Arte Rupestre

The defense of Heritage is intrinsically linked to the Association of Portuguese Archaeologists (AAP), the oldest association in Portugal and one of the oldest in the world, created in 1863 with the aim of preserving and defending the Architectural and Archaeological Heritage. Over these 158 years, countless battles have been fought and institutional collaboration with various entities has made the AAP one of the institutions frequently heard at the parliamentary level. When the Côa Valley was discovered, the AAP took a public position to preserve and study the engravings, recognizing their scientific and heritage importance. Over these 27 years, AAP's support to Vale do Côa has been quite diversified, never giving up on the preservation, divulgation and study of this all world-renowned artistic complex.

New discoveries of rock art in Valcamonica, as well as some recent fundamental findings from archaeological sites (the Brandopferplatz of Spinéra near Breno), have unfolded unexpected data about the importance of birds inside the imagery of the local protohistoric tradition. Birds, although not so frequent in respect to other zoomorphic categories (with remarkable exceptions in some areas or on specific rocks), show up today a few emblematic cases, in a way that can directly put new light into some inner aspects of the native ideologies and into the foreign cultural influences recognizable sometimes in the indigenous rock art. Indirectly it can also open up some of the “meanings” connected to the bird theme that can be found in many archaeological artifacts from the italic and central European cultures of the same period (Iron Age, I mill. BC). The present study focuses first on the morphological trends of this category (due to time, space, personal style, etc.) through the main rock art areas and then on the possible correlations between form, function in the iconographic context and related localization on the territory, and secondly to the latest proofs regarding a peculiar representation in Valcamonica rock art of the “travel of the dead” theme.

"Proto-historic rock engravings and Lepontic inscriptions at the springs of the river Brembo (Carona,Valcamisana, Bergamo). Preliminary report. Many engraved rocks, which are now studied by the Authors were discovered at Carona, between 2100 and 2400 m above sea level, by two members of the Historical and Cultural Association Valle Brembana. The huge area of the engraved rocks was divided into three sectors: Le Torbiere (LTB), Aga (AGA) and Camisana (CMS). The same iconography is repeated on majority of the rocks; the most frequent themes include many different symbols (as crosses in various typologies, Salomon knots, stars, circles, stairs, etc.), animals, and human figures, both male and female, these last ones represented wearing the typical dress; there are also warriors of various historical periods (13th, 17th century), a lot of modern inscriptions and dates, the oldest one being 1492. The most interesting rock is CMS 1, on which many pre-Roman inscriptions were engraved. They are written in the 3rd-2nd century Lepontic alphabet, and most of them are also in Lepontic language, which is a Celtic dialect. The Authors discuss 11 inscriptions, mostly consisting in names followed sometimes by patronymic; among them the name of the god Poeninus is repeated twice, in nominative and dative cases. Poeninus is the Celtic god of the mountain peaks and passes and a sanctuary was dedicated to him at the Great San Bernardo Pass. Probably the inscriptions must be referred to fulfilled vows by people on their way to the mountain passes. Lepontic inscriptions are not the most ancient engravings
on this rock. There are also a scene with a sort of a priest together with some wolves and a small anthropomorphic figure; they all find good comparisons among the figures of the so called Situlae Art of the 5th century BC. This chronology seems to be confirmed for the figures are covered by the engraved inscriptions, which are therefore an important terminus ante quem. Particularly difficult is defining the chronology of some figures of spears, which could be in tight relation with the Lepontic inscriptions, due to some cases of superimposition that must be confirmed by future analysis."

