D Garate
Biographic Data
| ID | 13410 |
|---|---|
| NAME | D Garate |
| GIVEN NAMES | D |
| FAMILY NAME | Garate |
| SIGNATURE | GARATE D |
| AFFILIATIONS | Universidad de Cantabria |
| ORCID | 0000-0001-6685-9588 |
| VERIFIED | Yes |
| TOTAL WORKS | 92 |
| TOTAL CITATIONS | 348 |
| AUTHOR COUNT | 92 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 10 |
Open Science and Data Management in Rock Art Studies
This research paper focuses on implementing new methodologies for sharing research data in Palaeolithic rock art. This approach uses advanced 3D technologies and adopts the Open Science paradigm, aligned with FAIR principles (Findable, Accessible, Interoperable, Reusable). It combines high-resolution photogrammetry, laser scanning, and 3D modelling techniques to create accurate reproductions of decorated panels. These tools not only facilitate th…
Mapping Palaeolithic Imprints
We present the application of a new quantitative approach to space study in Palaeolithic cave art. Using GIS, we analysed the distribution and position of hand stencils in El Castillo cave to track the gestures and behaviours of Palaeolithic societies. Our analysis shows that these motifs are located in easily accessible areas and can be viewed by a large public simultaneously (16 individuals on average). The study also sheds light on the presenc…
Saint-Michel d’Arudy (Pyrénées-Atlantiques, France)
Cet article annonce la découverte d’un ensemble de 31 plaquettes gravées attribuées au Magdalénien dans la grotte Saint-Michel d’Arudy (Pyrénées-Atlantiques, France) lors de collectes de surface réalisées depuis l’été 2024. Il présente l’analyse détaillée de l’une d’entre elles s’appuyant sur une méthodologie innovante qui sera par la suite appliquée à l’étude de l’ensemble des plaquettes. Alors que la cavité est connue depuis 1910 pour ses nombr…
Reevaluating Hand Stencil Phenomena in Cave Art
Among the most recurring motifs in the prehistoric rock-art corpus, handprints stand out as one of the most significant elements due to their dual nature, both artistic and fossil. These markings represent a unique source of information for characterizing the corresponding artists and the social and cultural context of prehistoric communities. This study focuses on a comprehensive characterization of the phenomenon of Upper Palaeolithic hand repr…
Revisiting palaeolithic rock art. Reading the graphic overlapping in terms of reuse behaviours in the Frieze of the Hands from the El Castillo cave (Cantabria, Spain)
Coastal Settlement in the Late Pleistocene of the Bay of Biscay (North Iberia)
Recognizing past shapes
Cave art resilience
The decorated caves contain the earliest artistic expressions of humankind and represent a major cultural heritage. Their significance has been recognized by UNESCO, which has declared them a World Heritage Site. However, they are extremely fragile environments, exposed to various factors of deterioration that threaten their conservation. To implement appropriate protective measures, it is essential to understand the dynamics of these underground…
Caving 16,000 Years Ago
International audience
From artists to miners
From archival historiography to 3D modelling
We propose a comprehensive approach for the reconstruction of the prehistoric state of El Castillo Cave (Puente Viesgo, Cantabria) that allows a precise spatial analysis of the distribution of its parietal motifs. The cave has undergone numerous changes over time due to both geological and anthropic processes, which have altered its original appearance. In the aim of understanding how Palaeolithic societies used the space for creating rock art, w…
Decoding Palaeolithic Hand Stencils
This study pioneers the application of geometric morphometrics to Palaeolithic hand stencils, offering new insights into the problematics of classic rock art using innovative methodology. Employing a triple approach encompassing contemporary, experimental, and archaeological populations, the research achieves a precise estimation of age and biological sex through hand morphometry, enhancing our anthropometric understanding of the individuals whos…
The Role of Palaeolithic Cave-Art
The symbolic expression, due to its social and cultural potential, should make a decisive contribution to the reconstruction of Palaeolithic social systems. Paradoxically, the limitations of the traditional study methods do not facilitate the exploitation of this possibility. In this article, we have presented an initial proposal to approach the study of visual rock art from a different perspective, focused in the calculation of the resources inv…
