Tattooed landscapes. A reassessment of Atlantic Art distribution, research methods and chronology in the light of the discovery of a major rock art assemblage at Monte Faro (Valença, Portugal)
Abstract The Winter 2012 marks the beginning of a pioneer research in Portugal intended to approach Atlantic Art under the theoretical and methodological principles of Landscape Archaeology, targeting a confined geomorphological unit. This paper presents the results of systematic field surveys at Monte Faro, carried out between 2013 and 2015, and announces the discovery of the largest concentration of Atlantic Art sites ever found in this country. This evidence will contribute to reassess the widespread believe in the peripheral character of Atlantic Art in Portugal, if put against the realities found in Galicia, Ireland, England and Scotland. Yet, most importantly, it will allow us to reexamine aspects that have been at the forefront of Atlantic Art studies, from chronology to fieldwork methodologies and the application of digital technologies in rock art recording. But we shall also tackle issues that have been lacking in-depth discussion like the question of style, the concept of biogeography and its usefulness in rock art studies, aiming towards a theoretical and methodological revitalization of research on the prehistoric art of Atlantic Europe.
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Alves, L. B. (2009): “Signs on a rock veil: work on rocks, ‘prehistoric art’ and identity in north-west Iberia”. In O’Connor, B.; Cooney, G. and Chapman, J. (eds.): Materialitas: working stone, carving identity. Oxford: Oxbow, pp. 169-180.
Alves, L. B. (2012): “The circle, the cross and the limits of abstraction and figuration in north-western Iberian rock art”. In Cochrane, A. and Jones, A. (eds.): Visualising the Neolithic: abstraction, figuration, performance, representation. Oxford: Oxbow, pp. 198-214.
Baptista, A. M. (1981): “O complexo de arte rupestre da Bouça do Colado (Parada, Lindoso). Notícia preliminary”, Giesta, 1 (4), pp. 6-16.
Baptista, A. M. (1983-84): “Arte Rupestre do Norte de Portugal: uma perspectiva”, Portugália, Nova série, IV-V, pp. 71-82.
Bender, B. (1993): “Introduction. Landscape-Meaning and Action”. In Bender, B. (ed.): Landscape, Politics and Perspectives. New York-Oxford: Berg, pp. 1-17.
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Bradley, R. (2000): An Archaeology of Natural Places.Routledge. London-New York.
Bradley, R. and Watson, A. (2012): “Ben Lawers: carved rocks on a loud mountain”. In Cochrane, and Jones, A. (eds.): Visualising the Neolithic: abstraction, figuration, performance, representation. Oxford: Oxbow, pp. 64-78.
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Cruz, D. J. (2001): O Alto Paiva: megalitismo, diversidade tumular e práticas rituais durante a Pré-história Recente. Dissertação de doutoramento em Pré-história e Arqueologia. Faculdade de Letras da Universidade de Coimbra. Coimbra.
Cunha, A. L. and Silva, E. J. L. (1980): “Gravuras rupestres do Concelho de Valença. Montes dos Fortes (Taião), Tapada do Ozão, Monte da Laje”. In Actas do Seminário de Arqueologia do Noroeste Peninsular. Guimarães, pp. 121-131.
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Guitián, J. and Peña, A. (2007): “Grabados en la memoria: arte rupestre del Noroeste: reasignaciones significativas y pervivencia icónica”, Cuadernos de Arte Rupestre, 4, pp. 353-372.
Harris, O. (1982): “The dead and the devils among the Bolivian Laymi”. In Bloch, M. and Parry, J. (eds.): Death and the regeneration of life. Cambridge: cup, pp. 45-73. doi: https://doi.org/10.1017/CBO9780511607646.003
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Lorenzo-Ruza, R. S. (1953): “Los motivos de laberintos y su influencia en los petroglifos gallegos-atlanticos”, Revista de Guimarães, 63 (1-2), pp. 56-82.
MacWhite, E. (1951): Estudios sobre las relaciones atlánticas de la Península hispánica en la Edad del Bronce. Disertaciones matritenses, II. Madrid: Public. Seminario de Historia Primitiva del hombre.
Meskin, A. (2005): “Style”. In Gaut, B. and Lopes, D. M. (eds.): The Routledge Companion to Aesthetics. Oxon-New York: Routledge, pp. 489-500.
Novoa, P. and Costas, F. J. (2004): “La fauna en los grabados rupestres de la Ribera portuguesa del Miño”, Glaucopis-Boletin del Instituto de Estudios Vigueses, X (10), pp. 177-204.
Novoa, P.; Costas, F. J.; López, P.; Sanromán, J. and Ferreira, D. (2006): “Gravuras rupestres pré-históricas no concelho de Valença”, Boletim Municipal, 63, pp. 40-43.
Novoa, P. and Sanromán, J. (1999): “Nuevos Aportes del Arte Rupestre del Norte de Portugal”. In Actes International Congress of European Rock Art (Vigo, 1998). CD-ROM.
Pinto, R. S. (1929): “Petroglifos de Sabroso e a arte rupestre em Portugal”, Nós, 62, pp. 19-26.
