Galician Rock Art from the Past to the Present

Yolanda Seoane Veiga

Galician Rock Art From the Past to the Present

1. Introduction The first time we visited Sweden1 in 2002 to collaborate in the excavation and documentation of rock art in the region of Tanum2 (Bohuslän), we had a series of objectives, including studying in situ the characteristics of the rock art in the area in order to establish, from the perspective of Landscape Archaeology, the similarities and differences between the carvings from this area with those found in Galicia, as well as to learn from our experience in Sweden in work carried out around the carvings, to carry out an excavation some months later around a carving in Galicia (Santos and Seoane, 2005). At the same time as reaching these objectives, our visit was also intended to be a way of publicising information about other petroglyphs in the Iberian Peninsula (Figure 1)

We are conscious of how little information is published on Galician petroglyphs at international level, despite being one of the Fig. 1. Location of Galicia in a European context. main focal points of rock art alongside the British, Alpine or Scandinavian variations. to the outside world. Until the 1990’s, the When we refer to peninsular rock art beyond publication of information on petroglyphs our frontiers, this is immediately associated from Galicia was in the hands of foreign with paintings from the Levant or Franco- archaeologists who visited our region and Cantabria area and Palaeolithic carvings from whose work made a substantial contribution Foz Coa in Portugal, both of which are clearly to its publicity at international level (Anati disassociated from Galician rock art in both 1964 & 1968). In 1969, 70 and 71 a major col- temporal and cultural terms. laboration project took place between the There is also a notable absence of refer- CeSMAP (Centro di Estudi e Museo d’Arte ences to rock art from the north-western prehistorica di Pinerolo) and researchers from Iberian Peninsula in the bibliography in for- the University of Santiago de Compostela eign languages, mainly due to the late start and Pontevedra Museum. As a result of this made by Galician researchers in opening up interaction a further series of articles was

5 published: García & Fontanini (1971), Bessone 2. Formal and chronological contextualisa- et al. (1972), Borgna (1973). In the 1990’s, tion of Galician Atlantic Style Rock Art Landscape Archaeology served to take the As a starting point, we considered it logical first steps towards introducing Galician pre- to define the object of our study: Galician history in general into Europe, and rock art Atlantic Style Rock Art3 leaving to one side in particular. In this case a series of articles all manifestations we do not consider as fit- were published in international journals from ting in with this style4. foreign researchers (Bradley 1997), Galician’s’ Atlantic Style Rock Art extends from north- (Criado et al. 1997) (Santos & Criado 2000) ern Portugal to the north of the British Isles, or from both (Bradley, Fabregas & Criado with practically identical geometrical designs 1994, 1995). In the twenty-first century in- found: circular combinations, spirals, and to ternational projects appeared, such as the a lesser extent, mazes and labyrinth shapes, Emergence of European Communities, giving amongst others (we have not included us the opportunity to promote awareness of cup-marks as they are practically universal Galician rock art in Sweden. As part of this symbols that were carved over a very long project, we would highlight the following period of time). We believe that Galician points: collaboration between Galician and Rock Art should be included in this group, Swedish researchers, leading to their par- as these geometric figures (Figure 2) form ticipation together with university students its iconic base, being the most frequently in training projects in both countries; the and widely found in geographical terms. Yet involvement of the cultural administrations at the same time, they share features with in both countries; and the organisation of other areas of rock art throughout Atlantic yearly workshops aimed at participants in the regions (MacWhite 1951 & Bradley 1997), project. The project culminated in 2006 with not only thanks to their formal similarity, the preparation of a book covering different but also for their chronological coincidence aspects of Galician and Swedish rock art. and their distribution, clearly associated with This article is a small contribution aimed at the coastline. offering an introduction to the most gen- However, other types of figures exist in Gali- eral features of Galician petroglyphs. How- cian rock art that give it its own ‘personality’ ever, and no less importantly, we also wish and provide information about its chronol to describe the current status of Rock Art and function, namely the figurative motifs in Galicia, what stage we have reached in found, such as deer, horses, weapons and terms of research, and which projects are human ogy figures. This natural repertoire, underway for its recovery and presentation which appears either isolated or in direct to the public. conjunction with an abstract theme, is what

Fig. 2. The most frequently found geometric motifs in Atlantic Style Galician Rock Art.

