Résumé: Pendant longtemps, les chercheurs ont été convaincus que la cognition complexe nécessaire pour créer et manipuler des symboles est apparue soudainement à la suite d’une mutation génétique survenue il y a 50.000 ans. Les premiers résultats visibles de cette révolution cognitive avaient 40.000 années et étaient produits par les Hommes Modernes lors de leur arrivé en Europe où ils ont remplacés les Néandertaliens qui y habitaient. Ce point de vue a été échangé au début des années 2000 par un autre, postulant que les cultures symboliques devaient plutôt se développer en Afrique en raison de l’origine de notre espèce sur ce continent, datée à l’époque entre 150.000 et 200.000 ans. Ces deux scénarios étaient basés sur l’axiome selon lequel la cognition est un caractère spécifique à l’espèce qui s’est produit par la sélection naturelle. En d’autres termes, une nouvelle cognition est apparue par le processus darwinien classique d’isolement, de mutation aléatoire, de sélection de caractères avantageux et de spéciation. La sélection naturelle aurait fourni à notre espèce un nouveau cadre cognitif aboutissant à la capacité de produire des symboles et de les incarner dans la culture matérielle. Les populations d’hominiens du passé reconnues par les paléoanthropologues comme appartenant à une espèce fossile autre que l’Homo sapiens devaient avoir des cognitions différentes et, donc, n’étaient pas en mesure de produire une culture matérielle symbolique ou pleinement symbolique. Quelques découvertes archéologiques majeures et la réévaluation des anciennes collections modifient notre vision des mécanismes responsables de l’émergence des pratiques symboliques. Cette révision montre clairement que des pratiques symboliques ont émergé à différents moments, dans différentes parties du monde, parmi différents taxons d’hominiens. Ces taxons apparaissent comme l’expression phénotypique de cognitions plastiques largement partagées. La chute de l’axiome une espèce-une cognition suggère que des pratiques symboliques ont émergé au sein des populations de notre genre et sont le résultat de trajectoires évolutives complexes et non linéaires déclenchées par des facteurs interconnectés et dynamiques, probablement biologiques, environnementaux et sociaux, qui doivent être comprises et tracées à l’échelle régionale.
Mots-clés: Pigments ; Parure ; Art mobilier ; Gravures ; Art pariétal.

Abstract: For long researchers were convinced that the complex cognition necessary to create and handle symbols appeared suddenly as a result of a genetic mutation taking place 50,000 years ago and that the first visible outcomes of that cognitive revolution were 40,000 years old and produced by Modern Humans when they settled in Europe and replaced resident Neanderthals. This view was in the early 2000s replaced by another, positing that symbolic cultures must have instead developed in Africa as a consequence of the origin of our species in that continent, dated at the time to between 150,000 and 200,000 years ago. Both these scenarios were based on the axiom that cognition is a species-specific character shaped by natural selection. In other words a new cognition would stem from the classic Darwinian process of isolation, random mutation, selection of advantageous characters, and speciation. By shaping our species, natural selection would have provided this species with a new cognitive setting resulting in the ability of producing symbols and embody them in material culture. Hominin populations of the past recognized by paleoanthropologists as belonging to a fossil species other than Homo sapiens must have had a different cognitions, and were therefore unable to produce symbolic or fully symbolic material culture. Key archaeological discoveries and reappraisal of old collections are changing our vision of the mechanisms responsible for the emergence of symbolic practices. This revision makes clear that symbolic practices emerged at different times, in different parts of the world, among different hominin taxa. These taxa appear as the phenotypic expression of largely shared, plastic cognitions. The fall of the one-species- one-cognition axiom suggests that symbolic practices emerged within populations of our genus and are the outcome of complex and non-linear evolutionary trajectories triggered by interconnected and dynamic factors, likely including biological, environmental and social, that need to be understood and traced at regional scales. Keywords: Pigment; Personal ornaments; Mobiliary art; Engravings; Cave art.

Resumo: Nos últimos vinte anos, o debate sobre a transição do Paleolítico Médio ao Superior na Península Ibérica tem incidido sobre quatro questões principais: a entidade e cronologia do Castelperronense da faixa cantábrica e da Catalunha; a datação e faseamento do Aurignacense cantábrico; a existência de um Moustierense tardio nas regiões para sul e oeste da depressão do Ebro; a existência de uma fase aurignacense no Paleolítico Superior inicial dessas regiões. Os dados que temos recolhido em trabalhos trabalhos arqueológicos no Sudeste espanhol (Valencia e Murcia) e centro de Portugal apontam para uma substituição do Moustierense pelo Aurignacense evoluído entre 37.100 e 36.500 calBP (calibração com a curva IntCal13). Publicações recentes sobre Cueva Bajondillo (Andaluzia) e Lapa do Picareiro (Centro de Por-tugal) vêm pôr em causa este modelo. Contudo, como demonstraremos, uma interpretação rigorosa do registo estratigráfico e do material arqueológico não só não permitem contestar o modelo, como ainda o reforçam.
Palavras-chave: Transição do Paleolítico Médio ao Superior; Homem de Neandertal; Homem moderno; Moustierense.

Abstract: During the last twenty years, the debate about the transition of the Middle to the Upper Palaeolithic in the Iberian Peninsula has been centered around four main questions: the entity and chronology of the Châtelperronian of the Cantabrian region and Catalonia; the existence of a Late Mousterian to the south and west of the Ebro depression; the existence of an Aurignacian phase in the Upper Palaeolithic of the later regions. Our archaeological works in the Iberian Southeast (Valencia and Murcia) and the Centre of Portugal points to the replacement of the Mousterian by the Evolved Aurignacian between 37,100 and 36,500 calBP (IntCal13 curve calibration). Recent publications about Cueva de Bajondillo (Andaluzia) and Lapa do Picareiro (Centre of Portugal) have contested the model. However, as we will show, thorough analysis of the stratigraphy of these sites and of their archaeological remains support the model rather than calling it into question.
Keywords: Middle-to-Upper Palaeolithic transition; Neandertals; Modern humans; Mousterian.

