1,098
edits
Changes
no edit summary
</ul></div>
{{ANESubirArriba}}
{{ANETextoAsociado
|titulo= Artistic expression in the Upper Paleolithic
|contenido=
[[File:Enelaboracion.jpg|left|thumb|none|300px|Map: Artistic expression from the Mesolithic to the Neolithic. Spain.
<span style="color: #b20027; ">14803 [PDF]. [Datos]. </span>]]
It was not until 12,000-10,000 BC, that Homo sapiens realised their full artistic potential. Evidence of this resides on the East coast of the Iberian Peninsula where more modest, schematic and stylised paintings than those from the Palaeolithic were developed. As contours of discontinuous lines, the figures lack interior polychromy and are smaller in size. Human beings and animals on which they preyed were the centre piece of the art, often depicted in motion and in scenes that tell a story. These paintings were now displayed in rock shelter rather than caves, undoubtedly reflecting the change to a sedentary lifestyle. Well-preserved examples of such art can be found at the Cogull, Valltorta, and Alpera sites as well as in cueva de la Araña.
Like the art in the Franco-Cantabrian region, these images were found on parietal walls throughout the Peninsula, frequently comingled with paintings and engravings from later periods. They were concentrated in three large areas: the Galician-Portuguese region, the south, and most commonly, along the East coast, so prevalent in this area that it is often referred to as “Levantine Art”.
Characterised by their labyrinth-shaped designs, the petroglyphs in the north and northweast are also worth mentioning, particularly those at Mogor in Marín and the anthropomorphic Ídolo de Peña Tú in Asturias. Engravings and paintings of these types represent a way of communicating that was perhaps a precursor to the first pictograms.}}
{{ANETextoDestacado
|titulo=The beginning of the use of copper
|contenido=
In the beginning of the Third Millennium BC, the use of copper, a new raw material, was becoming widespread throughout Europe. It was relatively abundant on the Peninsula and could be extracted from the ground. This sparked the beginning of the Chalcolithic or Copper Age, the first of the traditionally recognised Metal Ages.
Awls, hooks, flat axes, knives, daggers, halberds, personalised adornments made from copper appeared. Bone and stone were gradually replaced by copper, which led to new manufacturing techniques as well as new ways of living.
Fortified settlements were now being constructed high up on plateaus. The most notable examples of this were the culture of Los Millares and subsequently, the Argar (Almeria) and Zambujal in Torres Vedras (Portugal), which were the most magnificent architectural settlements on the Chalcolithic Iberian Peninsula. However, most communities were still typically found in the flatlands (particularly on river terraces and in valleys), which were more suitable for farming or raising livestock. Excavations at these sites have unearthed grain stores, landfills, store rooms, ditches and pits at these sites dating from this same time period. These societies also left behind an extensive fields of ring-diches which served as storage pits, particularly at les Jovades en Concentaina site, in Alicante and at the Ventorro site in Madrid. Notable exceptions to the settlements on the plains were those in caves or rock shelter such as the cova des Moro in Manacor (Mallorca) or cova des Fum in Formentera or Estremera in Madrid. Collective burying of their dead and the construction of megalithic burial chambers typical of the Late Neolithic continued to be common in the southeast, southwest, Northern Plateau and northwest of the Peninsula. These customs endured until the introduction of bell-shaped ceramic pots, which then allowed them to bury just a single individual.
Despite regional variations in dating and definitively describing the period known as the Copper Age, it can be roughly classified into two periods: the Early Chalcolithic, dating from the first half of the Third Millennium (starting in 2250 BC) and the Late Chalcolithic, occurring from 2250 BC to 1900 BC. In the latter period, new ceramic pots began to appear in communities throughout Europe, allowing for more efficient preservation, storage, and transportation of goods. They were made by hand, generally with red clay, in an inverted bell shape, and then elaborately decorated with horizontal bands containing geometric or shell-shaped patterns, impressed or cut with combs or cords, and sometimes glazed. On the Peninsula, this pottery was initially decorated with international designs, referred to as Maritime, Corded or Mixed (2200-2150 BC), but later, a diverse array of regional designs appeared.}}
{{ANEAutoria|Autores= María Sánchez Agustí, José Antonio Álvarez Castrillón, Mercedes de la Calle Carracedo, Daniel Galván Desvaux, Joaquín García Andrés, Isidoro González Gallego, Montserrat León Guerrero, Esther López Torres, Carlos Lozano Ruiz, Ignacio Martín Jiménez, Rosendo Martínez Rodríguez, Rafael de Miguel González}}
{{ANESubirArriba}}