6 Fig. 3. Typical figurative motifs from Atlantic Style rock art characterises Galician rock art, differentiat- halberds and shields. The only themes we ing it from other types of carvings found are able to identify are those related with along Europe’s Atlantic coastal regions. The warfare and hunting, representing the activi- most numerous designs are zoomorphs, deer, ties that were probably considered as most and to a lesser extent horses and snakes, as prestigious at that time, and we never find well as weapons, so called ‘idoliforms’ and scenes of domestic or daily life. Also, the anthropomorphs. Deer are the most widely- figures always show masculine attributes, represented figures (Figure 3); except for rare and there are no clearly feminine representa- occasions, all of the quadrupeds are stylised, tions. Galician Atlantic rock art appears to be characterised by having internal space, a dominated by an ideology that defended the lack of anatomical details, and because the social dominance of the warrior male. lines forming their extremities are a perfect continuation of their front and rear quarters Practically all of the rock art found in Galicia (Santos, 2004: 68). These animals often form is carved on granite, mostly on horizontal or a part of hunting scenes, where they appear sloping rocks, and rarely on vertical supports. injured by weapons, and often the reproduc- The panels usually function as an integrated tive cycle of the animal is shown: the rut and whole, in which the panel itself predomi- copulation. Weapons also form an important nates over the motif, although there may part of this iconographic repertoire, with have been later additions. (Figure 4). The certain models of daggers, short swords, distribution of the motifs is vertical, laid out

7 Fig. 4. Tracing of Chan da Lagoa panel (Campo Lameiro-Pontevedra) obliquely, with a main figure that is nearly 1200 B.C), as by analysing the typology of always made to stand out by being larger the weapons represented in the petroglyphs, and/or carved more deeply into the rock. such as halberds and short swords with tri- In some cases, particularly with figurative angular blades, we know that they are very motifs, there is some evidence of the use of similar models to those found in contexts perspective or depth of field, using different from the Early Bronze Age5, and can date sizes and juxtaposition on the carved surface these motifs with a minimum guarantee. (Vázquez 1997). Over the recent decades this group has come Technically, the carvings are characterised by to include weapons with other designs of the currently having a much worn groove with Atlantic Style, thereby bestowing them with a section in an open ‘U’ shape. The carving an identical chronology (Peña and García technique probably involved a pick, abrasion, 1993; Santos 1998 and 2004), and affirming incision, or a combination of several tech- that the use of Galician rock art could not niques, which in many cases may be verified have continued far beyond the second third by observing a series of characteristics, par- of the second millennium BC. (Peña 1992). ticularly the appearance of the grooves. Some authors attribute it to a period between the third millennium BC and the first centuries of the second millennium BC (Peña 2.1. Chronology 2003), concluding that Galician rock carv- The absence of a direct relationship between ings were the work of some of the human the petroglyphs and archaeological elements communities settled in the territory during susceptible to being dated with a degree of this period, coinciding with the end of the certainty has led to controversy in the opin- Megalithic period and the early develop- ions of researchers studying the chronological ment of metalworking (Peña & Rey 1991), background of these carvings. not exceeding under any circumstances the However, it may be said that consensus has second third of the second millennium. This been reached in accepting that part of what hypothesis is based on the existence of a we refer to as Atlantic Style Galician Rock Art supposed break in the archaeological record, may be dated to the Early Bronze Age (2500- which appears to suggest that after the social