In 1995, the Côa process has done a revolution in national archeology, leading to the first time being independent
in national heritage organisms. This change was in practice the result of the mediatic process that unfolded
around the controversy of the construction of the dam of Foz Côa vs preservation of the rock engravings. The
importance of the archaeological context allied to a favorable political combination meant that the Côa rock art
complex was preserved, thus initiating a new stage in studies of rock art in Portugal.
Throughout these 22 years, many changes have occurred, from an administrative, methodological, epistemological,
social and academic point of view, and there is a new generation of archaeologists who also investigate
rock art archaeological sites.
We intend with this work to make a historiographical approach to the subject in question, addressing the main
sites and works carried out. In this first text we will focus on the investigation carried out in the territory south
of the Tagus river, in the districts of Setúbal, Portalegre, Évora, Beja and Faro.
Keywords: Rock Art, Historiography, South of Portugal, 1995-2017.

Neste trabalho apresentaremos um conjunto de sete sítios de representações rupestres localizados no Município de Santa Brígida, situado na região Nordeste do Estado da Bahia e inserido no polígono das secas. Até pouco tempo, esta região apresentava-se quase inóspita em informações acerca das ocupações pré-coloniais, de forma que estes sítios configuram as primeiras notícias sobre o tema. Com este artigo objetivamos criar um ponto de partida para pesquisas na área. Para tanto, analisaremos comparativamente os sítios de representações rupestres apresentados, apontando as possibilidades interpretativas deste conjunto e discutindo questões relacionadas ao uso dos espaços e à territorialidade.

A solicitud de Pueblo Viejo Dominicana Corporation se realizó una prospección arqueológica dentro de las áreas relativas a los VCP 249 y 250 de El Naranjo, dentro del área relativa al límite fiscal de dicha empresa minera, en el Municipio de Cotuí, Provincia Sánchez Ramírez, República Dominicana.
Dicha prospección, la cual fue minuciosa, vino a ser un complemento a los anteriores trabajos de prospección realizados. El primero de ellos a solicitud de Placer Dome Domicana Corporation, en el mes de noviembre del año 2003 y cuyo informe fue entregado en enero del 2004. En la misma se localizaron 10 sitios con materiales arqueológicos. La segunda prospección en el área fue realizada para Pueblo Viejo Dominicana Corporation (Barrick Gold), la cual se realizó en campo durante los meses de julio y agosto del año 2008, en la misma se identificaron e inventariaron otros 12 (doce) sitios con materiales arqueológicos. Los trabajos de gabinete fueron realizados durante los meses de agosto y septiembre del 2008. Previo a la prospección realizada para PVDC habíamos registrado otro sitio (Sitio Arqueológico No. 11: Estructuras Coloniales).
En el 2009 obreros de PVDC, trabajando en la desviación del canal UM2-2, localizaron unas rocas con arte rupestre (Sitio Arqueológico No. 24: Los Quemados), por lo que luego de esto decidimos elaborar junto a uno de los técnicos de PVDC un adiestramiento de conocimiento obligatorio a todo el personal que ingresaba a laborar para la empresa minera sobre el “Hallazgo casual de bienes arqueológicos”, el mismo fue implementado en el año 2010. Producto de esta capacitación se han registrado otros 9 sitios en donde se localizaron bienes arqueológicos, hasta el presente se han registrado un total de 32 sitios con materiales arqueológicos dentro del proyecto o en sus áreas de influencia, los mismos han sido monitoreados, investigados y rescatados.
El objetivo de esta investigación fue determinar la presencia o no de sitios con bienes arqueológicos dentro de las áreas en estudio; y en el caso de haberlos, ubicar la posición geográfica de los mismos, evaluarlos y proponer, en caso de considerarse necesario, estrategias para su rescate.
Estas prospecciones fueron realizadas en cumplimiento a la legislación vigente en relación a los sitios arqueológicos: Ley No. 318 del 26 de abril de 1972, Ley No. 564, del 27 de septiembre de 1973, la Ley General sobre medio ambiente y recursos naturales, No. 64-00, del 18 de agosto del año 2000, la Ley No. 41-00, que crea la Secretaría de Estado de Cultura, y el Reglamento de Arqueología del Ministerio de Cultura, de julio del 2009.
At the request of Pueblo Viejo Dominicana Corporation, an archaeological survey was carried out within the areas related to VCP 249 and 250 of El Naranjo, within the area related to the fiscal limit of said mining company, in the Municipality of Cotuí, Sánchez Ramírez Province, Republic Dominican.
Said prospecting, which was meticulous, became a complement to the previous prospecting work carried out. The first of them at the request of Placer Dome Domicana Corporation, in November 2003 and whose report was delivered in January 2004. In it, 10 sites with archaeological materials were located. The second survey in the area was carried out for Pueblo Viejo Dominicana Corporation (Barrick Gold), which was carried out in the field during the months of July and August 2008, in which another 12 (twelve) sites with materials were identified and inventoried. archaeological. The cabinet work was carried out during the months of August and September 2008. Prior to the prospecting carried out for PVDC, we had registered another site (Archaeological Site No. 11: Colonial Structures).
In 2009 PVDC workers, working on the diversion of the UM2-2 channel, located some rocks with rock art (Archaeological Site No. 24: Los Quemados), so after this we decided to elaborate together with one of the PVDC technicians A compulsory knowledge training for all personnel who entered to work for the mining company on the "accidental discovery of archaeological assets", it was implemented in 2010. As a result of this training, another 9 sites have been registered where they were located archaeological assets, to date a total of 32 sites with archaeological materials have been registered within the project or in its areas of influence, they have been monitored, investigated and rescued.
The objective of this research was to determine the presence or not of sites with archaeological assets within the areas under study; and if there are any, locate their geographical position, evaluate them and propose, if deemed necessary, strategies for their rescue.
These surveys were carried out in compliance with current legislation in relation to archaeological sites: Law No. 318 of April 26, 1972, Law No. 564, of September 27, 1973, the General Law on the environment and natural resources, No. 64-00, of August 18, 2000, Law No. 41-00, which creates the Secretary of State for Culture, and the Archeology Regulations of the Ministry of Culture, of July 2009.

