Marcos García-Diez
Licenciado en Historia (rama curricular de Prehistoria) por la Universidad del País Vasco (1996), Diplomado en Arqueología Práctica por la Universidad de Deusto (1996) y Doctor (especialidad Prehistoria) por la Universidad del País Vasco bajo la dirección de I. Barandiarán (2002).Ha sido profesor de licenciatura (en Historia) y grado (en Historia, Historia del Arte, y Geografía e Historia) en las universidades del País Vasco (2009-2017) e Isabel I de Burgos (2017-2019), de másteres en cuaternario en la universidad del País Vasco (2009-2019) y de máster en formación del profesorado en la Isabel I (2016-2018), y de doctorado en las universidades Rovira y Virgili de Tarragona (2004-2007) y País Vasco (2004-2009). Ha realizado estancias de investigación en Francia (Universidad de Bordeaux -1998-), Portugal (Parque Arqueológico del Valle de Côa -1999- e Instituto Politécnico de Tomar -1998-), República Checa (Laboratorio de Paleolítico y Paleoetnografía del Instituto de las Ciencias Checas -2002 a 2004-) y España (Universidad Rovira y Virgili -1997 y 1998-).Su ámbito de investigación se centra principalmente en el arte prehistórico, tanto paleolítico como postpaleolítico. Sus líneas de trabajo actuales preferentes se concretan en:•Origen de la conducta simbólica y del grafismo.•El desarrollo del arte paleolítico y el fin del estilo paleolítico.•Aplicación de técnicas cronométricas al estudio de arte prehistórico.•Territorialidad y movilidad de los grupos cazadores-recolectores.•Arte prehistórico como información paleoetnográfica.•Conservación, gestión y puesta en valor del Patrimonio Rupestre.Ha desarrollo trabajos arqueológicos y de conservación en España (entre otros, Ekain, Danbolinzulo, Altamira, Covalanas, La Haza, El Castillo, La Pasiega, Las Chimeneas, Coimbre, Covaciella, El Bosque, Venta Laperra, Los Casares, Ardales, etc.), Francia (Merveilles), Portugal (Foz Côa y Escoural), Italia (Grotta di Genovessi), República Checa (Dolní Vestonice y Paulov) y Timor (prospección de arte rupestre en el área de Tutuala). Su actividad de investigación ha sido reconocida positivamente por la ANECA con tres tramos de investigación (sexenios 1997-2005, 2006-2011 y 2012-2017). Está acreditado por la ANECA, en 2015, como profesor ayudante doctor, profesor de universidad privada y profesor contratado doctor. Además de la actividad académica y de investigación, ha desarrollo actividad laboral en el ámbito de la gestión del Patrimonio, trabajando como técnico superior en el Centro Nacional de Arte Rupestre del Ministerio de Cultura Portugués (1999 y 2000) y como Coordinador de Centros Culturales del Gobierno de Cantabria (2006 a 2010). Ha sido miembro de diversas comisiones y órganos de asesoramiento sobre patrimonio (comunidades de País Vasco, Cantabria, Asturias y Extremadura, Ministerio de Cultura del Gobierno de España) y miembro del Patronato del Museo Nacional y Centro de Investigación de la cueva de Altamira (2010-2012). Por último, destaca su actividad de transferencia, habiendo escrito varias guías de cuevas con arte rupestre y diversos libros de divulgación, así como numerosas charlas de divulgación científica y habiendo comisariado exposiciones para el Gobierno de Cantabria, la Fundación Atapuerca y el Museo Nacional y Centro de Investigación de la cueva de Altamira.
Address: e-mail: [email protected]
Address: e-mail: [email protected]
less
Related Authors
InterestsView All (22)
Uploads
Papers by Marcos García-Diez
creencias de los grupos cazadores-recolectores del Paleolítico superior europeo. A pesar de haber sido la primera cueva en que fue identificado
el arte rupestre paleolítico, su comprensión aún es parcial, debido a la complejidad de su estudio y a los condicionantes que la conservación ha
supuesto en las últimas décadas. Este trabajo presenta la documentación y estudio del arte rupestre identificado en la Unidad Topográfica I del
Sector V. Éste ha permitido la localización de nuevas figuras y la revisión de las previamente conocidas, y se centra en su estudio formal, técnico
y estilístico, discutiendo aspectos vinculados al proceso gráfico (recursos de representación, encuadres y encajes, referencias al espacio y valor
de las marcas negras y rojas), a la cronología -abordando la discusión sobre su sincronía o diacronía- y al uso del grafismo tras su ejecución.
