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Grabados rupestres de la fachada atlántica europea y africana
Rock Carvings of the European and African Atlantic Façade
Edited by
Rodrigo de Balbín Behrmann Primitiva Bueno Ramirez Rafael González Antón
Carmen del Arco Aguilar
BAR International Series 2043 2009
This title published by Archaeopress Publishers of British Archaeological Reports Gordon House 276 Banbury Road Oxford OX2 7ED England [email protected] www.archaeopress.com BAR S2043 Grabados rupestres de la fachada atlántica europea y africana / Rock Carvings of the European and African Atlantic Façade © Archaeopress and the individual authors 2009 ISBN 978 1 4073 0619 3 Printed in England by Blenheim Colour Ltd All BAR titles are available from: Hadrian Books Ltd 122 Banbury Road Oxford OX2 7BP England [email protected] The current BAR catalogue with details of all titles in print, prices and means of payment is available free from Hadrian Books or may be downloaded from www.archaeopress.com
109
THE POSTPALEOLITHIC ROCK ART IN BEIRA ALTA (CENTER OF PORTUGAL)
!"#$%&'()*+&,-".(+/0".$(�&1+.2#(+&3$%456+.7$68(+&#-&906$-&!:.-;&3<='>?!@
=1,>A1BC&@(++.$6.(+�&?2-$#-&D&E6+02&F($)-"&G-$.0�&:-&$0H67"�&:-&906$-&!:.-;&1:+.$6.(�&E6+02&.60"0&-:H2"(+&$-+H(+&H0(H$*I8(+&D&82:.2$-:0+�&.6G(&!.:*".68(;&3($&0:&8(".$-$6(J&:-+&8-$-8.0$K+.68-+&H0(H$*I8-+&D&82:.2$-:0+�:+.$6.(�&?2-$#-&+("&)*+�&.6G(&8(".6"0".-:;&1"&8("+0820"86-J&0:+.$6.(�&?2-$#-&G20#0&+0$�I"6#(&8()(&906$-&L".0$6($J&F($)-"#(&2"-&2"6#-#&8("&0:�&/-+.0:(&9$-"8(;&1+.-D(.()K-&H0(H$*I8-&D&-#)6"6+.$-.6M-&0+&2"&$0N0O(�&:(&P20&0"8(".$-)(+&0"&0:&$0H6+.$(&-$P20(:7H68(;&1"&0:+.$6.(�&E6+02J&0"8(".$-)(+&)*+&.2)Q-+&)0H-:K.68-+&D&(.$(+&.R)2:(+&D&0:+.$6.(�&E6+02&.60"0&2"-&0+G086-:&8("80".$-867"�&-$.0&rupestre. Podemos pues distinguir dos tradiciones diferentes , una Atlántica y otra correspondiente a una variante grabada del Arte
1+P20)*.68(�&:-&F$(".0$-&G($.2H20+-&D&0:&.0$$6.($6(&0+G-S(:&5-86-&0:&0+.0;&T0)(+&$08(H6#(J�+#0&UVVW&0"&906$-&!:.-J&0M6#0"86-+&P20&"(+&)20+.$-"&P20&0+.0&.6G(�&H$-Q-#(+&G20#0"&+0$&)*+&-".6H2(+&P20&:(+�&:-&.$-#6867"&-.:*".68-;
1"&+K".0+6+J&0+&G(+6Q:0�I"6$&868:(+�&X&-$.K+.68-&0"&906$-&!:.-C&2"(&P20&8($$0+G("#0&-&2"-&M-$6-".0&H$-Q-#-�:&!$.0&1+P20)*.68(&J&-&G-$.6$�:&LE&4&G$6"86G6(+�:&LLL&)6:0"6(&-/&Y&2"&+0H2"#(&6".0H$-#(&0"&:-&.$-#6867"&-.:*".68-&D&#-.-#(&-&G-$.6$�&:-&1#-#�&9$("80Y&2"&.0$80$(�+#0&I"-:0+�&:-&1#-#�&9$("80&8-$-8.0$6Z-#(&G($&G(#()($F(+J&50$$-#2$-+J&)(.6M(+&F*:68(+&D&(.$-+&IH2$-+&D&2"(&82-$.(&-&G-$.6$�&:-&1#-#�&T60$$(&J&8-$-8.0$6Z-#(&G($&0:&2+(�&:-&6"86+67";
3!@!9=!,&/@!E1&C&!='1&=>31,'=1&J&'L3<,J&/=<B<@<?[!J&LB'1=L<=&\1&3<='>?!@
!9,'=!/'C&9(.5&.50+.$68.+&(F&?2-$#-&-"#&E6+02&-$0&G-$.&(F&906$-&!:.-]+&$0H6(";&E6+02]++.$68.&5-+&+()0&H0(H$-G568&-"#&82:.2$-:&.$-6.+&(F&!.:-".68&^6"#;&<"&.50&8(".$-$DJ&.50&H0(H$-G568&-"#&82:.2$-:&F0-.2$0+&(F&?2-$#-]++.$68.&-$0&)($0&(F&-&8(".6"0".-:&.DG0;&!88($#6"H:DJ&?2-$#-]++.$68.&8-"&Q0&Q0..0$�I"0#&-+&906$-&L".0$6($J&F($)6"H&-&2"6.D&_6.5&/-+.0:(&9$-"8(]+;&'56+&H0(H$-G568&-"#&-#)6"6+.$-.6M0ʭ(.()D&6+&-:+(&-&$0N08.6("&(F&_5-.&_0&I"#&6"&.50&-$85-0(:(H68-:&$08($#;&L"&E6+02]++.$68.&_0&I"#&-&:(.&)($0&(F&)0H-:6.568&.()Q+&-"#&(.50$&Q2$6-:&)(2"#+;&<"&.50&(.50$&5-"#J&E6+02]++.$68.&5-+&-&M0$D&+G086-:&`G-8^-H0a&(F&$(8^&-$.;&L"&50$0&_0&8-"+.6"H26+5&._(FF0$0".&.$-#6.6("+&4&-"&!.:-".68&("0&-"#&+08("#&("0&8($$0+G("#6"H&.(&-"&0"H$-M0#&M-$6-".&(F&.50&G-6".0#&+850)-.68&-$.&.5-.&_0&I"#&6"&3($.2H-:]+&Q($#0$&-"#&6"&-::&.50&,G-"6+5&8(2".$D&0-+._-$#;&b0]M0&Q00"&8(::08.6"HJ&+6"80&UVVWJ&6"&906$-&!:.-J&0M6#0"80&+5(_6"H&2+&.5-.&.56+&^6"#&(F&0"H$-M6"H+&8-"&Q0&0M0"&(:#0$&.5-"&.5(+0&(F&!.:-".68&.$-#6.6(";
L"&+D".50+6+J&6.&6+&G(++6Q:0&.(�I"0&X&-$.6+.68&8D8:0+&6"&906$-&!:.-C&("0&.5-.&8($$0+G("#+&.(&-"&0"H$-M0#&M-$6-".&(F&+850)-.68&-$.&#-.0#&F$()&.50&0"#&(F&.50&LE&c&Q0H6""6"H&(F&.50&LLL&)6::0""62)&9/Y&-&+08("#&("0&6".0H$-.0#&6"&.50&!.:-".68&.$-#6.6("&.5-.&+5(2:#&Q0&#-.0#&F$()&1-$:D&9$("Z0&!H0Y&-&.56$#&F$()&@-.0&9$("Z0&!H0&85-$-8.0$6Z0#&QD&F((.G$6".+J&5($+0+5(0+J&G5-::68&)(.6F+&-"#&(.50$&IH2$0+Y&-&F(2$.5&#-.0#&F$()&L$("&!H0&85-$-8.0$6Z0#&QD&.50&2+0&(F&6"86+6(";
KEY WORDS : ROCK ART , TYPES, CHRONOLOGY, INTERIOR OF PORTUGAL.
