n.a. (1991). Essays in Palaeolithic Art. Proceedings of the Prehistoric Society 57 (1). Vol 57(1), pp. 1-174.
 Title The title of the publication or report |
Essays in Palaeolithic Art | |||||||||
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Issue The name of the volume or issue |
Proceedings of the Prehistoric Society 57 (1) | |||||||||
Series The series the publication or report is included in |
The Proceedings of the Prehistoric Society | |||||||||
Volume Volume number and part |
57 (1) | |||||||||
Page Start/End The start and end page numbers. |
1 - 174 | |||||||||
Biblio Note This is a Bibliographic record only. |
Please note that this is a bibliographic record only, as originally entered into the BIAB database. The ADS have no files for download, and unfortunately cannot advise further on where to access hard copy or digital versions. | |||||||||
Publication Type The type of publication - report, monograph, journal article or chapter from a book |
Journal | |||||||||
Abstract The abstract describing the content of the publication or report |
This volume of twelve papers results from a conference held by the Prehistoric Society in 1989. `Proceedings of the conference on Palaeolithic art, held in Oxford, 1989: introduction' by A J </ze> Lawson (1-2) gives an outline of the themes considered, covering both parietal and mobiliary art in their social and environmental contexts. The first paper `The social context for European Palaeolithic art' by Clive </ze> Gamble (3-15) considers the different social context for the production of art in the Palaeolithic. A </ze> Marshack (17-31) in `The female image: a "time-factored" symbol. A study in style and aspects of image use in the Upper Palaeolithic' covers depictions of the female form from western Europe to Russia, examining how difference and change in style may mirror social factors. Ann </ze> Sieveking (33-50) writes on `Palaeolithic art and archaeology: the mobiliary evidence', considering the importance of portable decorated objects for the study of the Palaeolithic. Distribution evidence indicates that during the Upper Palaeolithic people moved regularly between social and physical locations. `The representation of female figures in the Rhineland Magdalenian' by G </ze> Bosinski (51-64) deals with evidence from the sites of Andernach and Gönnersdorf, which may indicate that both played host to people from various regions who had come to the central Rhineland. Robert </ze> Bégouën & Jean </ze> Clottes (65-79) in `Portable and wall art in the Volp Caves, Montesquieu-Avantès (Ariège)' conclude that portable and cave art were the work of different sections of society and that those with access to the portable variety probably did not have access to the cave paintings. F H Bernaldo De </ze> Quirós (81-90), in `Reflections on the cave art of Altamira', deals with the history of its study, and finds that past approaches do not address relevant contemporary issues involved in the study of the Palaeolithic. In `Pleistocene images outside Europe' Paul G </ze> Bahn (91-102) illustrates that the Ice Age art of Europe is part of a much wider phenomenon. `Ecological interpretations of Palaeolithic art' by Steven J </ze> Mithen (103-14) explores the possibility of relating this class of evidence to a broader, more holistic, framework involving the environmental context of Palaeolithic society. `Palaeolithic parietal art and its topographical context' by Michael </ze> Eastham & Anne </ze> Eastham (115-28) works on the hypothesis that cave art served to map out useful territory in a given area. The Ardèche and Beune caves are used to support this. `Elk and Ogopogo. Belief systems in the hunter-gatherer rock art of northern lands' by J M </ze> Coles (129-47) considers possible deific representation developing in Scandinavia and the northern American continent. J D </ze> Lewis-Williams (149-62), in `Wrestling with analogy: a methodological dilemma in Upper Palaeolithic art research', looks at the value of ethnographic evidence for the interpretation of Palaeolithic art. Whilst analogy may `prove nothing' it widens the scope of potential hypotheses in an area where, essentially, nothing can be proved. Robert </ze> Layton (163-74) `Trends in the hunter-gatherer rock art of Western Europe and Australia' uses comparison to suggest that Palaeolithic rock art may be seen as an aspect of cultural adaptation to the ecology of the last glacial. | |||||||||
Year of Publication The year the book, article or report was published |
1991 | |||||||||
Locations Any locations covered by the publication or report. This is not the place the book or report was published. |
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Source Where the record has come from or which dataset it was orginally included in. |
BIAB
(The British Archaeological Bibliography (BAB))
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Created Date The date the record of the pubication was first entered |
20 Jan 2002 |
