Papers by Daniel Garrido Pimentel
RECONSTRUCTING SOCIAL NETWORKS THROUGH PALAEOLITHIC ART: Graphic interactions in the Later Magdalenian, 2020
El estudio de las convergencias y divergencias gráficas en el arte paleolítico es utilizado para ... more El estudio de las convergencias y divergencias gráficas en el arte paleolítico es utilizado para comprender la cultura, los territorios y los sistemas de interacción entre grupos humanos. El análisis estilístico y
formal de los bisontes rupestres europeos atribuidos al Magdaleniense reciente muestra la existencia de dos morfotipos gráficos: pirenaico (o tipo Niaux) y perigordiense (o tipo Font-de-Gaume). Su distribución geográfica, así como la densidad de conjuntos y figuras, permiten reconsiderar su significado territorial y proponer hipótesis para explicar la distribución y la coexistencia de estos modelos gráficos.
The study of graphic convergences and divergences in Palaeolithic art is a way of understanding the culture, territories and interaction systems of human groups. The stylistic and formal analysis of bison depictions
dated in the Later Magdalenian (Middle, Upper and Late Magdalenian) shows the existence of two graphic morphotypes: Pyrenean (or Niaux type) and Perigordian (or Font-de-Gaume type). Their geographic distribution and the density of sites and figures enables a reappraisal of their territorial significance and hypotheses are proposed to explain the distribution and co-existence of these graphic models.
Complutum, 2021
El 12 de enero de 2021 se constituyó el Comité Científico Nacional de Arte Rupestre de ICOMOS-Es... more El 12 de enero de 2021 se constituyó el Comité Científico Nacional de Arte Rupestre de ICOMOS-España
(CCNAR ICOMOS-España) como un grupo de grupo de expertos en estas manifestaciones culturales con el objeto de
dinamizar una reflexión rigurosa sobre la gestión de estos bienes culturales desde los principios emanados de las cartas
y convenios internacionales para la gestión del patrimonio cultural. La creación de este Comité Científico Nacional
de Arte Rupestre deriva de los objetivos del plan estratégico 2018-2021 del Comité Nacional de ICOMOS-España,
que pretende agrupar a sus expertos en grupos de trabajo temáticos para profundizar en los fines de la institución: la
identificación, el conocimiento, la documentación, la conservación, la protección, la gestión y la difusión del patrimonio
cultural, en este caso en el ámbito español. Ello no supone una restricción local de la institución internacional, bien alcontrario, busca reproducir un organigrama reflejo de los Comités Científicos Internacionales con los que se pretende
interactuar y establecer una acción coordinada.
___________________________________________________
On January 12th, 2021, the Committee was constituted the National Scientific Committee on Rock Art in
Spain,ICOMOS (CCNAR-ICOMOS-Spain) was constituted. It gathered a group of cultural heritage experts with the aim
of promoting a rigorous reflection about rock art management on the basis of the principles emanated from international
letters and convections for Cultural Heritage Management. The creation of CCNAR-ICOMOS derives from the aims
of the ICOMOS-Spain Strategic Plan 2018-21: to group together expert members in specific working groups in order
to deepen in areas to concern of the institution: the identification, knowledge, documentation, preservation, protection,
management and dissemination of cultural heritage in Spain. This does not entail a local restriction within an institution
of international character; on the contrary the CCNAR hopes to reproduce the structure of other International Scientific
Committees aiming to interact and organise coordinated actions with them.
Côa Symposium Novos olhares sobre a Arte Paleolítica New perspectives on Palaeolithic Art, 2018
Palaeolithic rock art is one of Humanity’s most relevant cultural manifestations.
It is an except... more Palaeolithic rock art is one of Humanity’s most relevant cultural manifestations.
It is an exceptional testimony related with culture and with the mental, symbolic and social
development of Humans.
The opening to the public of seven caves with Palaeolithic rock art in Cantabria, six of them
classified by UNESCO as World Heritage in 2008, is one of the most important ways of promoting
the awareness and socialization of this cultural heritage that is inside a protected natural
environment. The fragility of these sites makes the new technologies a key element of its
divulgation by means of the digital record of these assets. The inventory, documentation and
digitalization of this archaeological record ensures its preservation in time, despite any further
natural, biological or anthropic alteration of the asset.
