학술논문
La modelización del paisaje: iconografía y percepciones visual y sonora en el arte rupestre macroesquemático
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Abstract
El análisis de la distribución espacial de los abrigos con arte rupestre y su relación con la creación de paisajes sociales por parte de sociedades prehistóricas se ha planteado desde diferentes perspectivas desde los años ochenta del siglo XX. Estas aproximaciones se han centrado en averiguar de qué modo estos conjuntos artísticos ofrecen claves sobre cómo se vertebraron los paisajes. Desde hace dos décadas, estas aproximaciones se han realizado a través de herramientas derivadas de los Sistemas de Información geográfica (SIG), particularmente para analizar y modelizar los patrones de visibilidad. Sin embargo, las diferentes modelizaciones han llevado a resultados, en ocasiones, contradictorios. Como medio para ahondar en estas y otras cuestiones, en este trabajo nos centraremos en el arte rupestre macroesquemático (ARM) a través de diferentes escalas de análisis. La primera analiza, desde un punto de vista iconográfico, los diferentes motivos. La segunda escala presta atención a la distribución espacial de estos motivos, así como su concentración en determinados sitios. Por último, la tercera escala modeliza la percepción visual y sonora a través del empleo de diferentes herramientas SIG. En este punto se realiza una evaluación crítica, tanto de las bases cartográficas como de los procedimientos empleados en la modelización de los paisajes visuales y sonoros. La concatenación de estas unidades de análisis permite aproximarnos a la articulación social del paisaje neolítico a partir de un fenómeno artístico tan concreto y particular como es el ARM.
Since the 1980s different approaches have been followed to analyse the spatial distribution of rock art shelters and their relationship to the construction of social landscapes by prehistoric societies. These approaches focus on finding out the clues that shelters offer as to how symbolic landscapes were structured or whether these were chosen following visual preferences. Previous work on post-Palaeolithic art in the Iberian Peninsula has used Geographic Information Systems (GIS) as a tool for analysis. However, sometimes, the results obtained reveal some contradictions, which could be linked to either the low resolution of the cartography available when those models were designed or to the random treatment of data. This paper attempts to overcome these contradictions by focusing on macroschematic rock art (ARM, in its Spanish acronym), an artistic manifestation with a well-defined geographical location —north of the province of Alicante (Spain)— and chronological framework —Cardial Early Neolithic; ca. 5600-5200 cal BC—. In order to analyse the symbolic and sensory landscapes generated around this artistic manifestation, different scales of analysis (Chippindale, 2004) have been implemented. Firstly, a new typology of macroschematic motifs based on an iconographic analysis is proposed. For this purpose, four major motif types are considered: anthropomorphic, zoomorphic, curvilinear geometric and minor motifs. This categorization allows for a better understanding of the semantics of this manifestation (Hernández Pérez, 2003), which draws significant parallels with other Neolithic manifestations in the Mediterranean area. Secondly, the spatial location of each rock art shelter is studied, with special attention to the quantity and variety of motifs represented in each one of them. This work has resulted in the observation of a different distribution of certain motifs. It has also revealed a different concentration in the number and variety of motifs in certain shelt
Since the 1980s different approaches have been followed to analyse the spatial distribution of rock art shelters and their relationship to the construction of social landscapes by prehistoric societies. These approaches focus on finding out the clues that shelters offer as to how symbolic landscapes were structured or whether these were chosen following visual preferences. Previous work on post-Palaeolithic art in the Iberian Peninsula has used Geographic Information Systems (GIS) as a tool for analysis. However, sometimes, the results obtained reveal some contradictions, which could be linked to either the low resolution of the cartography available when those models were designed or to the random treatment of data. This paper attempts to overcome these contradictions by focusing on macroschematic rock art (ARM, in its Spanish acronym), an artistic manifestation with a well-defined geographical location —north of the province of Alicante (Spain)— and chronological framework —Cardial Early Neolithic; ca. 5600-5200 cal BC—. In order to analyse the symbolic and sensory landscapes generated around this artistic manifestation, different scales of analysis (Chippindale, 2004) have been implemented. Firstly, a new typology of macroschematic motifs based on an iconographic analysis is proposed. For this purpose, four major motif types are considered: anthropomorphic, zoomorphic, curvilinear geometric and minor motifs. This categorization allows for a better understanding of the semantics of this manifestation (Hernández Pérez, 2003), which draws significant parallels with other Neolithic manifestations in the Mediterranean area. Secondly, the spatial location of each rock art shelter is studied, with special attention to the quantity and variety of motifs represented in each one of them. This work has resulted in the observation of a different distribution of certain motifs. It has also revealed a different concentration in the number and variety of motifs in certain shelt