INTRODUCTION
Both the districts of Guarda and Viseu are part of Beira Alta’s region. In this case, administrative partition makes all the sense. Viseu’s district has some geographic and cultural traits of Atlantic kind. On the contrary, the geographic and cultural features of Guarda’s district are more of a continental type. Accordingly, Guarda’s district can be !"##"$%&"'("&%)*%+",$)%-(#"$,.$%/-(("$%+",$)01%2.$3,(4%)%4$")#% 4".4$)56,7% 8(,#9% :,#6% ;)*#"<.% +$)(7.=*% &,*#$,7#>%This geographic and administrative dichotomy is also a $"?"7#,.(%.2%:6)#%:"%'(&%,(%#6"%)$76)".<.4,7)<%$"7.$&>%@A"(%,2%:"%#)B"%,(#.%)77.8(#%#6"%.!A,.8*%4)5*%,(%$"*")$761%,#C*%7<")$1%2.$%,(*#)(7"1%#6)#%,(%D,*"8=*%&,*#$,7#%:"%'(&%)%<.#%
more of megalithic tombs and other burial mounds (e. g. E",*("$1%FGGHI%FFJHK0>%L(%#6"%.#6"$%6)(&1%D,*"8=*%&,*#$,7#%6)*%)%A"$9%*5"7,)<%M5)7B)4"N%.2%$.7B%)$#>%-(%6"$"%:"%7)(%&,*#,(48,*6%#:.%&,22"$"(#%#$)&,#,.(*%J%)(%O#<)(#,7%.("%)(&%second one corresponding to an engraved variant of the 5),(#"&% *76"3)#,7%)$#% #6)#%:"%'(&% ,(%P.$#84)<=*%!.$&"$%)(&%,(%)<<%#6"%Q5)(,*6%7.8(#$9%")*#:)$&>%LA"$%#6"%<)*#%2":%9")$*%:"=A"%!""(%.!*"$A,(4%)%#"(&"(79%#.%&)#"%#6,*%*,#"*%)*%medieval and modern in the archaeological bibliography but, as GómezBarrera pointed out in the meeting that gave !,$#6%#.%#6,*%"&,#,.(1%)$"(=#%:"%#$)&,(4%#6"%4)$!)4"%7)(%.2%Bronze Age for another one of historic times? We’ve been 7.<<"7#,(41%*,(7"%FGGK1%,(%+",$)%O<#)1%J%3.$"%*5"7,'7)<<9%,(%R.(&"<)=*%38(,7,5)<,#9%S%"A,&"(7"%*6.:,(4%8*%#6)#%#6,*%
Grabados rupestres de la fachada atlántica europea y africana
110
kind of engravings can be even older than those of Atlantic #$)&,#,.(>%+"*,&"*%#6"%*,#"*%#6)#%:"%7.(*,&"$%*76"3)#,7*%)(&%#6.*"%.2%O#<)(#,7%O<<%#6"*"%$")*.(*%"T5<),(%:69%.8$%5)5"$%:,<<%2.78*%.(<9%.(%#6"%$.7B%)$#%.2%#6"%D,*"8%&,*#$,7#%J%#6"%$"4,.(%#6)#%7)(%5$.5"$<9%!"%&"'("&%)*%+",$)%O<#)%/U,4>%F0>%The region corresponds grosso modo to the Beira’s plateau M7"(#$)<%5<)#")8*N%/U"$$",$)1%FGKHI%HKJFVW0%)(&%MX.(&"4.=*%5<)#2.$3N%/,&"3I%FVFJYWF0%J%)(&%#6"%*.J7)<<"&%M:"*#"$(%mountains “(idem: 203255) Mountains of Montemuro, Gralheira and Caramulo (from north to south). This 684"%76),(%.2%3.8(#),(*%&"'("*%#6"%$"4,.(%.(%6,*%:"*#%*,&">%R.%#6"%@)*#%:"%'(&%#6"%X"*"#)>%R6"%-!"$,)(%7"(#$)<%76),(%&"'("*%#6"%*.8#6"$(%)(&%*.8#6")*#"$(%!.$&"$*>%R6"%3.8(#),(*%.2%#6"%<"2#%3)$4,(%.2%#6"%Z.8$.=*%$,A"$%&"'("%.8$%(.$#6"$(%<,3,#>%L(%#6"%!)*,*%.2%.8$%&,*78**,.(%:,<<%!"%#6"%&)#)%:"=A"%!""(%7.<<"7#,(4%,(%R.(&"<)=*%38(,7,5)<,#9%*,(7"%FGGK%/Q)(#.*1%YWW[>%YWW\>%YWWK>%Q)(#.*1%;6"("9%)(&%Aveleira, 2006).
THE BEIRA ALTA’S SITES
O#%#6,*%5.,(#1%:"%:,<<%#$9%#.%&"*7$,!"%#6"%*,#"*%#6)#%:"$"%
referenced in the archaeological bibliography of the region. X.*#%5)$#%:"$"%(.#%*#8&,"&%(.$%#$)7"&%)(&%)$"%A"$9%5..$<9%B(.:(>%Z8"%#.%*5)7"%7.(*#$),(#*1%:"%:,<<%&"*7$,!"%.(<9%#6"%prehistoric decorated rocks.
R6"%'$*#%$"2"$"(7"*%.(%$.7B%)$#%2$.3%+",$)%O<#)%)$"%2$.3%E",#"%&"%D)*7.(7"<.*>%-(%FHGK1%#6"%)8#6.$%58!<,*6"*%*"A"$)<%$.7B*%:,#6%785J3)$B*I%O3,),*1%P"&$)*%P.3!",$)*1%+$)]),*1%;)*#"<.>%-(%#6"%*)3"%:.$B1%#6"%)8#6.$%)<*.%$"2"$"(7"&%#6"%top of one of the slabs of the megalithic mound of Amiais, the rock of Pedraça and another one located near the ancient palace of Abadia (idem: 363366: Gomes and Carvalho: 1992, 5256). In these last sites he found quadrangular 3.#,2*%:,#6%#6"%,(#"$,.$%&,A,&"&%!9%6.$,^.(#)<%)(&%A"$#,7)<%<,("*>%_"%()3"&%#6"*"%3.#,2*%M7)(#,(6.*N%/)%#$)&,7,.()<%!.)$&%4)3"%#6)#%$"*"3!<"*%#6"%'48$"*%,(%`8"*#,.(0>
U"$$)&8$)*%P,(#)&)*%:)*%58!<,*6"&%,(%:.$B*%.2%a,$b.%/FGYFI%VWJVF01%O()#,%/FG\\JFG\KI%HY1%R)A>%cD>%FG\HI%FFH1%'4*>%FY\1%FYH%)(&%FYG0%)(&%Q,<A)%/FGHdI%FHK0>%-(%#6"%&"7.$)#"&%*8$2)7"%,#%:)*%5.**,!<"%#.%'(&%"(4$)A"&%7$.**"*1%2..#5$,(#*%and semicircles. Some of the last have a line in the interior.
d6H;&UC&A-G&(F&.50&LQ0$6-"&30"6"+2:-J&+5(_6"H&.50&:(8-.6("&(F&.50&906$-&!:.-&$0H6(";
!"#$%&'()*+&,-".(+
111
On the center, Celso Tavares da Silva recognized a polished *#.("%)T"%:,#6%6,*%6)2#>
In Cantinhos, located in the same area, trapezoidal motifs /*.3"% .2% #6"3% :,#6% )55"(&,T"*0% )(&% 785J3)$B*% :"$"%engraved (Girão, 1921: 4142. 1925: 8485. Silva, 1985: FHK0>
Eiras de Seixa, (Girão, 1925: 8586. Silva, 1985: 188) :)*%&"*7$,!"&%)*%)%4$)(,#"%$.7B%"(4$)A"&%:,#6%7.(7"(#$,7%$"7#)(4<"*%:,#6%)%7$.**%,(%#6"%3,&&<"1%*"3,7,$7<"*%)(&%M)%group of cupmarks connected by lines that crosses each .#6"$%,(%)%7"(#$)<%5.,(#N%/a,$b.1%FGYdI%HdJH\0>
In Outeiro dos Mouros – a granite rock – cupmarks. 7$.**"*%)(&%2..#5$,(#*%:"$"%.!*"$A"&>%O77.$&,(4%#.%a,$b.1%the crosses are above all the other motifs (1925: 86).