The project presented here has been developed with pupils of Primary and of the first levels of Secondary schools from the metropolitan area of Torino and Geneva, under the educational supervision of the Gruppo Ricerche Cultura Montana and the Cooperativa Archeologica Le Orme dell'Uomo. The project has two main aims: first, to get pupils closer to rock art and thus promote its respect and valuation;, second, to stimulate creativity increasing interpretative and reinterpretative skills in relation to a set of deep significance iconographic elements.

El proyecto que se expone aquí se ha desarrollado con alumnado de la escuela elemental y media inferior de la zona metropolitana de Turín y Génova, bajo la dirección didáctica del Gruppo Ricerche Cultura Montana y de la Cooperativa Archeologica Le Orme dell'Uomo. El proyecto tiene dos objetivos prioritarios: en primer lugar, acercar el alumnado al arte rupestre, fomentando de ese modo valores de respeto y protección hacia él; en segundo lugar, pretende estimular la creatividad de niñas y niños potenciando su capacidad de interpretación y reinterpretación de una serie de elementos iconográficos portadores de significaciones profundas.

El projecte aquí exposat ha estat desenvolupat amb alumnes de l'escola elemental i mitja inferior de la zona metropolitana de Torí i Gènova, sota la direcció didàctica del Gruppo Ricerche Cultura Montana i de la Cooperativa Archeologica Le Orme dell'Uomo. El projecte té dos objectius prioritaris: acostar l'alumnat a l'art rupestre, tot fomentant valors de respecte i protecció envers ell; estimular la creativitat de les nenes i dels nens potenciant la seva capacitat d'interpretació i reinterpretació d'una sèrie d'elements iconogràfics portadors de significacions profondes.

