Эмоции на поверхности: Рибейра-ди-Пишкуш и роль эмоциональности в его утверждении в качестве главного мадленского комплекса наскального искусства под открытым небом региона Коа (Португалия)

Abstract

After its dramatic appearance in 1995, with the threat of destruction by a huge dam counteracted by the successful worldwide preservation campaign, the open-air rock art in the Côa Valley region fully confirmed the high scientific expectations it raised, now established as a major complex, with a 30 000 yearlong continuous rock art sequence, starting in the Upper Palaeolithic and up to the Modern Age, passing through Late Prehistory and the Iron Age. It is the world’s largest concentration of Upper Palaeolithic open-air rock-art, definitely updating the previously established cave art paradigm within European Palaeolithic art. With 20 000 years of continuous Palaeolithic diachrony, from the Gravettian to the Late Glacial, and including the Solutrean and Magdalenian periods, the site of Ribeira de Piscos is among the most important, mainly in the Magdalenian period, where it is the largest, in dimension and number of figures. This text aims to examine some particular figures in this site that specifically display explicit and varied emotional aspects. Besides the scarcity of this trait in Palaeolithic art, it can also be argued that these figures played an important role in the establishment and evolution of this site during the Magdalenian, and that this emotional aspect may have been symbolically essential in the definition of the site and its prevalence in the region.