-(%#6"%4$)(,#"%$.7B%.2%e)*#.%&.*%X.8$.*%/a,$b.1%FGYdI%HK>%Q,<A)1%FGHdI%FHH0%*"A"(%2..#5$,(#*%3)&"%,(%!)*J$"<,"2%:"$"%engraved. Four of them are in pairs. Besides these motifs, there are also cupmarks.
Pedra Escrita de Serrazes is a 2, 40 m high granite boulder. L(<9% 6,*% ")*#"$(% *8$2)7"% :)*% &"7.$)#"&1% )2#"$% !",(4%5.<,*6"&>% -(% #6,*%5)("<1% ,#% ,*%5.**,!<"% #.%'(&%)%4$,&% #6)#%.7785,"*%)<3.*#%#6"%"(#,$"%&,*5.*)!<"%'"<&%#.%"(4$)A">%Q.3"%
d6H;&eC&30#$-&#(+&3$-.(+&f/-+.$(&\-6$0J&E6+02g;
Grabados rupestres de la fachada atlántica europea y africana
112
concentric rings interrupt the reticulum in several points /a,$b.1%FGYdI%HKJHH>%Q"4<,"%)(&%e,776,)$&,1%FGKGJFGHW>%Alves, 2003: 223226). It’s a singular site in the context of Beira Alta’s rock art. The most evident parallel is the rock from Santa Maria de Ardegães, located near the shore /R:.6,41%FGHF)>%)%3.&"$(%&$):,(4%3)&"%!9%#6"%#")3%.2%#6"%2.$3"$%f)#,.()<%;"(#"$%.2%e.7B%O$#%:)*%58!<,*6"&%,(%Silva and Alves, 2005: 215).
L(% #6"% !.##.3% .2% #6"% 6,<<%:6"$"% #6"%E)#"%+$.(^"%O4"%*,#"%.2%f.**)%Q"(6.$)%&)%a8,)%,*%<.7)#"&1%)%$.7B%:,#6%)%&"T#$.49$.8*%*5,$)<%:)*%2.8(&%/Q,<A)1%FGHd1%FHF0>
-(%P"("&.%&.%a)#.%/R)A)$"*%)(&%Q,<A)1%FGKFI%Y\[>%Q,<A)1%FGKHI%F\K01%)77.$&,(4%#.%Q,<A)1%,#=*%5.**,!<"%#.%$"7.4(,^"&%MH%2..#5$,(#*1%*"A"$)<%7$.**"*1%#:.%#$)5"^.,&)<%'48$"*%)(&%.#6"$%3.#,2*%:,#6.8#%'48$)#,A"%"T5$"**,.(N%/Q,<A)1%FGHdI%189).
-(%;g$7.&)%)%4$.85%.2%)#% <")*#%YF%&"7.$)#"&% $.7B*%:)*%,&"(#,'"&% /R)A)$"*% )(&% Q,<A)1% FGKFI% Y\[>% Q,<A)1% FGKHI%168169. 1985: 182185, Alves, 2003: 231235). Among the motifs, it’s possible to observe cupmarks, cupmarks 7.(("7#"&%:,#6%)%*#$),46#%<,("1%*5,$)<*1%:)(&"$,(4%<,("*1%*"3,7,$7<"*1% *.3"% )(#6$.5.3.$56,7% '48$"*1% <"##"$J<,B"%3.#,2*1%)%M*"$5"(#%'48$"%:,#6%)%$6.3!,7%6")&%)(&%:"<<%3)$B"&%*,(8.*,#91%*6.:,(4%,(%#6"%#),<%2.8$%*3)<<%)55"(&,T"*%<,B"%$.846%2""#N%/Q,<A)1%FGHdI%FHd01%7.(7"(#$,7%$,(4*%/.(<9%.(%.("%$.7B01%)%$"7#)(48<)$%4$,&%)(&%)%#$)5"^.,&)<%'48$"%sectioned by a line (Alves, 2003: 233). In the site, there ,*%)<*.%)(%-$.(%O4"Je.3)(%2.$#,'"&%*"##<"3"(#>%O77.$&,(4%to Alves, the engravings from this period are easily distinguished from those of previous times. Moreover, Alves found reused decorated rocks in the buildings of the 2.$#,'"&%*"##<"3"(#%/O<A"*1%YWW[I%Y[d0>
P"&$)%&.%e)*#.%/Q,<A)1%FGKHI%F\H1%FGHdI%FHH0%,*%)%<.:"$%4$)(,#"%.8#7$.5%:,#6%2..#5$,(#*%)(&%785J3)$B*>%-(%Q"$$)%&)%Arada three decorated granite outcrops and several blocks :"$"%,&"(#,'"&%!9%Q,<A)%/FGKHI%F\G1%FGHdI%FHH0>%O3.(4%#6"%"(4$)A"&%3.#,2*1%Q,<A)%6)*%,&"(#,'"&%7,$7<"*%:,#6%,(("$%7$.**"*1%4$,&*1% #$""J*6)5"&%'48$"*1%7$.**"*1%*"3,7,$7<"*1%*5,$)<*1%785J3)$B*%)(&%*"A"$)<%7,$78<)$%'48$"*>
O#%(.$#6")*#%.2%Qg1%Q,<A)% 2.8(&%)% $.7B%:,#6%)%4$,&%)(&%785J3)$B*%/Q,<A)1%FGHdI%FH\0>% f")$% E8'(6)1% Q,<A)%6)*%,&"(#,'"&%#:.%*,#"*>%-(%.("%.2%#6"*"1%B(.:(%)*%P"&$)%da Cobra Moira (Silva, 1980, 1985: 189, Alves, 2003: YYHJY[F01%,#%,*%5.**,!<"%#.%,&"(#,29%#:.%&"7.$)#"&%$.7B*>%-(%.("%.2%#6"%$.7B*%)%5$.#.J<)!9$,(#6%)(&%#:.%*5,$)<*%:"$"%engraved (one partially destroyed). The other contains a protolabyrinth and a grid. On the second site located 300 3%:"*#:)$&1%Q,<A)%6)*%,&"(#,'"&%)%$.7B%:,#6%2.8$%7.(7"(#$,7%semicircles (Silva, 1980: 168, Silva, 1985: 189).
-(%U"$$.(6"%/Q,<A)1%FGHG0%(.:)&)9*%!8$,"&%2.$%5$"7)8#,.(%$")*.(*1% ,#%:)*%5.**,!<"% #.%.!*"$A"%)%&"7.$)#"&%4$)(,#"%outcrop. It contains circular combinations and concentric
$"7#)(4<"*%:,#6%,(("$%7"(#"$"&%785J3)$B*>%L("%.#6"$%$.7B%<.7)#"&%YWW%3%:"*#:)$&1%7.(#),(*%*"A"$)<%785J3)$B*1%*.3"%of them connected by lines.
In Pedra dos Pratos (Fig. 2) one can see a schist outcrop :,#6%FH%*5,$)<*%/.$%FG1%,2%:"%#)B"%,(#.%)77.8(#%)%5.**,!<"%8('(,*6"&%.("01%*"A"$)<%785J3)$B*%)(&%<,("*%/*.3"%.2%#6"3%)55")$,(4%#.%&$):%)%7,$78<)$%2.$30>%O<<%#6"%3.#,2*%:"$"%engraved by pecking in a horizontal surface (Rodrigues et alii, 1989, Santos, 2000).