Finger flutings at New Guinea II Cave, lower Snowy River valley (Victoria), GunaiKurnai country
Finger flutings’, the marks made when people run their fingers along soft cave walls and ceilings, are typically found in limestone caves. Such marks capture a momentary impression of engagement with a place: old (archaeological) finger flutings mark the gestures of people past (in Australia, often referred to as the ‘Old Ancestors’) as they ventured into the depths of caves. In Australia, finger flutings are rare and spread across the southern h…
Historical Dimensions of Rock Art
Research on rock art around the world takes for granted the premise that rock art, as a product of the Upper Palaeolithic symbolic revolution, is a natural behavioral expression of Homo sapiens, essentially reflecting new cognitive abilities and intellectual capacity of modern humans. New discoveries of Late Pleistocene rock art in Southeast Asia as well as recent dates of Neandertal rock art are also framed in this light. We contend in this pape…
Un broche de cinturón tardoantiguo de la cueva de Lazaldai (Zuia, Álava/Araba)
Este artículo presenta el hallazgo de un broche de cinturón tardoantiguo en la cueva de Lazaldai (Zuia, Álava/Araba), descubierto durante una intervención arqueológica realizada en 2022. La pieza, datada en el siglo VII, fue localizada en la galería activa de la cavidad y muestra una clara influencia de la toréutica aquitana, a pesar de su morfología típicamente hispánica. Su decoración destaca por un gran entrelazo central y el uso de puntillado…
Scientific virtual reality as a research tool in prehistoric archaeology
Highlights: This study proposes the practical utility of an immersive Virtual Reality (VR) experience for the dissemination and study of Palaeolithic Rock Art. Thanks to a series of multidisciplinary studies, a virtual reconstruction of the archaeological context of an area with rock art has been achieved. The Palaeolithic lighting systems documented in Atxurra cave have been virtually recreated, allowing real-time interaction through VR. Abstrac…
Space Analysis in Palaeolithic Cave Art
We present a revision of the concept of space in Palaeolithic cave art. Previous research attempting to approach this notion encounters several gaps, which surface on multiple levels: subjectivity, vagueness, restrictions on its conceptualisation, its illustration (two-dimensional description and representation), among others. We reassess the key elements at play, interpretative attempts, and theoretical concepts to gain a better understanding of…
Drawing in the depths
The creation of rock art in the deep areas of caves was one of the most unique symbolic activities of Magdalenian societies in southwestern Europe between 13.5 and 21 thousand years ago. Previous research has suggested that these works of art were not placed in caves at random but rather their location corresponds to a pre-established structure. However, despite the suggestive idea of pre-planning the decoration of the endokarst, it is challengin…
Anthropisation passée et impacts historiques en grotte ornée
Les occupations des galeries, la sélection et l’investissement des parois par les sociétés passées sont autant de témoignages des choix réalisés par des groupes préhistoriques au sein du paysage souterrain. Les traces et marques parvenues jusqu’à nous sont le produit de ces actions, modifiées ou altérées par des processus géologiques, biologiques et humains à l’œuvre sur la « matière première » que constitue la grotte. La grotte de la Mouthe (Eyz…
Virtual reconstruction of the Palaeolithic landscape in Santimamiñe cave (Bizkaia, Spain)
Santimamiñe Cave, in Biscay (North Spain) is a well-known archaeological site in the region because of its prompt discovery and excavation in the early 20th century and its ensemble of parietal art. The latest studies have identified human occupation in the entrance from the Lower Magdalenian, while the inner passages were presumably decorated in the Middle and Upper phases of the period (about 16.5 to 14.5 ka). One of the particularities of the …
Beyond the image
Symbolic cognition-the ability to produce and use symbols, including (but not limited to) linguistic symbols-has often been considered a hallmark of human achievement. Given its importance, symbolic cognition has been a major topic of interest in many academic disciplines including anthropology, archeology, and the cognitive sciences.1-6 Paleolithic rock art holds vast potential for understanding the early roots of symbolically mediated behavior.…
