The cave art of the Mediterranean (1998)

Unesco


These sites in the Mediterranean Arc of the Iberian Peninsula (Spain), and their cave art, which dates from the end of the pre-historic period, constitute an exceptional set of works and provide a fascinating insight into how people lived during what was a critical phase of human development. The lively, graphic representations are unique not only on account of their style, buy also because of the themes that they portray. The set of cave paintings from the end of the pre-historic period located in the Spain’s eastern Mediterranean arc forms the largest group of cave art locations in the whole of Europe, and offers an exceptional perspective of the live of man in an essential period of human cultural evolution.

In total 16 of Lleida’s archaeological sites have been recognised by UNESCO as depositories of cave paintings of great value. They are important because they represent both one of the first artistic manifestations of the primitive Mediterranean civilisation and because they constitute an embryonic form of later plastic art forms.
This distinction has been granted to remains found in Western Catalonia (Spain) that include La Roca dels Moros del Cogul, one of the best conserved pieces of cave art, which provides an excellent example of the art that developed in this territory during the Palaeolithic period. It also includes the Cova de Cogulló, at Vilanova de Meià; the Cova dels Vilasos, at Os de Balaguer, and the cave art of the Vall de la Coma and the Balma dels Punts, both at L'Albi. Elements with very unique characteristics can also be seen at the Roc del Rumbau at Peramola or in the Abrics of La Granja d'Escarp, which were found as a result of mining prospecting. Other sites include the Abric de la Vall d'Ingla, at Bellver de Cerdanya; the Roques Guàrdies, at Les Borges Blanques; the Aparets, at Alòs de Balaguer; the Cova d'Antona, at Artesa de Segre; the Balma del Pantà and Cova del Tabac, at Camarasa; the Balma de les Ovelles, at Tremp, and the cave paintings of Alfés. All of these sites are top level, cultural heritage sites on a world scale that can be found in the comarques (local districts) of Lleida (Spain).

 

Information provided by:

Departament de Cultura de la Generalitat de Catalunya
 

 

The remains of Antona

Contact information:

 

 

The remains of Antona

Departament de Cultura de la Generalitat de Catalunya - Serveis Territorials de Lleida - Rambla d''Aragó, 8
25002, Lleida
Web: http://cultura.gencat.cat/
973279200

 

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  • Unesco

     

    These remains are located in the municipal district of Artesa de Segre, La Noguera (Spain). The site previously belonged to the district of Baldomar, a village on the right bank of the river Boix –just before its confluence with the river Segre- which had its own municipal district until the early 1920s.The paintings were discovered in 1976 during prospecting work and a series of studies that were carried out in and around Montsec. In 1986 the paintings were subjected to a process of exhaustive documentation, within the "Projecte Corpus de Pintures Rupestres de Catalunya" (Corpus Project for Cave Paintings in Catalonia) undertaken by the Archaeological Service of the Departament de Cultura of the Generalitat de Catalunya. The remains of Antona occupy a number of caves, although it has only been possible to identify paintings in three of them. The first, Antona I, is located at a lower level than the others, while the other two are located to its right and are a few above it. In total, 34 different figures have been identified and on the basis of their characteristics, the site would seem to fit in perfectly as one of a series of sites containing examples of schematic painting.
     
    Antona I
    The figures are located on the left wall, about 7m from the entrance and occupy almost all of a 3m long, rocky outcrop. In total, 16 different figures, have been identified, all of which have the same chestnut-red colour. Although in places the colour seems to be a little lighter, the pigment is no doubt the same, with the colour varying due to the effects of the decomposition, state and colour of the support and the state of conservation of the area where the paintings are located. These figures are formed by lines, rings, circles, ramiforms, “alteriformes” and remains of pigment and reveal different techniques (simple lines and solid colour).
     
    Antona II
    This is a large cavern that has 3 figures that are bar-like. The technique used is that of simple lines and the colours are chestnut-red and red.
     
    Antona III
    This is a very large cavern which is right next to the previous cavern. The majority of the figures are located at the back of the cave, although there are two others in a small cavity on the right. 15 different figures have been identified corresponding to a pectiniform, a ramiform, some undetermined shapes, quadrupeds, an anthropomorph, an anchoriform and remains of pigment. All of these figures are chestnut-red in colour except the anchoriform, which is carmine-red. The technique employed is that of simple lines.