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Journal articles on the topic 'Schematic Rock art'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Fernández Ruiz, Marcos, Fernando Corbacho Gadella, Liliana Spanedda, and Alberto Dorado Alejos. "Approaches to Visibility and Strategical Control of the Sierra Harana Schematic Rock Art (Granada, Spain)." Cuadernos de Prehistoria y Arqueología de la Universidad de Granada 31 (December 17, 2021): 27–44. http://dx.doi.org/10.30827/cpag.v31i0.15209.

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An approach about territorial control and mobility in Sierra Harana (Granada, Spain) during Late Prehistory is presented in this paper, according to rock shelters with schematic rock art distribution. Different aspects have been analysed by using tools provided by Geographic Information Systems (GIS): the relationship between rock shelters and hydrographic network and water springs, and, mainly, their visual control. The association between rock shelters with schematic rock art and burial caves use during the Neolithic period is observed in the study area. A strong link between rock shelters a

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Valdez-Tullett, Joana, and Sofia Figueiredo Persson. "Digital Rock Art: beyond 'pretty pictures'." F1000Research 12 (May 22, 2023): 523. http://dx.doi.org/10.12688/f1000research.127249.1.

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The term ‘Rock Art’ is loosely used in this article to refer to prehistoric carvings and paintings. Rock art research has changed profoundly in the last two decades. Partly, this is due to the introduction of more ‘scientific’ methodologies such as digital recording, to overcome the subjective nature of analogue documentation methods. Digital recording offers not only ‘pretty pictures’ but more immediate and quantifiable datasets and methods of analysis. As a result, new research implementing complex, multi-scalar and inter-relational analyses, which do not focus solely on the motifs or the la

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3

Collado Giraldo, Hipólito. "A Mark along the Way: Schematic Rock Art and Communication Routes." Arts 5, no. 3 (2016): 6. http://dx.doi.org/10.3390/arts5030006.

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Chieli, Annalisa, Marius Vendrell, Clodoaldo Roldán, Pilar Giráldez, and Ines Domingo. "Characterizing paint technologies and recipes in Levantine and Schematic rock art: El Carche site as a case study (Jalance, Spain)." PLOS ONE 17, no. 8 (2022): e0271276. http://dx.doi.org/10.1371/journal.pone.0271276.

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This paper contributes to current debates on the technologies and practices of prehistoric artists using the rock art site of el Carche (Jalance, Spain) as a case study. The site preserves both Levantine and Schematic paintings, yet poorly understood from an analytical point of view. In the past, it has even been argued how little differentiation there is between these two post-Paleolithic traditions in terms of paint composition. Our aim with this paper was to identify pigments, paint recipes and technologies and decipher the order of the superimpositions, both between Levantine motifs of dif

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Fernández, Víctor M. "Schematic Rock Art, Rain-Making and Islam in the Ethio-Sudanese Borderlands." African Archaeological Review 28, no. 4 (2011): 279–300. http://dx.doi.org/10.1007/s10437-011-9101-9.

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Barciela González, Virginia, Aitor Ruiz-Redondo, Ante Vujnović, and Nikola Vukosavljević. "Prehistoric Schematic Rock Art in the Eastern Adriatic: the discovery of Rock Art at the Badanj II rock shelter (Bosnia and Herzegovina) viewed from the Western Mediterranean." Prilozi Instituta za arheologiju u Zagrebu 41, no. 2 (2024): 5–25. https://doi.org/10.33254/piaz.41.2.1.

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Research on post-Palaeolithic schematic rock art has changed substantially since its identification and definition almost a century ago. In the areas where this phenomenon is extensively studied (such as South and East Iberia), a chronological and cultural sequence has been established. This is due to the large number of rock art finds and the study of their archaeological context, which includes numerous portable art analogies. Based on this documentation, it has been proposed that its origins lie in the Early Neolithic and that it persisted until the Chalcolithic (c. 6th – 3rd millennium cal

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Fernández-Lozano, Javier, Gabriel Gutiérrez-Alonso, Miguel Ángel Ruiz-Tejada, and Marta Criado-Valdés. "3D digital documentation and image enhancement integration into schematic rock art analysis and preservation: The Castrocontrigo Neolithic rock art (NW Spain)." Journal of Cultural Heritage 26 (July 2017): 160–66. http://dx.doi.org/10.1016/j.culher.2017.01.008.