The cave of Altamira is one of the most significant sites for studying the origins of symbolism, human creativity, art and beliefs of hunter-
gatherer groups in the European Upper Palaeolithic. Despite having been the first cave in which Palaeolithic rock art was identified, our understanding
of its imagery is still partial, due to the complexity of its study and the preservation issues that have been faced in recent decades.
This paper presents the documentation and study of the rock art identified Topographic Unit I in Sector V. This has been able to locate new
figures and revise those previously known, focusing on their formal, technical and stylistic analysis, discussing aspects linked to the graphic
process (representation resources, framing, references to space, and assessment of black and red marks), chronology (including a discussion
about its synchrony or diachrony), and the possible uses of Palaeolithic images after their execution.
Lapedo child burial, dated to the Gravettian, prompting an investigation into its role and the nature of its pigmentation. Detailed analysis, including visual examination, digital image enhancement, microscopic observation,
and Raman spectroscopy, revealed that the pigmentation primarily consists of haematite. The sequence of events leading to the pigmentation on the limestone support involves sediment accumulation, surface abrasion, and finally, the application of red colour. The “barcode”-like design on the support likely resulted from unintentional rubbing or contact with red pigment previously deposited in the shelter, potentially associated with the nearby burial. The analyses carried out on this finding suggest that the red colouration was not a result of deliberate artistic or symbolic behaviour but rather a passive process, either natural or anthropic, linked to the block’s movement and its interaction with deposited red pigment.
In summary, the study underscores the importance of a comprehensive and well-grounded approach in examining pigmented supports in Palaeolithic contexts. It demonstrates that understanding the nature and origin of pigmentation involves not only analysing patterns but also considering the specific context and processes that led to its deposition. The examination of the Lagar Velho limestone support serves as an example of how taphonomic processes can influence the appearance of colouration in non-artistic contexts, challenging conventional
interpretations of such finds in the European Upper Palaeolithic framework.
creencias de los grupos cazadores-recolectores del Paleolítico superior europeo. A pesar de haber sido la primera cueva en que fue identificado
el arte rupestre paleolítico, su comprensión aún es parcial, debido a la complejidad de su estudio y a los condicionantes que la conservación ha
supuesto en las últimas décadas. Este trabajo presenta la documentación y estudio del arte rupestre identificado en la Unidad Topográfica I del
Sector V. Éste ha permitido la localización de nuevas figuras y la revisión de las previamente conocidas, y se centra en su estudio formal, técnico
y estilístico, discutiendo aspectos vinculados al proceso gráfico (recursos de representación, encuadres y encajes, referencias al espacio y valor
de las marcas negras y rojas), a la cronología -abordando la discusión sobre su sincronía o diacronía- y al uso del grafismo tras su ejecución.
The cave of Altamira is one of the most significant sites for studying the origins of symbolism, human creativity, art and beliefs of hunter-
gatherer groups in the European Upper Palaeolithic. Despite having been the first cave in which Palaeolithic rock art was identified, our understanding
of its imagery is still partial, due to the complexity of its study and the preservation issues that have been faced in recent decades.
This paper presents the documentation and study of the rock art identified Topographic Unit I in Sector V. This has been able to locate new
figures and revise those previously known, focusing on their formal, technical and stylistic analysis, discussing aspects linked to the graphic
process (representation resources, framing, references to space, and assessment of black and red marks), chronology (including a discussion
about its synchrony or diachrony), and the possible uses of Palaeolithic images after their execution.
Lapedo child burial, dated to the Gravettian, prompting an investigation into its role and the nature of its pigmentation. Detailed analysis, including visual examination, digital image enhancement, microscopic observation,
and Raman spectroscopy, revealed that the pigmentation primarily consists of haematite. The sequence of events leading to the pigmentation on the limestone support involves sediment accumulation, surface abrasion, and finally, the application of red colour. The “barcode”-like design on the support likely resulted from unintentional rubbing or contact with red pigment previously deposited in the shelter, potentially associated with the nearby burial. The analyses carried out on this finding suggest that the red colouration was not a result of deliberate artistic or symbolic behaviour but rather a passive process, either natural or anthropic, linked to the block’s movement and its interaction with deposited red pigment.
In summary, the study underscores the importance of a comprehensive and well-grounded approach in examining pigmented supports in Palaeolithic contexts. It demonstrates that understanding the nature and origin of pigmentation involves not only analysing patterns but also considering the specific context and processes that led to its deposition. The examination of the Lagar Velho limestone support serves as an example of how taphonomic processes can influence the appearance of colouration in non-artistic contexts, challenging conventional
interpretations of such finds in the European Upper Palaeolithic framework.