Résumé: La découverte inattendue de gravures paléolithiques de plein air dans la vallée du Côa et la décision de leur conservation in situ ont servi d’impulsion pour la recherche de leur contexte archéologique. Depuis 1995, on sait que cette vallée conserve des vestiges d’occu-pation humaine qui vont du Gravettien à l’Azilien. Les études ont révélé l’exploitation d’une zone écotone de son bassin versant et les origines des silex et silcrètes utilisés montrent l'exis-tence d'un vaste réseau de contact social. Depuis 2014, et dans le cadre du projet PalæoCôa nous avons cherché à reconstituer son occupation humaine, en particulier pour le Tardigla-ciaire, l’évolution des dépôts quaternaires et leur relation avec les occupations humaines et l’art rupestre. A l’instar des résultats complètement nouveaux obtenus entre 1995 et 2001 qui révélèrent une dense occupation de cette région en limite de la Meseta septentrionale, les nouveaux acquis montrent que ce territoire a aussi été exploité par l’Homme de Néandertal et que les premiers hommes anatomiquement modernes sont présents à la fin de l’Aurignacien. Ces études en cours confirment les spécificités de cette région, la continuité de son occupa-tion et contribuent à expliquer la densité exceptionnelle de son art rupestre.
Mots-clés: Vallée du Côa ; Contexte de l’art rupestre ; Néandertal ; Paléolithique supérieur ancien ; Peuplement pléistocène.

Abstract: The unexpected discovery of Palaeolithic open air rock art in the Côa Valley and the decision to preserve them in situ served as an incentive for the survey and study of their archaeological context. Since 1995, we know that this valley preserves the remains of human occupation ranging from the Gravettian to the Azilian. Studies have revealed the exploita-tion of an ecotone zone in the Côa Basin and the origins of the flints and silcretes show the integration of the region in a large social network. Since 2014, and within the framework of the PalæoCôa project, we have tried to clarify its human occupation, for the Late-glacial and to better understand the evolution of quaternary deposits and its relationship with human occupations and rock art. Like the new results obtained between 1995 and 2001 which have demonstrated the occupation of the inland of Iberian Peninsula, the new data show a long occupation of Neanderthal and that Anatomically Modern Human are present at the end of the Aurignacian. These ongoing studies confirm the specificities of this region, the continuity of its occupation and help to explain the exceptional density of its rock art.
Keywords: Côa Valley; Rock Art context; Neanderthal; Early Upper Palaeolithic; Pleistocene settlement.

Resumo: A datação da arte rupestre é um dos principais problemas inerentes ao estudo deste tipo de vestígios arqueológicos. Esta tarefa não é, no entanto, isenta de dificuldades, sendo a comparação estilística o único método possível para a sua prossecução em numerosas situa-ções. No Vale do Côa, não descartamos a comparação estilística, sendo este método utilizado como complemento essencial de uma estratégia que apresentaremos neste texto. Esta estra-tégia passa pela utilização da estatística multivariante e de evidências arqueológicas e geoar-queológicas obtidas no decurso da investigação levada a cabo na região. No final do trabalho caraterizaremos cada uma das fases gráficas identificadas no Vale do Côa com recurso a essa estratégia e ilustraremos, com alguns exemplos, a importância da atribuição cronocultural da arte rupestre em outras problemáticas da investigação.
Palavras-chave: Arte rupestre; Faseamento gráfico; Paleolítico Superior; Vale do Côa.

Abstract: The dating of rock art is one of the main inherent problems of the research of this type of archaeological evidence. This task is not, however, devoid of difficulties, stylistic com-parison being the only available method to accomplished it in countless occasions. In the Côa Valley, we do not discard stylistic comparison, such a method being used as an essential com-plement of a wider strategy that we will describe in this text. This strategy involves the use of multivariante statistics and archaeological and geoarchaeological evidence that was obtained during the research carried out in the region. The paper closes with the characterization of each of the graphic phase identified in the Côa Valley by the application of our strategy and with a demonstration, with several examples, of the importance of rock art chronocultural attribution in other problematics of the research.
Keywords: Rock art; Graphic phasing; Upper Palaeolithic; Côa Valley.

Resumen: Hasta el año 1981 se desconocía la realidad del arte rupestre paleolítico a la in-temperie, es decir aquél que se produce en rocas exentas sin protección de cueva o abrigo. Ya existían referencias sobre arte paleolítico bajo abrigo o a la entrada de las cavernas, hecho que constituyó una de las bases de interpretación de A. Laming-Emperaire. Pero también en ese caso las representaciones gráficas más antiguas quedaban indefectiblemente asociadas al comportamiento cavernario. El año 1981 el equipo de la universidad de Oporto, dirigido entonces por Vítor Oliveira Jorge, publicó el sitio de Mazouco, en la presa de Aldeadávila, que se encuentra en el cauce del Duero y en la frontera entre Portugal y España, abriendo definitivamente el camino hacia el estudio de unas manifestaciones completamente nuevas que cambiarían nuestro entendimiento del Arte Paleolítico. Tras Mazouco, en 1982, se descubrió el yacimiento castellano de Domingo García, al sur de la provincia de Segovia. El tercer yacimiento descubierto en 1983 fué el de Fornols Haut, en la Cataluña francesa . El cuarto fué el yacimiento de Piedras Blancas, en las alturas de Almería, y el quinto Siega Verde, en 1989. Después se conocieron los yacimientos portugueses del Côa, Zézere, Ocreza, Sabor, Tras os Montes y Foz do Medal y el extremeño de Molino Manzanez, y más recientemente la Salud, Arroyo de las Almas y el del río Erjes en Alcántara. Se trata de lugares altos o en los vados fluviales, transitados y a la vista de todos, que reprodu-cen las imágenes características de la grafía paleolítica sobre otros soportes, sin ocultación, oscuridad ni misterio. Son sitios en principio difíciles de datar, y ello, aparte de algunos intereses acientíficos, ha suscitado polémicas hoy afortunadamente superadas. Fueron datados estilísticamente, en principio, y esa propuesta se confirmó después a partir de las excavaciones del yacimiento de Fariseu en el Côa. Con esas bases podemos decir que lo que hoy sabemos nos permite afirmar un desarrollo cronológico del arte al aire libre paralelo al cavernario, al menos desde el Gra-vetiense de hace 22.000 años. El desarrollo final de esta forma paleolítica se produce en el tránsito hacia el holoceno, en lo que se ha venido en llamar estilo V, en una forma intermedia que elimina la frontera gráfica entre paleolítico y postpaleolítico, abriendo paso hacia el arte neolítico, con formas en las que progresivamente va ganando fuerza la presencia de la figura humana.
Palabras-clave: Arte Paleolítico al aire libre; Paleolítico Superior en la Península Ibérica.

