Art Pariétal: Grottes Ornées Du Quercy
Art Pariétal: Grottes Ornées Du Quercy
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帕里埃塔尔艺术：Grottes Ornées Du Quercy
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发表时间：
2012
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通讯作者：
Michael Eastham
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作者：
Michael Eastham
艺术顶楼：Grottes Ornees du Quercy，米歇尔·洛布兰切特 (Michel Lorblanchet) 创作。 2010 年。鲁埃格出版社，罗德兹，445 页，ISBN 978-281-260164-4。艺术壁垒：grottes ornees du Quercy 是一本很有价值的书。它讲述了米歇尔·洛布兰切特 (Michel Lorblanchet) 为了解旧石器时代晚期在多尔多涅河和阿韦龙河谷之间、主要在洛特河流域内绘制和雕刻的洞穴之间的相互关系所做的长期努力。其中包括对探索历史以及他在他所知道的该地区每个洞穴中所做的工作的简明描述。两个洞穴是他讨论的中心。它们是 Cougnac（该地区最北的洞穴之一），以及 Pech Merle 广阔洞穴系统的各个部分，靠近中心地块的北岸。在第 431 页的结论部分，洛布兰切特总结了他的内容：“L'etude de l'art parietal du Quercy Presentee dans cet ouvrage informe l'existence des deux groupes de grottes ornees que nous avions distingues dans la Region, depuis longtemps deja”。这是一个合理的主张，但它贬低了他所做的事情。他对他所知道的二十七个洞窟的墙壁上的痕迹进行了深入的研究，这些痕迹是五十多年来人们在洞壁上留下的痕迹。他已经弄清楚了这些标记是如何建立、替换以及在某些情况下部分被破坏的。他寻求了其他考古学家、物理学家、化学家、古植物学家和古动物学家的帮助，他们的工作可以帮助他发现他如此精确记录的标记是何时放置的。他建立了一些关于它们的有用理论，并指出了一种其他人可以在其他地方使用来实现理解的方法。他得出的结论是，存在两组不同的标记。从最后一次冰河作用开始到最后一次改良之后的大约两万年里，其中一组可能被理解、被认为很重要并受到关注，但主要是在 20 000 bp 之前形成的。另一组的使用时间不超过 10 000 bp 之前的三四千年，可能是在 14 000 到 12 000 bp 之间形成的。他认识到这些标记代表了人，主要是女性和手的轮廓；动物，特别是猛犸象、野牛、野牛、马、熊、巨角兽、狮子、野山羊、驯鹿、马鹿、野猪、赛加羚羊和一些身份不明的鸟类。还有一些他没有认识到的形状，他将其归类为各种标志和线条网络，他也将其归类为具有其他描述性资格的标志。洛布兰切特通过在远离岩石表面的醋酸纤维板上绘制雕刻开始他对洞穴的研究，并经常在下面放置照片，以确保他所绘制的内容是按比例绘制的。尽管他在图案前面画画，但他从来没有在描图纸上画出接触岩石表面并损坏图像的内容。他的画作不仅是为了理解这些标记、它们在图像实施过程中的演变及其随后的恶化，也是为了产生墙上的样子。逼真度是实现了，但从某种意义上说，它似乎是次要的考虑因素。这些计算的准确性显然需要在一年中的不同时间使用不同类型的相机设备进行各种类型的多次测量和大量照片。洞穴壁表面湿度和温度水平的变化改变了一年周期中可见的内容。除了努力理解所描绘的内容之外，还要确定日期。 1974 年至 1979 年间冬季在佩赫梅尔进行的小型发掘对史前学家之前常见的假设提出了质疑，并在安德烈·勒罗伊·古尔汉 (Andre Leroi Gourhan) 的教学中得到了特别例证，即一种风格的离散特征是描绘描绘的时期的典型特征，并且可以大致等同于日期。 ……
Art parietal: grottes ornees du Quercy, by Michel Lorblanchet . 2010. Editions de Rouergue, Rodez, 445 pages, ISBN 978-281- 260164-4.Art parietal: grottes ornees du Quercy is a valuable book. It is an account of the long-lasting endeavours undertaken by Michel Lorblanchet to make sense of the interrelationships between the caves painted and engraved during the Upper Palaeolithic in the causses between the valleys of the Dordogne and the Aveyron, and predominantly within the drainage of the river Lot. A concise account of the history of exploration and the work he has done in every cave in the region that is known to him is included. Two caves are central to his discussion. They are Cougnac, one of the more northerly caves of the area, and the various parts of the extensive cave system of Pech Merle, close to the north bank of the Lot in the centre. In a concluding section, on page 431, Lorblanchet sums up what he is about: 'L'etude de l'art parietal du Quercy presentee dans cet ouvrage confirme l'existence des deux groupes de grottes ornees que nous avions distingues dans la region, depuis longtemps deja'.It is a justifiable claim but it depreciates what he has done. He has made an intensive study of the marks made by people on the walls of the twenty-seven caves that he knows about over a period of some fifty years. He has worked out how the marks were built up, replaced and in some cases partially destroyed. He has sought the help of other archaeologists, and of physicists, chemists, palaeobotanists and palaeozoologists, whose work could assist him to discover when the marks that he records so exactingly were placed. He has established some useful theories about them and he has indicated a methodology that others can employ elsewhere to achieve understanding.He has concluded that there are two distinct groups of marks. One group was presumably understood, considered important and attended to throughout some twenty thousand years from the onset of the last glaciation until well after the final amelioration but was predominantly made before 20 000 bp. The other group was used for no more than the three or four thousand years prior to 10 000 bp and was probably made between 14 000 and 12 000 years bp. He recognises that the marks represent people, predominantly the outlines of women, and hands; animals, notably mammoth, aurochs, bison, horse, bear, megaceros, lion, ibex, reindeer, red deer, boar, saiga antelope and some unidentified birds. There are also shapes he does not recognise that he classifies as signes of various sorts and networks of lines which he also classifies as signes with other descriptive qualifications.Lorblanchet begins his study of a cave by drawing calques on acetate sheets held away from the rock surface and often with photographs underneath them to ensure that what he draws is to scale. Though he draws in front of the motifs he never draws releves on tracing paper touching the rock surface and damaging the images. His drawings are made as much to understand the marks, their evolution in the implementation of the image and its subsequent deterioration, as to produce a semblance of what is on the wall. Verisimilitude is achieved but in a sense it appears to be a secondary consideration. Accuracy with these calques obviously requires many measurements of various kinds and large numbers of photographs using different types of camera rigs at different times of year. Changes in humidity and temperature levels on the cave wall surfaces alter what is visible in an annual cycle.Alongside the effort to understand what is depicted there is the determination of dates. Small excavations undertaken in the winters between 1974 and 1979 in Pech Merle questioned the assumption previously common to prehistorians and exemplified particularly in the teaching of Andre Leroi Gourhan that discrete characteristics of a style were typical of a period when the depictions were created and could roughly be equated with a date. …