Prehistoric Art: Difference between revisions
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[https://www.jstor.org/stable/24712796 by John Robb 10/15 JSTOR] | [https://www.jstor.org/stable/24712796 by John Robb 10/15 JSTOR] | ||
Although many researchers have studied prehistoric European art, there has been virtually no attention paid to the broad prehistory of art as a specialized form of material culture; virtually all studies focus narrowly on single bodies of art. This paper presents a new approach to analyzing prehistoric art: quantitative deep time study. It analyzes a database of 211 art traditions from across Europe and from 40,000 B.C. to 0 A.D. to identify changes in the amount, nature, and use of prehistoric art. | Although many researchers have studied prehistoric European art, there has been virtually no attention paid to the broad prehistory of art as a specialized form of material culture; virtually all studies focus narrowly on single bodies of art. This paper presents a new approach to analyzing prehistoric art: quantitative deep time study. It analyzes a database of 211 art traditions from across Europe and from 40,000 B.C. to 0 A.D. to identify changes in the amount, nature, and use of prehistoric art. | ||
=====“3DMeshTracings”: A protocol for the digital recording of prehistoric art. Its application at Almendres cromlech (Évora, Portugal)===== | |||
[https://www.sciencedirect.com/science/article/abs/pii/S2352409X19300379 by Enrique Cerrillo-Cuenca 6/19 ScienceDirect] | |||
The study of European post-glacial art is grounded on the decoration of megalithic monuments to assess questions about their functionality, chronology and phases of use. The fact that stelae, menhirs and monuments located in the open-air can be included in this group of expressions is fully admitted by European historiography, and therefore menhirs can be included in the wide context of Megalithic Art (Bailloud et al., 1995; Benéteau-Douillard, 2012; Bueno-Ramírez et al., 2016, Bueno-Ramírez et al., 2007; Calado, 2002; Migdley, 2013). | |||
