Documentos para la historia moderna de Moratalla. Las pinturas rupestres de la cuevas del Esquilo

The cave paintings of the «Cueva del Esquilo», in Moratalla, are studied. This paper is an attempt to fill a gap in historical research - to have an approach to the transition period from the middle ages to the modern period in the history of the North Western area of Murcia.Se estudian las pinturas rupestres de la cueva del Esquilo de Moratalla. Con este trabajo se trata de llenar un vacío de investigación histórica y de aproximarse al archivo de la etapa de transición de la época medieval a la moderna, en la historia de la Comarca Noroeste de Murcia

La llamada "Fase Pre-Levantina" y la cronología del Arte Rupestre levantino. Una revisión crítica

The rejection of the principles on which the so-called "prelevantine phase" is based and the discussion about the neolithic material culture parallels for levantine art allow its attribution to Epipaleolithic groups of hunters and gatherers. In the same way, the data on the process of transition between the Epipaleolithic and the Neolithic, and the relationship between the levantine style and the schematic rock painting seem to support a pre-neolithic chronology of the levantine art, related to non-producing ways of living.El rechazo de las bases en las que se sustenta la llamada "fase pre-levantina" y la discusión de los paralelos mobiliares neolíticos propuestos para el arte levantino dejan expedito el camino para su adscripción a los grupos de cazadores y recolectores epipaleolíticos. Asimismo, los datos con que contamos sobre el proceso de transición Epipaleolítico/Neolítico, y la relación entre el estilo levantino y la pintura rupestre esquemática parecen abogar también por una cronología pre-neolítica de lo levantino, asociado a unos modos de vida no productores

Análisis de la producción científica sobre la pintura rupestre pospaleolítica en España. Arte levantino y pintura esquemática (1907-2010)

Cave art constitutes one of the areas of study of prehistory more attractive, perhaps because of the secrecy that still conveys. After a century of research on post-Paleolithic cave painting in Spain, and when the scientific production exceeds two thousand records, is addressed from bibliometric parameters, the analysis of this production over the period 1907-2010. Based on an own database in Microsoft Access, prepared for over twenty years and that the March 31, 2011 counted on 2,186 bibliographic records, bibliometric techniques are used to determine the temporal distribution, the language used, the styles of cave art, the document types, the themes addressed in the works and the publication place. Document production is below 21.02 publications/year until 1970, although in the 104 years of research analyzed, highlights the years 1999 (with 4.5%) and 2006 (with 5.1%) for the large number of publications. Regarding the language of the documents are distributed as follows, Spanish (88.1%), Catalan (4.6%), French (3.9%), English (2%), German (1%) and other languages (Italian, Portuguese or Galician) with 0.32%. 35.4% of production is dedicated to Levantine art, while schematic painting captures 34.8%. Regarding the document type, the scientific article stands out with 55.2%, followed by conference papers (19.2%), book chapters (11.3%), case studies (9.8%), notes (2.3%), doctoral thesis (1%) and undergraduate dissertations (0.7%). The predominant topics are sites (34.5%), chronology (8.8%), iconography (7.7%), or scientific divulgation (5.1%). 90.6% of scientific production has been published in Spain, highlighting Zaragoza (13.4%), Madrid (13.3%), Valencia (9.2%) and Murcia (9%). We consider that the total production is low because hardly exceeds 21 papers / year, although in the last fifty years growth rates were reached above 5%. Because Spanish is one of the most spoken languages in the world, greater internationalization of research of the Spanish post-paleolithic cave painting would be necessary, overcoming marked localism in which has been involved, as opposed to current view that cave art is a universal phenomenon present in all five continents and diverse cultural and chronological settings. Also, greater internationalization of Spanish industry magazines and a greater interest in the prehistoric art in general

Los restos óseos de fauna del yacimiento argárico del Puntarrón Chico, Beniaján (Murcia)

