Libros by Mercedes de Prada Junquera
METALLIC RITUAL VESSELS WITH BRACKETS OF HANDLES OF HAND. NEW CONTRIBUTIONS TO THE REPERTOIRE. ORIGIN AND TYPOLOGY OF THE BRONZE JUGS AND CONTAINERS METAL OF PRE-ROMAN HISPANIAN , 2015
Nuevas aportaciones al repertorio. Origen y tipología de los jarros de bronce y recipientes metál... more Nuevas aportaciones al repertorio. Origen y tipología de los jarros de bronce y recipientes metálicos de la Hispania prerromana.
Animales Fantásticos y Míticos en el Mundo Ibérico , 2017
The theme chosen “Mythical and Fantastic Animals in the Iberian World”, has allowed us to study t... more The theme chosen “Mythical and Fantastic Animals in the Iberian World”, has allowed us to study the influences that reached the Iberian world from the Near East during the Oriental Period. These influences when added to the already existing base took the Iberian culture to its maximum development.
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Animales Fantásticos y Míticos en el Mundo Ibérico , 2017
The theme chosen “Mythical and Fantastic Animals in the Iberian World”, has allowed us to study t... more The theme chosen “Mythical and Fantastic Animals in the Iberian World”, has allowed us to study the influences that reached the Iberian world from the Near East during the Oriental Period. These influences when added to the already existing base took the Iberian culture to its maximum development.
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Animales Fantásticos y Míticos en el Mundo Ibérico , 2017
The theme chosen “Mythical and Fantastic Animals in the Iberian World”, has allowed us to study t... more The theme chosen “Mythical and Fantastic Animals in the Iberian World”, has allowed us to study the influences that reached the Iberian world from the Near East during the Oriental Period. These influences when added to the already existing base took the Iberian culture to its maximum development.
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Una aportación a la cronología del Bronce Finalen el Occidente de Europa
Papers by Mercedes de Prada Junquera
Boletín de la Asociación Española de Amigos de la Arqueología, 1986
Boletín de la Asociación Española de Amigos de la Arqueología, 1983
Boletín de la Asociación Española de Amigos de la Arqueología, 1983
EL TEMA ESCOGIDO NOS HA PERMITIDO REALIZAR UN ESTUDIO DE LAS INFLUENCIAS QUE DESDE EL PROXIMO ORI... more EL TEMA ESCOGIDO NOS HA PERMITIDO REALIZAR UN ESTUDIO DE LAS INFLUENCIAS QUE DESDE EL PROXIMO ORIENTE LLEGAN HASTA LA PENINSULA IBERICA DURANTE EL PERIODO ORIENTALIZANTE, INFLUENCIAS QUE AL SUMARSE A LA BASE PREEXISTENTE LLEVARIAN A LA CULTURA IBERICA A SU MOMENTO ALGIDO. EL ORIGEN DE LOS TIPOS ICONOGRAFICOS ESTUDIADOS ES INDUDABLEMENTE ORIENTAL Y LLEGAN HASTA LA PENINSULA TRAIDOS POR LOS PUEBLOS COLONIZADORES. ESTE APORTE DE TIPOS NO PRESUPONE QUE LOS IBEROS SE LIMITASEN A REPRODUCIR LOS NUEVOS MOTIVOS, NI QUE EL CONTENIDO DE LOS MISMOS FUESE IDENTICO AL QUE TENIAN EN LAS CULTURAS DE DONDE PROVENIAN. Y EL ESTUDIO DE LOS MISMOS NOS INTRODUCE EN EL MUNDO DE LAS CREENCIAS IBERICAS. DEL ESTUDIO REALIZADO HEMOS DEDUCIDO LA EXISTENCIA DE MITOS IBEROS QUE TOMAN PRESTADOS ESTOS NUEVOS TIPOS ICONOGRAFICOS IMPORTADOS PARA MATERIALIZARSE. Y A TRAVES DE ELLOS HEMOS PODIDO RASTREAR QUE PUEBLOS FUERON LOS QUE LOS APORTARON, LLEGANDO A LA CONCLUSION DE QUE, BIEN SEA DIRECTA O INDIRECTAMENTE, ES A LOS GRIEGOS A QUINENES DEBEMOS OTORGAR EL PAPEL DE MEDIADORES O TRASMISORES DE LOS TIPOS ICONOGRAFICAS Y SON ELLOS QUIENES LOS APORTA DENTRO DE LAS CORRIENTES ORIENTALIZANTES.
Trabajos De Prehistoria, 1986
Les sources figuratives (statuettes masculines)| la differenciation entre les peuples iberes| les... more Les sources figuratives (statuettes masculines)| la differenciation entre les peuples iberes| les pieces de l'habillement.
Fouilles d'un nouveau site, qui pourrait etre attribue, grâce a l'analyse de la ceramique... more Fouilles d'un nouveau site, qui pourrait etre attribue, grâce a l'analyse de la ceramique, au Tartessique du Bronze final (entre la fin du Bronze Recent et l'Orientalisant ancien de l'Age du Fer ; fin du 8e s. av. J.-C./premier tiers du 6e s. av. J.-C. ). On a decouvert, associee a la poterie rouge vernissee et la poterie peinte faite sur tour de la phase orientalisante, une petite main en bronze decorant l'anse d'un vase rituel de type orientalisant. La continuite de la ceramique polie a la main et decoree pourrait indiquer une periode de transition au cours de laquelle auraient eu lieu les premiers contacts avec le monde orientalisant
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Libros by Mercedes de Prada Junquera
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Papers by Mercedes de Prada Junquera
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.
Due to the great number of items found, we will not make an exhaustive
list, nor a detailed description of each one or even the studies we have done on them, which have been many, as others have already done this and we consider that this would contribute nothing new. The aim of this study is different. We have dedicated our work to a detailed study of the items themselves, trying to find the origins of the iconographical types reproduced and to find the path that they followed to reach the Iberian Peninsula and so to the Iberian world, to find out who brought them and try to translate what they mean. Perhaps more exactly that which would adjust to our objective: to find out what contexts the Iberian people gave to these representations which became so popular and so deeply rooted in their ideology, because they assimilate them so thoroughly as to make them their own.
This is not limited to a mere repetition of the iconographical types with no context and it is an art of quality. The Iberian artists create art and their own art although, they had a foreign influence. This art is not detached from the movements and currents coming from the Near East at that time and eventually imposing on all the Mediterranean cultures, or from the Greek culture which attained such a high level. It is liberated from them. It is the period called the Oriental one starting in the VII century BC up until the beginning of the V century BC, and which reached the peninsula through the Greek and Phoenician colonists.