Nuevas evidencias de Arte Rupestre Postpaleolítico en Las Merindades (Burgos)
El NO de Las Merindades, Burgos, era un área con poca presencia de Arte Rupestre Postpaleolítico, a diferencia de otras zonas de la parte meridional de la Cordillera Cantábrica, como la vecina comarca de Campoo-Los Valles, Cantabria, y del Complejo Kárstico de Ojo Guareña, en Merindad de Sotoscueva, Burgos, pese a compartir unas características geográficas similares. Así, el principal objetivo de nuestra investigación ha estado encaminado a resol…
Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art
The endokarst landscape is the result of long erosion and sedimentation processes that have modelled an environment in which capricious forms abound. Despite being a hostile environment for human life, these caves must have attracted the attention of human groups from as early as the Palaeolithic. It is striking that many examples of rock art appear to be closely symbiotic with their natural support; nevertheless, it is difficult to confirm any r…
Visualizing childhood in Upper Palaeolithic societies
This paper presents rock art as a collective action in which different strata of society took part, including children and subadults. Until recent decades archaeology of childhood has not been in the main focus of the archaeological research, much less the participation of those children in the artistic activity. The present study approaches the palaeodemography of artists in the decorated caves through the paleolithic rock art itself. The approx…
Still no archaeological evidence that Neanderthals created Iberian cave art
On the limits of 3D capture
Not only Chauvet
New Insights into the Study of Paleolithic Rock Art
The Vasco-Cantabrian region of northern Spain, together with southwestern France, is one of the richest areas in terms of Paleolithic cave art, but, until recently, by far the highest concentration of sites had been in the central-western sector: the provinces of Cantabria and Asturias. In contrast, the eastern sector, the Basque Country-between the Asón River and the Pyrenees-was thought to have a significantly lower density of cave art loci, an…
Expanding the horizons of Palaeolithic rock art
Painted in red
Non-invasive portable instrumentation to study Palaeolithic rock paintings
The function of graphic signs in prehistoric societies
Visualizing childhood in Upper Palaeolithic societies
This paper presents rock art as a collective action in which different strata of society took part, including children and subadults. Until recent decades archaeology of childhood has not been in the main focus of the archaeological research, much less the participation of those children in the artistic activity. The present study approaches the palaeodemography of artists in the decorated caves through the paleolithic rock art itself. The approx…
The cave of Atxurra
Application of Line of Sight and Potential Audience Analysis to Unravel the Spatial Organization of Palaeolithic Cave Art
The endokarst landscape is the result of long erosion and sedimentation processes that have modelled an environment in which capricious forms abound. Despite being a hostile environment for human life, these caves must have attracted the attention of human groups from as early as the Palaeolithic. It is striking that many examples of rock art appear to be closely symbiotic with their natural support; nevertheless, it is difficult to confirm any r…
Motion and Gesture
A naturalistic bird representation from the Aurignacian layer at the Cantalouette II open-air site in southwestern France and its relevance to the origins of figurative art in Europe
Quantifying accessibility to Palaeolithic rock art
Revisiting Hornos de la Peña 100 years after
Modelled clay animals in Aitzbitarte IV Cave
Beyond the Bounds of Western Europe
The Cave of Isturitz (West Pyrenees, France)
The cave of Isturitz is one of the most important archaeological sites of the prehistory of Western Europe. Human occupations followed each other in the cavity from at least the Middle Paleolithic to the Roman age. In 1913, Passermard started archaeological excavations there, and a calcite pillar was discovered next to the original entrance that was sculpted with a dozen of animal representations. In this excavation, the Magdalenian levels yielde…
Uranium-series dating of carbonate formations overlying Paleolithic art