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Martín-Ramos, Pablo, José Antonio Cuchí-Oterino, and Manuel Bea-Martínez. "Portable X-ray Fluorescence Analysis of Levantine and Schematic Art Pigments from the River Vero Shelters (Huesca, NE Spain)." Heritage 6, no. 4 (2023): 3789–800. http://dx.doi.org/10.3390/heritage6040201.

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The River Vero canyon (Huesca, Spain) contains an exceptional archaeological legacy with more than sixty rock shelters with cave paintings and forms part of the World Heritage ‘Rock Art of the Mediterranean Basin on the Iberian Peninsula’. This study presents the results of the in situ and non-destructive multi-elemental composition analysis of the pigments used in eight of the main shelters through portable X-ray fluorescence spectroscopy (pXRF). Specifically, the cave paintings of the rock shelters of Chimiachas, Muriecho, and Arpán (Levantine Art); and Mallata, Barfaluy, Quizans, Lecina Sup

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Théron, Coline, Nils Blanc, Pierre Bordet, et al. "X-ray powder diffraction: a hub in the integrative study of the schematic Holocene rock art." Acta Crystallographica Section A Foundations and Advances 80, a1 (2024): e608-e608. https://doi.org/10.1107/s2053273324093914.

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Martínez-Sevilla, Francisco, Meritxell Arqués, Xavier Jordana, et al. "Who painted that? The authorship of Schematic rock art at the Los Machos rockshelter in southern Iberia." Antiquity 94, no. 377 (2020): 1133–51. http://dx.doi.org/10.15184/aqy.2020.140.

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Primitiva, BUENO RAMÍREZ, and de BALBÍN BEHRMANN Rodrigo. "The end of the Ice Age in southern Europe: Iberian images in the Palaeolithic to Post-Palaeolithic transition." Comptes Rendus Palevol 20, no. 44 (2021): 897–929. https://doi.org/10.5852/cr-palevol2021v20a44.

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The documentation of Palaeolithic art in the open air, together with direct dates for parietal art and the study of territories marked by the last hunter groups in southern Europe, supports new interpretations of Palaeolithic art and its continuity in the early Holocene. We provide updated information about the graphic representations in that time of transition, grouped under the term Style V. We also reflect on the chronological framework of some themes and techniques for which dates are available, from the Upper Palaeolithic to the Neolithic. These topics reveal the strength of the Palaeolit

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Tejerina Antón, Daniel, Joaquín Bolufer i Marqués, Marco Aurelio Esquembre Bebia, and José Ramón Ortega Pérez. "Documentación 3D de pinturas rupestres con Photomodeler Scanner: los motivos esquemáticos de la Cueva del Barranc del Migdia (Xàbia, Alicante)." Virtual Archaeology Review 3, no. 6 (2012): 64. http://dx.doi.org/10.4995/var.2012.4443.

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<p>During the recent campaign of excavation at the Cova del Barranc del Migdia (Javea, Alicante)we have carried out the 3D documentation of the wall painting motifs, which corresponds to the schematic rock art style. To produce the 3D models, we have used Photomodeler Scanner, a commercial digital photogrammetry software with increased use in the cultural heritage sector. The results have been exported to a format compatible with 3D printers, creating a 1/1 scale replica of the original panel. In this paper we describe the typical workflow in a project with Photomodeler Scanner and the r

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Robin, Guillaume. "What Are Bucrania Doing in Tombs? Art and Agency in Neolithic Sardinia and Traditional South-East Asia." European Journal of Archaeology 20, no. 4 (2017): 603–35. http://dx.doi.org/10.1017/eaa.2017.12.

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The interior of Neolithic tombs in Europe is frequently decorated with carved and painted motifs. In Sardinia (Italy), 116 rock-cut tombs have their walls covered with bucrania (schematic depictions of cattle head and horns), which have long been interpreted as representations of a bull-like divinity. This article reviews similar examples of bucranium ‘art’ in the tombs of three traditional societies in South-East Asia, focusing on the agency of the motifs and their roles within social relationships between the living, the dead, and the spiritual world. From these ethnographic examples and the

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Defrasne, Claudia, Emilie Chalmin, Ludovic Bellot-Gurlet, Eric Thirault, and Guy André. "From archeological layers to schematic rock art? Integrated study of the Neolithic pigments and pigmented rocks at the Rocher du Château (Western Alps, Savoie, France)." Archaeological and Anthropological Sciences 11, no. 11 (2019): 6065–91. http://dx.doi.org/10.1007/s12520-019-00882-9.