Channels of indirect divulgation are crucial to the divulgation of the sites. Among these, we
highlight the publication of the scientific results of the research in scientific journals and divulgation
books, the organization of conferences and temporary and itinerant exhibitions, free
virtual tours to the cavities in electronic sites, periodical news in the social networks and in archaeological-
specific webs, user’s comments, protocols of collaborations between institutions
and its inclusion in touristic and cultural itineraries of both national and international scope.
The educational system is also a key vector to promote the awareness of the new generations
and of those to come. As such, politics of direct and indirect cultural access aimed at families
and schools are essential. Among those, we highlight the ones related with Prehistory, such
as those involving the use of replicas of the tools of the people that, since at least 200.000 to
10.000 years ago, dwell and decorated the caves open to the public. These activities take place
in the same natural environments where the original activities were done and they are crucial
to understand the ways of life of those ancient populations. In the last years, the increasing of
visitors to each cave and the lack of investment in infrastructures gave rise to the development
of a Guiding Plan that aims to provide impetus to the Cantabrian Palaeolithic rock art by direct
or indirect means.
Oxford Journal of Archaeology, 2021
Numerical chronology is one of the main sources of information by which one may contextualize pre... more Numerical chronology is one of the main sources of information by which one may contextualize prehistoric human activity more precisely. It is able to discriminate between different times of visits to caves and determine the period with which each form of evidence should be associated and the relationships between them. The application of conventional 14C and 14C-AMS has dated visits to the Palaeolithic cave art site of Las Monedas during historical times. The results underscore the caution that is needed when dating a cave art ensemble based on an undated archaeological context or attributing all the graphic activity to a single time.
Five bone objects from the caves of Portillo del Arenal and Linar (Cantabria) are studied. Their ... more Five bone objects from the caves of Portillo del Arenal and Linar (Cantabria) are studied. Their technological and functional analysis provide
data that allows their identification as pin-beaters and, therefore, a chronological attribution to the early Middle Ages and their relationship
with textile work.
L'étude des convergences et des divergences graphiques dans l'art Paléolithique est utilisée pour... more L'étude des convergences et des divergences graphiques dans l'art Paléolithique est utilisée pour comprendre la culture, les territoires et les systèmes d'interaction des groupes humains. L'ensemble rupestre de la grotte de La Covaciella contient quinze représentations d'animaux et d'autres motifs linéaires, géométriques et des points. La présence de représentations de bison est remarquable. Certains sont exécutés avec des procédés techniques très complexes. Deux d'entre eux ont été datés par la méthode du C 14 AMS et deux dates ont été obtenues : 14 260 AE 130 BP (17 733–16 973 cal BP) et 14 060 AE 140 BP (17 503– 16 260 cal BP). Chronologiquement, ces résultats correspondent au début du Magdalénien moyen ou à la fin du Magdalénien inférieur. D'autres figures similaires à celles des bisons de La Covaciella ont été retrouvées dans d'autres sites d'Europe occidentale. Le nombre de bisons qui possèdent des ressemblances graphiques avec les deux morphotypes de bisons présents dans la cavité, pyrénéen (morphotype Niaux) et périgourdin (morphotype Font-de-Gaume), est très élevé. Une première considération qui résulte de la recherche de comparaisons suppose une nouvelle interprétation de la valeur territoriale qui implique le terme « style Pyrénéen » (Asturies, Cantabrie, PaysBasque, Navarre, Pyrénées-Atlantiques, Hautes-Pyrénées, Haute-Garonne, Ariège, Dordogne, Lot, Ardèche et Vienne). Le morphotype pariétal Font-de-Gaume est le plus commun en Dordogne. En outre, dans quelques cas, il existe une complémentarités spatiale entre les deux morphotypes graphiques. Cet article propose différentes hypothèses chronologiques et anthropologiques pour expliquer la distribution et la coexistence des deux modèles graphiques.