Abstract: Until 1981, open-air Palaeolithic rock art – in the sense of rock art made on boul-ders without protection of the ceiling of a cave or a shelter — was unknown to science. The appearance of Palaeolithic rock art at the entrance of caves or shelters was known, however, and that type of location play a preeminent role in the interpretation of Palaeolithic art by A. Laming-Emperaire. But even in this case, the oldest Palaeolithic graphic representations were unconditionally associated with caves. In 1981, a team of Oporto University, leaded then by Vítor Oliveira Jorge, published the site of Mazouco, located near the dam of Aldeadávila, in the right margin of the river Douro and in the Portuguese side of the Spanish-Portuguese border, there defined by the course of the river itself. This finding paved the way for further studies regarding this new type of graphic manifestations that allow an important change of our understanding of Palaeolithic art. After Mazouco, in 1982, it was found the castillian site of Domingo García, at the southern part of Segovia province. The third finding, in 1983, was the site of Fornols-Haut in the French Cat-alonia. The forth one was the site of Piedras Blancas, in the hills near Almeria, and the fifth site was Siega Verde, in 1989. After these findings, several more followed — the sites of the Côa valley, Zêzere, Ocreza, Sabor, Trás-os-Montes and Foz do Medal, as well as Molino Manzánez, already in the Spanish Extremadura and, more recently, the sites of La Salud, Arroyo de Las Almas and the sites of The Erjes valley in Alcántara. These sites are located at high altitudes or near the fords of the rivers, in places that were reg-ularly crossed and visible to anyone. The imagery is the same that we find in other supports, but in this case without occultation, darkness or mistery. The sites are, theoretically, hard to date and that, apart some non-scientific interests, was the source of some polemics, today happily resolved. These sites were stylistically dated and the excavations in the site of Fariseu, in the Côa Valley, confirmed that attribution. What we know today allows us to defend a chronological development of the open-air Palaeolithic art parallel to the one found inside caves, at least since de Gravettian of 22,000 years ago. The end of this Palaeolithic form happens in the transition to the Holocene, with the appear-ance of what was called Style V. This is a transitional form that eliminates the graphic border between the Paleolithic and the Post-palaeolithic times, paving the way to the Neolithic art, with imagery in which the figure of human will be reinforced.
Keywords: Open air Paleolithic Art, Upper Paleolithic in the Iberian Peninsula.

Resumo: La cueva de Fuente del Trucho (Asque-Colungo, Huesca, España) es conocida por sus representaciones de manos, que comprenden, al menos, 60 de estos motivos. Sin embargo, el número total de representaciones pintadas en la cueva supera las cien unidades. Junto con las series de signos y puntos, hay un grupo relativamente pequeño de unidades gráficas figurativas compuestas de zoomorfos (1 cabra montés, 1 ciervo y 9 caballos). Este artículo se centra en las representaciones de caballos. Teniendo en cuenta la variabilidad morfológica, las convenciones estilísticas y la datación U / Th, es posible identificar un amplio marco cronológico para estos motivos en la cueva, desde el Gravetiense hasta el Solutrense superior / Magdaleniense antiguo.
Palabras-clave: Arte rupestre paleolítico; Figuraciones de caballos; Península Ibérica; Vertien-te meridional de los Pirineos; Estilo; Cronología.

Abstract: The cave of Fuente del Trucho (Asque-Colungo, Huesca, Spain) is known for its hand stencil representations, comprising, at least, 60 such motifs. Nevertheless, the total number of painted representations in the cave exceeds one hundred. Together with signs and dots series, there is a relatively small group of figurative graphic units composed of zoomorphs (1 ibex, 1 deer and 9 horses). This paper focuses on the horse representations. Taking into account morphological variability, stylistic conventions and U/Th dating, it is possible to identify a wide chronological frame for these motifs in the cave, from Gravettian to Upper Solutrean /Lower Magdalenian.
Keywords: Palaeolithic Rock Art; Horse motif; Iberian Peninsula; Pyrenees South side; Style; Chronology.

Resumen: Se analizan en este texto las representaciones grabadas paleolíticas encontradas en 13 cuevas de la cuenca media del rio Nalón, en Asturias, norte de España. Grabados de ciervas, uros, bisontes, caballos, elefas y algunos signos, sobre todo, triangulares, su técnica y su estilo, así como la estratigrafía de los yacimientos hacen que este conjunto de cuevas y abrigos mues-tren una personalidad propia en esta zona del norte peninsular que hemos definido como el Arte de la Frontera y cuya cronología proponemos en el Solutrense medio-superior.
Palabras clave: Arte rupestre; Grabados exteriores; Solutrense; Cuenca del Nalón.

Abstract: Paleolithic engravings representations found in 13 caves in the middle basin of the Nalón River, in Asturias, northern Spain are analysed in this text. Engravings of hinds, au-rochs, bison, horses, elephants and some signs, specially triangular, their techniques and style, as well as the stratigraphy of the sites make this set of caves and shelters show their own personality in this area of the north of the Iberian peninsula that we have defined as Art of the border and whose chronology we propose the middle-upper Solutrean.
Key words: Rock art; Exterior engravings; Solutrean; Basin of the Nalón River.