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Arcà, Andrea, Angelo Fossati, Francesca Garanzini, and Borel Francesco Rubat. "La Balma dei Cervi di Crodo e le pitture rupestri dell'Ossola : documentazione, analisi e studio." Rivista di scienze preistoriche LXXII, S2 (2022): pp. 393–409. https://doi.org/10.5281/zenodo.10708621.

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The painted rock wall of the Balma dei Cervi (the shelter of the deer), discovered in 2008, is one of the most important in the Alps. The multidisciplinary study project involved iconographic documentation, archaeological digging, geological study, SEM-EDS and μ-Raman pigment analysis. The activities were also extended to the Balma del Capretto (the shelter of the baby-goat), recently discovered, and to the Balm 'dla Vardaiola (the sentinel shelter). During the archaeological digging at the Balma dei Cervi, splinters and lithic tools in flint and rock crystal and pottery fragments were foun

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Regina Ribeiro de Araújo Medeiros, Leize. "EDUCATIONAL AWARENESS OF THE HISTORICAL HERITAGE OF SERRA DA CAXEXA." Revista Gênero e Interdisciplinaridade 4, no. 04 (2023): 729–58. http://dx.doi.org/10.51249/gei.v4i04.1605.

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The following article aims to direct the studies of archaeological sites in the Agreste region of Paraíba, more specifically in Serra da Caxexa, in the municipality of Casserengue – PB, 154 km from the capital, João Pessoa, developing the cataloguing, mapping and description of prehistoric sites existing there in order to contribute to their preservation process. Archaeological research in the State of Paraíba finds evidence of more than 500 archaeological sites, among these are the rock art sites “Pedra do Caboclo” and “Pedra do Letreiro”, belonging to the cultural universe of the Agreste Tra

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Mykhailova, Natalia. "Свідоцтва культу оленя первісних мисливців півночі Євразії у контексті ландшафту / Evidences of Deer cult of Northern Eurasia prehistoric hunters in the landscape context". VITA ANTIQUA 9, HUMAN & LANDSCAPE: Prehistoric Archaeology of Eastern Europe (2017): 254–65. https://doi.org/10.5281/zenodo.1243712.

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У фінальному палеоліті - неоліті Північної Євразії археологічні свідоцтва культу та зображення оленів були пов’язані з видатними місцями ландшафту – печерами, скелями, стрімчаками, та водою – островами, во- доспадами, стрімнинами та ін. У фінальному палеоліті прояви культу оленя найчастіше зустрічаються у пече- рах. Це скупчення скинутих оленячих рогів у печерах Північного Уралу та Шотландії та зображення оленів у монументальному і мобільному мистецтві в печерах Франко-Кантабрійської зони. У післяпалеолітичний час, у так званому «левантійському» та «схематич

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Leyla, Isayeva. "HISTORICAL SUPPOSITIONS FOR THE FORMATION OF NATIONAL THEMES IN ARTISTIC CULTURE." Problems of Arts and Culture / İncəsənət və mədəniyyət problemləri 17, no. 3 (2023): 72–79. https://doi.org/10.5281/zenodo.8416418.

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The fine arts of Azerbaijan have a rich and substantial prehistory with various artistic styles. Economic, trade and cultural relations emerged in the country, which grew into international relations quickly even in the period of the early Middle Ages. The advantageous geographical position of Azerbaijan, its location at the crossroads of East and West, as well as important caravan routes led to the formation of various artistic styles. These artistic styles have evolved, mixed with each other and formed new forms over the centuries, which influenced the development of artistic culture as a wh

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Breesch, Liesbeth, Rudy Swennen, Ben Dewever, François Roure, and Benoit Vincent. "Diagenesis and fluid system evolution in the northern Oman Mountains, United Arab Emirates: Implications for petroleum exploration." GeoArabia 16, no. 2 (2011): 111–48. http://dx.doi.org/10.2113/geoarabia1602111.