8 development and economic intensification part of an organised space which responds to of the transition from the third to second the concept of landscape held by the society millennia, a crisis occurred which led to an that made use of it. This research strategy interruption of this process of development, had already been used in the prehistory of and which led to inevitable social changes the British Isles (Bradley 1991) and was soon that led to the disappearance of the Galician put to effective use in Galicia6. group of rock art (Peña 1992). However, the results of a recent excavation (which we will refer to at the end of 3.1. The landscape of the carvings this article) and a chronological analysis of The Galician landscape and more specifically, various characteristic designs from Atlantic the areas where the highest concentrations Rock art, have led us to at least revise this of petroglyphs are found (the western coast chronology, suggesting that it lasted until and neighbouring zones) are generally very at least the Early Iron Age (eighth to fifth mountainous. It is a highly fragmented space, centuries BC). In this case we propose two formed by a large number of small ranges groups of different motifs that are related with alternating narrow, fertile valleys. The to two stages of production of the Atlantic ranges in these regions are not very high Style (Santos 2005a & 2005b). The latest stage in absolute terms, but they do have very would be formed by some typical figures steep slopes, which in some cases soar from found in Galician rock art, such as mazes and sea level to 500m in a very short space. The horse-riding scenes, which did not start to coastline is also jagged and characterised appear generally throughout Europe until by the presence of rías (low valleys formed the end of the Bronze Age and start of the during the Quaternary period that were then Iron Age. Another earlier stage would have invaded by the sea, forming estuaries similar been basically comprised of weapons, with to fjords). the appearance of a tendency towards a The distribution of Galician rock art is not dislocation between the weapons described homogenous, but is instead concentrated above and the other motifs from the At- in a very specific area: the region’s Atlantic lantic Style. coast (Figure 5), in a geographical area that includes the provinces of Pontevedra and A Coruña, demonstrating a clear link between 3. Rock Art from the perspective of Land- this phenomenon and the coastline. The scape Archaeology density of the carvings within this area is In our opinion, the location is an essential unequal. The most significant number of factor in order to be able to comprehend stations in quantitative terms is found in the the space and function of rock art. Until the districts of Campo Lameiro and Cotobade in 1990’s, research had focused on questions of Pontevedra, and also in qualitative terms, style and chronology, a focus that changed as they have the greatest thematic variety when the research strategy of Landscape found in Galician rock art. The most impor- Archaeology started to be applied to it. This tant stations with regard to the quantity gives greater priority to the location as an of petroglyphs are also those that have the instrument that helps define the role rock art most exceptional designs (Bradley 1997). As had in constructing the landscape, from the we move away from this area of high con- perspective of its interrelations with the sur- centration the density of carvings declines, rounding social and natural environment. together with the typological variety of the The first application of the theoretical prin- designs. ciples of Landscape Archaeology in studying the spatial organisation of the rock art panels This process is heightened towards the inte- was presented by Felipe Criado in Límites y rior, where we only find petroglyphs forming Posibilidades de la Arqueología del Paisaje small concentrations in very specific areas, (The limits and possibilities of Landscape coinciding with the area around the only two Archaeology) (1993), focusing on rock art as navigable rivers in Galicia (Santos 2005c).

9 (Méndez 1994). This connection with bogs and concave spaces, arranged around their contour or even inside them, is not always the case, as carvings are also found to a lesser degree in intermediate spaces or areas of communication and access between these concave spaces.

3.2. Art as an object: function and meaning It is therefore clear that most of the petroglyphs are connected with low-lying areas or small depressions in more or less high, wet areas (with the presence of bogs). Areas of this kind are suitable for herding animals together and keeping them controlled. The presence of hunting scenes, animal drov- Fig. 5. Map showing the distribution of Atlantic Style ing and horse riding in the carvings found rock art in Galicia around them may be representing the type of actions that were carried out in these These river courses represent a natural means areas. Furthermore, the carvings are located of penetrating inland from the ocean. in areas of movement and passage, and may This difference in dispersion may be due even at times be marking lines of transit to factors such as different conditions of across the terrain. One significant feature is preservation or greater or lesser intensity that in carvings showing animals in move- in terms of research; however, prospecting ment or footprints, their direction generally work carried out in recent years has shown coincides with general lines of transit. that most newly discovered petroglyphs appear on Galicia’s western coast, once again In this sense, Bradley, Criado and Fábregas appearing to confirm that these carvings be- (1994a & 1994b) believe that they would have long to the Atlantic region, preferably in the served as elements of cohesion for a group, in area of the ‘Rias Baixas’ or lower estuaries. which inter-group conflicts began to appear Work is starting in Galicia on analysing this related to the location of resources, helping proximity to the sea as a further element that to regulate access to them and defining the may reveal a possible connection between rights of the community over them. They petroglyphs and sea routes (Seoane 2005, would have functioned as a symbolic sys- Santos & Seoane 2006). tem for the appropriation of space, within a The petroglyphs are located outside areas of context characterised by the need of certain settlement, and often far away from them. nomadic societies to define their ownership It is important to clarify that settlements in over a territory and access to areas of high the Bronze Age and Early Iron Age were strategic value. The petroglyphs would have built from the top to the bottom: the set- been a further way in which the individuals tlements were located at the top of the hill belonging to these groups communicated ranges, characterised by having light soils, with each other (Bradley et. al 1994). avoiding the lands from the lower regions Within this context, rock art would have in the valleys, which were covered with wild served as a means of organising the land- vegetation (Santos 1998). scape, being located in specific highly vis- More specifically, they are found around ible areas and in areas connected with pas- bogs or marshy ground, enclosed by the tureland and the tracks or routes leading natural relief of the area, and which remain to them. wet even during the driest parts of the year

