If We Place Them On A Map

Rigor that forced to expand the territory to increase the possibility of obtaining resources in a simple environment, and, therefore, there is a cultural homogenization as evidenced by these female statuettes as well as the technological uniformity and thematic furniture. It is interesting to check the process of schematization experienced by the female subject after the Early Upper Paleolithic; that is, the reduction of the figures to stylized silhouettes in which the buttocks and breasts stand out above all. According to some authors, this phenomenon, together with the hiding of rock art in the depths of caves, the proliferation of signs in combination, the widespread production of art on plaques…, reveals the restriction on information and, for thus, an increase in social complexity.

In other words, the small female sculptures of Gravetian are naturalistic in that any viewer who sees them can identify the images at least as figures of women, however, stylization, geometrization, schematization or abstraction imply a reduction of real characters and, therefore, the visual message they transmit is more restrictive, and it becomes necessary to decode it, only possible for the members of the group to whom the work belongs and, in addition, to have the key to the code, which entails the control of knowledge. All this suggests an increase in social complexity from 20,000 to 18,000 years ago, when a dynamic of regionalization would be introduced in certain parts of Western Europe.

Authorship, Schools And Territoriality

Recently, several studies have been carried out Germany phone number find out the authorship of the pieces of furniture. There are two basic trends: technological analysis and stylistic-formal. Apellániz starts from the author’s analysis of the History of Art, examines the formal and gestural, morphological and technical features of works of similar construction, interrelating the artistic, morphological and technical attributes. One can detect the hand of a “teacher” in different objects and the presence of a prototype that is made in series by various authors, which allows to speak of “workshop / school”.

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From this perspective, and depending on where the pieces appear.  On the other hand, technological studies make it possible. To determine the author’s hand and, therefore, the circulation of the piece. The work of the “art schools”, its radius of action, in addition to the time invested, costs. Validity of the works… Other data come from the experimentation or the making. Of replicas of the works: it allows to record the time, the gestures, the essential tools and, in short, all the process of production of the object, his decoration and utilization. On the other hand, with the traceological analyzes.

Information Is Obtain Regarding

The destination of the pieces, since the marks left on the surfaces can be discriminate against. By isolating traces and streaks of intentional polishing, or of the manufacture, handling, use. The general objective is the reconstruction of the operative chain, that is to say.  Simplified operating chain of some bone artifacts: flint core, blade production, tool transformation. Horn work, organic base artifact production, uses.

Ornaments, pendants and perforated elements Almost all the variety of perforated. Elements is suppose to have an ornamental function, in most cases individual.  Therefore, these pieces carry a visual message, information or social communication captured by the viewer. Personal ornaments serve as group identification, group affiliation. And individual badges within the group itself. Simple personal / body ornaments such as ivory beads, shell, stone, perforated teeth. Are the first known “artistic” manifestations. They suddenly appear in the Aurinyacian accompanying the first Homo sapiensentering Europe.

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