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ABSTRACT The diagenesis and fluid system evolution of outcrop analogues of potential sub-thrust Cretaceous carbonate reservoirs in the Musandam Peninsula, northern United Arab Emirates, is reconstructed during the successive stages of the Oman Mountains development. Detailed petrographic and geochemical analyses were carried out on fracture cements in limestones and dolomites mostly situated close to the main faults, which were the locations of major fluid fluxes. The main result of this study is a generalised paragenesis subdivided into four diagenetic time periods. Based on analyses of syn-t

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Marcinkiewicz, Radosław. "Język na muzycznych pograniczach. Wokół nazwy zespołu Emerson, Lake & Palmer." Roczniki Humanistyczne 71, no. 12 (2023): 77–91. http://dx.doi.org/10.18290/rh237012.5.

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Artykuł dotyczy perspektyw oglądu artifonimu Emerson, Lake & Palmer. Nazwa ta, sprawiająca na pierwszy rzut oka wrażenie zwyczajnej i niezbyt oryginalnej, w rzeczywistości zaskakuje bogactwem wariantów oraz pewnym potencjałem onimotwórczym. Choć zastosowany schemat nazewniczy, dość rzadko wykorzystywany w rocku, jawił się jako uniemożliwiający zmianę składu zespołu, okazał się punktem wyjścia do wykazywania się znakomitą inwencją w podejmowaniu kolejnych decyzji nazewniczych przez muzyków grupy i ich współpracowników. W artykule zwrócono też uwagę na inne kwestie dotyczące onomastyki muzyc

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Defrasne, Claudia. "The Cognitive Processus Behind Neolithic Schematic Rock Art. Archaeological Implications and Research Hypothesis." Cambridge Archaeological Journal, November 16, 2022, 1–23. http://dx.doi.org/10.1017/s0959774322000233.

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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

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Gomes1, H., H. Collado, A. Martins, et al. "PIGMENT IN WESTERN IBERIAN SCHEMATIC ROCK ART: AN ANALYTICAL APPROACH." October 27, 2014. https://doi.org/10.5281/zenodo.15050.

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This paper explores the processes involved in the production of prehistoric paintings using inorganic pigmentation. The focus for discussion involves a number of rock-shelter sites that contain rock art within the western part of the Iberian Peninsula, with particular reference to the sites that contain Schematic rock art. A direct date cannot be obtained on rock art that is made with inorganic pigments. However, sampling and subsequent analysis has clearly shown that pigments were produced using tried and tested recipes that involved the use of sometimes organic binders. This paper will explo

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Araceli, CRISTO ROPERO. "Propuesta metodológica de documentación de arte rupestre. Primer acercamiento a Tajo de Marchales (Colomera, Granada). Arqueología y Territorio 12: 1-11." January 1, 2015. https://doi.org/10.5281/zenodo.3775973.

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The whole rock Marchales Tajo, in the municipality of Colomera (Granada) is the subject of a study of its pictorial manifestations. This analysis is marked by several methodological steps to be described in this paper. First, an intensive survey in order to locate and second, documenting both graphically and textually new pictorial motifs.

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José, Carlos SASTRE BLANCO. "Una aproximación a la puesta en valor del arte esquemático y su paisaje. La Sierra de la Culebra (Zamora). Arqueología y Territorio 3: 1-15." January 1, 2006. https://doi.org/10.5281/zenodo.3765257.

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The Sierra de la Culebra is the only place of the province of Zamora where we can find any representation of Schematic Art. It can be found in three different places of the Sierra de la Culebra, some of them are located near to castros or small caves. Due to the bad conservation of some of them it is necessary a good conservation of this archaeological sites.

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López Payer, Manuel Gabriel, and Miguel Soria Lerma. "El abrigo de Melgar : nuevas apreciaciones cronológicas sobre las pinturas esquemáticas del núcleo de Quesada (Jaén)." Espacio Tiempo y Forma. Serie I, Prehistoria y Arqueología, no. 12 (January 1, 1999). http://dx.doi.org/10.5944/etfi.12.1999.4688.