Résumée: Réaliser un travail de synthèse du Solutréen dans le sud de la Péninsule Ibérique, devient une tâche ardue si on tient compte de la disparité des données et de l’état fragmen-taire de certaine. Cependant, nous avons réalisé pendant ces dernières années, de nombreux études sur ce sujet dans la moitié sud de la Péninsule et nous croyons qu’il est intéressant de les faire connaître et de présenter l’état actuel de la recherche du Solutréen dans ces régions. La « Meseta », et plus particulièrement la vallée du Manzanares près de Madrid, a été pros-pectée et étudiée avec intensité à la fin du XIX siècle et au début du XXº par des chercheurs aussi renommés que Obermaier, Pérez de Barradas et Wernert entre autres. Ces chercheurs ont localisé plusieurs gisements – Arenero Martínez, Los Vascos, Arenero Valdivia, Nicasio Poyato, Arenero Vidal, el Almendro y el Sotillo – avec une industrie à pointes foliacées que Pérez de Barradas a dénommé « Matritense » (1934) et qui a été parallélisé, un peu plus tard, par M. Almagro, avec l’Esbaikoaterien africain (Almagro Basch, 1947 ; 1960). Une révision de l’ensemble industriel de l’un de ces gisements, el Sotillo, a permis de démontrer l’existence d’un Solutréen et plus précisément d’un Solutréen moyen (Martínez de Merlo, 1984). Traditionnellement, on connaissait en Andalousie la présence du Solutréen à La Cueva de Am-brosio (Almería) et à Nerja (Málaga). Des travaux de prospection et des fouilles de ces der-nières années ont permis de reconnaître ces industries solutréennes dans nouveaux gisements, tel est le cas de la Cueva de los Ojos à Cozvijar et celle du Pantano de Cubillas, toutes deux dans la province de Grenade – ainsi que celle du Tajo de Jorox à Málaga et Peña de la Grieta à Jaén. En même temps de nouvelles campagnes de fouille à Nerja et à La Cueva de Ambrosio, ont fournit une meilleure connaissance du Solutréen andalou et surtout ont précisé sa position chronostratigraphique. A cheval entre la zone andalouse et le Sud-est espagnol se trouve le gisement de La Cueva de Ambrosio. Les fouilles récentes montrent une occupation qui s’étend depuis le Solutréen moyen au Solutréen supérieur évolué. Le cadre paléoecologique place ces occupations an-thropiques à des moments plus ou moins tempérés des interstades de Laugerie et de Lascaux. La faune est représentée surtout par le lapin, mais il y a aussi de nombreux restes des caprinés, cervidés et d’équidés, entre autres. Les industries sont caractéristiques du Solutréen méditer-ranéen, où au dernier stade on introduit des pièces typiques de la région telle que la pointe à ailerons et pédoncule ainsi que des pointes à cran à retouche abrupte.
Mots-clés: Solutréen ; Grotte Ambrosio ; Datations au radiocarbone ; Sud-est de la péninsule ibérique ; Arc et flèche ; Subsistance diversifiée ; Dernier maximum glaciaire.

Abstract: Solutrean synthesis work in the south of the Iberian Peninsula becomes a difficult task considering the disparity of data and the fragmentary state of some. However, during the last few years many studies have been carried out on this subject in the southern half of the Peninsula, and it is considered very interesting to make them known and to present the present state of Solutrean research in these regions. The “Meseta”, and more particularly the Manzanares Valley near Madrid, was prospected and intensively studied at the end of the 19th century and the beginning of the 20th century by re-nowned researchers such as Obermaier, Pérez de Barradas and Wernert among others. These researchers have located several deposits – Arenero Martínez, Los Vascos, Arenero Valdivia, Nicasio Poyato, Arenero Vidal, El Almendro y el Sotillo – with a foliated point industry that Pérez de Barradas has named “Matritense” (1934) and which has been paralleled, a little later, by Mr. Almagro, with the African Esbaikoaterien (Almagro Bash, 1947, 1960). A revision of the industrial complex of one of these deposits, El Sotillo, has made it possible to demonstrate the existence of a Solutrean and more precisely of a Middle Solutrean (Martínez de Merlo, 1984). Traditionally Andalucia was known to have Solutrean in La Cueva de Ambrosio (Almería) and Nerja (Málaga). Exploration work and excavations in recent years have made it possible to recognize these Solutrean industries in new deposits, such as the Cueva de los Ojos in Cozvi-jar and the Pantano de Cubillas-both in the province of Granada – as well as that of the Tajo de Jorox in Málaga and Peña de la Grieta in Jaén. At the same time, new excavation campaigns in Nerja and La Cueva de Ambrosio have provid-ed a better knowledge of the Andalusian Solutrean and especially have clarified its chronos-tratigraphic position. Straddling the Andalusian zone and the Spanish south is the La Cueva de Ambrosio deposit. Recent excavations show an occupation that includes the Middle Solutrean to the advanced Upper Solutrean. Paleoecological supervision places these anthropic occupations at more or less temperate moments of the interstadials of Laugerie and Lascaux. The fauna is repre-sented mainly by the rabbit, but there are also many remains of caprids, cervids and equines, among others. The industries are very characteristic of the Mediterranean Solutrean, where in the last stage we introduce pieces so typical of the region that the tip with fins and peduncle as well as sharp peaks with abrupt retouching.
Key words: Solutrean; Ambrosio Cave; Radiocarbon dates; Southeastern Iberian Peninsula; Bow and arrow; Diversified subsistence; Last Glacial Maximum.

Résumé: Ce texte est centré sur les abris ornés du Périgord. Sa relation avec des couches archéologiques fait qu’une grande part de l’art de ses abris possède une attribution chrono-logique plus précise que celui des grottes. Après une brève description de l’art de chaque abri de la Vallée de la Vézère par ordre chronologique, puis celui du Fourneau du Diable, localisé dans la vallée de la Dronne, l’article se termine par une synthèse des principales caractéris-tiques de l’art de ces sites. Il s’agit de son existence dès le début du Paléolithique, son intime relation avec la vie quotidienne, sa thématique animalière très proche de celle des grottes, même si quelques particularités peuvent être identifiées, la fréquence des thèmes humains, surtout de la femme et la rareté des signes géométriques, en dehors des séries de points ou de bâtonnets alignés.
Mots-clés: Paléolithique supérieur ; Aurignacien, Gravettien, Solutréen, Magdalénien ; France Dordogne Périgord ; Abri-sous-roche ; Gravure, sculpture, peinture.

Abstract: This text is about the rock-shelters of Périgord with rock art. The chronological attribution of this art is more accurate than the one of the caves because it has, in several cas-es, a direct relation with archaeological layers. We start the article by briefly describing each shelter of the Vézere Valley by chronological order, after which we describe the art of Four-neau du Diable, located in the Dronne Valley. We finish the article by synthetizing the main characteristics of these sites: they appear since the beginning of the Upper Palaeolithic; there is a close relation between art and daily life activities; its zoomorphic repertoire is similar to the one found inside caves, even if some specificities are also known; human depictions are common, specially women’s; geometric signs are rare and restricted to series of points and aligned vertical traces.
Keywords: Upper Palaeolithic; Aurignacian, Gravettien, Solutrean, Magdalenian; France Dor-dogne Perigord; Rock shelter; Rock art; Engraving, Sculpture, Painting.

