Planteamientos interpretativos para el arte levantino a partir del estudio del abrigo del Arquero de los Callejones Cerrados

Se presenta el estudio del abrigo del Arquero de los Callejones Cerrados, en la sierra de Albarracín. En su documentación se han combinado diversas técnicas fotográficas y geométricas, tratamiento digital de las imágenes y confección de calcos digitales. A partir del análisis de los paneles pintados de tendencia naturalista, en color rojo y blanco, se ha documentado la existencia de una panoplia muy completa de especies animales que, además, aparecen conformando escenas con evidente carga simbólica junto a figuraciones humanas. El objetivo original consistía en establecer un mejor conocimiento del arte levantino a escala regional. El análisis realizado nos ha permitido observar una estrecha relación entre figuras femeninas y una posible escena de apareamiento de bóvidos que invita a realizar apreciaciones teórico-interpretativas novedosas. Éstas se orientan tanto a la existencia efectiva de una posible domesticación animal como a la posibilidad de subrayar el valor simbólico de una escena de fertilidad con implicaciones cronoculturales alejadas de las tradicionalmente apuntadas para el denominado arte levantino. En esta línea, se plantea la necesidad de abordar una redefinición general para el propio concepto de arte levantino. The study on the rock art shelter of Arquero de los Callejones Cerrados, in the mountain range of Albarracín, is presented. We combined different methods on its documentation, attending to photography, geometric techniques, image digital enhancement and digital tracings. According to the analysis of the naturalistic decorated panels, depicted in red and white colour, it has been documented a wide group of animal species, some of them forming symbolic scenes together with human figures. The main focus of the study was to establish a better knowledge of the rock art on a regional scale. The analysis carried out allows us to point out a close relationship between female motifs and a feasible mating scene between two bovines, which invite to make new theoretical and interpretative evaluations. So it is possible to note a scene with already tamed animals and also to highlight the symbolic value of a fertility scene, with all those chrono-cultural implications it has out of those traditionally used for the so-called Levantine rock art. In this hand, we also set out the necessity to address a general redefinition of the Levantine rock art concept

Las representaciones levantinas de bovinos de la casa forestal de Tormón (Teruel): Ceja de Piezarrodilla y Cerrada del tío Jorge

Se presenta el análisis, mediante nuevas técnicas de documentación, de dos de los conjuntos rupestres con figuras de bóvidos levantinas más destacadas de la Sierra de Albarracín: Ceja de Piezarrodilla y Cerrada del Tío Jorge. Pasados más de 30 años desde el último estudio exhaustivo realizado sobre estos conjuntos, el tratamiento digital de la imagen nos ha permitido no sólo documentar mejor las representaciones, sino ofrecer una nueva lectura relativa a la conservación de las pinturas en determinados motivos, apuntando al crecimiento de agentes bióticos sobre los pigmentos del toro de Ceja de Piezarrodilla. El reestudio de los conjuntos rupestres de la zona, junto al realizado sobre nuevos abrigos recientemente descubiertos, ha permitido establecer paralelos temáticos y estilísticos que subrayan la conformación en la Sierra de Albarracín de un verdadero núcleo rupestre con particularidades que poco tienen que ver con el arte levantino propio de otras áreas geográficas. A new analysis on two of the most interesting rock-art shelters of the mountain range of Albarracín is presented. New documentation techniques have been used on the study. It has been more than 30 years since the last exhaustive study carried on these sites, the digital enhancement of the images has allow us to have not only a better documentation of the motifs but also offer a new reading relating to the preservation of the paintings. In this way, we point out that one the re-painted of the bull from Ceja de Piezarrodilla could be, in fact, a biotic agent growing over the painting. The re-study of the rock-art sites of the area, also with the new rock-art shelters recently found, allow us to establish thematic and stylistic parallels that highlight the formation of a real rock-art nucleus in the mountain range of Albarracín with some particularities that have little to do with the Levantine rock-art in other areas

A multi-scalar photogrammetric recording approach in Termez (Uzbekistan)