10 Following the theoretical and methodologi- would have appeared within a society with cal principles developed by Criado Boado a profound socio-economic re-adaptation, and Santos Estévez, the petroglyphs would attributing it with the function of being the have been a visible expression of the exist- legitimating elements of a new social real- ence and delimitation of a territory. Santos ity, due to the consolidation of the social (1998) defends that Galician petroglyphs had complexity availed by the presence of signs a triple function: first they would have served of an intensification of agricultural practices as territorial markers, as they are found in leading to the share-out of excess produce, strategic areas, probably with the intention transformations in the collective funerary of controlling transit through a specific area ritual in benefit of individuals, characterised by the semi-nomadic communities connected by grave goods comprising metallic armour, with it. This author proposes a type of society and elements of personal decoration, some of in the Bronze Age with territories occupied which may even come from distant points of by a supra-local political unit comprised of the Atlantic regions, implying a wider scope one or more small domestic groups, a hy- in relations of exchange, and new forms of pothesis corroborated by the presence of social organisation, etcetera. (Peña & García exclusive types of rock art designs for each 1993 and 2001). zone (Santos, 1998: 167). Secondly, they would have served to define social space at local level, defining a community, separating 4. The enhancement & presentation of domestic space from the wild, and defining Galician rock art areas reserved for pasture, which at given Since 2002 an integral programme has been moments would have generated a degree of underway in the field of rock art, supported competition between the different commu- by the regional government7 and aimed at nities, serving to regulate the use of spaces fostering the research, conservation and shared by several communities. enhancement of this heritage. The result As a third possibility, they may have served is the creation of a Rock Art Archaeologi- as meeting points, with the hypothesis that cal Park (Figure 6) supported by a complete rituals may have taken place in many areas research programme, financed with regional with rock art related to the world of hunt- funds (code XGPS 2002/01) as well as Euro- ers and warriors. The author makes use of pean funds (HPRN-CT-2002-00230 from the ethnographic comparativism to verify that VI PM), incorporating methods from very in general terms, rock art is found in areas different disciplines, with the collaboration destined for particularly relevant ritual pur- of national and international institutions, poses, such as rites of passage, and especially such as the University of Umea in Sweden those related with the passage from child- (Various authors 2004). hood to adulthood, or an individual joining The area chosen for the park is in the local a specific social group, such as a band of council of Campo Lameiro, set inland from warriors, which generally took place in areas the coastline of the province of Pontevedra away from domestic space, a feature shared and covering 69.94 Km2, an is one of the fo- with rock art (Santos 2004). cal points of Galician rock art, both in terms This ritual and sacred function is an inherent of the quantity and variety of carvings. The element in rock art, and is a faithful reflec- archaeological park covers 22 hectares and tion of the existence of a relatively complex will have an interpretation centre and some spiritual world, in which the deer played a 50 rocks with carvings. role with a strong symbolic content. Outside of the scope of Landscape Archae- The research programme8 associated with ology, a series of different paradigms have the Rock Art Park project was carried out been suggested, as the authors start out jointly between the Landscape Archaeology based on different social contexts for the Laboratory of the Padre Sarmiento Insti- communities that carved and used the petro- tute of Galician Studies (CSIS-XuGa) and the glyphs. Some researchers state that rock art Laboratory of Paleoenvironment, Heritage

