Current Anthropology 51: s135–s147.Īrias, P., González Sáinz, C., Moure, A., and Ontañón, R. Coevolution of composite-tool technology, constructive memory, and language: Implications for the evolution of modern human behavior. Paleolithic technology and human evolution. Perforated Homalopoma sanguineum from Tito Bustillo (Asturias): Mobility of Magdalenian groups in northern Spain. Journal of Archaeological Science 28: 457–464. The use of lithic artefacts for making rock art engravings: Observation and analysis of use-wear traces in experimental tools through optical microscopy and SEM. Álvarez, M., Fiore, D., Favret, E., and Castillo Guerra, R. (ed.), Studies in Eighteenth-Century British Art and Aesthetics, University of California Press, Berkeley, pp. From Addison to Kant: Modern aesthetics and the exemplary arts. Bulletin of the American Academy of Arts and Sciences 38: 8–33.Ībrams, M.-H. Art-as-such: The sociology of modern aesthetics. The emergence of new approaches to Pleistocene imagery is the result of a number of interrelated processes, including the globalization of Paleolithic art studies, the impact of new discoveries, and the development of new approaches to art, images, and symbolism.Ībrams, M.-H. ![]() They have developed new frameworks within which more kinds of images are meaningfully approached and incorporated into the analysis of Paleolithic art and symbolism. ![]() Although the portable/parietal division has remained a popular divide among archaeologists, in the last 30 years increasing numbers of specialists have crossed the boundaries established by these categories. In particular, many portable and nonfigurative representations were overlooked while a small number of cave paintings were praised for their realism. This classification gave rise to asymmetrical attitudes about Paleolithic images. Between 19, prehistoric representations were typically divided into two main groups: parietal art (including rock and cave art) and portable (or mobiliary) art. In this article we review the history of the terms and ideas that have been used to conceptualize Paleolithic art since the end of the 19th century.
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