All the other rock art sites are located in Tondela. Alagoa :)*%#$)7"&%)(&%*#8&,"&%!9%Xg$,.%D)$"<)%a.3"*%)(&%h.$4"%P,(6.%X.(#",$.%/FGKVJFGKK0>%-(%#6"%*,#"%",46#%&"7.$)#"&%*76,*#%.8#7$.5*%:"$"%&"7.$)#"&>%R6"%&"7.$)#,.(%,*%*5$")&%through horizontal and subhorizontal surfaces. Footprints dominate the repertoire. Circles, semicircles and cupmarks :"$"%)<*.%"(4$)A"&%,(%*3)<<"$%(83!"$*>%O<<%#6"%'48$"*%:"$"%pecked. A group of 3 burial mounds, probably dated from the Late Bronze Age, is located close to the site.
Carregueira (Fig. 3) is a very similar but smaller site /a.3"*%)(&%X.(#",$.1%FGKVJFGKKI%Fd1%Q)(#.*1%;6i("9%)(&%OA"<",$)1%YWW\I%FVY0>%L(%#6"%.(<9%A,*,!<"%*8$2)7"%:"%2.8(&%*"A"(%2..#5$,(#*%/"(4$)A"&%!9%5"7B,(40%)(&%#:.%785J3)$B*>%R6"%*,#"%,*1%6.:"A"$1%*#$.(4<9%*,<#"&%851%$")*.(%:69%:"%believe that there are more decorated surfaces near the one )<$")&9%,&"(#,'"&>%a.3"*%)(&%X.(#",$.%,&"(#,'"&%)(.#6"$%site – Picoto – dominated by the footprint motif (Gomes e X.(#",$.1%FGKVJFGKKI%FdF0>%_.:"A"$1%)2#"$%*"A"$)<%&)9*%#$9,(4%#.%$"<.7)#"%,#1%:"%6)A"%(.:%$")*.(*%#.%!"<,"A"%#6)#%,#%:)*%&"*#$.9"&%,(%#6"%3")(#,3">%f")$%;)$$"48",$)1%)#%P)#)%&.%;)A)<.%/U,4>%V01%:"%2.8(&%)%*76,*#%.8#7$.5%:,#6%#:.%pecked semicircles and several cupmarks (Santos, Chéney and Aveleira, 2006: 142). The rock is located on the slope of )%5<)#")8%:6"$"%)%("7$.5.<,*%.2%\%!8$,)<%3.8(&*1%5$.!)!<9%dated from Late Bronze Age – the necropolis of Pata do Cavalo – is located. Besides, the rock is located in the 3,&&<"%.2%#6"%5)#6%#6)#%:"%38*#%#)B"%#.%$")76%#6"%4$.85%.2%burial mounds.
Molelinhos (Vale, 1945, Russel Cortez, 1955: 9296, Cunha, 1991) is a cluster of 6 decorated subhorizontal *76,*#%*8$2)7"*>%O<<%#6"%"(4$)A,(4*%:"$"%3)&"%!9%,(7,*,.(>%R6"%:,%.2%#6"%<,("*%A)$,"*%!"#:""(%F%)(&%[%33>%O3.(4%#6"%3.#,2*1% ,#% ,*% 5.**,!<"% #.% '(&%:")5.(*1% #$""J*6)5"&%'48$"*1%7.3!J*6)5"&%'48$"*1%4$,&*1%^,4^)4*1%"#7>%O()%E",#"%&)%;8(6)%58!<,*6"&%#6"%'$*#%&$):,(4%.2%#6"%$.7B*>%+)*"&%.(% #6"%&"5,7#"&%:")5.($9% /*:.$&*1%&)44"$*1% *5")$*j01%she dates the engravings from the Late Bronze Age to the --%-$.(%O4">%_.:"A"$1%a.3"*%)(&%X.(#",$.%*)9%#6)#% ,*%possible to recognize a Calcolithic phase characterized by #6"%"(4$)A,(4%.2%M&)44"$*1%4$,&*1%*#),$J*6)5"&%'48$"*%)(&%.#6"$%4".3"#$,7J*93!.<,7%3.#,2*N%/FGK\JFGKK1%[[Y0>
The main decorated surface of Laja das Côcas (Silva, FGVK1%R)A)$"*%)(&%Q,<A)1%FGKFI%Y\Y1%Q)(#.*1%;6i("9%)(&%OA"<",$)1%YWW\I%FVYJFV[1%Fd[1%'4>%FV0%,*%#6"%#.5%.2%)%<.:"$1%
!"#$%&'()*+&,-".(+
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but large, granite outcrop (Fig. 5). Phallic motifs dominate #6"%'48$)#,A"%)**"3!<)4">%R6.846%,(%*3)<<"$%(83!"$*%,#%,*%)<*.%5.**,!<"%#.%'(&%.8#%*"3,7,$7<"*1%`8)&$)(48<)$%'48$"*%and cupmarks. Nine small blocks surround the outcrop. On )<<%#6"*"%!<.7B*1%:"%2.8(&%.(<9%56)<<,7%3.#,2*%/,(%A"$#,7)<%surfaces) and cupmarks (in horizontal panels).
Valeira Ferradura (Santos, Chéney and Aveleira, 2006: FVF0%,*%)%*76,*#%.8#7$.5%:,#6%)%A"$9%,$$"48<)$%#.5.4$)569%(Fig. 6). On the subhorizontal surface, a composition based on bassins and cupmarks, some of them connected by large :)A9%<,("*1%7)(%!"%*""(>%O<<%.2%#6,*%:)*%'$*#%5"7B"&%)(&%#6"(% 5.<,*6"&>%O!.A"% #6,*% 7.35.*,#,.(% )% 2..#5$,(#%:)*%5"7B"&>%O%*3)<<%(83!"$%.2%785J3)$B*%:"$"%*7)##"$"&%.(%#6"%*8$2)7">%-(%)%A"$#,7)<%5)("<%)%*"3,7,$7<"%:)*%5"7B"&>%Q.3"%3.&"$(%7$.**"*%:"$"%"(4$)A"&%.(%A"$#,7)<%5<)("*%.(%the upper part of the outcrop.
P"&$)% &.%E.!.% /Q,<A)1% FGKHI% F\H1% Q)(#.*1%;6i("9% )(&%Aveleira, 2006: 143) is a granite boulder integrated in a $8*#,7% *#.(":)<<>%@(4$)A,(4*% /U,4>% K0%:"$"% &.("% ,(% #6"%southern vertical face. The principal motif consists on a vertical line that curves to the left on the top and has )%*<,46#<9%,(?"T,.(1%)<*.%#.%#6"%<"2#1%.(%#6"%!.##.3>%R:.%5)$)<<"<%*8!J6.$,^.(#)<*%)(&%:)A9%<,("*%&"'("%#6"%!)*,*%
of the motif. Four horizontal lines start at the left of the vertical one. On the all, the motif has a zoomorphic form .2%*76"3)#,7%()#8$">%O%785J3)$B%:)*%3)&"%.(%#6"%$,46#%*,&"%.2%#6"%5$"A,.8*%'48$">
Fiais is a decorated subhorizontal surface of granite nature. L(%#6"%7"(#"$1%.("%7)(%*""%)%7,$7<"%:,#6%)(%,(("$%785J3)$B>%O%<,("%,*%&$):(%2$.3%#6"%7,$7<"%7.(("7#,(4%#.%.#6"$*>%L("%.2%#6"%<,("*%'(,*6"*%.(%)%!)*,(>%R.%#6"%<"2#%.2%#6,*%7.35.*,#,.(%)%3")(&"$,(4%<,("%'(,*6"&%:,#6%785J3)$B*%.(%!.#6%*,&"*%:)*%engraved. Several more of these motifs occur isolated on #6"%$.7B>%P"7B,(4%:)*%#6"%#"76(,`8"%8*"&%#.%"(4$)A"%)<3.*#%all the repertoire. Exceptions refer to some cupmarks that :"$"%'$*#%5"7B"&%)(&%#6"(%5.<,*6"&>
R6"%*,#"%.2%U"$$)&8$)*%/a,$b.1%FGYdI%HH0%,*%)%?)#%)$")%:,#6%a huge concentration of amphibole rocks of small and medium size. In some of these small boulders, circles, *"3,7,$7<"*1%2..#5$,(#*%)(&%7$.**"*%:"$"%"(4$)A"&>%Q.3"%of these are very recent. There are also letters and numbers, namely dates – some of them depicted after the publication of Girão.
