El arte parietal en monumentos megalíticos del Noroeste Peninsulardimensión del fenómeno y propuestas de conservación

Laburpena

The work presented here tries to improve the knowledge about the prehistoric art preserved on the slabs of the megalithic monuments in Northwest Iberia. These prehistoric images, both carvings and paintings, did not draw much attention on the part of the specialists dealing with the megalithic phenomenon of Northwest Iberia. The studies undertaken between 1997 and 2003 intended not only widening the knowledge about this outstanding archaeological group, but also to increase it (with new sites) and to obtain a suitable documentation of this important piece of the ancient heritage. Along with this, another basic aim was the definition and quantification of the degradation processes that affected megalithic art, so as to be able to propose effective measures to ensure its preservation. The initial chapters (1 to 3) deal with the aims of this work, the history of the research on megalithic art in the Iberian Peninsula, and the discussion about the the area of study. In chapter 4, the research methodologies applied are described in detail: fieldwork (identification, catalogation and diagnosis), the analysis of stone and paint samples (including radiocarbon dating), or the systems used for the recording of the images. In chapter 5, the most extensive of the book, each of the megalithic sites studied are described, with special emphasis on the description and recording of megalithic art, its state of preservation and the need for conservation actions that put a curb on its degradation. Chapter 6 deals with the informations obtained about this kind of megalithic art. These data allow us to describe in detail the materials and techniques used for painting and, above all, to understand the way in which this kind of artistic expressions were linked with the funerary ritual associated to the megalithic monument. Chapters 7 and 8 are, respectively, about the degradation processes and the proposal of preservation measures, not only for the prehistoric art itself, but also for the megalithic sites where occurs. Probably, the main novelty is the possibility of quantifying the risks and, therefore, to anticipate the corrective measures to forestall the alteration processes. Finally, in chapter 9 the main contributions of this work are discussed. Amongst them, it is noteworthy the increase in the number of sites in which megalithic painting has been identified. Over the whole ensemble of sites, the documentation has been deeply improved and an important task of diagnosis carried out. As it was mentioned before, we have deepened the knowledge about Neolithic painting methods, also allowing us to suggest that in most monuments there is a superposition of several techniques. This fact has relevant chronological and cultural implications, related to the large durability of megalithic spaces as active funerary or ritual places. Chronological aspects have been improved with a number of direct radiocarbon datings of these paints that have yielded rather consistent results. Taking all this on account, it was possible to outline some proposals as to the existence of cultural traditions that might be readily assimilated to different chronological phases of the Neolithic in the northwest area of the Iberian Peninsula. Although this was a secondary aim, our research has allowed us to outline and test the efficiency of methods for the study and diagnosis of prehistoric art which, with the obvious adaptations to each kind of artistic expression, may be applied to other geographical areas or periods.