Rodríguez Álvarez, E. (2012): “Os petroglifos do Barbanza dende unha perspectiva especial”. In Fábregas, R. and Rodríguez Rellán, C. (eds.): A Arte Rupestre no Norte do Barbanza. Santiago de Compostela: Andavira ed., pp. 121-134.
Santos Estévez, M. (2005): “Sobre a cronologia da arte atlântico en Galicia”, Archaeoweb , 7 (2). Disponible online: www: http://www.ucm.es/info/arqueoweb [access 2/07/2014].
Santos Estévez, M. (2012): “Unha visión diacrónica da Arte Atlântica dentro de un novo marco cronológico”. In Sanches, M. J. (ed.): 1ª Mesa-Redonda Artes Rupestres da Pré-história e Proto-história: Paradigmas e Metodologias de Registo. Trabalhos de Arqueologia, 45. Lisboa: Direcção Geral do Patrimonio Cultural, pp. 219-238.
Seoane, M. and Seoane, Y. (2013): “Análisis de distribución del arte rupestre de estilo Atlántico”. In Criado, F.; Martínez Cortizas, A. and García Quintela, M. V.: Petroglifos, paleoambiente y paisaje. Estudios interdisciplinares del arte rupestre de Campo Lameiro (Pontevedra). Traballos de Arqueoloxía e Patrimonio, 42. Madrid, pp. 155-169.
Shee Twogih, E.; Roughley, C.; Shell, C.; O’Reilly, C.; Clarke, P. and Swanton, G. (2010): “Open-air rock art at Loughcrew, Co. Meath”, The Journal of Irish Archaeology, XIX, pp. 1-28.
Silva, E. J. L. and Cunha, A. L. (1981): “As gravuras do Monte da Laje (Valença)”, Arqueologia, 13, pp. 143-158. Sobrino, R. (1935): Corpus Petrogliforum Gallaecia. Seminario de Estudos Galegos.
Souto, A. (1932): “Arte Rupestre em Portugal (Entre Douro e Vouga). As insculturas da Serra de Cambra e de Sever e a expansão das combinações circulares e espiraladas no noroeste peninsular”, Trabalhos de Antropologia e Etnologia, V (IV), pp. 285-300.
Spellerberg, I. F. and Sawyer, J. W. (1999): An introduction to applied biogeography. Cambridge: CUP.
Tilley, C. (2004): The materiality of stone. Exploitations on landscape phenomenology. New York Oxford: Berg.
Alves, L. B. (2009): “Signs on a rock veil: work on rocks, ‘prehistoric art’ and identity in north-west Iberia”. In O’Connor, B.; Cooney, G. and Chapman, J. (eds.): Materialitas: working stone, carving identity. Oxford: Oxbow, pp. 169-180.
Alves, L. B. (2012): “The circle, the cross and the limits of abstraction and figuration in north-western Iberian rock art”. In Cochrane, A. and Jones, A. (eds.): Visualising the Neolithic: abstraction, figuration, performance, representation. Oxford: Oxbow, pp. 198-214.
Baptista, A. M. (1981): “O complexo de arte rupestre da Bouça do Colado (Parada, Lindoso). Notícia preliminary”, Giesta, 1 (4), pp. 6-16.
Baptista, A. M. (1983-84): “Arte Rupestre do Norte de Portugal: uma perspectiva”, Portugália, Nova série, IV-V, pp. 71-82.
Bender, B. (1993): “Introduction. Landscape-Meaning and Action”. In Bender, B. (ed.): Landscape, Politics and Perspectives. New York-Oxford: Berg, pp. 1-17.
Bradley, R. (1997): Rock art and the Prehistory of Atlantic Europe. Signing the Land. London/New York: Routledge.
Bradley, R. (2000): An Archaeology of Natural Places.Routledge. London-New York.
Bradley, R. and Watson, A. (2012): “Ben Lawers: carved rocks on a loud mountain”. In Cochrane, and Jones, A. (eds.): Visualising the Neolithic: abstraction, figuration, performance, representation. Oxford: Oxbow, pp. 64-78.
Costa, J. C.; Aguiar, C.; Capelo, J.; Lousa, M. and Neto, C. (1998): “Biogeografia de Portugal Continental”, Quercetea, 0, pp. 5-56.
Cruz, D. J. (2001): O Alto Paiva: megalitismo, diversidade tumular e práticas rituais durante a Pré-história Recente. Dissertação de doutoramento em Pré-história e Arqueologia. Faculdade de Letras da Universidade de Coimbra. Coimbra.
Cunha, A. L. and Silva, E. J. L. (1980): “Gravuras rupestres do Concelho de Valença. Montes dos Fortes (Taião), Tapada do Ozão, Monte da Laje”. In Actas do Seminário de Arqueologia do Noroeste Peninsular. Guimarães, pp. 121-131.
Fábregas, R. and Rodríguez Rellán, C. (2012): “O tempo dos petróglifos”. In Fábregas, R. and Rodríguez Rellán, C. (eds.): A Arte Rupestre no Norte do Barbanza. Santiago de Compostela: Andavira ed., pp. 85-103.