El objeto de estudio de los arqueólogos forma parte del patrimonio cultural de las comunidades del presente, pero este patrimonio no es estático, sino que es construido socialmente a partir de las valoraciones y significaciones propias de los contextos sociales, culturales, políticos y económicos en que se ve envuelto. La construcción del conocimiento arqueológico también es influida por este contexto, sin embargo pocas veces se produce un vínculo entre ambas realidades: conocimiento arqueológico y patrimonio cultural. En el marco del proyecto Fondecyt 1080360, nos propusimos recoger los diversos discursos locales en torno a los restos arqueológicos parietales. En esta ponencia presentamos un caso concreto de articulación entre los arqueólogos y las comunidades de Césped y Los Perales, Alto Illapel en Chile, aplicado al arte rupestre, un tipo de resto arqueológico sujeto a constantes resignificaciones. En la actualidad, los petroglifos del Alto Ilapel forman parte de la vida cotidia...

Rock art has been poorly investigated in Croatia and in the southeast of Europe. The CRORA (CROatian Rock Art) project was launched in 2009 and aims to systematically catalogue, valorize, and present rock art in Croatia. This project has identified 122 parietal art sites (rock art engravings and paintings) in Croatia, dated from the Palaeolithic to the Modern age, were recorded,  demonstrating that this region, with its abundance of karst phenomena, has great potential region for the further systematic survey and study of rock art.
A dozen rock art paintings sites were identified in the frame of this investigative effort - most located in small rock shelters facing river valleys - that exhibit numerous similarities with the schematic rock art found in parts od Italy, France, Portugal and Spain dated to the period from the Neolithic to the dawn of the Bronze Age. Similar sites have also been identified in Slovenia and Bosnia-Herzegovina. These new discoveries in Croatia and in the adjacent regions of the eastern Adriatic coast broaden our knowledge of the phenomenon of schematic rock art and open an completely new area for its study.

Riassunto (il progetto CROatian Rock Art e la scoperta di arte rupestre schematica in Croazia)
L'arte rupestre è stata poco studiata in Croazia e nel sud-est dell'Europa. Il progetto CRORA (CROatian Rock Art) è stato lanciato nel 2009 e mira a catalogare, valorizzare e presentare sistematicamente l'arte rupestre in Croazia. Questo progetto ha permesso di documentare un totale di 122 siti, con incisioni e pitture, databili dal Paleolitico all'Età Moderna, dimostrando come questa zona, nonostante i suoi numerosi fenomeni carsici, abbia un grande potenziale per ulteriori indagini sistematiche e studi sull'arte rupestre.
Nell'ambito di questo sforzo investigativo sono stati identificati una dozzina di siti con pitture rupestri, per lo più in piccoli ripari rocciosi lungo i solchi fluviali, che mostrano numerose somiglianze con l'arte rupestre schematica di Italia, Francia, Portogallo e Spagna, databili dal Neolitico agli albori dell'età del Bronzo. Siti simili sono stati individuati anche in Slovenia e Bosnia-Erzegovina. Queste nuove scoperte in Croazia e nelle regioni adiacenti della costa adriatica orientale ampliano la nostra conoscenza del fenomeno dell'arte rupestre schematica e aprono un'area completamente nuova per il suo studio di questo fenomeno.