The Uranium-Thorium (U/ Th) series dating method, developed 50 years ago, has proven its usefulness and reliability for the dating of marine (corals) and continental (speleothems) secondary carbonates deposits. Recently, improvements of the analytical techniques (TIMS – Thermo-Ionization Mass Spectrometry, and then MC-ICPMS – Multicollector-Inductively Coupled Plasma Mass Spectroscopy and laser ablation) allow the dating of very small samples and…
Drawing in the depths
The creation of rock art in the deep areas of caves was one of the most unique symbolic activities of Magdalenian societies in southwestern Europe between 13.5 and 21 thousand years ago. Previous research has suggested that these works of art were not placed in caves at random but rather their location corresponds to a pre-established structure. However, despite the suggestive idea of pre-planning the decoration of the endokarst, it is challengin…
Beyond images
In this study of the location and physical characteristics of the surroundings of a series of decorated caves in the Nalón river basin in Asturias (northern Iberia), the spatial analysis, which included fieldwork and the use of GIS, has defined the external archaeological context (EAC) of pre-Magdalenian art in that area. The spatial information has been integrated with the study of the rock art in order to observe tendencies that are statistical…
La grotte ornée paléolithique d’Etxeberri (Camou-Cihige, Pyrénées-Atlantiques)
The cave of Etxeberriko Karbia, in the “ Massif des Arbailles” (Western Pyrenees), has been the subject of spelunking expeditions since the early 20th century. However, during a visit in May 1950, P. Boucher, with G. Laplace, discovered a small painting of a red horse as they were on their way out of the cave before crossing through a crawlway. The following year, Laplace decided to study the art in this cave and, in 1952, he published the result…
Virtual reconstruction of the Palaeolithic landscape in Santimamiñe cave (Bizkaia, Spain)
Santimamiñe Cave, in Biscay (North Spain) is a well-known archaeological site in the region because of its prompt discovery and excavation in the early 20th century and its ensemble of parietal art. The latest studies have identified human occupation in the entrance from the Lower Magdalenian, while the inner passages were presumably decorated in the Middle and Upper phases of the period (about 16.5 to 14.5 ka). One of the particularities of the …
Sporadic occupation in Armiña cave during the Upper Magdalenian
Establishing a predictive model for rock art surveying
El Neolítico de la cueva del Niño (Aýna, Albacete) en el contexto de la Sierra del Segura
Desde su excavación en el verano de 1973, la Cueva del Niño ha sido considerada un yacimiento de gran importancia para conocer el proceso de introducción de la economía de producción o de la tecnología cerámica en el sureste de la Península Ibérica, y especialmente para establecer cómo dicho proceso pudo haber afectado a las poblaciones ya asentadas en la región de la Sierra del Segura. Sin embargo, la información proporcionada por la Cueva del N…
Étude de la matière colorante de la grotte d'Arenaza (Galdames, Pays Basque, Espagne)
Las pinturas zoomorfas punteadas del Paleolítico Superior cantábrico
Las cuevas decoradas con animales punteados rojos son una de las principales expresiones pictóricas propias del Paleolítico Superior cantábrico. Los nuevos descubrimientos así como la introducción de sistemas novedosos de datación han abierto la posibilidad de atribuirlas a una cronología más antigua y, a la vez, más amplia. Presentamos el corpus de datos cronológicos disponible que nos permite fundamentar un desarrollo dilatado de las pinturas a…
Nouveaux regards sur la Grotte de La Peña (San Román de Candamo, Asturies, Espagne)
Dental Anomalies in the Mandible of Capra pyrenaica
In this study, we report a case of duplication of a lower fourth premolar (P 4 ) on an Iberian wild goat from the archaeological site cave of Arlanpe, (Lemoa, Bizkaia, Northern Spain). The preserved right mandible corpus displays two premolars and the first molar (M 1 ). Both premolars conform in size and general shape to fourth premolars (P 4 ) but the medialmost of the two is rotated 90° counterclockwise, and thus, its wear pattern is different…
El uso de la cueva de Arlanpe (Bizkaia) en época tardorromana
En este trabajo se presentan los materiales arqueológicos tardorromanos (siglo IV d.C.) de la cueva de Arlanpe (Lemoa, Bizkaia). Se trata de fragmentos de terra sigillata y de cerámica común romana, vidrios, objetos metálicos, restos de fauna, etc., que fueron encontrados en el interior de dos fosas excavadas en el suelo de la cavidad. Ambas estructuras son interpretadas como “fosas de ofrendas” y se relacionan con algún tipo de ritual mágico-rel…