Guitián, J. and Peña, A. (2007): “Grabados en la memoria: arte rupestre del Noroeste: reasignaciones significativas y pervivencia icónica”, Cuadernos de Arte Rupestre, 4, pp. 353-372.
Harris, O. (1982): “The dead and the devils among the Bolivian Laymi”. In Bloch, M. and Parry, J. (eds.): Death and the regeneration of life. Cambridge: cup, pp. 45-73. doi: https://doi.org/10.1017/CBO9780511607646.003
Jones, A. M.; Freedman, D.; O’Connor, B.; Lamdin-Whymark, H.; Tipping, R. and Watson, A. (2011): An animate landscape: rock art and the prehistory of Kilmanrtin, Argyll, Scotland. Oxford: Oxbow.
Lorenzo-Ruza, R. S. (1953): “Los motivos de laberintos y su influencia en los petroglifos gallegos-atlanticos”, Revista de Guimarães, 63 (1-2), pp. 56-82.
MacWhite, E. (1951): Estudios sobre las relaciones atlánticas de la Península hispánica en la Edad del Bronce. Disertaciones matritenses, II. Madrid: Public. Seminario de Historia Primitiva del hombre.
Meskin, A. (2005): “Style”. In Gaut, B. and Lopes, D. M. (eds.): The Routledge Companion to Aesthetics. Oxon-New York: Routledge, pp. 489-500.
Novoa, P. and Costas, F. J. (2004): “La fauna en los grabados rupestres de la Ribera portuguesa del Miño”, Glaucopis-Boletin del Instituto de Estudios Vigueses, X (10), pp. 177-204.
Novoa, P.; Costas, F. J.; López, P.; Sanromán, J. and Ferreira, D. (2006): “Gravuras rupestres pré-históricas no concelho de Valença”, Boletim Municipal, 63, pp. 40-43.
Novoa, P. and Sanromán, J. (1999): “Nuevos Aportes del Arte Rupestre del Norte de Portugal”. In Actes International Congress of European Rock Art (Vigo, 1998). CD-ROM.
Pinto, R. S. (1929): “Petroglifos de Sabroso e a arte rupestre em Portugal”, Nós, 62, pp. 19-26.
Rodríguez Álvarez, E. (2012): “Os petroglifos do Barbanza dende unha perspectiva especial”. In Fábregas, R. and Rodríguez Rellán, C. (eds.): A Arte Rupestre no Norte do Barbanza. Santiago de Compostela: Andavira ed., pp. 121-134.
Santos Estévez, M. (2005): “Sobre a cronologia da arte atlântico en Galicia”, Archaeoweb , 7 (2). Disponible online: www: http://www.ucm.es/info/arqueoweb [access 2/07/2014].
Santos Estévez, M. (2012): “Unha visión diacrónica da Arte Atlântica dentro de un novo marco cronológico”. In Sanches, M. J. (ed.): 1ª Mesa-Redonda Artes Rupestres da Pré-história e Proto-história: Paradigmas e Metodologias de Registo. Trabalhos de Arqueologia, 45. Lisboa: Direcção Geral do Patrimonio Cultural, pp. 219-238.
Seoane, M. and Seoane, Y. (2013): “Análisis de distribución del arte rupestre de estilo Atlántico”. In Criado, F.; Martínez Cortizas, A. and García Quintela, M. V.: Petroglifos, paleoambiente y paisaje. Estudios interdisciplinares del arte rupestre de Campo Lameiro (Pontevedra). Traballos de Arqueoloxía e Patrimonio, 42. Madrid, pp. 155-169.
Shee Twogih, E.; Roughley, C.; Shell, C.; O’Reilly, C.; Clarke, P. and Swanton, G. (2010): “Open-air rock art at Loughcrew, Co. Meath”, The Journal of Irish Archaeology, XIX, pp. 1-28.
Silva, E. J. L. and Cunha, A. L. (1981): “As gravuras do Monte da Laje (Valença)”, Arqueologia, 13, pp. 143-158. Sobrino, R. (1935): Corpus Petrogliforum Gallaecia. Seminario de Estudos Galegos.
Souto, A. (1932): “Arte Rupestre em Portugal (Entre Douro e Vouga). As insculturas da Serra de Cambra e de Sever e a expansão das combinações circulares e espiraladas no noroeste peninsular”, Trabalhos de Antropologia e Etnologia, V (IV), pp. 285-300.
Spellerberg, I. F. and Sawyer, J. W. (1999): An introduction to applied biogeography. Cambridge: CUP.
Tilley, C. (2004): The materiality of stone. Exploitations on landscape phenomenology. New York Oxford: Berg.
Bacelar Alves, L. (2017). Tattooed landscapes. A reassessment of Atlantic Art distribution, research methods and chronology in the light of the discovery of a major rock art assemblage at Monte Faro (Valença, Portugal). Zephyrvs, 80, 49–67. https://doi.org/10.14201/zephyrus2017804967
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