Resumen
El objeto de estudio de los arqueólogos forma parte del patrimonio cultural de las comunidades del presente, pero este patrimonio no es estático, sino que es construido socialmente a partir de las valoraciones y significaciones propias de los contextos sociales, culturales, políticos y económicos en que se ve envuelto. La construcción del conocimiento arqueológico también es influida por este contexto, sin embargo pocas veces se produce un vínculo entre ambas realidades: conocimiento arqueológico y patrimonio cultural.
En el marco del proyecto Fondecyt 1080360 nos propusimos recoger los diversos discursos locales en torno a los restos arqueológicos parietales. En esta ponencia presentamos un caso concreto de articulación entre los arqueólogos y las comunidades de Césped y Los Perales, Alto Illapel en Chile, aplicado al arte rupestre, un tipo de resto arqueológico sujeto a constantes resignificaciones.
En la actualidad, los petroglifos del Alto Illapel forman parte de la vida cotidiana de la comunidad. Mientras algunos no se cuestionan su significado, considerándolos como una parte natural del paisaje, otros comienzan a construir discursos que buscan convertir los sitios arqueológicos en un importante recurso turístico. En esta ocasión, presentamos los resultados obtenidos en torno al sitio “Los Mellizos”, que resulta particularmente interesante tanto desde el punto de vista arqueológico como turístico, mostrando los discursos de la comunidades en torno al sitio y la tarea realizada en conjunto para el apoyo del tramo turístico; una visión que observa el pasado desde miradas variadas, que pueden coexistir y resultar mutuamente provechosas.
Abstract
Archaeologist’s objects of study form part of the cultural heritage of present communities; this heritage is not static but rather socially constructed from the values and meanings embedded in social, cultural, political and economic contexts. The construction of archaeological knowledge is also influenced by this context though rarely there is a connection between archaeological knowledge and cultural heritage.
Within the frame of Fondecyt Project 1080360 we aimed to record the diverse local discourses regarding archaeological rock art. Herein we present a concrete case of articulation between archaeologists and the communities of Césped and Los Perales (Alto Illapel, Chile) applied to rock art, a kind of archaeological record constantly re-signified.
In the present the petroglyphs from Alto Illapel are part of the daily life of these communities. While some do not even question their meaning considering them as a natural part of their landscape, others have began to construct discourses that seek to transform archaeological sites in important resources for tourism. Here we present the results obtained from the site ‘Los Mellizos’ which is particularly interesting from both the archaeological and touristic perspective, showing the discourses of the communities about the site, and the joint work that has been done to support the touristic route; this is a vision that looks into the past from different perspectives which can coexist and be mutually beneficial.

El texto se conforma de un primer acercamiento teórico a mi investigación para optar por el título de licenciatura en el año 2017, donde se plantean cuestiones teóricas que posteriormente fueron modificadas ya que no contaban con una base sólida para responder las preguntas de investigación, sin embargo, la metodología y algunas observaciones pueden resultar útiles para otros estudios similares.