Résumé: Au sein de l’expression graphique de plein air du Paléolithique européen, le Solu-tréen voit apparaître dans le bassin aquitain les premiers grands ensembles sculptés, com-positions complexes de bas-reliefs marquées par des reprises témoignant d’une production très dynamique. Insérés au cœur d’occupations denses caractérisées par des activités variées relevant des sphères techno-économiques, alimentaires et symboliques, ces dispositifs vont se multiplier, se monumentaliser et s’enrichir au Magdalénien. L’objectif de ce texte est de proposer une synthèse des spécificités de ces ensembles pariétaux, entre changements et continuités, de l’art rupestre paléolithique dans le grand sud-ouest français.
Mots-clés: Sculpture; Magdalénien; Solutréen; Géographie sociale; Spécialisation.

Abstract: In the context of the open-air graphic expression of the European Palaeolithic, the first of the sculpted complexes of the Aquitain Bassin appear during the Solutrean. These are complex compositions of bas-reliefs characterized by several reprises, which is a sign of great dynamism. These complexes are at the heart of intense occupations characterized by sev-eral activities concerning the techno-economic sphere, food consumption and the symbolic sphere. The goal of this text is to make a synthesis of the specificities of these sites – concern-ing changes and ruptures – regarding the Palaeolithic rock art of the great French Southwest.
Keywords: Sculpture; Magdalenian; Solutrean; Social geography; Specialization.

Abstract: On 1 July 2019, it is seven years since a press conference was held by Doris Ahnen, the then Minister of Culture (Rhineland-Palatinate), presenting a “sensational discovery” to the public. With the publication of this unique cultural monument, the discussion about the existence and the methods of dating for the identification of Late Glacial rock art in Germany was revived. Attracting a large number of visitors, the historical monument was brought into acute danger, which was denied by the specialist authority. Increasing damage to the rock engravings has led to a successive and irreversible destruction of a cultural monument, which represents, apart from the subjective and ideological appreciation of the monument authori-ty, a unique research object in Germany.
Keywords: Open-air art; Rock art; Palaeolithic; authenticity; Heritage preservation; Germany, Rhineland-palatinate.

Zusammenfassung: Am 01.Juli 2019 wird sich die Pressekonferenz, als die „Sensationsentde-ckung“ der Öffentlichkeit durch die damalige Kulturministerin Doris Ahnen (Rheinland-Pfalz) vorgestellt wurde, zum siebten Mal jähren. Mit dem Bekanntwerden dieses einzigartigen Kul-turdenkmals wurde die Diskussion über die Existenz und die Methodik der Altersbestimmung zur Identifizierung späteiszeitlicher Felskunst in Deutschland neu belebt. Gleichzeitig wurde ein großes Besucheraufkommen ausgelöst und das Denkmal in eine akute Gefährdungslage gebracht, die durch die Fachbehörde geleugnet wird. Zunehmende Beschädigungen am Fels-bild führen zu einer sukzessiven und nicht reversiblen Zerstörung eines Kulturdenkmals, dass unabhängig der subjektiven und ideologisch geprägten Wertschätzung der Denkmalbehörde, ein einzigartiges Forschungsobjekt in Deutschland darstellt.
Schlüsselwörter: Freilandkunst; Felskunst; Paläolithikum; Authentizität; Denkmalpflege; Deutschland, Rheinland-Pfalz.

Resumo: Este artigo centra-se na arte rupestre pré-histórica e na pesquisa arqueológica na bacia do baixo Douro (Portugal), entre o Paleolítico Superior e o início do Neolítico. Começa-rá com uma breve referência à primeira descoberta, em 1981, de uma rocha com arte rupestre do Paleolítico Superior – no sítio de Mazouco – e à inusitada circunstância da interrupção das pesquisas arqueológicas regionais dedicadas ao Paleolítico Superior, o que, a não ter aconte-cido, poderia ter evitado a surpresa da descoberta do valioso conjunto do vale do Côa. Em seguida, debruçamo-nos sobre a contextualização cronológica e cultural da arte figurativa, esquemática e abstrata – com particular destaque para as “unhadas do diabo” – atribuída a um período entre o final do Tardiglaciar e o neolítico antigo regional. Está implícito na nossa discussão o pressuposto que durante este período cronológico (c. 13.000 / 12.000 - 6500/6000 cal BP; 11.000 / 10.000 – 5000/4500 cal BC) as comunidades de caçadores-recoletores, inde-pendentemente de terem adotado a agricultura e a pastorícia por volta de 6500 aC (4500 aC), “não sabiam” de antemão o que aconteceria a seguir ou como se iria alterar a sua atividade económica e as suas relações com a paisagem, os animais e as plantas. No texto defendemos que a arte rupestre deste período e desta região, mesmo que mostre semelhanças gráficas com outras regiões da Península Ibérica e do Sudoeste da Europa – especialmente na morfologia de zoomorfos e antropomorfos – possui especificidades, particularmente evidentes no esquema-tismo e abstracionismo das gravuras de tipo “unhadas do diabo e motivos lineares finos”, que devem ser valorizadas. Estas especificidades devem ser entendidas dentro da teia de relações identitárias entre as comunidades de caçadores-coletores e a paisagem em que viviam.
Palavras-chave: Baixo Douro; arte rupestre; unhadas do diabo e motivos lineares finos; Paleo-lítico Superior; Mesolítico; Neolítico Antigo.

Abstract: This paper focuses on the prehistoric rock art and the archaeological research on the lower Douro river basin (Portugal), between the Upper Palaeolithic and the beginning of the Neolithic. It will begin with a brief reference to the first discovery, in 1981, of a rock with Palaeolithic engravings – on the site of Mazouco – and to the unusual circumstance of the lack of continuity of the regional Palaeolithic archaeological, which might have prevented the surprising discovery of the valuable rock art complex of the Côa Valley. Next, we will discuss the chronological and cultural contextualization of the figurative, schematic and abstract art – especially of the devil claw engravings – which is assigned to a period between the end of the Late Glacial and the regional Ancient Neolithic. Implicit in our discussion is the assumption that during this chronological period (c. 13,000/12,000 – 6500/6000 cal BP; 11,000/10,000 –5000/4500 cal BC), the hunter-gatherer communities, regardless of whether they have adopt-ed agriculture and animal husbandry around 6500 BP (4500 BC),”did not know” beforehand what would happen next or how their economies and relationships with the landscape, ani-mals and plants would change. In the text, we defend that the rock art of this period, and of this region – even if it shows graphic similarities, especially in the design of zoomorphs and anthropomorphs, with other regions of Iberia and Southwest Europe – has an idiosyncrasy, evident for instance in the schematism and abstractionism of the engravings of “devil claw &; thin linear motifs” that should be taken into account. This idiosyncrasy must be understood within the tissue of the identitary relationships between different hunter-gatherer communi-ties and among each other and the landscapes where they dwell.
Key words: Lower Douro basin; rock art; devil claw & thin linear motifs; Upper Palaeolithic; Mesolithic; Ancient Neolithic.

