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Birds in the cave painting during the recent Prehistory in south of Iberian Peninsula by Andy B on Thursday, 02 March 2017

Birds in the cave painting during the recent Prehistory in the south of the Iberian Peninsula
Author - Profesora Lazarich, María, Universidad de Cádiz, Cádiz, Spain (Presenting author)
Co-author(s) - Ramos-Gil, Antonio, Universidad de Cádiz, Cádiz, Spain
Co-author(s) - González, Juan Luis, Universidad de Cádiz, Cádiz, Spain
Co-author(s) - Malla, Manuela, Universidad de Cádiz, Cádiz, Spain
Co-author(s) - Cruz, María José, Universidad de Cádiz, Cádiz, Spain

Birds were not one of the favourite issues in order to be used for rock paintings in the Iberian Peninsula. In spite of that, in the southern end of Spain it is focused the greatest amount of this kind of artistic manifestations. We are referring to the shelter of Tajo
de las Figuras (Benalup- Casas Viejas, Cádiz), which represents the 99’94% of the total of bird representations of postpaleolithic rock paintings in the Iberian Peninsula. In 17 square meters of wall surface 962 pictograms are represented, of which 208 are
birds. In it, social groups in the Recent Prehistory capture the rich ecosystem of the former Laguna de la Janda and where birds
had a leading role. Our research group has recently made a detailed investigation of these paintings, in which we have been
able to ascertain the existence of very diverse species and scenes of ethology of these birds and an exaltation of fertility, as a
whole. Other scenes, even though they could be related to waterbird hunting, it is also possible that they have a shamanic ritual
significance, in connection with life and death.
By the same token, systematic prospecting works in the surroundings allow us confirm the existence of a spatial pattern,
where shelters with rock paintings are demarcated in the territory in close liaison with settlements, necropolis, communication
routes and catchment areas. Of special interest is the megalithic necropolis, located at the foot of the shelters (Necropolis del Celemín), due to its complex exchange of intervisibility between shelters with paintings (Arco and Tajo de las Figuras) and
megalithic tombs

Source:
http://eaavilnius2016.lt/wp-content/uploads/2016/08/Book-Abstract-A4_08-23_net.pdf

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