The graphic activity of Magdalenian human groups forms the most spectacular part of the archaeological record in Cantabrian Spain and, at the same time, represents probably the most expressive aspect of the culture of those Upper Palaeolithic hunters. Since the early 1990s, several projects have tried to fix more precisely the chronology of the cave art through the application of radiocarbon dating by Accelerator Mass Spectrometry (Valladas etal. 1992, 2001; Moure Romanillo and Gonzalez Sainz 2000; Fortea Perez 2002). The present article attempts an integrated discussion of the results of the absolute chronology for Magdalenian cave art and the present situation of the most reliable parallels between this and the mobile art of the same period.

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