11 Fig. 6. Map of the Rock Art Park in Campo Lameiro and Landscape (LPPP), of the Technological the result of individual prospecting projects Research Institute of the University of San- carried out in the area in recent decades. In tiago de Compostela. Since 2002, research has 2003, taking advantage of scrub-clearing been carried out to document the landscape work, the whole of the area where the park and archaeological context of the carvings is to be situated was prospected, as well as found in the park and its surrounding area. some of the surrounding areas. A total of These actions, now in their final stage, cover some 500 hectares was prospected, locating different types of work and involve a multi- a total of 100 new elements, doubling the disciplinary team of researchers, comprising initial number of petroglyphs for the area. archaeologists, geographers, soil scientists and chemists. However, there are still many areas yet to The main scope of the programme is the be explored, as the location of the carvings area where the future park will be installed, coincides with areas on hillsides covered with although work, mainly prospecting, was car- dense vegetation, meaning that once all ried out in the rest of the local council area. these areas have been thoroughly checked This work involved the following: the number of carvings will probably increase significantly. A sufficient number of points were registered 4.1. Superficial archaeological prospecting for each of the petroglyphs using GPS tech- A systematic archaeological exploration nology in order to precisely define their pe- had never been carried out in the region of rimeter, so that these could then be included Campo Lameiro, with the carvings catalogued in Geographical Information System.

12 4.2. Reproduction of rock carvings was the only one found to have archaeologi- Reproduction work was made on each of cal evidence, and was dated to around the the nine rocks in the park and some of those first half of the first millennium BC (Figure surrounding it. A total of 25 rubbings were 8). As an initial interpretation, it seems we made on plastic, using the method applied are only able to affirm that there was a mo- in Sweden, adapted to the Galician record. ment of use of the petroglyph between the An observation protocol was designed using eighth and fourth centuries BC, which would different types of lighting, and reproduction appear in this case to confirm the chronology with rubbings made on plastic. By using this proposed at the start of the chapter. procedure it was possible to locate figures It is important to note that within the excava- that would not have been otherwise identi- tions carried out as part of the framework fied (Figure 7). of this project as well as in the context of The non-contact method known as photo- public works projects, this is one of the few grammetry, capable of generating reproduc- cases in which we have found prehistoric tions in 3-D, was also applied to a number of remains around a carving. It may be that petroglyphs. As this is still at an experimental the appearance of these remains is due to stage we cannot provide the results of this the features of the Os Carballos site, as it technique in this article9. is the only petroglyph from amongst those studied situated within a depression, where material washed down has accumulated; in 4.3. Excavations around the petroglyphs the other petroglyphs, erosion has elimi- Work was carried out on a total of seven nated the archaeological levels. In fact, the petroglyphs within the boundaries of the petroglyph was buried until the 1980’s, as its future park, with a total of nine test pits dug location and the geological features of the around the carvings (the largest of which area meant that sediment had accumulated measures 5 x 3 metres) in order to evalu- after being washed down from the higher ate the archaeological potential of the site. areas, effectively sealing the structures that Clear archaeological evidence was only found were documented. around four of these carvings, meaning that in a second stage the excavation work was extended, reaching the conclusion that in 4.4. Cutting of trenches two of these sites, the structures thought Apart from the samples taken from around previously to have been man-made could the petroglyphs, a series of mechanical have been natural in origin or man-made trenches were dug with a backhoe in dif- but from the modern period, supported by ferent areas of the park. These trenches were the total absence of any prehistoric ceramic 0.5m wide and of varied length, reaching or stone materials. a total of 2 kilometres. The trenches were This meant that clear evidence was only distributed around the most significant areas found in two of the petroglyphs that were of the park. In all cases the trenches were excavated, although valuable information dug down to the base rock, with a depth was taken from one of them: the petroglyph varying between 0.5m and 3m. of Os Carballos, where an archaeological The trenches were dug for two main rea- level was found, characterised by being more sons: to check for the presence of remnants densely compacted in comparison to the of activity related with rock art or not in other levels. It contained what could have the area, such as settlements, burials or any been a minute pottery fragment, a fragment other type of structures; and also, to obtain of allochthonous clay, a rounded percussive soil readings of interest to contribute to- stone and several stone chips, as well as what wards the paleo-environmental reconstruc- may be a post hole and a small open chan- tion and geomorphological studies of the nel, which may have served to drain away area10 (Figure 9) water that accumulated on the petroglyph It was not possible to locate any evidence (Santos 2005b: 5). This level of Os Carballos of the settlement, as we did not find any