We have studied Fial (Girão, 1925: 8890, Tavares and Q,<A)1% FGKFI% Y\YJY\[0% )(&%X")<% &)%Z.()% /a.3"*% )(&%
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X.(#",$.1%FGKVJFGKKI%FdF0%)*%)%*,(4<"%*,#"%/Q)(#.*1%YWW[1%YWWK0>%-(%6"$"1%)<.(4%)%k"*#J@)*#%)T,*%.2%<"**%#6)(%KdW%3%:"%2.8(&%d%7<8*#"$*%.2%$.7B*1%KG%.2%#6"3%:,#6%&"7.$)#,.(>%+"#:""(% X")<% &)% Z.()% )(&% U,)<% -1% ,#% ,*% <.7)#"&% #6"%3"4)<,#6,7%#.3!%.2%;)!"7,(6.%&)%X)3)>%-2%:"%#)B"%,(#.%)77.8(#%#6"%#95.<.49%.2%+i7)$"*%/FGH[I%FV[1%FV\JFVH1%'4>%2 and table 2) to the painted schematic art, it’s possible to ,&"(#,29%,(%U,)<%)(&%X")<%&)%Z.()%#6"%2.<<.:,(4%3.#,2*I%)(#6$.5.3.$56,7%'48$"*%.2%()#8$)<,*#,7%B,(&%.$%,(%21%7$.**"*1%6)<#"$J*6)5"&% '48$"*1% *,35<"% .$% *"7#,.("&% $"7#)(4<"*1%
*"7#,.("&% $"7#)(4<"*% )**.7,)#"&% :,#6% )(#6$.5.3.$56,7%3.#,21%!)78<,2.$3%'48$"1%*,35<"%7,$7<"*1%7,$7<"*%:,#6%,(("$%cross, horseshoes or arches, combshaped zoomorphic '48$"1%M5"#$.4<,56.,&*N1%*,35<"%.$%5)$)<<"<%!)$*%)(&%&.#*%/"`8,A)<"(#%#.%.8$%785J3)$B*0>%+"*,&"*%#6"*"%3.#,2*1%:"%&,&%)<*.%2.8(&%)%*8!%.A)<%'48$"%:,#6%)%7"(#$)<%<.(4,#8&,()<%<,("%and four external appendixes (in rock 32 of Fial II – Fig. 8) :,#6%5)$)<<"<*%,(%#6"%5),(#"&%*76"3)#,7%*,#"*%.2%Q)(%Q"$A)(%(Breuill, 19331935, t. II: 151152, Pl. XXXVII, IId), La Cimbarra (idem, t. III, Pl. V, 4) or Bétin (Acosta, 1968:
d6H;&XC&3-.-&#(&/-M-:(&f'("#0:-J&E6+02g;
!"#$%&'()*+&,-".(+
115
FVF1%'4>%[0>%O%'48$"%<,B"%#6,*%)55")$*%)<*.%,(%#6"%*<)!%K%.2%a$)(l)%&"%R.(,m8"<.=*%#6.<.*%/+8"(.%)(&%+)<!n(1%FGGKI%FW\1%'4>%FF0>%k"%)<*.%2.8(&%5)<"##"*1%)%A"$9%7.33.(%'48$"%,(%#6"%$.7B%)$#%2$.3%#6"%f.$#6:"*#%.2%-!"$,)(%P"(,(*8<)%)(&%2.$3)<<9%*,3,<)$%#.%#6"%5<)`8"*%.2%O7.*#)%/FG\HI%KY1%'4>%K0>%k"%6)A"%)<*.%,&"(#,'"&%)%3")(&"$"&%7.35.*,#,.(1%A"$9%close to the one of rock 10 of Moinhola in the Guadiana
A)<<"9%/+)5#,*#)1%YWWYI%F\Y1%'4>%K0>%L#6"$%$"5$"*"(#)#,.(*%of this type are common in other prehistoric contexts such as megalithic art, or in rock art sites of TrásosMontes (Northeast of Portugal) – see, for instance the site of Fragas &)%E)5)%/Q)(76"*1%FGHdJFGH\1%FGGYI%HYJHV1%FGGKI%F\\JF\K0>%U..#5$,(#*%7.35<"#"%#6"%5$"6,*#.$,7%$"5"$#.,$"%.2%#6"%*,#">%;$.**"*%)(&%76)<,7"*%2$.3%3.&"$(%#,3"*1%#.4"#6"$%:,#6%
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d6H;&kC&E-:06$-&d0$$-#2$-&f'("#0:-J&E6+02g;
!"#$%&'()*+&,-".(+
FFK
a motif from the same period that looks like a coat of arms, :"$"%)<*.%2.8(&>
In bibliography there is also a reference to a rock art site B(.:(%)*%U.(#"%&)%P"&$)1%<.7)#"&%,(%X.(#"38$.=*%3.8(#),(%/Q,<A)1%FGKHI%F\GJFKW0>%_.:"A"$1%)%7)$"28<%.!*"$A)#,.(%of the site leads us to the conclusion that all the features present in those rocks are of natural origin. Gomes and Monteiro also refer the site of As Ferraduras in Tondela /FGKVJFGKKI%FdF0>%o"#1%:"%:"$"%8()!<"%#.%$"<.7)#"%,#>%-(%the same paper, the authors inform us that oral informants told them of rock art sites in Nossa Senhora do Guardão, Múceres, Tojosa and Caparrosinha (Gomes and Monteiro, FGKVJFGKKI%FdF0>%-(%.8$%:.$B*%:"%6)A"%7.('$3"&%.(<9%#6"%'$*#%*,#">%-#%7.$$"*5.(&*%#.%)%4$)(,#"%!<.7B1%(.:)&)9*%,(#"4$)#"&% ,(% )%:)<<%.2% #6"% <.7)<% 768$761%:,#6%)%5),$%.2%footprints dated probably from medieval times. The block :)*%7)$$,"&%):)9%2$.3%)%5<)7"%7)<<"&%P.$#"<)%&)%P"4)&,(6)%(Santos, Chéney and Aveleira, 2006: 143144).
EARLIER PROPOSALS OF SYSTEMATIZATION
D)*7.(7"<.*% &)#"&% #6"% 2":% *,#"*% 6"% &,*7.A"$"&% 2$.3%f".<,#6,7%#,3"*%/FHGKI%[\\J[KW0>%R6"%$")*.(*%6"%"A.B"&%:"$"%#6"%2.<<.:,(4I%#6"%7<.*"%$"<)#,.(%!"#:""(%*.3"%.2%#6"%engravings and megalithic tombs, the existence of cup3)$B*1%3.#,2*%#6)#%#6"%)8#6.$%7.(*,&"$"&%#.%!"%f".<,#6,7p%#6"%2.$3)<%$"*"3!<)(7"%.2%#6"%M7)(#,(6.N%3.#,2%:,#6%#6"%paintings of Cachão da Rapa, site he believed to in the vicinity of a megalithic tomb. Girão also dates the Beira
Alta’s sites from Neolithic times. According to Girão, only U,)<%7.8<&%!"%&)#"&%2$.3%#6"%!"4,((,(4%.2%MX"#)<%O4"N>%L(%#6"%.("%6)(&1%*.3"%.2%#6"%"(4$)A,(4*%:"$"%3)&"%:,#6%)%3"#)<<,7%#..<p%.(%#6"%.#6"$%6)(&1%#6"%*,#"%6)*%)%4$.85%.2%.8#7$.5*%/*.3"%.2%#6"3%:,#6%"(4$)A,(4*0%#6)#%6"%,(#"$5$"#"&%as a very recent megalithic tomb – the Carvalha do Fial’s dolmen (Girão: 1925: 9091). But he also states that some *,#"*%:"$"%.2% 6,*#.$,7% #,3"*>%Q.3"%.2% #6"3%7.8<&%6)A"%!""(%8*"&%)*%3)$B"$*%.2%!.8(&)$,"*1%:6,<"%.#6"$*%:"$"%Christianized because of the pagan beliefs attached to them (Girão, 1925: 9495).