Résumé: Ce bref aperçu de l’art de la période glaciaire en plein air en dehors de l’Europe examinera les pictogrammes et les pétroglyphes archaïques en Australie; les premières reven-dications de figurations du Pléistocène à Shishkino en Sibérie; quelques candidats possibles en Mongolie et en Azerbaïdjan; et des travaux récents sur les pictogrammes dans la région du Piaui, au Brésil, ainsi que les possibles pétroglyphes de proboscidiens en Utah. Un accent particulier sera mis sur les découvertes extrêmement importantes du récemment décédé Dirk Huyge en Égypte.
Mots-clés: Age glaciaire; Pictogrammes; Pétroglyphes; Shishkino; Etats Unis; Brésil; Afrique; Australie.

Abstract: This brief survey of possible open-air Ice Age art outside of Europe will examine archaic pictographs and petroglyphs in Australia; the early claims for Pleistocene figures at Shishkino in Siberia; some possible candidates in Mongolia and Azerbaijan; and recent work on pictographs in the Piaui region of Brazil, as well as the possible petroglyphs of probosci-deans in Utah. There will be particular emphasis on the hugely important discoveries by the late Dirk Huyge in Egypt.
Key words: Ice Age; Pictographs; Petroglyphs; Shishkino; USA; Brazil; Africa; Australia.

Résumé: La découverte des peintures d’Altamira a fait d’entrée pénétrer sous terre l’art de chasseurs préhistoriques, alors à peine connus. La découverte des gravures de Foz Côa, par leur importance majeure a fait enfin et définitivement reconnaître l’art en plein air de chas-seurs paléolithiques, pourtant déjà bien répertorié dans quelques sites ibériques. La pleine lumière, diurne et nocturne, d’un site en plein air, l’obscurité absolue dans une cavi-té souterraine font distinguer radicalement les représentations pariétales souterraines et les représentations rupestres (à l’air libre). Cette distinction, quoique primordiale et irréductible, ne saurait dissimuler les différences essentielles. Elles tiennent avant tout aux supports (pa-rois et sols) qui sont distincts : d’un côté principalement des surfaces offrant des espaces gra-phiques relativement plans et étendus, de l’autre des volumes rocheux relativement limités. Les ensembles de représentations construits sur des espaces graphiques étendus, en grottes mais aussi sur de vastes parois rocheuses en plein air, répondent à des constructions spa-tiales élaborées, complexes quand les représentations sont nombreuses et articulées entre elles ( juxtapositions superpositions, emboîtements…) : la construction spatiale des disposi-tifs pariétaux est fondamentale et limitée à la fois en s’inscrivant dans l’architecture naturelle de chaque cavité souterraine, ou parfois d’abris en plein air. La construction spatiale des sites aériens, comme celui de Foz Côa, intègre immédiatement le paysage à partir de la proximité des unités rupestres du lieu, à partir également des horizons dans lequel elles se trouvent, à l’échelle de la vallée. L’art paléolithique résulte de constructions sémantiques, les dispositifs pariétaux, articulés dans leurs architectures propres et dans leurs ouvertures directes sur les espaces de vie sociale.
Mots-clés: Cadrage; Architecture pariétale; Morphologie pariétale; Topographie; Paysage; Lumière.

Abstract: With the discovery of the paintings of Altamira, the art of prehistoric hunters, at the time poorly known, penetrated inside earth. The discovery of Foz Côa, due to its importance, was responsible for the definite recognition of the art of the Palaeolithic hunters made at the open air, although several Iberian sites were by the time already known. The absolute light, by day or night, of an open-air site and the absolute darkness of a sub-terranean cave radically distinguish the parietal subterranean representations from the rock art representations (at the open air). This distinction, although primordial and irreducible, cannot dissimulate its essential differences. They are related with the supports (walls and floors), which are different: in one case, we have surfaces that allow relatively flat and exten-sive graphic spaces relatively while in the other we have relatively limited rock volumes. The groups of representations made on extensive graphic spaces, inside caves but also on vast rock surfaces on the open-air, are elaborated spatial constructions, complex when the representations are in large numbers and articulated between themselves ( juxtapositions, superposition, interlocked…): the spatial construction of the parietal devices is at the same time fundamental and limited, they being inscribed in the natural architecture of each cave or shelter. The spatial construction of the sites on the absolute open-air, like the case of Foz Côa, includes, in an overtly intimate way, the landscape by means of the relations of proximity between the rock art units of the places and also by means of the horizons inside which they are located at the scale of the valley. Palaeolithic art is a product of semantic constructions, the parietal devices being articulated both with its own architecture and with its direct openings to the spaces of social life.
Key words: Framing; Parietal architecture; Wall morphology; Topography; Landscape; Light.

Résumé: Cet article sera consacré à l’étude des sites d’art rupestre de Dampier (Australie Oc-cidentale) qui est le plus grand site d›art rupestre du Monde, contemporain des plus anciens graphismes de la Vallée du Côa. Elle consiste à présenter ce site, les méthodes d›étude qui nous avons employés et les résultats obtenus. Nous proposons, d’une part, une réflexion sur la position du gouvernement de l›Australie Occidentale en ce qui concerne les mesures de pro-tection du site qui a été partiellement détruit et qui est menacé par l’extension des activités économiques (extractions de sel, de fer et de pétrole et agrandissement du port de Dampier) et, d’autre part, les difficultés de son inscription sur la liste des patrimoines de l’Humanité de l’UNESCO. Mots-clés: Art rupestre; Archeologie; Datation; Protection du patrimoine; Patrimoine de l'humanité; Réutilisation et rénovation des gravures.