13 Fig. 7. Stages of completion of the rubbing made of Os Carballo’s (Campo Lameiro-Pontevedra) of final tracing. pottery fragments, clear signs of stone construction of the building that will hold tool production or structures such as cabin the interpretation centre; the negatives of foundations, post holes or pits. The physical- several structures excavated in the base rock chemical and pollen analyses11 would ap- were found, together with the remains of pear to confirm the hypothesis that there stone and ceramic materials. Without the is evidence of livestock farming from the results from the radio-carbon samples, it time, and that the area was never cultivated. is still too early to make a chronological or We should point out that in 2006, during functional proposal for the site, although archaeological monitoring work prior to the the small amount of material and the lack

14 15 Fig. 8. Excavation of Os Carballos- Campo Lameiro-Pontevedra. of clarity of the structures means that we Yolanda Seoane Veiga are still sceptical about the possibility of this Landscape Archaeology Laboratory, Padre being an area of domestic settlement from Sarmiento Institute of Galician Studies the same period as the petroglyphs. (CSIC-XuGa). Associated Unit: Paleoenvi- In closing, we would mention that the open- ronment, Heritage and Landscape Labora- ing of the Rock Art park is planned for 2010, tory (IIT, USC). and will be undoubtedly the culmination of intensive documentation work on the prehistoric context of the area which has Acknowledgements been carried out not only from an archaeo- To all our Scandinavian colleagues we have logical point of view, but also from that of met over the years, especially Åsa Fredell other social sciences such as anthropology and Lasse Bengtsson. To Lolo Santos and and history, as well as biology, soil science, Felipe Criado for the ideas for this article, chemistry, etcetera, involving the combined David Barreiro for the corrections and Jon experience of national and international Brokenbrow for the translation. researchers. This integrated work has made the project a unique case in Spain, and probably in Europe. We believe it to be a good Footnotes example of research into Rock Art, and as 1. Visit carried out within the framework such it may be exported to anywhere else in of the Project entitled Emergence of Euro- the world, particularly if we take into account pean Communities.(2002-2006), within the its benefits in scientific and social terms. VI Framework Programme of the European Community for actions of research, tech-

16 Fig. 9. Samples being taken from one of the trenches in the park. nological development and demonstration it is the “Galician Rock Art Group” (Peña (2002-2006)( HPRN-CT-00230) under the direc- 1992), a category which includes all prehis- tion of Prof. Kristian Kristiansen (University toric artistic manifestations, without making of Gothenburg). Other actions form a part any distinctions according to style or chro- of the projects ContextAR (2002-2005), as nology. This style defined by other authors part of the National R&D Plan 2000-2003 corresponds in general terms to what we (BHA2002-04231-C02-02) and ContextAR 2 consider as “Atlantic Style Rock Art”. (2005-2008), as part of the National R&D&i Plan 2004-2007 (HUM2005-01119). 4. Simple circles with or without a central cup mark, horseshoes, circles divided into 2.Project under the direction of Lasse Bengts- two or four parts, squares divided in two or son. four, reticular shapes, and stylised human figures. For Santos Estévez (in press) these 3.There is not even any consensus amongst elements form a part of the style he refers Galician researchers on how to describe pre- to as Schematic Atlantic Rock Art historic Galician rock art: for some authors