As for Celso Tavares da Silva, he considered Laja das Côcas a Neolithic site, not only because he interpreted the phallic motifs as schematic faces that could have been used )*%&85<,7)#"*%.2%#6"%&"7")*"&%/)(&%#68*%28<'<<,(4%#6"%*)3"%purpose of the schist plaques founded in the megaliths of #6"%Q.8#6:"*#%.2%-!"$,)(%P"(,(*8<)01%!8#%)<*.%!"7)8*"%.2%#6"%"T,*#"(7"%.2%)%3"4)<,#6,7%#.3!%(")$!9%/FGVKI%YG[JYGd0>%Z8$,(4%.8$%'"<&:.$B1%#6"%(")$"$%3"4)<,#6,7%3.(83"(#%#6)#%:"%6)A"%2.8(&%S%E.3!)%&)%X.,$)%S%,*%)#%)!.8#%dWW%3%):)9%/72$>%Q)(#.*1%YWW[I%U,4>%Y0>%O*%2.$%#6"%.#6"$%*,#"*1%6"1%:,#6%O848*#.%R)A)$"*1%*#)$#*%#.%7.(*,&"$%#6"%"T,*#"(7"%.2%#:.%traditions: one autochthon – represented by the zoomorphic forms, crosses and other motifs that appear in association :,#6%#6.*"%S%)(&%)(.#6"$%.("%S%$"5$"*"(#"&%!9%#6"%7,$78<)$%7.35.*,#,.(*%S%:6,76%,*%)%7.(*"`8"(7"%.2%M#6"%$"<)#,.(*%)(&%*877"**,A"%7.(#)7#*%:6,76%*#)$#"&%#.%&"A"<.5%)#%#6"%!"4,((,(4%.2%+$.(^"%O4"1% *5"7,)<<9%!9%*")N% /Q,<A)%)(&%R)A)$"*1%FGKFI%Y\V0>%-(%FGKH1%6"%#)B"*%,(#.%)77.8(#%#6"%
d6H;&WC&30#$-&#(&@(Q(&f'("#0:-J&E6+02g;
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/#6"(0%$"7"(#%:.$B*%.2%O()#,%/FG\\JFG\K1%FG\H0>%O*%*.1%6"%consideres Pedra do Lobo as being part of the “Stilized&,()3,7N%56)*"%/E)#"%f".<,#6,70>%_.:"A"$1%6"%&)#"*%#6"%$.7B%art of Cárcoda – that according the schema of Anati should be integrated in the Middle and Late Bronze Age –from a later period, arguing that, like this same site, there are other "T)35<"*%.2%-$.(%O4"%2.$#,'"&%*"##<"3"(#*%/7)*#$.*0%:,#6%engravings of circular combinations – Sabroso, Santa Tecla or Briteiros. Also the serpentshaped motifs are considered 2$.3%-$.(%O4"1%!",(4%#6"*"%3.#,2*%$"<)#"&%:,#6%#6"%Q)"2"*%(a preroman populi). He considers Serra da Arada and the semicircles and crosses motifs as being part of the “Circles )(&%<,("*N%56)*">%L(7"%)4),(1%,2%#6"%*9*#"3)#,^)#,.(%.2%O()#,%:)*%8(7$,#,7)<<9%)&.5#"&1%!.#6%*,#"%)(&%3.#,2*%*6.8<&%!"%integrated in the last phase of the cycle – “Geometric*93!.<,7N%S%2$.3%-$.(%O4"%/O()#,1%FG\HI%FF[JFYF0>%-(%#6"%5)5"$%.2%FGHd1%Q,<A)%)**83"*1%,(%)%*8!#<"%:)91%)(%)8#.76#6.(%origin for the circular combinations (Silva, 1985: 191192). On the other hand, he continues to relate both crosses and *"3,7,$7<"*%:,#6%#6"%3"4)<,#6,7%56"(.3"(.(%/,&"31%FGHdI%FGYJFG\0>%-(%FGHG1%:,#6%e.&$,48"*1%O<3",&)%)(&%D)^1%6"%appears to turn back to a diffusionist explanation on the origin of circular combinations (Rodrigues et alii, 1989: YK\0>%_.:"A"$1%,(%#6"%*)3"%"&,#,.(%6"%*,4(*%)%5)5"$%:6"$"%it is said exactly the opposite (Silva, 1989: 284).
In the portugueses syntheses, Beira Alta’s graphic phenomenon is, since the beginning, treated as a marginal 5)$#%.2%#6"%5"(,(*8<)$%(.$#6:"*#=*%$.7B%)$#>%e8,%&"%Q"$5)%Pinto, in the context of his publication of the Sabroso’s "(4$)A,(4*1%,*%#6"%'$*#%#.%)##"35#%#.%)%*9*#"3)#,^)#,.(%.2%#6"%$.7B%)$#%2$.3%P.$#84)<%/FGYG0>%-(%6,*%:.$B1%6"%2.<<.:*%the propositions of Obermaier in Galiza (1923, 1925): )77"5#,(4%#6"%"T,*#"(7"%.2% #:.%#$)&,#,.(*I%)(%.<&"$%.("1%&)#"&%2$.3%Mf".J"(".<,#6,7N%$"5$"*"(#"&%!9%#6"%3"4)<,#6,7%art and the various schematic motifs present in the open ),$p%)%$"7"(#%.("1%&)#"&%2$.3%-$.(%O4"1%$"5$"*"(#"&%!9%M#6"%7,$78<)$%7.3!,()#,.(*1%*5,$)<*%)(&%7.35<"T%'48$"*N%/P,(#.1%FGYGI%YV0>%-(%FGVW1%Q)(#.*%hq(,.$%58!<,*6"*%)%(":%85&)#">%-(%6,*%:.$B1%6"%&)#"*%2$.3%-$.(%O4"%#6"%3)l.$%5)$#%.2%.5"(%),$%"(4$)A,(4*>%_.:"A"$1%6"%)&3,#*%#6)#%#6"%f".<,#6,7%.$,4,(%of some of the sites. Like Girão before him (see supra), he alerts to the fact that some of the decorations could have !""(%!.8(&)$9%3)$B"$*>%-(%#6,*%:.$B1%,#%,*%)<*.%,(#"$"*#,(4%to notice that he is very cautious about the interpretation of Carvalha do Fial as a megalithic monument (Santos Júnior, 1940: 351). Also Anati considers that the rock art from Beira Alta should be integrated in his cycle of a)<,7,)(JP.$#848"*"% $.7B% )$#>% -(%6,*%:.$B1% 6"% $"2"$*% #.%Molelinhos as a paradigmatic example of a site belonging #.%#6"%M,&.<*%)(&%&)44"$*N%56)*"%/O()#,1%FG\HI%KHJKG01%)(&%U"$$)&8$)*%+"(2",#)*%)*%)%*,#"%#6)#%:)*%"(4$)A"&%&8$,(4%#6"%M4".3"#$,7J*93!.<,7N%56)*"%/O()#,1%FG\HI%FFV0>%L(<9%,(%FGH[%)%(":%*9(#6"*,*%)55")$*1%#6,*%#,3"%2$.3%#6"%6)(&%.2%Dn#.$%L<,A",$)%h.$4">%-(%#6,*%:.$B%#6"%)8#6.$%`8"*#,.(*%#6"%7.(7"5#%.2%Ma)<,7,)(JP.$#848"*"%4$.85N1%5.,(#,(4%#.%#6"%heterogeneity of the sites that are supposedly part of that group. As for Beira Alta, he highlights the quantity and
