Publication in the Diário da República: Despacho nº 17071/2009 - 23/07/2009
3 ECTS; 1º Ano, Anual, 27,0 TP , Cód. 649811.
Lecturer
- Sara Liliana Magalhães Barbosa Garcês (1)
- Sara Liliana Magalhães Barbosa Garcês (2)
(1) Docente Responsável
(2) Docente que lecciona
Prerequisites
Not applicable.
Objectives
The course Neolithic Art of the Iberian Peninsula aims to provide students with an advanced understanding of the graphic expressions of rock art created by societies with a productive economy. To achieve this goal, a series of basic objectives has been defined, which were listed in the previous section and are detailed below for each case:
(1) Advanced Knowledge of Graphic Art Forms: To provide students with in-depth knowledge of rock art created by societies with productive economies.
(2) Mastery of Techniques and Materials:
2.1. To introduce the various techniques used in rock art.
2.2. To analyze engraving methods in detail.
2.3. Study the composition of pigments and their fundamental components.
(3) Context and Location Analysis:
3.1. Analyze the typology of sites where the art has been documented.
3.2. Understand the social, economic, ritual, or strategic motivations for the selection of these sites.
(4) Critical and Interpretive Skills:
4.1. Analyze the different interpretive approaches regarding the meaning of Neolithic art.
4.2. Be familiar with the leading researchers and research teams in the field.
(5) Practical Documentation Skills:
5.1. Develop proficiency in the photographic documentation of rock art panels.
5.2. Teach digital color processing in high-resolution images.
5.3. Introduce the creation of digital tracings and photogrammetry for obtaining 3D models.
(6) Historical Continuity: Instill the notion that there is no graphic gap between the Upper Paleolithic and the arrival of Schematic Art.
Program
Course Content:
(1) Technical characteristics of rock art
1.1. Engraving techniques and methods of execution.
1.2. Types of pigments and fundamental components.
(2) Site selection criteria
2.1. Landscape analysis and types of surfaces.
2.2. Social, ritual, and economic factors in site selection.
(3) Schematic Art in the Iberian Peninsula
3.1. Geographic distribution and main centers.
3.2. Chronocultural contextualization.
(4) Historiography and interpretation
4.1. Leading researchers and key teams.
4.2. Theories and interpretive models of Neolithic art.
(5) Documentation and digital recording
5.1. High-resolution photography.
5.2. Digital image processing and color enhancement (DStretch and others).
5.3. Digital tracings and 3D modeling via photogrammetry.
Evaluation Methodology
Class attendance (40%), Assignment (60%)
Bibliography
- Acosta, P. (1968). La Pintura Rupestre Esquemática en Espana. (pp. 1-250). Salamanca: Salamanca : Universidad de Salamanca, Facultad de Filosofía y Letras
- Collado Giraldo, H. e García Arranz, J. (2017). Arte Rupestre en la Cornisa de La Calderita (término municipal de La Zarza). Corpus de Arte Rupestre en Extremadura, vol IV. (pp. 1-384). Mérida: Consejería de Cultura e Igualdad, Mérida
- Collado, H. e García Arranz, J. (2005). Arte rupestre en el Parque Natural de Monfragüe: el sector oriental. Corpus de Arte Rupestre en Extremadura. (Vol. 1). (pp. 283). Junta de Extremadura: Junta de Extremadura
- Sanchidrián, J. (2018). Manual de arte prehistorico . Espanha: Ariel prehistoria
Teaching Method
A mixed teaching methodology will be used combining a first part of teaching with a fundamentally theoretical character and a second part of fundamentally practical character.
Software used in class
Power Point PPT
Adobe Photoshop
Photoscan (Argisoft)
Image J