Not available[es] Presentamos los primeros resultados del estudio sobre la fauna del yacimiento de Puntarrón Chico, Beniaján (Murcia). Entre los restos, hemos identificado dos especies salvajes (Cervus elaphus y Oryctolagus cuniculus) y cinco domésticas (Bos taurus, Sus scrofa, Capra hircus, Ovis aries y Canis familiaris). [fr] On présente ici les premiers resultats de l'étude sur la faune du gisement de Puntarrón Chico, Beniaján (Murcia). Parmi les restes, on peut identifier deux espèces sauvages (Cervus elaphus et Oryctolagus cuniculus) et cinq espèces domestiques (Bos taurus, Sus scrofa, Capra hircus, Ovis aries et Canis familiaris)

Análisis de la producción científica sobre la pintura rupestre pospaleolítica en España. Arte levantino y pintura esquemática (1907-2010)

Cave art constitutes one of the areas of study of prehistory more attractive, perhaps because of the secrecy that still conveys. After a century of research on post-Paleolithic cave painting in Spain, and when the scientific production exceeds two thousand records, is addressed from bibliometric parameters, the analysis of this production over the period 1907-2010. Based on an own database in Microsoft Access, prepared for over twenty years and that the March 31, 2011 counted on 2,186 bibliographic records, bibliometric techniques are used to determine the temporal distribution, the language used, the styles of cave art, the document types, the themes addressed in the works and the publication place. Document production is below 21.02 publications/year until 1970, although in the 104 years of research analyzed, highlights the years 1999 (with 4.5%) and 2006 (with 5.1%) for the large number of publications. Regarding the language of the documents are distributed as follows, Spanish (88.1%), Catalan (4.6%), French (3.9%), English (2%), German (1%) and other languages (Italian, Portuguese or Galician) with 0.32%. 35.4% of production is dedicated to Levantine art, while schematic painting captures 34.8%. Regarding the document type, the scientific article stands out with 55.2%, followed by conference papers (19.2%), book chapters (11.3%), case studies (9.8%), notes (2.3%), doctoral thesis (1%) and undergraduate dissertations (0.7%). The predominant topics are sites (34.5%), chronology (8.8%), iconography (7.7%), or scientific divulgation (5.1%). 90.6% of scientific production has been published in Spain, highlighting Zaragoza (13.4%), Madrid (13.3%), Valencia (9.2%) and Murcia (9%). We consider that the total production is low because hardly exceeds 21 papers / year, although in the last fifty years growth rates were reached above 5%. Because Spanish is one of the most spoken languages in the world, greater internationalization of research of the Spanish post-paleolithic cave painting would be necessary, overcoming marked localism in which has been involved, as opposed to current view that cave art is a universal phenomenon present in all five continents and diverse cultural and chronological settings. Also, greater internationalization of Spanish industry magazines and a greater interest in the prehistoric art in general

Análisis de la autoría en la producción científica sobre pintura rupestre postpaleolítica de los estilos levantino y esquemático en España (1907-2010)

A más de un siglo de investigación sobre la pintura rupestre postpaleolítica en España, que ha llevado a una producción científica que supera los 2 000 registros, se lleva a cabo un estudio para evaluar su rendimiento durante el periodo 1907-2010. Se presentan los resultados obtenidos tras el análisis de la productividad de los autores, de la colaboración científica, del papel de la autoría extranjera en la producción científica y de la estructura y dinámica de los grupos de investigación. Se concluye que la investigación sobre la pintura rupestre postpaleolítica en España sigue descansando enel trabajo individual y en autores independientes que carecen de adscripción institucional.The body research comprised of more than two-thousand titles on post-Paleolithic cave art in Spain spanning the one-hundred and three years (1907-2010) is examined in terms of author productivity, collaboration patterns, foreign authorship, and the structural dynamics of scientific collaboration. The study concludes that research in the field of post-Paleolithic cave painting continuous to rely on individual authors and authors not associated with any institutional organ.peerReviewe