variety of sites, a fact that could lead us to the possibility of the existence of several artistic groups in the region. As such, he considers the possibility of Beira Alta to be )%MB"9J)$")%2.$%#6"%*#8&9%.2%P.$#848"*"%$.7B%)$#N%/h.$4"1%FGH[I%\F0>%-(%FGH\1%#6"%)8#6.$%58!<,*6"*%)%(":%*9(#6"*,*>%In the paper, Jorge questions the existence of the groups ,&"(#,'"&%!9%X)$#,(6.%+)5#,*#)%,(%#6"%$.7B%)$#%2$.3%#6"%f.$#6:"*#%/*""%,(2$)0>%R6"%)8#6.$%&"2"(&*%#6"%"T,*#"(7"%.2%a strong polymorphism (Jorge, 1986: 45), particularly in #6"%*"7.(&%4$.85%.2%+)5#,*#)1%#6"%4$.85%:6"$"%#6"%3.*#%5)$#%.2%+",$)%O<#)=*%*,#"*%*6.8<&%!"%,(#"4$)#"&>%-(%FGGd1%:,#6%Q8*)()%L<,A",$)%h.$4"1%)%(":%85&)#"%,*%58!<,*6"&>%_.:"A"$1%the main differences relatively to the previous one are $"<)#"&%:,#6%#6"%/#6"(0%$"7"(#%&,*7.A"$9%.2%#6"%;r)%D)<<"9>%O(#s(,.%X)$#,(6.%+)5#,*#)%,*%)(.#6"$%$"*")$76"$%:6.%6)*%58!<,*6"&%.(%#6"%*8!l"7#%.2%$.7B%)$#%,(%#6"%f.$#6:"*#%.2%Iberian Peninsula (19831984, 1986). Based on style, technique and geographic distribution, he proposes the existence of three artistic groups in this vast region. The '$*#%#:.%4$.85*%7.$$"*5.(&%4$.**.%3.&.%#.%#6"%.("*%)<$")&9%&"'("&%!9%L!"$3),"$%#.%#6"%a)<,7,)(%$.7B%)$#>%R6"%#6,$&%,*%characterized by the use of incision (Baptista, 19831984: KH1%FGH\I%dYJd[01%!",(4%X.<"<,(6.*%)%5)$)&,43)#,7%"T)35<">%R6"%'$*#%4$.85%/+)5#,*#)1%FGH[JFGHVI%K[JKV1%FGH\I%V\JVG0%includes simple and concentric circles, spirals, meanders, straight and curved lines, protolabyrinths and labyrinths, :")5.(*1%)(,3)<*%)(&1%,(%3876%*3)<<"$%(83!"$*1%#6"%683)(%'48$">% R6,*% 4$.85% ,*% )<*.% 76)$)7#"$,^"&% !9% 6,*%3),(<9%coastal distribution. The second group (Baptista, 1983FGHVI%KdJKK1%FGH\I%VGJdF01%2$.3%)%<)#"$%&)#"%/)*%*876%#6"$"=*%a chronological inversion relatively to the propositions of L!"$3),"$%.$%Q"$5)%P,(#.01%4)#6"$*%!.#6%,(?8"(7"*%2$.3%the previous one and from schematic painted art, being his 3)l.$%7.(7"(#$)#,.(%.(%#6"%,(<)(&>%-(%#6,*%4$.85%:"%*6.8<&%,(7<8&"%#6"%*76"3)#,7%683)(%'48$"1%*`8)$"*1%*"43"(#"&%$"7#)(4<"*1%*,35<"%7,$7<"*%/:,#6%.$%:,#6.8#%,(("$%7$.**"*1%*"3,7,$7<"*1%M6..B*N1%*#$),46#%)(&%)(48<)$%<,("*1%*.3"%<,##<"%*5,$)<*1%2..#5$,(#*1%5)<"##"*1%*:)*#,B)*1%"#7>%-(%)%'$*#%5)5"$%Baptista proposes the Late Bronze Age as a terminus post `8"3%/+)5*#,*#)1%FGH[JFGHVI%K\0>%_.:"A"$1%#:.%9")$*%<)#"$1%he admits that the origin of the group could be previous #.%+$.(^"%O4"%/+)5#,*#)1%FGH\I%KK0>%O*%2.$%#6"%#"$3,(8*%ant quem, he starts to propose the Middle Age (Baptista, FGH[JFGHVI%KK0%)(&%<)#"$%#6"%-$.(%O4"%/+)5#,*#)1%FGH\I%dF0>%About Beira Alta, he considers that the district of Viseu 6)*%)%A"$9%*5"7,'7%#95"%.2%"(4$)A,(4*%#6)#%7.8<&%2.$3%)%(":"$%4$.85%.$%)<#"$()#,A"<9%3)B"%.2%#6,*%5$.A,(7"%.("%.2%#6"%$,76"*#%.2%#6"%*"7.(&%4$.85%/+)5#,*#)1%FGH[JFGHVI%K[0>%E)#"$%.(1%6"%)&3,#*%#6"%5$"*"(7"%.2%M*5.$)&,7%*,#"*%:,#6%Ma)<,7,)(J)#<)(#,7N%3.#,2*%,(%+",$)%O<#)1%)*%#6"%$"3)$B)!<"%P"&$)%@*7$,#)%&"%Q"$$)^"*N%/+)5#,*#)1%FGH\I%VK0>%O<)4.)1%according to this author, must not be included in none of these groups, a fact that stresses the heterogeneity of the '48$)#,A"%$"5"$#.,$"%2$.3%#6"%$"4,.(%/+)5#,*#)1%FGH\I%dV0>
X.$"%$"7"(#<91%E)$)%+)7"<)$%O<A"*%)<*.%&")<#%:,#6%*.3"%.2%+",$)%O<#)=*%$.7B%)$#%,(%#6"%7.(#"T#%.2%6"$%:.$B%.(%P.*#J4<)7,)<%$.7B%)$#%,(%f.$#6:"*#"$(%-!"$,)%/YWW[0>%R6"%)8#6.$%
!"#$%&'()*+&,-".(+
119
suggests a Neolithic origin for the Iberian Atlantic art, based on three arguments (Alves, 2003: 430): the communities .2%#6"%f.$#6:"*#%38*#%6)A"%6)&%)%:"<<%"*#)!<,*6"&%)$#,*#,7%tradition that prevented the expansion of schematic art 28$#6"$%#.%#6"%:"*#%&8$,(4%#6"%f".<,#6,7p%#6"$"%,*%)%7<")$%$"<)#,.(*6,5%!"#:""(%#6"%<.7)#,.(%.2%O#<)(#,7%)$#%*,#"*%)(&%5)#6*%<")&,(4%#.%f".<,#6,7%("7$.5.<,*p% ,(%#6"%3"4)<,#6,7%tombs from the region, a great stress in the geometric 5)##"$(*%#6)#%.778$%,(%#6"%.5"(%),$%:)*%2.8(&>
R.% #6"% ")*#% .2% :6)#% #6"% $"*")$76"$% 7)<<*% #6"% O#<)(#,7%Mountains (corresponds, in our region, to the Occidental X.8(#),(*%#6)#%:"%3"(#,.("&%")$<,"$01%#6"%)8#6.$%&"2"(&*%the existence of schematic art, but only in the interior of tombs. In fact, according to Alves “Schematic Art on natural rock formations is yet to be found in the core area .2%Q76"3)#,7%3"4)<,#6,7%)$#N%/O<A"*1%YWW[I%YGK0>%-(%.8$%("T#%5.,(#*1%:"%:,<<%#$91%)3.(4*#%.#6"$%#6,(4*1%#.%&"3.(*#$)#"%#6"%opposite, that is – in the core area of schematic megalithic art there are also schematic art on the open air.
