Nouveaux abris à peintures à Fontaine-de-Vaucluse (Vaucluse)

Hameau, Philippe

doi:10.4000/books.alpara.3679

Cited by 4 publications

(4 citation statements)

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“…It has a particular architecture composed of different spaces: an esplanade surrounded by rock (lower shelter, 13 x 8m) and a large covered shelter located 8 m above the rst and itself consisting of a small corridor (5 x 1.50 m) separated from a large room of 12 x 3 m by a rocky step (Hameau 2011). The passage from the lower shelter to the upper shelter is via a steep and narrow rocky ramp.…”

Section: B Hyperspectral Imaging In Heritage Studiesmentioning

confidence: 99%

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The contribution of VNIR and SWIR hyperspectral imaging to rock art studies: example of the Otello schematic rock art site (Saint-Rémy-de-Provence, Bouches-du-Rhône, France)

Defrasne

Massé

Giraud

et al. 2023

Archaeol Anthropol Sci

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This paper presents a methodological contribution to rock art archaeology by demonstrating the bene ts of hyperspectral imaging, a relatively new method, for the understanding of rock art sites. It illustrates the complementarity of VNIR hyperspectral imaging, applied in rare cases to rock archaeology, and SWIR hyperspectral imaging, implemented here for the rst time to a rock art panel. Applied to a schematic rock art site in southern France, the Otello rock shelter (Saint-Rémy-de-Provence, France), this method allowed the discovery of numerous new gures invisible to the naked eye or unsuspected after image enhancement with the DStretch plug-in of the Image J software, the individualisation of gures within complex superpositions as well as the discovery of gures covered by weathering products. Moreover, by conferring a spatial dimension to the analysis of pictorial matter, thus allowing a classi cation of pigments at the scale of the wall, hyperspectral imaging makes it possible to automatically isolate different paintings and to carry out objective groupings of gures on the basis of their composition.Finally, hyperspectral imaging allows us to precisely document, distinguish and characterise weathering products interacting with painted gures. For all of these reasons, this method appears essential to highlight the relative chronology and syntax of iconography, and consequently to understand its cognitive nature.

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Section: B Hyperspectral Imaging In Heritage Studiesmentioning

confidence: 99%

“…According to him, carmine red, vermilion red, orange and yellow would follow one another. He also noted for each of the phases, a thematic replication of the previous one (Hameau 2011). The observations we made partly corroborated Ph.…”

Section: B Rock Artmentioning

confidence: 99%

The contribution of VNIR and SWIR hyperspectral imaging to rock art studies: example of the Otello schematic rock art site (Saint-Rémy-de-Provence, Bouches-du-Rhône, France)

Defrasne

Massé

Giraud

et al. 2023

Archaeol Anthropol Sci

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“…These milestones come initially from the general context of some painted shelters around Mont Ventoux (Binder 2004; Borrell et al 2019; Léa 2004), particularly the Bedoulian flint-mining area or the sepulchral cavities characteristic of the Late Neolithic of southern France. Others come from archaeological contexts preserved in the sites, with colouring matter from dated archaeological levels or diagnostic lithic and ceramic material (Defrasne et al 2019a,b; Hameau 2002; 2010). There is, of course, no evidence for the relationship between iconography and archaeological material.…”

Section: Neolithic Schematic Rock Art: Description and Chronological ...mentioning

confidence: 99%

“…The absence of a scene, as defined for the study of rock art (Lenssen-Erz 1992; May & Domingo Sanz 2010), is prevalent in the Neolithic rock art of southern France. It is interesting to note that the two sites that delivered scenes (Bergerie des Maigres, Signes, Var; Pin de Simon 2, Gémenos, Bouches-du-Rhône) display both a very similar imagery, much less schematic than other sites from southern France and the western Alps, and a focus on human/animal interactions (Defrasne 2019; Hameau 2010). Interestingly, as a result of this absence of scenes, and as identified by cognitive semiotics studies, the figures’ proportions are variable and independent of each other.…”

Section: Can We Really Talk About Schematic Rock Art? a Determination...mentioning

confidence: 99%

The Cognitive Processus Behind Neolithic Schematic Rock Art. Archaeological Implications and Research Hypothesis

Defrasne¹

2022

CAJ

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The issue addressed in this article is essentially whether the same cognitive processes are at work for mimetic prehistoric graphic productions and schematic ones. Holocene schematic rock art is one of the main graphic expressions of European prehistory, from the Iberian peninsula to Italy. Despite its wide distribution and the incomparable insight it may provide on the functioning of prehistoric human groups and the cultural geography of the western European Neolithic, this rock art's imprecise chronology and geometric and schematic nature has often led to its exclusion from research on these societies, particularly in France. This paper proposes a study of schematic rock art from the perspective of the pragmatic and cognitive semiotics of visual culture and suggests that the production and purpose of diagrams, which compose so-called schematic rock art and which are common to all human societies, are different to those of figurative images, as is their cognitive origin. This demonstration sheds a new light on schematic rock art and the social practices it involved and invites us to rethink its coexistence with the Levantine imagery from the Spanish Levant.

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L’eau et le peint : l’élément liquide dans les manifestations picturales du Néolithique

Hameau

2015

L'Anthropologie

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Nouveaux abris à peintures à Fontaine-de-Vaucluse (Vaucluse)

Cited by 4 publications

References 0 publications

The contribution of VNIR and SWIR hyperspectral imaging to rock art studies: example of the Otello schematic rock art site (Saint-Rémy-de-Provence, Bouches-du-Rhône, France)

The contribution of VNIR and SWIR hyperspectral imaging to rock art studies: example of the Otello schematic rock art site (Saint-Rémy-de-Provence, Bouches-du-Rhône, France)

The Cognitive Processus Behind Neolithic Schematic Rock Art. Archaeological Implications and Research Hypothesis

L’eau et le peint : l’élément liquide dans les manifestations picturales du Néolithique

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