As it is well known, this region breaks in the debates on Prehistoric art early in the 20th century with the discovery of la Roca dels Moros de Cogul (Lleida) in 1908, which was then considered Palaeolithic. Ever since it has maintained a small but continuous presence in the history of research on prehistoric art. This paper summarizes the contributions to this facet of prehistoric research of this geographic area, to identify when and to what prehistoric traditions the findings on the region are ascribed. We will especially focus on the key role of some catalan portable art samples with figurative motifs dating to the Late Upper Palaeolithic and the Epimagdalenian to support some relative dates for the latest findings of very fine rock art engravings located in open-air rock shelters in Castellón and southern Tarragona. We will also reflect on their implications in discussions on the continuity or rupture between Final Palaeolithic traditions and Levantine rock art. This is where these territories have provided most of the known sites in Mediterranean Iberia so far.
disponible para el estudio de su cronología numérica es escasa. Se presentan las fechas obtenidas por la aplicación del método de la serie del Uranio a depósitos de calcita asociados a
motivos rupestres de tres cuevas españolas (Altamira, El Castillo y Tito Bustillo) inscritas en la Lista del Patrimonio Mundial por la UNESCO. Los resultados demuestran que la tradición pictórica en cuevas se remonta, al menos, a los inicios del Auriñaciense, con una edad mínima de 40.800 años para un disco rojo, 37.300 años para una mano negativa y 35.600 para un signo rojo. Estas edades mínimas revelan que el arte rupestre formaba parte del repertorio cultural de los primeros humanos europeos anatómicamente modernos en Europa o que, los neandertales también pudieron involucrarse en la decoración de las cavidades.
Paleolithic cave art is an exceptional archive of early human symbolic behavior, but because obtaining reliable dates has been difficult, its chronology is still poorly understood after
more than a century of study. We present uranium-series disequilibrium dates of calcite deposits overlying or underlying art found in three caves, including the UNESCO World Heritage sites of Altamira, El Castillo, and Tito Bustillo, Spain. The results demonstrate that the tradition of decorating caves extends back at least to the Early Aurignacian period, with minimum ages of 40.8 thousand years for a red disk, 37.3 thousand years for a hand stencil, and 35.6 thousand years for a claviform-like symbol. These minimum ages reveal either that cave art was a part of the cultural repertoire of the first anatomically modern humans in Europe or that perhaps Neandertals also engaged in painting caves.
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.
Se discuten las implicaciones estilísticas (por similitud y convergencia formal) y cronológicas del arte mueble gravetiense en los conjuntos parietales peninsulares.
Coímbre cave (142 meters asl) is located on the southwestern slope of Mount Pendendo (529 m), in the small valley of Besnes river, tributary of Cares river, in a medium-higher mountain are in the central-western Cantabria –northern Iberian Peninsula- (Álvarez-Alonso et al., 2009; 2013b). The landscape in the surroundings of the cave –situated in an interior valley but near to the current coast in a low altitude- can be described as a mountainous environment where valleys, small hills and steep mountains with high slopes are integrated, which confer a relative variety of ecosystems to this area. Coímbre contains an important archaeological site divided in two different areas. B Area, is the farthest from the entrance, and is the place where took place the excavations carried out to date, between 2008 and 2012 (Álvarez-Alonso et al., 2009, 2011, 2013a, 2013b).
Coímbre B shows a complete and very interesting Magdalenian sequence (with Lower, Middle and Upper Magdalenian levels), and a gravettian level, that converts this cave in one of the biggest habitat areas in western Cantabria. Its rich set of bone industries, mobiliar art and ornaments, provide key information that shows the connections between this area, the Pyrenees and the south-west of Aquitaine.
Moreover, Coímbre cave presents an interesting set of Magdalenian engravings, locatedin different places of the cavity, both in open and accessible areas, and in narrower and inaccessible places, which clearly define two different symbolic spaces. All this artistic expressions belong to the Magdalenian, and it is possible to establish a division between a set of engravings framed in the first stages of this period (the most abundant and remote); and a more limited set of engravings, in which stand out a block with a engraving of a bison with a deep trace of more than one meter long, that belongs to the recent Magdalenian.
This work presents the preliminary results of the analysis of Magdalenian occupations in Coímbre, after the end of the excavations in B Area, and the study of its rock art, shaping this site as one of the most important places of Magdalenian human activities in western Cantabria.
Unas manos pintadas en una cueva de Timor Oriental aumentan el misterio sobre dónde y cuándo surgieron las primeras expresiones artísticas de nuestra especie, cuenta el prehistoriador Marcos García-Díez