCO, it has an outstanding cultural value hence its dissemination is essential. Over the years, rock art paintings have been deteriorated and even some have disappeared. Consequently, it is quite difficult to recognise them in situ without experts. At this point, non-invasive and novel techniques can offer great potential, on the one hand, avoiding direct contact with the surface promoting its conservation, and on the other hand, through dissemination and analysis of these elements. One of the most promising techniques is Augmented Reality (AR). By means of AR applications, the visitor can see any kind of virtual content related to cultural heritage, through its mobile or tablet screen. Thus, any virtual content that is considered of interest can be added, offering in this way additional information that complements the real element. In this study, two approaches are presented for the rock art dissemination of the Cova dels Cavalls. The first is based on a marker recognition, which launches the application that displays an image of the motif and a descriptive text about it. In the second proposal, the camera device recognises the real image of the painting and the virtual information is overlapped. The study aims at evaluating the use of these AR techniques applied to rock art dissemination and shows the methodology for its development.http://dx.doi.org/10.4995/CIGeo2017.2017.6598
APA, Harvard, Vancouver, ISO, and other styles
3

Botelho, Adriana Barroso. "Chabloz vê Chico, Chico vê Chabloz: estudo de conceito de arte primitiva na obra pictórica de Chico da Silva." In Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4052.

Full text
Abstract:
Em uma tradição da história da arte ocidental, no Ceará encontram-se influências ou vestígios de todos os movimentos artísticos que se desenvolveram no país. Esse percurso abrange da pintura rupestre, o barroco, neoclássico aos movimentos modernos.
APA, Harvard, Vancouver, ISO, and other styles
4

Viviani, Ana Elisa Antunes. "O olhar, o corpo e as imagens rupestres: uma proposta de reflexão." In Encontro de História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3456.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Maximiliano Castilejo, Alfredo, and Camilo Barcia García. "VIABILIDAD Y OPERATIVA EN LA DIGITALIZACIÓN DE CASOS RUPESTRES PREHISTÓRICO DEL “ARTE SUREÑO”: RECETAS DIGITALES DESDE TÉCNICAS SFM Y PLATAFORMAS OPEN SOURCE." In 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6658.

Full text
Abstract:
We present a case study on digitalization of Southern Rock Art (“Arte Sureño”) in a prehistoric rock shelter from Los Barrios, Cádiz (southern Iberian Peninsula); there we use SfM techniques to obtain some digital products for both analytic and divulgation goals. This way, we highlight some opportunities that low-cost devices (e.g. no-professional digital camera) and open software have introduced in archaeology today. We made it to converge in a working process to register and manage rock art expressions and their immediate surroundings (i.e. natural stone blocks, walls, niches…). From this action, we not only support our work in digital 3D about multiple and varied entities that make up the scenario and neighbour context of rock art through the use of multiple low cost / free resources, but also, we intend to adjust all this operative for the processes of investigation, protection and diffusion on the varied cases that make up this unique singular artistic heritage.http://dx.doi.org/10.4995/CIGeo2017.2017.6658
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Art rupestre"

1

Geisthardt, Eric, Burton Suedel, and John Janssen. Monitoring the Milwaukee Harbor breakwater : an Engineering With Nature® (EWN®) demonstration project. Engineer Research and Development Center (U.S.), March 2021. http://dx.doi.org/10.21079/11681/40022.

Full text
Abstract:
The US Army Corps of Engineers (USACE) maintains breakwaters in Milwaukee Harbor. USACE’s Engineering With Nature® (EWN®) breakwater demonstration project created rocky aquatic habitat with cobbles (10–20 cm) covering boulders (6–8 metric tons) along a 152 m section. A prolific population of Hemimysis anomala, an introduced Pontocaspian mysid and important food source for local pelagic fishes, was significantly (p < .05) more abundant on cobbles versus boulders. Food-habits data of alewife (Alosa pseudoharengus) and rainbow smelt (Osmerus mordax) provided evidence that H. anomala were a common prey item. Night surveys and gill netting confirmed O. mordax preferred foraging on the cobbles (p < .05) and consumed more H. anomala than at the reference site (p < .05). H. anomala comprised a significant portion of the diets of young-of-the-year (YOY) yellow perch (Perca flavescens), YOY largemouth bass (Micropterus salmoides), and juvenile rock bass (Ambloplites rupestris) caught on the breakwater. The natural features’ construction on the breakwater increased the available habitat for this benthopelagic macroinvertebrate and created a novel ecosystem benefiting forage fish and a nursery habitat benefiting nearshore game fish juveniles. These data will encourage the application of EWN concepts during structural repairs at other built navigation infrastructure.
APA, Harvard, Vancouver, ISO, and other styles
2

Mawassi, Munir, Baozhong Meng, and Lorne Stobbs. Development of Virus Induced Gene Silencing Tools for Functional Genomics in Grapevine. United States Department of Agriculture, July 2013. http://dx.doi.org/10.32747/2013.7613887.bard.

Full text
Abstract:
Grapevine is perhaps the most widely grown fruit crop. To understand the genetic make-up so as to improve the yield and quality of grapes and grape products, researchers in Europe have recently sequenced the genomes of Pinot noir and its inbred. As expected, function of many grape genes is unknown. Functional genomics studies have become the major focus of grape researchers and breeders. Current genetic approaches for gene function studies include mutagenesis, crossing and genetic transformation. However, these approaches are difficult to apply to grapes and takes long periods of time to accomplish. It is thus imperative to seek new ways for grape functional genomics studies. Virus-induced gene silencing (VIGS) offers an attractive alternative for this purpose and has proven highly effective in several herbaceous plant species including tomato, tobacco and barley. VIGS offers several advantages over existing functional genomics approaches. First, it does not require transformation to silence a plant gene target. Instead, it induces silencing of a plant gene through infection with a virus that contains the target gene sequence, which can be accomplished within a few weeks. Second, different plant genes can be readily inserted into the viral genome via molecular cloning and functions of a large number of genes can be identified within a short period of time. Our long-term goal of this research is to develop VIGS-based tools for grapevine functional genomics, made of the genomes of Grapevine virus A (GVA) from Israel and Grapevine rupestris stem pitting-associated virus (GRSPaV) from Canada. GVA and GRSPaV are members of the Flexiviridae. Both viruses have single-stranded, positive sense RNA genomes, which makes them easy to manipulate genetically and excellent candidates as VIGS vectors. In our three years research, several major breakthroughs have been made by the research groups involved in this project. We have engineered a cDNA clone of GVA into a binary vector that is infectious upon delivery into plantlets of micropropagated Vitis viniferacv. Prime. We further developed the GVA into an expression vector that successfully capable to silence endogenous genes. We also were able to assemble an infectious full-length cDNA clones of GRSPaV. In the following sections Achievements and Detailed description of the research activities, we are presenting the outcome and results of this research in details.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Art rupestre' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography