The Naval Scene of Laja Alta Shelter-Cave (Jimena de la Frontera, Cádiz). A New Chronocultural Proposal
We present a review of the boat-shaped motifs of the Laja Alta shelter-cave, in Jimena de la Frontera, Cádiz, providing a new hypothesis on its possible affiliation to historical age. Since the discovery of this enclave, the reason for the existence and the chronology of the boats that form part of...
| Published in: | Zephyrvs |
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| Main Author: | |
| Format: | Article in Journal/Newspaper |
| Language: | Spanish |
| Published: |
Universidad de Salamanca
2022
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| Subjects: | |
| Online Access: | https://revistas.usal.es/index.php/0514-7336/article/view/28201 https://doi.org/10.14201/zephyrus202188209234 |
| Summary: | We present a review of the boat-shaped motifs of the Laja Alta shelter-cave, in Jimena de la Frontera, Cádiz, providing a new hypothesis on its possible affiliation to historical age. Since the discovery of this enclave, the reason for the existence and the chronology of the boats that form part of its pictorial panels have been controversial. This discussion is due, in part, to the fact that these ships are notably distant from the facies of the Schematic Rock Art in which, until now, they have been included. We think that the naval scene responds to a graphic action that fits the conception of the modes of representation of the historical graphite phenomenon. We join the prolific debate on the chrono-cultural ascription of the ships by contributing new data, obtained from a methodological proposal that proposes the analysis of the boats, isolating them from the physical space in which they are located and from the technique with which they were executed, circumstances that, until now, have conditioned most of the reflections made on them. Presentamos una revisión de los motivos barquiformes del abrigo de Laja Alta, en Jimena de la Frontera, Cádiz, aportando una nueva hipótesis sobre su posible filiación a tiempos históricos. Desde el descubrimiento de este enclave, la razón de la existencia y la cronología de las embarcaciones que forman parte de sus paneles pictóricos han resultado aspectos controvertidos. Esta discusión se debe, en parte, a que estos barquiformes se alejan notablemente de la facies del Arte Rupestre Esquemático en el que, hasta ahora, se han venido incluyendo. Pensamos que la escena naval responde a una acción gráfica que se ajusta a la concepción de los modos de representación del fenómeno del grafito histórico. Nos sumamos al prolífico debate sobre la adscripción cronocultural de los navíos aportando nuevos datos, obtenidos de una propuesta metodológica que plantea el análisis de los barquiformes aislándolos del espacio físico en el que se ubican y de la técnica con la que se ejecutaron, circunstancias que, hasta ahora, han condicionado la mayoría de las reflexiones realizadas sobre ellos. |
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