In the course of the last decades, new cave art discoveries such as La Garma, Chauvet-Pont-d'Arc,... more In the course of the last decades, new cave art discoveries such as La Garma, Chauvet-Pont-d'Arc, Le Reseau Clastres in the Niaux Cave, Cosquer and Cussac have allowed researchers to advance in context and spatial studies related to the art. This has been possible because the decorated chambers were intact at the moment of the discovery and, soon after, protocols were put in place to protect these invaluable records. These types of caves are a minority. In the Cantabrian region, most of the discoveries took place at the beginning of the 20th century and, in some cases, a few years after the first studies were published, the caves were greatly modified to prepare them for tourist visits in the 1950s. However, the study of historical documents can provide information regarding the context and the original spatial distribution of the caves. Using the available data from different historical sources such as pictures, descriptions, sketches, plans, etc. available in publications and unpublished materials, we can reconstruct, to a limited extent, the appearance of a cave in the moment of its discovery. The information gathered by the different researchers in the last hundred years to advance in the knowledge of La Pasiega cave in Puente Viesgo (Cantabria) is used to prove the validity of this approach. The results, combining information from the available sources and careful observation in the cave, are positive, allowing us to advance significantly in the understanding of the cave's spatial characteristics.
The red disks from El Castillo Cave are among the earliest known cave paintings. Here, we combine... more The red disks from El Castillo Cave are among the earliest known cave paintings. Here, we combine the morphometric and technological study of red disks from two areas located at the end of the cave with the microscopic, elemental, and mineralogical analysis of the pigment and compare the results obtained with observations derived from experimental replication. Ergonomic constraints imply that a number of disks were made by adults, and the differences in pigment texture and composition suggest that they correspond to an accumulation through time of panels made by different persons who shared neither the same technical know-how nor, very possibly, the same symbolic system.
The red disks from El Castillo Cave are among the earliest known cave paintings. Here, we combine... more The red disks from El Castillo Cave are among the earliest known cave paintings. Here, we combine the morphometric and technological study of red disks from two areas located at the end of the cave with the microscopic, elemental, and mineralogical analysis of the pigment and compare the results obtained with observations derived from experimental replication. Ergonomic constraints imply that a number of disks were made by adults, and the differences in pigment texture and composition suggest that they correspond to an accumulation through time of panels made by different persons who shared neither the same technical know-how nor, very possibly, the same symbolic system.
This paper analyses and descríbes the technical and technological variables identified in each of... more This paper analyses and descríbes the technical and technological variables identified in each of the phases by execution order that take part in the operative chain of bone instruments. These phases are divided in the lollowing actions: collection, preparation of the matrix, extraction and translormation of the support, perforation, decoration and hafting of the tool. The analyzed occupational levels belong to the
Upper Palaeolithic at the archaeological sites 01 Las Caldas Cave, Bolinkoba, Santimamiñe and Aitzbitarte IV.
Las azagayas de base hendida o del Aurignac han ostentado un papel importante en la metodología d... more Las azagayas de base hendida o del Aurignac han ostentado un papel importante en la metodología de estudio por ser un fósil director que en ocasiones ha servido para designar el contexto cultural de un determinado nivel arqueológico. Sin embargo, en la Cornisa cantábrica, estos artefactos no han sido analizados con profundidad dentro del ámbito económico, tecnológico y funcional al que están asociadas, es decir, al de los primeros humanos anatómicamente modernos que poblaron la región cantábrica a principios del Paleolítico Superior.
[ES] La investigación realizada, continuación de otra anterior sobre la manufactura de las agujas... more [ES] La investigación realizada, continuación de otra anterior sobre la manufactura de las agujas paleolíticas de este yacimiento, estudia un conjunto de 57 agujas procedentes de los niveles solutrenses y magdalenienses de la Cueva de Las Caldas (Priorio, Oviedo). El análisis ...
