Expanding the horizons of Palaeolithic rock art: the site of Romualdova Pećina

Abstract

Abstract

The Easternmost European Palaeolithic Artists: Iconography and Graphic Features at Kapova Cave (Southern Urals, Russia)

“…The 'shouldered triangles' are slightly more specific: always inverted, with an appendix in the middle of the upper side, and both lateral sides are concave. A parallel of them could be found in two signs at Romualdova pećina (Croatia), also painted in red and associated with figurative images (Ruiz-Redondo et al 2019). Considering that the chronology of the art at this site could be similar to the one for Kapova paintings, and including a certain reminiscence between the bisons at both caves, perhaps these analogies could be meaningful.…”

“…Nevertheless, since the beginning of the twenty-first century, new discoveries are expanding the geographic spread of Upper Palaeolithic ('UP') parietal art. Different investigations confirmed the existence of this cultural phenomenon in the UK (Bahn et al 2003), Egypt (Huyge et al 2007), Romania (Clottes et al 2012), Australia (David et al 2013), Indonesia (Aubert et al 2014(Aubert et al , 2018, Serbia (Ruiz-Redondo et al 2018) and Croatia (Ruiz-Redondo et al 2019). These discoveries have clearly demonstrated that Pleistocene rock art is a worldwide phenomenon.…”

“…The single bison shows not many special stylistic features. Perhaps the most interesting is that it displays the horns in front view, which it has in common with the other two bison representations in Eastern Europe cave art: the ones from Coliboaia (Clottes et al 2012) and Romualdova (Ruiz-Redondo et al 2019). The second animal species is the recently discovered (Devlet et al 2018) camel (Camelus ferus).…”

Upper Palaeolithic Installation Art: Topography, Distortion, Animation and Participation in the Production and Experience of Cantabrian Cave Art

“…Here, however, we are concerned with its dominant element—naturalistic drawings/paintings of quadrupedal mammals on walls and ceilings of the Mid and Late Upper Palaeolithic (~30,000–14,000 bp ). These are most abundant in southern France and the Iberian peninsula (especially northern Spain), with other continental European examples in Italy, Germany, the Czech Republic, the United Kingdom and Russia (Bahn 2016), Croatia (Ruiz-Redondo et al 2019) and, further afield, in Egypt (Huyge et al 2007) and Indonesia (Aubert et al 2014). Unlike Palaeolithic images in the open air (e.g.…”

Review of the Animal Figures in the Palaeolithic Rock Art of the Romito Shelter. New Discoveries, New Data and New Perspectives

“…However, new studies at the beginning of the twenty-first century cast doubt on Graziosi's theory by demonstrating a more complex and richer tradition for Palaeolithic rock art in Europe and the regions surrounding the Mediterranean Sea, one where it was not possible to define a limited artistic area (d'Errico and Possenti 1999;Villaverde 2005;Bicho et al 2007;Huyge et al 2011;Sigari 2013). More recent publications have attempted to establish a social dimension to Magdalenian rock art, looking into the existence of possible Palaeolithic networks, the movement of people, and revealing wider regions for shared symbology (Ruiz-Redondo 2016; Fuentes 2017; Fuentes et al 2019;Ruiz-Redondo et al 2019).…”