Abstract: This paper is about our research in the rock art sites of Dampier (Western Austra-lia), which is the biggest rock art site in the World and coeval of the most ancient depictions of the Côa Valley. We briefly present the site, the methods of its study and the results that we have achieved. We propose, on one hand, a reflection about the positioning of the Western Australian government regarding the protection measures of the site, which was partially de-stroyed and is under treat due to the expansion of economic activities in the site (extraction of salt, iron and oil, as well as expansion of the sea port) and, on the other hand, the difficult concerning the inscription of the site in the UNESCO’s list of World Heritage.
Keywords: Rock art; Archaeology; Chronology; Heritage protection; World heritage; Reuse of engraivings.

Résumé: Plus d’un siècle après la révélation de la grotte ornée d’Altamira la mise en évidence, sur le territoire européen, d’un art paléolithique à ciel ouvert trouvait sa plus belle illustration dans le grand ensemble de roches gravées de la vallée du Côa. A l’émotion manifestée par une partie de la communauté scientifique au vu de cette exceptionnelle découverte, parfois trou-blée par de vaines querelles d’experts, devait répondre l’émotion ambivalente partagée par la société et la classe politique portugaises. S’engageait alors un combat, à l’issue incertaine, opposant partisans et adversaires de l’édification en cours du barrage hydroélectrique de Foz Côa mettant en péril la conservation du site. Cette lutte, fortement mobilisatrice et bien re-layée par la presse, devait aboutir dans un premier temps à l’arrêt définitif de la construction de l’ouvrage d’art. Dans un second temps, la création d’un parc archéologique affirmait la reconnaissance de l’art rupestre du Côa comme bien culturel lusitanien avant son inscription, le 2 décembre 1998, au patrimoine mondial de l’humanité. A l’appel de ses collègues portugais l’auteur de ces lignes eut l’opportunité de vivre plusieurs épisodes de ce combat, d’en ressen-tir et partager les chocs émotionnels – scientifique et populaire – dont il tente d’évoquer ici quelques aspects.
Mots-clés: Combat exemplaire; Débats publics; Engagement politique; Polémiques; Experts; Parc archéologique; Musée; Recherches permanentes; Patrimoine mondial.

Abstract: More than a century after the discovery of the decorated cave of Altamira, the con-firmation of open-air Palaeolithic art in Europe was most beautifully illustrated by the great assemblage of engraved rocks in the Côa Valley. The emotion shown by some of the scien-tific community, albeit sometimes troubled by pointless specialist quarrels, contrasted with the ambivalent emotions shared by Portuguese society and its political class. A battle then ensued, whose outcome was uncertain, between supporters and opponents of the ongoing construction of the hydroelectric dam of Foz Côa which was endangering the preservation of the site. This battle, which mobilized numerous people and was well reported by the press, led first to the definitive stopping of the construction of the dam, and secondly to the creation of an archaeological park which confirmed the recognition of the Côa’s rock art as a Portuguese cultural asset, before its inscription in the World Heritage list on 2 December 1998. Answering the call of his Portuguese colleagues, the author of these lines had the opportunity of experi-encing several episodes in this battle, and of feeling and sharing the emotional shocks – both scientific and popular – of which he tries to evoke some aspects in this text.
Keywords: Exemplary fight; Public debates; Political engagement; Polemics; Experts; Archae-ological park; Museum; Permanent research; World heritage.

Resumo: El arte rupestre paleolítico es una de las manifestaciones culturales más relevantes de la humanidad. Un testimonio excepcional vinculado a la cultura y al desarrollo mental, simbólico y social del hombre. La apertura al público de siete cuevas con arte rupestre paleolítico en Cantabria, seis de ellas declaradas Patrimonio Mundial por UNESCO en 2008 es una herramienta clave para la con-cienciación y sociabilización de este Patrimonio cultural, enclavado en un entorno natural protegido. Su frágil estado de conservación hace de las nuevas tecnologías una herramienta clave para su difusión, a través del registro digital para la puesta en valor de este tipo de Bienes. La catalogación, documentación y digitalización del registro arqueológico asegura su perdura-ción en el tiempo, ante cualquier alteración de carácter natural, biológico y antrópico. La aplicación de canales de difusión indirecta como la publicación de los resultados cientí-ficos desarrollados en ellas y libros de divulgación, así como la celebración de conferencias, exposiciones temporales e itinerantes, el acceso gratuito por internet a las visitas virtuales de cada cavidad, las noticias periódicas publicadas en redes sociales, las webs especializadas en arqueología, las opiniones de los usuarios, los convenios de colaboración entre organismos, y su inclusión en itinerarios turísticos y culturales dentro del ámbito nacional e internacional permiten un mayor conocimiento del Bien. El sistema educativo es clave para la concienciación de las generaciones venideras y su per-duración, siendo imprescindible generar políticas de accesibilidad cultural directa e indirecta, dirigidas a grupos familiares y educativos como el desarrollo de actividades relacionadas con la prehistoria, usando réplicas de las herramientas utilizadas por quienes habitaron y decoraron las cuevas abiertas al público, desde hace al menos 200.000 a 10.000 años de antigüedad, en el mismo entorno natural donde se practicaron, clave para comprender los modos de vida de estas poblaciones. El incremento, en los últimos años, del número de visitantes anuales por cueva, unido a la falta de inversión en infraestructuras, ha potenciado el desarrollo de un Plan Director que pretende la dinamización del arte rupestre paleolítico en Cantabria, ya sea mediante medios directos como indirectos al Bien Cultural.
Palabras-clave: Cantabria; Gestión cultural; Arte rupestre paleolítico; Patrimonio Mundial.