Non-invasive portable instrumentation to study Palaeolithic rock paintings
La grotte ornée paléolithique d’Etxeberri (Camou-Cihige, Pyrénées-Atlantiques)
The cave of Etxeberriko Karbia, in the “ Massif des Arbailles” (Western Pyrenees), has been the subject of spelunking expeditions since the early 20th century. However, during a visit in May 1950, P. Boucher, with G. Laplace, discovered a small painting of a red horse as they were on their way out of the cave before crossing through a crawlway. The following year, Laplace decided to study the art in this cave and, in 1952, he published the result…
La Cueva De La Griega (Pedraza, Segovia, España) en La Encrucijada Ibérica
Este artículo presenta los nuevos resultados de los estudios en curso sobre la cueva de La Griega (Pedraza, Segovia, España). Las investigaciones en esta cavidad se han centrado en una renovación de los métodos de análisis del registro parietal: aplicación de técnicas de estudio en 3D, análisis microscópico de los trazos grabados, análisis formal utilizando herramientas estadísticas (Análisis Factorial de Correspondencias-AFC ). Se discuten los r…
Nuevas Investigaciones en La Cueva De La Griega (Pedraza, Segovia, España). Aportaciones De Las Geotecnologías Al Estudio Del Arte Paleolítico
La cueva de La Griega se erige como un importante yacimiento para el desarrollo del conocimiento de las sociedades prehistóricas y romanas, con más de 400 grabados conservados en su interior, con una ocupación que se extiende en el tiempo desde el Solutrense hasta el s I D.C. La ubicación de la cavidad, a medio camino entre las cuevas y abrigos de la costa cantábrica y la zona del Mediterráneo, se refleja en los grabados Paleolíticos, ya que mues…
The Decorated Cave of Etxeberri (Camou‐Cihigue, Pyrénées-Atlantiques)
The cave of Etxeberri or Kanpainaga Lezea (Camou-Cihigue commune) is located at 440 m altitude on the western slope of an urgonian limestone cirque of the eastern flank of the Arbailles massif. This cavity is composed of a long, north-south oriented joint, approximately 200 m long, which is difficult to access (three shafts, one small tunnel, an 8 m relief and an 18 m sink‐hole). Etxeberriko Karbia, already known before the discovery of its decor…
La grotte ornée d’Etxeberri (Camou‐Cihigue, Pyrénées‐Atlantiques)
La grotte d’Etxeberri ou Kanpainaga Lezea (commune de Camou-Cihigue) est à 440 m d’altitude sur le versant occidental d’un cirque de calcaires urgoniens du flanc oriental du massif des Arbailles. Cette cavité est une longue diaclase orientée nord‐sud, d’environ 200 m de long, au parcours périlleux (trois puits, une chatière, un dénivelé de 8 m et un gouffre de 18 m). Etxeberriko Karbia, déjà connue avant la découverte de ses vestiges ornés, fit l…
Vers un modèle décoratif pour la grotte de la Peña de Candamo (Asturies, nord de l’Espagne) à la lumière des nouvelles découvertes
un modle dcoratif pour la
Toward a Decorative Model for the Cave of Peña de Candamo (Asturias, Northern Spain) in the Light of New Discoveries
Peña de Candamo, discovered and explored at the very beginning of the 20th century, was recently designated as a UNESCO World Heritage Site. The latest research, since 2007, has revealed new decorated zones, as well as unknown paintings and engravings in the known zones. The other objectives of the interdisciplinary research are: an archaeological study of the floors, an analysis of the pigments (already begun by Raman spectroscopy), a 3D reconst…
Arte parietal Paleolítico en la cueva de Hornos de la Peña (Cantabria)
Hornos de la Peña was one of the caves discovered at the beginnings of XXth century in the Cantabrian region, comprised in the classic work «Les Cavernes de la Région Cantabrique» (1911). As for the other caves studied in this work, the cave has not been re-studied again, only some punctual researches which did not supply the original. Recently, a partial revision of the parietal figures has been undertaken. This study applies the most recent met…
El final del Solutrense en el Oriente Cantábrico a través de las ocupaciones de la Cueva de Arlanpe (Lemoa, Vizcaya)
Arlanpe Cave site, situated in a strategic halfway between the Cantabrian coast and the Alavese Plateau, yielded a Solutrean level (level II) dated at the end of this period, between 21047 and 19909 cal BP. The lithic industry displays some unique characteristics, among which the most striking are the use of poor quality local raw materials (silicified mudstone), the transport of flint from distant locations situated at the North (Flysch) and Sou…
