THE PALEOLITHIC CAVE ART OF VASCO‐CANTABRIAN SPAIN
THE PALEOLITHIC CAVE ART OF VASCO‐CANTABRIAN SPAIN
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西班牙瓦斯科-坎塔布连的旧石器时代洞穴艺术
DOI：
10.1111/j.1468-0092.1987.tb00150.x
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发表时间：
1987
影响因子：
0.7
通讯作者：
L. Straus
中科院分区：
文献类型：
--
作者：
L. Straus
总结。本文探讨了洞穴艺术与西班牙北部(以及法国西南部)旧石器时代晚期考古之间的关系。在83个已知的艺术保护区中，只有三个可能是旧石器时代早期(约35,000-20,000 BP)的终结。其他类型的证据(索卢特里亚之前几乎没有装饰品和流动艺术品，旧石器时代晚期流动艺术和壁画之间的风格相似，索卢特里亚和/或马格达勒尼亚文化沉积物与艺术保护区的压倒性联系)清楚地表明，大多数洞穴艺术是在公元前20,000-10,000年之间完成的。洞穴艺术保护区以非随机的方式分布。保护区的集群通常与密集的栖息地集群相对应。这些集群之间有很大的地理差距。这些年代和地理事实与同时代的生存加剧相吻合，所有这些都倾向于支持末次冰期晚期地域性增加的假说。
Summary. This article explores the relationship between cave art and Upper Paleolithic archeology in northern Spain (and extreme southwestern France). Among the 83 known art sanctuaries, only three can probably be terminus ante quem dated to the early Upper Paleolithic (c. 35,000-20,000 BP). Other types of evidence (virtual absence of ornaments and mobile art objects before the Solutrean, stylistic similarities between works of late Upper Paleolithic mobile art and parietal art, overwhelming association of Solutrean and/or Magdalenian cultural deposits with art sanctuaries) clearly suggest that most of the cave art was done in the period between c. 20,000-10,000 BP. Cave art sanctuaries are distributed in non-random fashion. The clusters of sanctuaries usually correspond with dense clusters of habitation sites. The clusters are separated by substantial geographical gaps. These chronological and geographical facts coincide with contemporaneous subsistence intensification, all of which tends to support the hypothesis of increased territorialism in the late Last Glacial.