Abstract: Palaeolithic rock art is one of Humanity’s most relevant cultural manifestations. It is an exceptional testimony related with culture and with the mental, symbolic and social development of Humans. The opening to the public of seven caves with Palaeolithic rock art in Cantabria, six of them classified by UNESCO as World Heritage in 2008, is one of the most important ways of pro-moting the awareness and socialization of this cultural heritage that is inside a protected nat-ural environment. The fragility of these sites makes the new technologies a key element of its divulgation by means of the digital record of these assets. The inventory, documentation and digitalization of this archaeological record ensures its preservation in time, despite any further natural, biological or anthropic alteration of the asset. Channels of indirect divulgation are crucial to the divulgation of the sites. Among these, we highlight the publication of the scientific results of the research in scientific journals and div-ulgation books, the organization of conferences and temporary and itinerant exhibitions, free virtual tours to the cavities in electronic sites, periodical news in the social networks and in ar-chaeological-specific webs, user’s comments, protocols of collaborations between institutions and its inclusion in touristic and cultural itineraries of both national and international scope. The educational system is also a key vector to promote the awareness of the new generations and of those to come. As such, politics of direct and indirect cultural access aimed at families and schools are essential. Among those, we highlight the ones related with Prehistory, such as those involving the use of replicas of the tools of the people that, since at least 200.000 to 10.000 years ago, dwell and decorated the caves open to the public. These activities take place in the same natural environments where the original activities were done and they are crucial to understand the ways of life of those ancient populations. In the last years, the increasing of visitors to each cave and the lack of investment in infrastructures gave rise to the development of a Guiding Plan that aims to provide impetus to the Cantabrian Palaeolithic rock art by direct or indirect means.
Key words: Cantabria; Cultural management; Palaeolithic rock art; World heritage.

Résumé : L’invisibilité de la grotte Chauvet, pour des raisons évidentes de conservation, et son inscription à l’UNESCO appelaient une restitution  : La Grotte Chauvet 2 – Ardèche. Réalisation du Syndicat Mixte constitué par le Département de l’Ardèche et la Région Au-vergne-Rhône-Alpes, l’exploitation du site a été confiée par délégation de service public à la Société Kléber Rossillon. Les enjeux majeurs, autant scientifiques, pédagogiques, sociaux que touristiques sont impor-tants. Les objectifs allouaient à la Grotte Chauvet 2, site touristique à vocation culturelle sont atteints. Des 4 coins du monde on vient admirer la grotte devenue le témoignage du premier grand chef d’œuvre de l’humanité. L’intérêt d’une haute exigence qualitative dans l’espace restitué, comme dans la médiation induit un transfert de patrimonialisation et la valeur uni-verselle du bien originel devient à la portée de tous.
Mots-clés: Grotte Chauvet ; Grotte ornée ; Art pariétal ; Art préhistorique ; UNESCO ; Réplique de grotte ; Vallon Pont d'Arc ; Ardèche.

Abstract: The invisibility of the Chauvet cave, due to understandable conservation issues and to its inscription in the UNESCO’s World Heritage list, required the construction of a replica: the Chauvet Cave. The Sindicat Mixte composed by the Département de l’Ardèche and the Region Auvergne-Rhône-Alpes commissioned the replica and the management of the site was conceded, by delegation of public service, to the Société Kléber Rossillon. The major challenges, scientific, pedagogical and social, are important. The goals of the Chau-vet cave, a touristic site with cultural vocation, were attained. People come from the 4 corners of the world to appreciate the cave that has become the main testimony of humanity’s first masterpiece. The highest qualitative standards adopted in the replica and in the culture medi-ation has promoted the transfer of the patrimonialisation from the original to the replica, thus enabling the access to all of the universal importance of the original cave.
Key words: Chauvet Cave; Cave art; Rock art; Prehistoric art; UNESCO; Cave replica; Vallon Pont d'Arc; Ardèche.

Resumo: A defesa do Património está intrinsecamente ligada à Associação dos Arqueólogos Portugueses, a mais antiga associação de Portugal e uma das mais antigas do mundo, criada em 1863 com o objectivo de preservação e defesa do Património Arquitectónico e Arqueológi-co. Ao longo destes 158 anos foram inúmeras as batalhas travadas e a colaboração institucional com diversas entidades levou a que a AAP seja um dos organismos ouvidos frequentemente a nível parlamentar. Aquando da descoberta da Arte do Vale do Côa a AAP tomou posição pública desde o primeiro momento para preservação e estudo das gravuras, reconhecendo a sua excepcional importância científica e patrimonial. No decorrer destes 27 anos o apoio da AAP ao Vale do Côa foi bastante diversificado, nunca desistindo da preservação, divulgação e estudo de todo este complexo artístico reconhecido mundialmente.
Palavras ‑Chave: Associação dos Arqueólogos Portugueses – AAP; Vale do Côa; Arte Paleolíti-ca; Defesa do Património; Associativismo.

Abstract: The defense of Heritage is intrinsically linked to the Association of Portuguese Ar-chaeologists (AAP), the oldest association in Portugal and one of the oldest in the world, created in 1863 with the aim of preserving and defending the Architectural and Archaeological Heritage. Over these 158 years, countless battles have been fought and institutional collabo-ration with various entities has made the AAP one of the institutions frequently heard at the parliamentary level. When the Côa Valley was discovered, the AAP took a public position to preserve and study the engravings, recognizing their scientific and heritage importance. Over these 27 years, AAP’s support to Vale do Côa has been quite diversified, never giving up on the preservation, divulgation and study of this all world -renowned artistic complex.
Keywords: Associação dos Arqueológos Portugueses – AAP; Côa Valley; Paleolithic Art; Her-itage defense; Associativism.

Resumen: Se presenta una primera evaluación de conjunto del proyecto “Estudio de conjuntos de pinturas rojas de posible cronología paleolítica en la Comunidad Autónoma de Cantabria” que se viene desarrollando desde 2016. Se han documentado 26 cuevas con un abundante registro de pinturas -principalmente- rojas (generalmente sin otras técnicas asociadas, como el grabado), que comparten entre sí numerosos rasgos. A partir de comparaciones temáticas y técnico-estilísticas, tanto entre sí, como con los conjuntos análogos que disponen de dataciones radiométricas, estos conjuntos parietales se han adscrito al Gravetiense. 

Palabras claves: Arte rupestre; Paleolítico; Gravetiense; Región cantábrica; Tradiciones gráficas; Pinturas rojas.

Abstract: A first overall evaluation of the project “Study of assemblages of red paintings of possible Palaeolithic chronology in the Autonomous Community of Cantabria”, that has been developing since 2016, is presented. 26 caves have been documented with an abundant record of mainly red paintings (generally without other associated techniques, such as engraving), which share many particular features. Based on thematic and technical-stylistic comparisons, both with each other, and with the analogous assemblages that have been dated by radiometric methods, these cave art assemblages have been ascribed to the Gravettian period. 

Keywords: Cave art; Palaeolithic; Gravettian; Cantabrian region; Graphic traditions; Red paintings.