VISTA: La Constitución de la República Dominicana, proclamada el 26 de enero del 2010, que en su artículo 64, inciso 4 establece que “el patrimonio cultural de la Nación, material e inmaterial, está bajo la salvaguarda del Estado que garantizará su protección, enriquecimiento, conservación, restauración y puesta en valor. Los bienes del patrimonio cultural de la Nación, cuya propiedad sea estatal o hayan sido adquiridos por el Estado, son inalienables e inembargables y dicha titularidad, imprescriptible. Los bienes patrimoniales en manos privadas y los bienes del patrimonio cultural sub acuático serán igualmente protegidos ante la exportación ilícita y el expolio. La ley regulará la adquisición de los mismos.”
CONSIDERANDO: La Ley No. 41-00 que crea el Ministerio de Cultura, en sus Artículos: 5, Inciso d) sobre la supervisión del cumplimiento de los acuerdos internacionales en materia de cultura; 25, Inciso d) permitiendo proponer reglamentos relativos al sector cultural; 44, sobre protección y conservación del patrimonio cultural de la Nación; y, 59, Inciso c), sobre validación de “Reglamento Ordenador del Patrimonio Cultural de la Nación.”
CONSIDERANDO: Que en los términos del artículo 1, numeral 2 de la Ley 41 -00 el Patrimonio Cultural de la Nación está integrado por todos los bienes materiales de naturaleza mueble o inmueble, incluidos los sumergidos en el agua, así como por los valores, tradiciones, costumbres, prácticas, hábitos y, en general, las manifestaciones culturales que son expresión de la Nación dominicana, cuando poseen, entre otros, interés histórico, artístico, estético, plástico, arquitectónico, urbano, arqueológico, ambiental, ecológico, lingüístico, sonoro, musical, audiovisual, fílmico, científico, tecnológico, testimonial, documental, literario, bibliográfico, museográfico, antropológico o simbólico.
EN VISTA DE: La ausencia de Reglamentos sobre procedimientos a cumplir en materia de Investigaciones Arqueológicas, para que el Estado de la República Dominicana, a través del Ministerio de Cultura y sus dependencias, acorde a las responsabilidades que se ha conferido, norme las actuaciones de intervención en el Patrimonio Cultural Arqueológico nacional.
El Ministerio de Cultura, a través del Viceministerio de Patrimonio Cultural, ha elaborado el presente REGLAMENTO DE INVESTIGACIONES ARQUEOLÓGICAS.
SEEN: The Constitution of the Dominican Republic, proclaimed on January 26, 2010, which in its Article 64, paragraph 4 establishes that “the cultural heritage of the Nation, tangible and intangible, is under the safeguard of the State that will guarantee its protection, enrichment, conservation, restoration and enhancement. The assets of the cultural heritage of the Nation, whose property is state or have been acquired by the State, are inalienable and unattachable and said ownership, imprescriptible. The patrimonial assets in private hands and the assets of the underwater cultural heritage will be equally protected against illicit exportation and pillage. The law will regulate their acquisition. "
CONSIDERING: Law No. 41-00 created by the Ministry of Culture, in its Articles: 5, Subsection d) on the supervision of compliance with international agreements on culture; 25, subsection d) allowing to propose regulations related to the cultural sector; 44, on protection and conservation of the cultural heritage of the Nation; and, 59, subsection c), on validation of the "Organizing Regulation of the Cultural Heritage of the Nation."
CONSIDERING: That in the terms of article 1, numeral 2 of Law 41 -00, the Cultural Heritage of the Nation is made up of all material goods of a movable or immovable nature, including those submerged in water, as well as the values, traditions, customs, practices, habits and, in general, cultural manifestations that are an expression of the Dominican Nation, when they possess, among others, historical, artistic, aesthetic, plastic, architectural, urban, archaeological, environmental, ecological, linguistic interest, sound, musical, audiovisual, film, scientific, technological, testimonial, documentary, literary, bibliographic, museum, anthropological or symbolic.
IN VIEW OF: The absence of Regulations on procedures to be followed in matters of Archaeological Investigations, so that the State of the Dominican Republic, through the Ministry of Culture and its dependencies, according to the responsibilities that have been conferred, regulate the actions of intervention in the National Archaeological Cultural Heritage.
The Ministry of Culture, through the Vice Ministry of Cultural Heritage, has prepared this REGULATION OF ARCHAEOLOGICAL INVESTIGATIONS.

Se presentan los resultados preliminares obtenidos a través del registro sistemático de los petroglifos del Cerro Tunduqueral, departamento de Las Heras, noroeste de la provincia de Mendoza. El sitio se encuentra emplazado en un valle longitudinal a 7 km de la villa de Uspallata, a 2061 msnm. El Cerro merece especial atención teniendo en cuenta que es el sitio con mayor concentración de paneles rocosos grabados del noroeste de la provincia.
Los primeros relevamientos han permitido la sistematización de la información proveniente de los soportes rocosos y sus respectivos paneles grabados, como también contabilizar el número total de petroglifos. Así, se muestra una nueva numeración y ordenamiento de los soportes, el relevamiento de paneles inéditos en la bibliografía que con anterioridad se ha referido al sitio, y especificaciones acerca de la cantidad de figuras grabadas en el Cerro Tunduqueral.
La recolección de estos datos constituye un primer  y fundamental escalón en la investigación, justificada por razones de conservación del registro rupestre, altamente afectado por acciones antrópicas, y por ser una etapa básica previa al análisis interpretativo del sitio.

The mountain of Jebel Uweinat, located at the convergence of the borders of modern Egypt, Libya and Sudan  had long been known to harbour prehistoric rock art sites. Already at the time of its discovery in 1923, the Egyptian explorer Ahmed Hassanein already noted engraved images of wild animals, which he correctly assumed to be of great antiquity.

