Temps et réseaux de l’art paléolithique : la grotte de La Covaciella (Asturies, Espagne)

Abstract

The study of graphic convergences and divergences in Palaeolithic art is used to understand the culture, territories and interaction systems of human groups. La Covaciella cave has fifteen animal representations and other linear, dots and geometric motifs. The bison stands out; some were executed with complex technical procedures. Two of them were dated by C14 AMS, obtaining a result of 14,260±130BP (17,733–16,973cal BP) and 14,060±140BP (17,503–16,260cal BP). These correspond chronologically with the beginning of the middle Magdalenian or the very end of the lower Magdalenian. Similar depictions to the bison at La Covaciella are located in other areas of Western Europe. The repertoire of parietal bison displaying graphic similarities with those at La Covaciella is very large; both of the Pyrenean model (Niaux morphotype) and of the Perigordian model (Font-de-Gaume morphotype). A first consideration derived from the search for comparisons involves a new interpretation of the territorial value implied by the term Pyrenean style (Asturias, Cantabria, Basque Country, Navarre, Pyrénées-Atlantiques, Hautes-Pyrénées, Haute-Garonne, Ariège, Dordogne, Lot, Ardèche and Vienne). The Font-de-Gaume parietal morphotype is most common in Dordogne. In addition, in some cases, spatial complementariness has been found, with both graphic morphotypes. This article proposes different chronological and anthropological hypothesis to explain the distribution and coexistence of the two graphic models.