Primitiva Bueno-Ramirez – författare

Professor Rodrigo de Balbín has played a major role in advancing our knowledge of Palaeolithic art, and the occasion of his retirement provides an excellent opportunity to assess the value of prehistoric art studies as a factor in the study of the culture of those human groups which produced this imagery. The diverse papers in this volume, published in Professor de Balbín’s honour, cover a wide variety of the decorated caves which traditionally defined Palaeolithic art, as well as the open-air art of the period, a subject in which he has done pioneering work at Siega Verde and elsewhere. The result is a new and more realistic assessment of the social and symbolic framework of human groups from 40,000 BP onwards.

Professor Rodrigo de Balbín has played a major role in advancing our knowledge of Palaeolithic art, and the occasion of his retirement provides an excellent opportunity to assess the value of prehistoric art studies as a factor in the study of the culture of those human groups which produced this imagery. The diverse papers in this volume, published in Professor de Balbín’s honour, cover a wide variety of the decorated caves which traditionally defined Palaeolithic art, as well as the open-air art of the period, a subject in which he has done pioneering work at Siega Verde and elsewhere. The result is a new and more realistic assessment of the social and symbolic framework of human groups from 40,000 BP onwards.

Prehistoric human images have fascinated archaeological, anthropological and social researchers for many generations. They are known from the Upper Palaeolithic, but in the Neolithic their number increased significantly, forming part of the archaeological record throughout Europe. In Iberia, especially in the south, thousands of figurines have been preserved. These are small human figures of men, women, boys and girls, with female images predominating in funerary and domestic contexts.This volume brings us closer to the current state of knowledge in Iberia, from romantic archaeology to processual and post-processual archaeology. The book explores the number, geographical spread and extended chronology of the figurines – from the 6th to the 3rd millennium BC – and the social practices that lay behind their production and use. From goddesses to women, this exceptional legacy indicates an unprecedented role for women in these societies. The figurines illuminate the representation of identity, its chronological depth, the existence of workshops and distribution circuits, and the continued manipulation of these pieces over generations.