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En este artículo se presenta el Abrigo del Melgar (Sierra de Quesada), el cual contiene una serie de pinturas que aportan nuevos datos con relación a la cronología y el significado del arte rupestre esquemático del Sudeste de la Península Ibérica. Se sitúa la realización de estas representaciones en la Edad del Cobre, y se intenta precisar la cronología de la estación dentro del núcleo de Quesada.This article concerns the Melgar rock shelter (Quesada Mountain Range), which contains a series oí paintings that provides new Information about the chronology and meaning of schematic rock art in the

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Nicoli, Maria, Negar Eftekhari, Carmela Vaccaro, et al. "A multi-analytical evaluation of the depositional pattern on open-air rock art panels at “Abrigo del Lince” (Badajoz, Spain)." Environmental Science and Pollution Research, November 7, 2022. http://dx.doi.org/10.1007/s11356-022-23589-2.

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Abstract Microscopic observation correlated with chemical–mineralogical characterization was performed on pigment samples from “Abrigo del Lince” rock art site (V-IV millennium BC), in order to provide contributions to the study of prehistoric schematic art on granite in the province of Badajoz (Spain). The research objectives include the understanding of technological and cultural aspects, as well as of conservation and deterioration issues related to the pictographs. The multi-analytical approach encompasses the integration of microscopic observation, SEM–EDS analysis, micro-Raman spectrosco

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Defrasne, Claudia, Marion Massé, Manuel Giraud, et al. "The contribution of VNIR and SWIR hyperspectral imaging to rock art studies: example of the Otello schematic rock art site (Saint-Rémy-de-Provence, Bouches-du-Rhône, France)." Archaeological and Anthropological Sciences 15, no. 8 (2023). http://dx.doi.org/10.1007/s12520-023-01812-6.

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Ruiz, Juan F., José Royo-Lasarte, José Ignacio Royo-Guillén, and Olivia Rivero. "Filling the Void: Rock-art Continuity Over the Pleistocene–Holocene Boundary in Eastern Iberia." Cambridge Archaeological Journal, April 6, 2022, 1–27. http://dx.doi.org/10.1017/s0959774322000105.

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In this paper we study several panels with incised engravings, which have been discovered in recent years, from two shelters in the area of the River Martín (Teruel), Cañada de Marco and Los Borriquitos. They are of great scientific interest for several reasons. Firstly, because they represent an expansion of the Late Upper Palaeolithic engraving facies of Mediterranean Iberia, limited until now to ten sites. In these two new sites, these incised engravings are underlying Levantine and Schematic pictographs, and occasionally are interstratified with Levantine paintings, an exceptional fact whi

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Պողոսյան, Գայանե. "Դիմահայաց պատկերագրության դրսեվորումները Վանի թագավորության արվեստում". Journal of Art Studies, 18 серпня 2021, 166–71. http://dx.doi.org/10.52853/25792830-2021.1-166.

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Հոդվածը նվիրված է Վանի թագավորության կերպարվեստում դիմահայաց պատկերների ուսումնասիրությանը: Հոդվածի շրջանակում քննության են ենթարկվում ուրարտական ժամանակաշրջանի բրոնզյա մի շարք թիթեղներ ու քանդակներ, որոնց գեղարվեստական հարդարանքում առկա մարդկային դիմահայաց պատկերներն իրենց ոճական առանձնահատկություններով և գեղարվեստական լուծումներով էապես տարբերվում են ուրարտական ավանդական կանոնիկ պատկերաձևերից: Վերլուծության արդյունքում հանգել ենք այն եզրակացության, որ նմանօրինակ սխեմատիկ պատկերատիպերն ամենայն հավանականությամբ ձևավորվել են հայկական լեռնաշխարհի ժայռապատկերային, ինչպես նաև ժողովրդական արվեստի ա

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Chassin de Kergommeaux, Aurélie, Émilie Chalmin, Pierre Bordet, et al. "A new methodology for incorporating weathering products into analyses of prehistoric pictorial matter: A case study at the Rocher Du Château schematic rock art site." Archaeological and Anthropological Sciences 17, no. 7 (2025). https://doi.org/10.1007/s12520-025-02235-1.

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Biron, Dean. "The Tortoise and the Hare." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2420.

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   Of all the characteristics that may be emphasised by those seeking to set apart the serious, authoritative critic from the inconsequential, workaday reviewer, perhaps the most fundamental is the liberty typically enjoyed by the former. So, while the celebrated literary critic F.R. Leavis (in The Great Tradition) is able to confidently assert in microscopic detail the comparative merits of Lawrence, Joyce, Conrad and Woolf, what Meaghan Morris (106) calls the “gulp it down, chew it over, throw it up” crowd strive (in no more than five hundred words and by close of business

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