The rock art of Tastet Cave (Sainte-Colome, Pyrénées-Atlantiques, France)
L’ouverture, en 2012, d’une campagne de fouille dirigée par l’un d’entre nous (JMP) dans la grotte Tastet (Saint-Colome, Pyrénées-Atlantiques) a fourni l’opportunité d’une nouvelle analyse des parois ornées de cette cavité. La révision de l’art pariétal (menée par DG, OR et RB), connu depuis les années 1970, fournit une vision actualisée de l’ensemble orné et quelque peu différente des publications antérieures (Omnès 1983 ; Blanc et Marsan 1984).…
L’art pariétal de la grotte Tastet (Sainte-Colome, Pyrénées-Atlantiques, France)
L’ouverture, en 2012, d’une campagne de fouille dirigée par l’un d’entre nous (JMP) dans la grotte Tastet (Saint-Colome, Pyrénées-Atlantiques) a fourni l’opportunité d’une nouvelle analyse des parois ornées de cette cavité. La révision de l’art pariétal (menée par DG, OR et RB), connu depuis les années 1970, fournit une vision actualisée de l’ensemble orné et quelque peu différente des publications antérieures (Omnès 1983 ; Blanc et Marsan 1984).…
The Cave of Isturitz (West Pyrenees, France)
The cave of Isturitz is one of the most important archaeological sites of the prehistory of Western Europe. Human occupations followed each other in the cavity from at least the Middle Paleolithic to the Roman age. In 1913, Passermard started archaeological excavations there, and a calcite pillar was discovered next to the original entrance that was sculpted with a dozen of animal representations. In this excavation, the Magdalenian levels yielde…
Not only Chauvet
De vuelta al punto de partida
La Peña de Candamo was discovered by the scientific community in 1914, being one of the first known caves in the Cantabrian region, and declared a UNESCO World Heritage site in 2008. The only monographic study of its parietal art was led and published by E. Hernández Pacheco in 1919, showing exceptional complexity and graphic density. In 2007, a new research project was launched to update all the information related to the cave’s parietal art fro…
L’art mobilier gravettien sur support lithique de la grotte d’Isturitz (Saint-Martin-d’Arberoue, Pyrénées-Atlantiques, France)
Le site archéologique de la grotte d’Isturitz (Pyrénées-Atlantiques) est spécialement connu pour la quantité et l’importance de son art mobilier magdalénien. En ce qui concerne les supports ornés des niveaux solutréens, gravettiens et aurignaciens, ils sont largement méconnus, particulièrement ceux correspondant aux fouilles de Saint-Périer qui ont livré un nombre assez significatif d’objets décorés. Ce travail présente une partie des résultats d…
An updated inventory of the Isturitz type bone points of the cantabrian region
Nous présentons dans ce travail une révision du corpus des pointes de type Isturitz du Gravettien cantabrique, concernant les exemplaires déjà connus de Bolinkoba, Usategi et Aitzbitarte III, ainsi que celui provenant de la récente découverte du site d’Askondo. L’analyse inclut une approche technologique et fonctionnelle de ces pointes grâce à laquelle nous pouvons conclure que deux types primaires sont représentés : les pointes fusiformes légère…
Gravettian portable art on lithic support from Isturitz cave (Saint-Martin-d’Arberoue, Pyrénées-Atlantiques, France)
Le site archéologique de la grotte d’Isturitz (Pyrénées-Atlantiques) est spécialement connu pour la quantité et l’importance de son art mobilier magdalénien. En ce qui concerne les supports ornés des niveaux solutréens, gravettiens et aurignaciens, ils sont largement méconnus, particulièrement ceux correspondant aux fouilles de Saint-Périer qui ont livré un nombre assez significatif d’objets décorés. Ce travail présente une partie des résultats d…
Actualisation de l’inventaire des pointes de type Isturitz de la région cantabrique
Nous présentons dans ce travail une révision du corpus des pointes de type Isturitz du Gravettien cantabrique, concernant les exemplaires déjà connus de Bolinkoba, Usategi et Aitzbitarte III, ainsi que celui provenant de la récente découverte du site d’Askondo. L’analyse inclut une approche technologique et fonctionnelle de ces pointes grâce à laquelle nous pouvons conclure que deux types primaires sont représentés : les pointes fusiformes légère…
Pleistocene-Era Hominins and Archaeology (70 works) · Archaeology (64 works) · Geography (61 works) · Archaeological and Geological Studies (57 works) · Cave (57 works) · Art (44 works) · Geology (35 works) · Archaeology and ancient environmental studies (32 works) · Rock art (28 works) · Humanities (24 works)