Zephyrvs, 2013
RESUMEN: El yacimiento de Arlanpe, situado en un área estratégica a medio camino entre la costa c... more RESUMEN: El yacimiento de Arlanpe, situado en un área estratégica a medio camino entre la costa cantábrica y la Llanada Alavesa, presenta un nivel solutrense (nivel II) datado al final de este periodo, entre 21047 y 19909 cal BP. La industria lítica destaca respecto a otros yacimientos contemporáneos por el uso de materias primas locales de calidad mediocre (lutita), el transporte de sílex desde localidades lejanas situadas al N (Flysch) y al S (Treviño) del yacimiento, la abundancia de laminillas de dorso y la escasez de utillaje típico solutrense. El nivel es pobre en industria ósea, habiéndose recuperado tanto utillaje doméstico como de caza. Los objetos de adorno son escasos y están poco estandarizados. La fauna recuperada está dominada por animales de roquedo, especialmente Capra pyrenaica y Rupicapra pyrenaica, y aparece intensamente procesada. Las características del conjunto permiten interpretar las ocupaciones como un alto de caza complejo en el que se realizan tareas relacionadas con la preparación de la caza junto a otras actividades de carácter más doméstico. Los resultados del análisis detallado del conjunto arqueológico del nivel II de Arlanpe nos permiten valorar la naturaleza de los procesos de cambio acaecidos en las sociedades del final del Solutrense y proponer hipótesis que expliquen estas transformaciones. Palabras clave: Paleolítico. Transición. Dataciones. Industria lítica. Alto de caza. Análisis territorial. ABSTRACT: Arlanpe Cave site, situated in a strategic halfway between the Cantabrian coast and the Alavese Plateau, yielded a Solutrean level (level II) dated at the end of this period, between 21047 and disfrutado de una beca postdoctoral del Ministerio of Educación (Programa Nacional de Movilidad de Recursos Humanos del Plan Nacional de I+D+I 2008-2011) y recibe apoyo del Ministerio de Ciencia e Innovación (Proyecto CGL2009-12703-C03-03). Queremos agradecer asimismo a la editora de la revista y a los revisores anónimos las sugerencias realizadas. 19909 cal BP. The lithic industry displays some unique characteristics, among which the most striking are the use of poor quality local raw materials (silicified mudstone), the transport of flint from distant locations situated at the North (Flysch) and South (Treviño) of the site, the abundance of backed bladelets and the scarcity of typical Solutrean points. The bone industry is poor, having recovered both domestic and hunting tools. The ornaments are scarce and no standardized. The faunal assemblage is mainly composed by rocky environment animals as Capra pyrenaica or Rupicapra pyrenaica whose bones have been heavily processed. The characteristics of the occupation suggest that Arlanpe served as a complex hunting camp where not only tasks related with hunting but also some domestic activities were carried out. The results of the archaeological analysis of Arlanpe level II allows us to assess the nature of the processes of change that happened to human groups at the end of Solutrean and propose explanatory hypothesis for it.
El Monte del Castillo contiene uno de los conjuntos de arte rupestre paleolítico más importantes.... more El Monte del Castillo contiene uno de los conjuntos de arte rupestre paleolítico más importantes. A pesar de que en la actualidad se tiene un conocimiento relativamente actualizado sobre las manifestaciones artísticas, la historia de la gestión de las cuevas del Monte del Castillo,
vinculada al uso cultural y turístico, no ha sido objeto de atención. El presente trabajo, que abarca un lapso temporal desde 1903 a inicios de los años 70 del siglo pasado, recoge diversa información obtenida a través de la consulta de diversas publicaciones y de las Actas del
Patronato de las Cuevas Prehistóricas de Santander, del análisis de diversa información fotográfica de los años 50 y 60, y de la recopilación de información oral de personas que intervinieron activamente en los hechos acontecidos. A partir de ello se propone una articulación de la gestión
y actuaciones en cuatro etapas: a) 1903-1931: la figura de Hermilio Alcalde del Río y la mina de hierro “nombrada Rupestre”; b) 1931-1944: la Junta Superior de Excavaciones y Antigüedades; c) 1944-1950: primeras actuaciones del Patronato de las Cuevas Prehistóricas de la Provincia de Santander; y d) 1950-1971: Alfredo García Lorenzo y los grandes proyectos de adecuación y habilitación.