17 5. These are more or less evolved copper mod- Bibliography els with a triangular blade, with or without Anati, E. a central crest, and with or without grooves 1964. The Rock carvings of Pedra das Ferra- running alongside the blade, but always in duras at Fentáns (Campo Lameiro). Homenaje direct relation with local production typical al Abate Beuil: 123-32. Barcelona. of the transition between the third to second 1968. Arte Rupestre nelle región occidentali millennia (Peña Santos, 1992). della Penisola Iberica. Centro Camuno de Studi Preistorici. Brescia. 6. An analysis of the location of the petro- Bradley, R., 1991 Rock art and the percep- glyphs within the landscape has been dealt tion of landscape. Cambridge Archaeological with from different points of view in Bradley Journal 1: 11-101. et. al (1994 a, b , c & 1995), Santos (1996,1998 1997 Rock art and the Prehistory of Atlantic & 1999), Santos & Criado (1998) and Fábre- Europe. London: Routledge. gas (1999). Bradley, R; Criado Boado, F.; Fábregas Val- carce, R. 7. Supported by: General Heritage Direc- 1994a Petroglifos en el paisaje: nuevas per- torate (Department of Culture and Sports spectivas sobre el arte rupestre gallego. -Xunta de Galicia) Minius 2-3. Ourense. 1994b Rock art research as landscape archae- 8. The programme is financed through the ology: a pilot study in Galicia, northwest following projects: Spain. World Archaeology 25 (3): 374-90. Paleolandscape and prehistory of the future 1994c Los petroglifos gallegos como forma Rock Art Park in Campo Lameiro (Ponteve- de apropiación del espacio: algunos ejemp- dra), project PGIDT02CCP60601PR from the los gallegos. Trabajos de Prehistoria 51 (2): Galician R&D&IT plan 2002-2005 159-68. Madrid. ContextAR: Contexto Arqueológico e His- 1995 Rock Art and the prehistoric landscape tórico del Arte Rupestre de Galicia, project of Galicia: the results of field survey between BHA2002-04231-C02-02 in the national R&D 1992 and 1994. Proceedings of the Prehistoric plan (2000-2003). Society 61: 347-370. Emergence of European Communities, project Bessone, G.; Ricciardi; P.; Seglie, D. 1972. Fig- HPRN-CT-2002-00230 of the Action Research ure antropomorfe scoperte a Cequeril-Galizia Training Networks, from the VI Framework (Spagna). Bolletino del Centro Camuno di Programme of the European Union. Studi Preistorici, 8: 254-5. Capo di Ponte. Borgna, C.G. (1973). Studio metódico cro- 9. Project directed by Dr. Juan Vicent from nológico del repertorio di sculture preisto- the Institute of History (CSIC) (Spain). riche della zona di Fentáns, Galicia-Spagna. Cuadernos de Estudios Gallegos 38 (84): 10. Work directed by Prof. Antonio Martínez 90-103. Padre Sarmiento Institute of Gali- Cortizas del LPPP (University of Santiago de cian Studies. Compostela) Criado Boado, F. (1993). Límites y posibilidades de la arqueología del paisaje. Spal 2: 11. Phosphate Analysis: Prof. Rogert Engel- 9-55. Seville. mark (Environmental Archaeology Labora- Criado Boado, F., Villoch Vázquez, V., San- tory, University of Umea, Sweden). tos Estévez, M. (1997). Forms of Ceremo- Pollen analysis: Prof. Pilar López and Dr. nial Landscapes in Iberia from Neolithic to Antonio López (Paleobotany Laboratory, Bronze Age: essay on an Archaeology of Institute of History–CSIC, Spain). Perception. En F. Criado y C. Parcero (ed.) Landscape, Heritage, Archaeology. TAPA (Traballos en Arqueoloxía e Patrimonio) 2,pp. 19-25. Santiago: Laboratory of Archaeology and Cultural Forms.