Since 1998 the author organised nineteen expeditions to Jebel Uweinat, initially with the modest objective of visiting known and recorded sites. However as familiarity with terrain and sites increased with each visit, it soon became evident that large areas of the mountain appeared to be void of any rock art, yet the geography suggested the likelihood of suitable shelters. During the past five years large areas of Jebel Uweinat were systematically explored, and over 250 new rock art sites were discovered. Further discoveries were made at the adjacent massifs of Jebel Arkenu and Jebel Kissu. To date the author documented over 600 sites in the central Libyan Desert. The complete descriptive catalogue with full bibliographical references, was initially published on DVD in 2005, with an updated second edition to reflect new discoveries is under preparation.

En este trabajo principalmente descriptivo, los autores presentan un conjunto de sitios rupestres localizados y documentados fotográficamente por Germán Onofre en el año 2012, al realizar un trabajo para la municipalidad distrital de Macarí. De los 20 sitios tratados en el artículo, 19 son poshispánicos (Colonia y República temprana) y uno prehispánico, a juzgar por la  temática y el estilo de las representaciones. La iconografía de los sitios rupestres coloniales y republicanos se caracteriza por las variaciones del motivo de la cruz cristiana, jinetes, iglesias, camélidos, caballos y figuras humanas, mientras que en el panel prehispánico se presentan una escena de caza de camélidos, pintada en el estilo del Arcaico Tardío, así como motivos abstractos atribuidos a períodos prehispánicos más tardíos.

Se trata de un libro de divulgación, que pretende servir de guía para todas aquellas personas que quieran acercarse a visitar algunas de las numerosas estaciones de rupestre que tiene la comarca del Valle de Alcudia y Sierra Madrona, ya sean o no especialistas en el tema.

El trabajo incluye, además de una exhaustiva descripción por términos municipales de cada uno de los 36 yacimientos incluidos, diferentes apartados dedicados a la localización, técnica, temática, significado y cronología.
Se incluyen, además, un capítulo en el que se analizan las características de los diferentes estilos de arte rupestre, una introducción al marco físico y un informe sobre el estado de conservación, en el que se presentan los resultados de los análisis realizados en algunas pinturas.

The pentagram, or five pointed star, is a symbol that appears in the rock art of countries like Portugal, Spain, Andorra, France, Italy and Austria. There are examples dated from Bronze Age, Iron Age and others from the Middle Ages. Their meanning is not always easy to understand, but there are some cases that allow an easier approach to their symbolism.
In this paper, the author presents some examples of pentagrams in rock art whose associations with other engravings make possible their interpretation. He will also consider the presence of this symbol in artefacts like pottery, coins, good-luck charms, shields and in monuments like funerary tombstones, and medieval churches, among other examples, because some of these cases help to understand better the pentagrams that appear in rock art.
The survival of this symbol, in the present days, as a charm against the “evil-eye” among Portuguese and Italian paesants, will be also considered as a “clue” for the research about the pentagram.
Keywords: pentagram, rock art, symbolism, good-luck charm.

Freddy Taboada, Claudia Rivera, Pilar Lima and
Matthias Strecker: ROCK ART PROJECT AT PEÑAS,
LOS ANDES PROVINCE, LA PAZ DEPARTMENT,
BOLIVIA. SIARB carried out an interdisciplinary project
at the village Peñas to study and protect a rock art site.
The team included rock art specialists, archaeologists and
historians. A fence was constructed in front of a rock shelter,
we recorded the paintings, analyzed the pigments using a
portable x-ray fluorescence spectrometer, and achieved the
following: coordination with the community representatives
and the municipality of Batallas, preliminary management
plan, archaeological survey, studies of the history of the
region, conservation survey, cleaning of graffiti, training
courses for guides, publication of a leaflet for visitors.

PEC 01 correspondiente a la asignatura "El arte en la Prehistoria", del grado en Historia del Arte de la UNED.
Se comentan dos imágenes, una de la Venus Dolni Vestonice y otra de un bisonte silueteado de las cuevas de La Pasiega en Cantabria.
Comentario de imágenes.