Monte Castillo contains one of the most important groups of caves with Paleolithic rock art. The archeology and rock art in the hill are well known, but the history of the management of the caves, linked to their cultural and tourist use, has not received researchers’ attention. This paper, which covers a time between 1903 and the early 1970s, gathers together information obtained through publications and the minutes
of the Patronato de las Cuevas Prehistóricas de Santander (Prehistoric Cave Trust), analysis of photographs from the 1950s and 60s, and
the oral information of people who were actively involved in the events. From this, we propose a division of the management activities in four stages: a) 1903-1931: Hermilio Alcalde del Río and the “nombrada Rupestre” iron mine; b) 1931-1944: the Higher Board of Excavations and
Antiquities; c) 1944-1950: first actions of Patronato de las Cuevas Prehistóricas de Santander, and d) 1950-1971: Alfredo García Lorenzo and large-scale projects to prepare the caves for visits.
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Papers by Daniel Garrido Pimentel
formal de los bisontes rupestres europeos atribuidos al Magdaleniense reciente muestra la existencia de dos morfotipos gráficos: pirenaico (o tipo Niaux) y perigordiense (o tipo Font-de-Gaume). Su distribución geográfica, así como la densidad de conjuntos y figuras, permiten reconsiderar su significado territorial y proponer hipótesis para explicar la distribución y la coexistencia de estos modelos gráficos.
The study of graphic convergences and divergences in Palaeolithic art is a way of understanding the culture, territories and interaction systems of human groups. The stylistic and formal analysis of bison depictions
dated in the Later Magdalenian (Middle, Upper and Late Magdalenian) shows the existence of two graphic morphotypes: Pyrenean (or Niaux type) and Perigordian (or Font-de-Gaume type). Their geographic distribution and the density of sites and figures enables a reappraisal of their territorial significance and hypotheses are proposed to explain the distribution and co-existence of these graphic models.
(CCNAR ICOMOS-España) como un grupo de grupo de expertos en estas manifestaciones culturales con el objeto de
dinamizar una reflexión rigurosa sobre la gestión de estos bienes culturales desde los principios emanados de las cartas
y convenios internacionales para la gestión del patrimonio cultural. La creación de este Comité Científico Nacional
de Arte Rupestre deriva de los objetivos del plan estratégico 2018-2021 del Comité Nacional de ICOMOS-España,
que pretende agrupar a sus expertos en grupos de trabajo temáticos para profundizar en los fines de la institución: la
identificación, el conocimiento, la documentación, la conservación, la protección, la gestión y la difusión del patrimonio
cultural, en este caso en el ámbito español. Ello no supone una restricción local de la institución internacional, bien alcontrario, busca reproducir un organigrama reflejo de los Comités Científicos Internacionales con los que se pretende
interactuar y establecer una acción coordinada.
___________________________________________________
On January 12th, 2021, the Committee was constituted the National Scientific Committee on Rock Art in
Spain,ICOMOS (CCNAR-ICOMOS-Spain) was constituted. It gathered a group of cultural heritage experts with the aim
of promoting a rigorous reflection about rock art management on the basis of the principles emanated from international
letters and convections for Cultural Heritage Management. The creation of CCNAR-ICOMOS derives from the aims
of the ICOMOS-Spain Strategic Plan 2018-21: to group together expert members in specific working groups in order
to deepen in areas to concern of the institution: the identification, knowledge, documentation, preservation, protection,
management and dissemination of cultural heritage in Spain. This does not entail a local restriction within an institution
of international character; on the contrary the CCNAR hopes to reproduce the structure of other International Scientific
Committees aiming to interact and organise coordinated actions with them.
It is an exceptional testimony related with culture and with the mental, symbolic and social
development of Humans.
The opening to the public of seven caves with Palaeolithic rock art in Cantabria, six of them
classified by UNESCO as World Heritage in 2008, is one of the most important ways of promoting
the awareness and socialization of this cultural heritage that is inside a protected natural
environment. The fragility of these sites makes the new technologies a key element of its
divulgation by means of the digital record of these assets. The inventory, documentation and
digitalization of this archaeological record ensures its preservation in time, despite any further
natural, biological or anthropic alteration of the asset.
Channels of indirect divulgation are crucial to the divulgation of the sites. Among these, we
highlight the publication of the scientific results of the research in scientific journals and divulgation
books, the organization of conferences and temporary and itinerant exhibitions, free
virtual tours to the cavities in electronic sites, periodical news in the social networks and in archaeological-
specific webs, user’s comments, protocols of collaborations between institutions
and its inclusion in touristic and cultural itineraries of both national and international scope.