This paper presents the preliminary results obtained during the 3D recording campaign carried out in 2018 by the Spanish-Uzbek IPAEB mission in the archaeological site of Termez (southern border of Uzbekistan). Ancient Termez is an important historical city within the Silk Road located in the ancient Bactria region. The archaeological work performed at the site since the beginning of the 20th century allowed a large fortified urban complex to be identified that includes other walled enclosures inside it, i.e., a Hellenistic-Seleucid fortress founded after the campaigns of Alexander the Great in the late 4th century BC, several Buddhist monastic complexes dated to the Kushan period (1st to mid-3rd centuries), and a large urban settlement dated to the Islamic period which includes the city proper or shahristan and the suburbs or rabad. After the destruction by Genghis Khan in 1220, Termez was rebuilt following a different plan. Major changes involved the movement of the pottery workshops from the rabad to the previous shahristan. The research focuses on: a) the identification, study and archaeological contextualization of ceramic production centres located in different areas of the ancient Termez from the Kushan to the Islamic period (1st to 14th centuries AD); b) the integration of the pottery workshops into the general topography of the site and c) the study of their evolution in relation to the transformation of the urban design. Since the site is currently located in a military area - close to the border area between Uzbekistan and Afghanistan -, the archaeological work is restricted to specific zones and the use of aerial devices such as drones is forbidden. However, this research requires both micro and macro spatial approaches to accurately record all the archaeological structures and to evaluate the integration and evolution of the pottery workshops into the general topography of the city. In order to fill this gap, declassified images of the CORONA satellite program were analyzed and compared to historical and archaeological data. In addition, we propose a geometrical and graphical recording and distribution system of the kilns -located in the rabad and the shahristan -and the ceramics produced and used in Termez during the period studied by means of photogrammetric techniques. The results are aimed at management through open-source 3D formats and web mapping GIS libraries combined with historical satellite information that defines the different archaeological areas

Un fragmento de escultura monumental romana en mármol procedente del yacimiento de El Forau de la Tuta (Artieda, Jacetania, Zaragoza)

This paper deals with the archeometric and archaeological study of a tiny fragment of Roman monumental sculpture from the urban settlement of El Forau de la Tuta (Artieda, Zaragoza, Spain). This item, made of Luni-Carrara marble, represents a human left hand bearing a patera umbilicata belonging to a large-format statue, datable probably between the second half of the 1st and the beginning of the 2nd centuries, which would have been originally located in a public building, possibly a temple, of the city forum. According to the preserved iconographic parallels, we think that this statue would have been an Imperial Cult image, hypothetically a Lar Augusti or a Genius Augusti.El presente trabajo aborda el estudio arqueométrico y arqueológico de un pequeño fragmento de escultura monumental romana procedente del asentamiento urbano de El Forau de la Tuta (Artieda, Zaragoza, España). Dicha pieza, fabricada en mármol de Luni-Carrara, representa una mano izquierda con pátera umbilicata que formaría parte de una estatua de gran formato datable entre la segunda mitad del siglo I y comienzos del II procedente de un edificio público, un templo posiblemente, ubicado en el foro de la ciudad. A partir de los paralelos iconográficos conservados, pensamos que esta estatua podría haberse tratado de una imagen de culto imperial, hipotéticamente un Lar Augusti o un Genius Augusti

Un fragmento de escultura monumental romana en mármol procedente del yacimiento de El Forau de la Tuta (Artieda, Jacetania, Zaragoza)

El presente trabajo aborda el estudio arqueométrico y arqueológico de un pequeño fragmento de escultura monumental romana procedente del asentamiento urbano de El Forau de la Tuta (Artieda, Zaragoza, España). Dicha pieza, fabricada en mármol de Luni-Carrara, representa una mano izquierda con pátera umbilicata que formaría parte de una estatua de gran formato datable entre la segunda mitad del siglo I y comienzos del II procedente de un edificio público, un templo posiblemente, ubicado en el foro de la ciudad. A partir de los paralelos iconográficos conservados, pensamos que esta estatua podría haberse tratado de una imagen de culto imperial, hipotéticamente un Lar Augusti o un Genius Augusti

Un fragmento de escultura monumental romana en mármol procedente del yacimiento de El Forau de la Tuta (Artieda, Jacetania, Zaragoza)

This paper deals with the archeometric and archaeological study of a tiny fragment of Roman monumental sculpture from the urban settlement of El Forau de la Tuta (Artieda, Zaragoza, Spain). This item, made of Luni-Carrara marble, represents a human left hand bearing a patera umbilicata belonging to a large-format statue, datable probably between the second half of the 1st and the beginning of the 2nd centuries, which would have been originally located in a public building, possibly a temple, of the city forum. According to the preserved iconographic parallels, we think that this statue would have been an Imperial Cult image, hypothetically a Lar Augusti or a Genius Augusti.El presente trabajo aborda el estudio arqueométrico y arqueológico de un pequeño fragmento de escultura monumental romana procedente del asentamiento urbano de El Forau de la Tuta (Artieda, Zaragoza, España). Dicha pieza, fabricada en mármol de Luni-Carrara, representa una mano izquierda con pátera umbilicata que formaría parte de una estatua de gran formato datable entre la segunda mitad del siglo I y comienzos del II procedente de un edificio público, un templo posiblemente, ubicado en el foro de la ciudad. A partir de los paralelos iconográficos conservados, pensamos que esta estatua podría haberse tratado de una imagen de culto imperial, hipotéticamente un Lar Augusti o un Genius Augusti