The Easternmost European Palaeolithic Artists

Iconography and Graphic Features at Kapova Cave (Southern Urals, Russia)

Datos Bibliográficos

ID9343243
AutoresAitor Ruiz-Redondo (0000-0002-2584-9057, University of Southampton, autor de correspondencia), Katherin Yanovskaya (Lomonosov Moscow State University), В С Житенев (Lomonosov Moscow State University)
Año2020
Volumen3
Número4
Páginas967-988
Fecha de publicación2020-09-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaJournal of Paleolithic Archaeology (JOURNAL)
Identificadores de la revistaISSN: 2520-8217 • E-ISSN: 2520-8217
EditorialSpringer Science+Business Media (PUBLISHER • DE)
DOI10.1007/s41982-020-00065-2
OpenAlexW3082296991
IdiomaEN
Citas recibidas8
Referencias citadas24

Palaeolithic rock art is one of the most distinctive cultural traits of Upper Palaeolithic societies in Europe. Traditionally restricted to South-western Europe, especially to the Franco-Cantabrian province, in recent years, the geographic distribution of this phenomenon has noticeably expanded. Several years before these discoveries, the first decorated site found beyond southern Europe was Kapova cave, in Russia. This site, at the edge of the distribution area of European Palaeolithic art and far away from other cave sanctuaries, is key to define and understand potential long-distance cultural networks during the Upper Palaeolithic. In this paper, we present the first comprehensive inventory of the artworks, a renewed documentation of the graphic units (including the first digital tracings), the spatial distribution and the stylistic analysis of the different motifs. This led us to understand the role of Kapova within the Palaeolithic symbolism and to better integrate it in the Palaeolithic cultural dynamics

Archaeology · Cave · Geography · Iconography · Prehistory · Rock art · Archaeology and ancient environmental studies · Archaeology and Rock Art Studies · Pleistocene-Era Hominins and Archaeology