The educational system is also a key vector to promote the awareness of the new generations
and of those to come. As such, politics of direct and indirect cultural access aimed at families
and schools are essential. Among those, we highlight the ones related with Prehistory, such
as those involving the use of replicas of the tools of the people that, since at least 200.000 to
10.000 years ago, dwell and decorated the caves open to the public. These activities take place
in the same natural environments where the original activities were done and they are crucial
to understand the ways of life of those ancient populations. In the last years, the increasing of
visitors to each cave and the lack of investment in infrastructures gave rise to the development
of a Guiding Plan that aims to provide impetus to the Cantabrian Palaeolithic rock art by direct
or indirect means.
data that allows their identification as pin-beaters and, therefore, a chronological attribution to the early Middle Ages and their relationship
with textile work.
Upper Palaeolithic at the archaeological sites 01 Las Caldas Cave, Bolinkoba, Santimamiñe and Aitzbitarte IV.
vinculada al uso cultural y turístico, no ha sido objeto de atención. El presente trabajo, que abarca un lapso temporal desde 1903 a inicios de los años 70 del siglo pasado, recoge diversa información obtenida a través de la consulta de diversas publicaciones y de las Actas del
Patronato de las Cuevas Prehistóricas de Santander, del análisis de diversa información fotográfica de los años 50 y 60, y de la recopilación de información oral de personas que intervinieron activamente en los hechos acontecidos. A partir de ello se propone una articulación de la gestión
y actuaciones en cuatro etapas: a) 1903-1931: la figura de Hermilio Alcalde del Río y la mina de hierro “nombrada Rupestre”; b) 1931-1944: la Junta Superior de Excavaciones y Antigüedades; c) 1944-1950: primeras actuaciones del Patronato de las Cuevas Prehistóricas de la Provincia de Santander; y d) 1950-1971: Alfredo García Lorenzo y los grandes proyectos de adecuación y habilitación.
Monte Castillo contains one of the most important groups of caves with Paleolithic rock art. The archeology and rock art in the hill are well known, but the history of the management of the caves, linked to their cultural and tourist use, has not received researchers’ attention. This paper, which covers a time between 1903 and the early 1970s, gathers together information obtained through publications and the minutes
of the Patronato de las Cuevas Prehistóricas de Santander (Prehistoric Cave Trust), analysis of photographs from the 1950s and 60s, and
the oral information of people who were actively involved in the events. From this, we propose a division of the management activities in four stages: a) 1903-1931: Hermilio Alcalde del Río and the “nombrada Rupestre” iron mine; b) 1931-1944: the Higher Board of Excavations and
Antiquities; c) 1944-1950: first actions of Patronato de las Cuevas Prehistóricas de Santander, and d) 1950-1971: Alfredo García Lorenzo and large-scale projects to prepare the caves for visits.
formal de los bisontes rupestres europeos atribuidos al Magdaleniense reciente muestra la existencia de dos morfotipos gráficos: pirenaico (o tipo Niaux) y perigordiense (o tipo Font-de-Gaume). Su distribución geográfica, así como la densidad de conjuntos y figuras, permiten reconsiderar su significado territorial y proponer hipótesis para explicar la distribución y la coexistencia de estos modelos gráficos.
The study of graphic convergences and divergences in Palaeolithic art is a way of understanding the culture, territories and interaction systems of human groups. The stylistic and formal analysis of bison depictions
dated in the Later Magdalenian (Middle, Upper and Late Magdalenian) shows the existence of two graphic morphotypes: Pyrenean (or Niaux type) and Perigordian (or Font-de-Gaume type). Their geographic distribution and the density of sites and figures enables a reappraisal of their territorial significance and hypotheses are proposed to explain the distribution and co-existence of these graphic models.