El Niño Cave (Aýna, Albacete, Spain): Late Middle Palaeolithic, Rock Art, and Neolithic Occupations from Inland Iberia

RESUMEN: La Cueva del Niño, situada en el reborde sudeste de la Meseta castellana, alberga una secuencia discontinua que abarca desde el Paleolítico Medio hasta el Neolítico, además de pinturas rupestres paleolíticas y de estilo Levantino. Se trata por lo tanto de un yacimiento clave para comprender la ocupación del interior de la Península Ibérica durante el Paleolítico y la Prehistoria Reciente. Este artículo recoge los principales resultados de un proyecto multidisciplinar destinado a definir las diferentes ocupaciones del yacimiento a lo largo de la Prehistoria.ABSTRACT: El Niño cave, located on the south-eastern border of the Spanish Meseta, hosts a discontinuous sequence including Middle Palaeolithic and Neolithic levels, along with Upper Palaeolithic and Levantine style paintings. It is a key site for understanding human occupations of inland Iberia during the Palaeolithic and early prehistory. This paper summarises the main results of a multidisciplinary project aimed at defining the prehistoric human occupations at the site

Estudio bibliométrico de la producción científica sobre la pintura rupestre postpaleolítica en España. Arte levantino y pintura esquemática (1907-2010).

ESTUDIO BIBLIOMÉTRICO DE LA PRODUCCIÓN CIENTÍFICA SOBRE LA PINTURA RUPESTRE POSTPALEOLÍTICA EN ESPAÑA. ARTE LEVANTINO Y PINTURA ESQUEMÁTICA (1907-2010). El arte rupestre prehistórico en general, y la pintura rupestre postpaleolítica en particular, constituye uno de los elementos más destacados de la Prehistoria española, erigiéndose a la vez en uno de los campos de la investigación que mayor controversia provoca dado el desconocimiento que padecemos en cuestiones tan fundamentales como son las de su cronología o su significado. Cuando se ha superado un siglo de investigación sobre la pintura rupestre postpaleolítica en España, y la producción científica supera los dos mil registros, creemos que es el momento de abordar, desde parámetros bibliométricos, el análisis de esta producción con la finalidad de evaluar el rendimiento de la actividad científica. Esta Tesis Doctoral recoge los resultados obtenidos de la aplicación de diversos indicadores bibliométricos a esa producción científica, en los ámbitos tanto de la producción misma como de su autoría. Palabras clave: Bibliometría, Prehistoria, pintura rupestre, pintura postpaleolítica, arte levantino, pintura esquemática. BIBLIOMETRIC STUDY OF THE SCIENTIFIC LITERATURE OF THE POST-PALAEOLITHIC PAINTING IN SPAIN. LEVANTINE ART AND SCHEMATIC PAINTING (1907-2010). Prehistoric rock art in general, and especially post-Palaeolithic rock painting, conforms one of the most relevant elements of the Spanish Prehistory, and at the same time one of the most relevant controversial fields of investigation due to the lack of knowledge related to essential questions such as their chronology or meaning. After more than a century of investigations on post-Palaeolithic rock painting in Spain, being produced more than 2.000 bibliographic references, we believe that it is the right moment to deal with, from bibliometric parameters, the analysis of this production in order to evaluate the results of the scientific activity. This doctoral thesis gathers the results obtained after applying several bibliometric indicators to that scientific production, both regarding its own production as well as its authorship. Key Words: Bibliometrics, Prehistory, rock painting, post-Palaeolithic painting, Levantine art, Schematic painting

Revisiones iconográficas en el arte rupestre levantino del Alto Segura

La revisión de los paneles con arte rupestre levantino mediante la aplicación de las novedosas técnicas de trabajo, sobre todo las relacionadas con la fotografía y el tratamiento digital de las imágenes, permite apreciar detalles en las representaciones hasta ahora inadvertidos. Ello suscita, en ocasiones, una lectura completamente novedosa de los paneles pintados. Este es el caso de las escenas y motivos que comentamos en el presente trabajo