18 Fabregas Valcarce, R. 1999. Petroglifos y asen- 1999 Espacio cultural y espacio salvaje: la tamientos: el caso de Monte Penide (Redon- construcción de territorios en la Edad del dela, Pontevedra). Boletín del Seminario de Bronce en Galicia. Presentation at the I In- Arte y Arqueología: 95-118. ternational Congress of European Rock Art García Martínez, M.C.; Fontanini, R. 1971. El (Vigo, 1999)- complejo inscultórico rupestre de Paredes en 2004. Petroglifos y paisaje social en la pre- Campo Lameiro (Pontevedra). Cuadernos de historia reciente del Noroeste Peninsular. Estudios Gallegos, XXVI, nº 78: 7-28. Padre Unpublished doctoral thesis, Faculty of Phi- Sarmiento Institute of Galician Studies. losophy, University of Santiago de Compos- Mac White, E. 1951. Estudios sobre las re- tela. laciones atlánticas de la Península del His- 2005a Arte Rupestre na Península do Mor- pánica en la Edad del Bronce. Disertaciones razo. TAPA 35 (Traballos en Arqueoloxía e Marinenses 2. Seminario de Historia Primitiva Patrimonio). F.Criado y E. Cabreras coord.): del Hombre. 106-8. Ed. Padre Sarmiento Inst. of Galician Méndez Fernández, F. 1994 La domesticación Studies (CSIC-XuGa). del paisaje durante la Edad del Bronce gal- 2005b Sobre la cronología del Arte Rupestre lego. Trabajos de Prehistoria 51: 77-94. Ma- Atlántico en Galicia. Arqueoweb. www.ucm. drid es/info/arqueoweb Peña Santos, A. 1992 El grupo galaico de Arte 2005c A Arte Rupestre da Barbanza. Os cas- Rupestre. Congrés Internacional de Gravats tros de Neixón: 37-50. Ed. Toxosoutos. (Ayan Rupestres i Murals. Institut d’Estudis Iller- Vila, X. coord). dencs. Lleida. (e.p). Petroglifos y paisaje social en la prehis- Peña Santos, A.; García Rey, J.M. toria reciente del Noroeste Peninsular. TAPA 1993 El espacio de la representación. El arte (Traballos en Arqueoloxía e Patrimonio). rupestre galaico desde una perspectiva ter- Landscape Archaeology Laboratory. Santiago ritorial. Revista de Estudios Provinciais 10: de Compostela. 11-50. Pontevedra. Santos Estévez, M.; Seoane Veiga, Y. 2006. Os 2001 Petroglifos de Galicia. Ed. Vía Láctea. petroglifos do castro de Montealegre: entre Oleiros. a pedra e o mar. In O Castro de Monteale- Santos Estévez, M; Parcero Oubiña, C.; Criado gre. (R. Aboal y V. Castro coord.) Noia (A Boado, F. (1997). De la arqueología simbólica Coruña). del paisaje a la arqueología de los paisajes sa- Seoane Veiga, Y. 2005. Rock Art and pre- grados. Trabajos de Prehistoria, 54 (2): 61-80. historic Routes. Communication presented Spanish National Research Council. at the session: Thinking About Rock Art: A Santos Estévez, M.; Criado Boado, F. Search for meaning in Landscape Construc- 1998 Espacios rupestres: del panel al paisaje. tion (M. Cruz, S. Fai and G. Nahs coord.). Arqueología Espacial, Vol 19-20: 579-96. 11th EAA Congress I Cork (5-11 September 2000. Deconstructing rock art spatial gram- 2005). mar in the Galician Bronze Age. En Signifying Swartz, B.K.; Hurlbutt, T.S. (1994). Space, Place and Space. World perspectives of rock place and territory in rock art interpretation. art and landscape. BAR International Series Rock Art Research. Australian Rock Associa- 902. Ed. George Nash. tion and International Federation of Rock art Santos Estévez, M. Organizations, Vol. 11, nº 1: 13-22. 1996. Los grabados rupestres de Tourón y Re- Various Authors. 2004. El parque Arque- dondela-Pazos de Borbén como ejemplos de ológico del Arte Rupestre. Ideas, estrategias un paisaje con petroglifos. Minius, V: 113-40. y acciones para una gestión integral de los University of Vigo, Ourense Campus. petroglifos gallegos. RGPA Cadernos-Xunta 1998 Los espacios del arte: construcción del de Galicia. panel y articulación del paisaje en los petro- Vázquez Rozas, R. 1997 Petroglifos de la glifos gallegos, Trabajos de Prehistoria, 55, Rías Baixas gallegas. Análisis artístico de un 73-88. arte prehistórico. Diputación Provincial de Pontevedra. Vigo.