(CCNAR ICOMOS-España) como un grupo de grupo de expertos en estas manifestaciones culturales con el objeto de
dinamizar una reflexión rigurosa sobre la gestión de estos bienes culturales desde los principios emanados de las cartas
y convenios internacionales para la gestión del patrimonio cultural. La creación de este Comité Científico Nacional
de Arte Rupestre deriva de los objetivos del plan estratégico 2018-2021 del Comité Nacional de ICOMOS-España,
que pretende agrupar a sus expertos en grupos de trabajo temáticos para profundizar en los fines de la institución: la
identificación, el conocimiento, la documentación, la conservación, la protección, la gestión y la difusión del patrimonio
cultural, en este caso en el ámbito español. Ello no supone una restricción local de la institución internacional, bien alcontrario, busca reproducir un organigrama reflejo de los Comités Científicos Internacionales con los que se pretende
interactuar y establecer una acción coordinada.
___________________________________________________
On January 12th, 2021, the Committee was constituted the National Scientific Committee on Rock Art in
Spain,ICOMOS (CCNAR-ICOMOS-Spain) was constituted. It gathered a group of cultural heritage experts with the aim
of promoting a rigorous reflection about rock art management on the basis of the principles emanated from international
letters and convections for Cultural Heritage Management. The creation of CCNAR-ICOMOS derives from the aims
of the ICOMOS-Spain Strategic Plan 2018-21: to group together expert members in specific working groups in order
to deepen in areas to concern of the institution: the identification, knowledge, documentation, preservation, protection,
management and dissemination of cultural heritage in Spain. This does not entail a local restriction within an institution
of international character; on the contrary the CCNAR hopes to reproduce the structure of other International Scientific
Committees aiming to interact and organise coordinated actions with them.
It is an exceptional testimony related with culture and with the mental, symbolic and social
development of Humans.
The opening to the public of seven caves with Palaeolithic rock art in Cantabria, six of them
classified by UNESCO as World Heritage in 2008, is one of the most important ways of promoting
the awareness and socialization of this cultural heritage that is inside a protected natural
environment. The fragility of these sites makes the new technologies a key element of its
divulgation by means of the digital record of these assets. The inventory, documentation and
digitalization of this archaeological record ensures its preservation in time, despite any further
natural, biological or anthropic alteration of the asset.
Channels of indirect divulgation are crucial to the divulgation of the sites. Among these, we
highlight the publication of the scientific results of the research in scientific journals and divulgation
books, the organization of conferences and temporary and itinerant exhibitions, free
virtual tours to the cavities in electronic sites, periodical news in the social networks and in archaeological-
specific webs, user’s comments, protocols of collaborations between institutions
and its inclusion in touristic and cultural itineraries of both national and international scope.
The educational system is also a key vector to promote the awareness of the new generations
and of those to come. As such, politics of direct and indirect cultural access aimed at families
and schools are essential. Among those, we highlight the ones related with Prehistory, such
as those involving the use of replicas of the tools of the people that, since at least 200.000 to
10.000 years ago, dwell and decorated the caves open to the public. These activities take place
in the same natural environments where the original activities were done and they are crucial
to understand the ways of life of those ancient populations. In the last years, the increasing of
visitors to each cave and the lack of investment in infrastructures gave rise to the development
of a Guiding Plan that aims to provide impetus to the Cantabrian Palaeolithic rock art by direct
or indirect means.
data that allows their identification as pin-beaters and, therefore, a chronological attribution to the early Middle Ages and their relationship
with textile work.
Upper Palaeolithic at the archaeological sites 01 Las Caldas Cave, Bolinkoba, Santimamiñe and Aitzbitarte IV.
vinculada al uso cultural y turístico, no ha sido objeto de atención. El presente trabajo, que abarca un lapso temporal desde 1903 a inicios de los años 70 del siglo pasado, recoge diversa información obtenida a través de la consulta de diversas publicaciones y de las Actas del
Patronato de las Cuevas Prehistóricas de Santander, del análisis de diversa información fotográfica de los años 50 y 60, y de la recopilación de información oral de personas que intervinieron activamente en los hechos acontecidos. A partir de ello se propone una articulación de la gestión
y actuaciones en cuatro etapas: a) 1903-1931: la figura de Hermilio Alcalde del Río y la mina de hierro “nombrada Rupestre”; b) 1931-1944: la Junta Superior de Excavaciones y Antigüedades; c) 1944-1950: primeras actuaciones del Patronato de las Cuevas Prehistóricas de la Provincia de Santander; y d) 1950-1971: Alfredo García Lorenzo y los grandes proyectos de adecuación y habilitación.
Monte Castillo contains one of the most important groups of caves with Paleolithic rock art. The archeology and rock art in the hill are well known, but the history of the management of the caves, linked to their cultural and tourist use, has not received researchers’ attention. This paper, which covers a time between 1903 and the early 1970s, gathers together information obtained through publications and the minutes
of the Patronato de las Cuevas Prehistóricas de Santander (Prehistoric Cave Trust), analysis of photographs from the 1950s and 60s, and
the oral information of people who were actively involved in the events. From this, we propose a division of the management activities in four stages: a) 1903-1931: Hermilio Alcalde del Río and the “nombrada Rupestre” iron mine; b) 1931-1944: the Higher Board of Excavations and
Antiquities; c) 1944-1950: first actions of Patronato de las Cuevas Prehistóricas de Santander, and d) 1950-1971: Alfredo García Lorenzo and large-scale projects to prepare the caves for visits.
general, retouchers or flakers are bone or antler fragments generated by intentional breakage and can be identified by macroscopic analysis looking the morphological characteristics in tandem with the position of usewear accumulated over the tool´s uselife. Occasionally, macroscopic usewear may be confused with taphonomic alterations produced by post depositional, faunal, or anthropic agents. The identification and differentiation between usewear and taphonomic alterations allows the definition of new criteria that facilitate the typological classification of these artifacts based on their function, rather than on morphological features.
El objetivo del presente trabajo es delimitar el contexto cronológico y cultural en el que se llevaron a cabo. Se recopilan y discuten los datos disponibles para el ámbito ibérico y francés,
teniendo en cuenta la información procedente de la datación radiométrica, el recubrimiento estratigráfico, las uperposiciones entre grafías, los contextos culturales espacialmente inmediatos.
y del arte mueble.
The most common view is considering the Paleolithic hands as Gravettian representations. However, some researchers propose its execution in more ancient or more recent stages.
The aim of this study is to define the chronology in which these representations were painted. Are collected and discussed the available data from radiometric dating, stratigraphy covering,
graphic stratigraphy, cultural contexts associated with hands and portable art, in the Iberian
Peninsula and France.
El libro desvela el contenido e importancia de las cuevas abiertas al público, declaradas Patrimonio Mundial por la UNESCO, explorando además su relación con otros enclaves rupestres cercanos, hoy en día no accesibles. El Museo de Altamira y el Centro de Arte Rupestre de Cantabria complementan esta experiencia.
Este libro nos invita conocer y en profundidad el fascinante legado artístico y cultural que pervive en las paredes de las cuevas de Cantabria, una puerta abierta a la comprensión y admiración de este vasto y enigmático mundo ancestral.
Muñoz Fernández se nos ofrece una extensa e interesante monografía
sobre uno de los pioneros en las investigaciones prehistóricas de la cornisa cantábrica de principios del siglo XX, el sacerdote paúl P. Lorenzo Sierra Rubio, al cual consideramos “el gran olvidado”, pues a pesar de su relevancia en esas primeras etapas de los descubrimientos de cuevas junto a Alcalde del Río, tal y como mostramos en el libro, su figura ha estado relegada a un segundo plano, si no al olvido…
La iniciativa de la publicación parte de la SCE dentro de las actividades
del XI Día de las Letras de Cantabria, entre cuyos autores conmemorados
se encuentran Sierra y Alcalde del Río, al coincidir en ambos la fecha de
fallecimiento: el año 1942, es decir, hace 75 años, y cuenta con la colaboración generosa del Ayuntamiento de Limpias. Se presenta un estudio detallado de sus orígenes en Ezcaray, La Rioja, y de sus andanzas vitales en Madrid, Cantabria y algún país extranjero, a la vez que se aprovecha para poner en perspectiva su papel dentro de las investigaciones de la Prehistoria en el norte de España y se analizan en
detalle sus aportaciones iniciales, evolución posterior y situación actual de sus descubrimientos.