THE SITES FROM TONDELA – A CASE STUDY
The basis of our proposal of systematization is based on the *,3,<)$,#,"*%!"#:""(%#6"%$.7B%)$#%*,#"*%#6)#%:"%6)A"%*#8&,"&%in Tondela and the ones that spread through the district of Viseu, as described above. The archaeological context of the sites is something of the utmost importance in our :.$B>%-(%.8$%7)*"1%#6)#%7.(#"T#%,*%4,A"(%!9%#6"%5$"*"(7"%.2%!8$,)<%3.8(&*%(")$%.$%"A"(%M,(*,&"N%#6"%*,#"*>%O77.$&,(4%to several authors, megalithic monuments and (some) $.7B%)$#%)$"%7.(#"35.$)(".8*>%-(%#6,*%*#8&9%:"%3"(#,.("&%Vasconcelos, Girão, Serpa Pinto and Lara Bacelar Alves, !8#%2.$%.#6"$%5"(,(*8<)$%$"4,.(*1%:"%7.8<&%*5")B%.2%X)$,)%de Jesus Sanches in TrásosMontes (2002) or Primitiva Bueno Ramírez and collaborators in Extremadura (Bueno et alii, 1999, Bueno and Balbín, 2000). In Beira Alta, the 3"4)<,#6,7%56"(.3"(.(%S%!,4%!8$,)<%3.8(&*%:,#6%)(%,(("$%*#$87#8$"%!8,<#%:,#6%684"%*#.("*%S%,*%*.3"#6,(4%:,#6%)%A"$9%short diachronic spam, centered in the IV millennium 7)<+;%/5)$#,78<)$<9%,(%6,*%'$*#%6)<20>%+9%#6,*1%:"%3")(%#6)#%#6"*"%3.(83"(#*%:"$"%!8,<#1%8*"&%)(&%7<.*"&%&8$,(4%#6)#%millennium (Cruz, 1995: 105109, 1998: 156158). This ,*%*.3"#6,(4%#6)#%,*%7.$$.!.$)#"&%!9%[K%$)&,.7)$!.(%&)#"*%2$.3%FV%3.(83"(#*%/;$8^1%FGGHI%FdK1%'4>%V0>%R6"%5"$*.(*%responsible for the depositions of later age inside these monuments did not entered by the original entrance. In fact, #6"9%:"$"%)<$")&9%!<.7B"&%!9%#6)#%#,3">%R6,*%,*%#6"%7)*"1%2.$%,(*#)(7"%.2%O$`8,(6)%&)%X.8$)%/;$8^1%FGGHI%F\Y1%'4>%K0>%-#=*%,(*,&"%#6"*"%3.(83"(#*%#6)#%:"%'(&%#6"%3"4)<,#6,7%)$#%#6)#%<")&%@>%Q6""%R:.6,4%#.%&"'("%#6"%D,*"8=*%4$.85%/R:.6,41%1981b: 2231) . Other type of burial mound that is relevant 2.$%8*%,(%#6,*%:.$B%,*%.("%.2%A"$9%*3)<<%*,^"%/8*8)<<9%:,#6%[WJVW%73%6,4601%:,#6%&,22"$"(#%B,(&*%.2%,(("$%*#.("%*#$87#8$"%/.$%(.("%.2%,#01%8*8)<<9%!8,<#%.(<9%:,#6%*#.("*1%!",(4%#6"%quartz an important element in the construction of the 3.(83"(#>%+)*"&%.(%3)#"$,)<%78<#8$"%)(&%$)&,.7)$!.(1%:"%can date these small cairns from Middle and Late Bronze
Age (Vilaça and Cruz, 1999). Some of these monuments have also decorations (grids) both engraved in standing *<)!*%S%3.(83"(#%Y%.2%e.76b.%/Q)(#.*%)(&%X)$`8"*1%YWWKI%[HJVV1%@*#>%D--1%'4>%[0%S%)(&%,(%7)5*#.("*%S%3.(83"(#%[%of Casinha Derribada (Cruz, Gomes and Carvalho, 1998: 51, Fot. 2).
R)B,(4% #6,*% ,(#.% )77.8(#1% :"% 7)(% (.:% #)<B% )!.8#% #6"%R.(&"<)=*%*,#"*>%k"%*#)$#%:,#6%U,)<tX")<%&)%Z.()%/2$.3%(.:%.(1%#6"%*,#"%:,<<%!"%&"*,4()#"&%.(<9%!9%U,)<0>%-(%6"$"1%#6"%*#8&9%.2%*85"$,35.*,#,.(*%)(&%#6"%3.$56.<.4,7%)2'(,#,"*%.2%#6"%"(4$)A"&%3.#,2*%:,#6%.#6"$*%2$.3%.#6"$%*,#"*%<")&%8*%#.%&"'("%[%)$#,*#,7%56)*"*%/2.$%)%3.$"%&"#),<"&%)()<9*,*1%*""%Q)(#.*1%YWW[I%HVJGd0>%E"#=*%*#)$#%#.%&,*78**%#6"%'$*#%.(">%O*%:"%:$.#"%5)4"*%)!.A"1%#6"$"=*%)%3"4)<,#6,7%3.(83"(#%!"#:""(%X")<%&)%Z.()%)(&%U,)<%->%k"%6)A"%)<*.%,&"(#,'"&%a group of outcrops that resembles a megalithic tomb in U,)<%->%L("%.2%#6"*"%.8#7$.5*%,*%"(4$)A"&%:,#6%5$"6,*#.$,7%3.#,2*>%O*%:"%)<$")&9%*),&1%#6"%3)l.$%5)$#%.2%#6"%'48$)#,A"%repertoire has a counterpart in painted schematic art, in funerary contexts of the III millennium and in other openair prehistoric rock art sites. So, to discuss the chronological problem of Fial implies a short discussion on schematic 5),(#"&%)$#>%R6"%'$*#% #6,(4%:"%:)(#% #.%*#$"**% ,*% #6)#%:"%included a great part of the crosses in the “Schematic 5)7B)4"N>%-(%2)7#1%,2%:"%<..B%.(<9%#.%+$"8,<<=*%:.$B1%5),(#"&%crosses appear in Cueva de la Cumbria del Canchal del Cristo, Garcibuey, Canchal de las Cabras Pintadas (1933a), Puerto de Vistalegre, rockshelter 2 of Nossa Señora del Castillo, rockshelter 5 of Los Buitres, rockshelter 2 of Puerto de Las Ruedas, panel 1 of Peñon Grande, Grande abrigo de las Viñas, rock shelter 2 of Las Viñas (1933b), rockshelter 3 of Prado del Azogue, rockshelter 3 of Barranco de La Cueva, Cueva de Las Vacas del Retamoso, Covatilla de San Juan, Rodriguero and Cueva Meliton (1933c).
-2%:"%#)B"%,(#.%)77.8(#%.(<9%#6"%)$76)".<.4,7)<%7.(#"T#%.2%#6"%*76"3)#,7%5),(#"&%*,#"*%.2%k"*#"$(%-!"$,)1%:"%:,<<%'(&%A"$9%6)$&%#.%5$.5.*"%)%76$.(.<.49%<)#"$%#6)(%#6"%---%millennium. In fact, several authors have already expressed #6"%&,2'78<#9%,(%'(&,(4%5.$#)!<"%5)$)<<"<*%)2#"$%#6"%M!")B"$%56)*"N%/+i7)$"*1%FGHKI%GY01%:6,<"%.#6"$*%*6.:%#6"%&"(*,#9%.2%Neolithic and Calcolithic evidences near the decorated sites /a)$7n)1%FGGKI%FYKJFYH0>%-#%,*%5.**,!<"%#.%)$48"%#6"%*)3"%for the Portuguese case. According to Sanches (2002), the *,#"*%.2%Q"$$)%&.*%P)**.*%6)A"%)%&,)76$.(,7%$)(4"%!"#:""(%the V and the III millennium BC. Penas Róias (Almeida and Mourinho, 1981) and Cachão da Rapa (Santos Júnior, FG[V0%)$"%!.#6%)**.7,)#"&%:,#6%*,#"*%2$.3%#6"%---%3,<<"((,83%+;%/Q)(76"*1%FGGK1%A.<>%--1%YH\%)(&%YHY%$"*5"7#,A"<90>%R6"%5)("<*%:,#6%*76"3)#,7%$.7B%)$#%2$.3%D)<"%&)%;)*)%/+)5#,*#)1%FGH[0%)$"%(")$!9%)%7,*#%$)&,7)$!.(%&)#"&%2$.3%#6"%'$*#%6)<2%of the same millennium (Cruz, 1998: 160). Fraga da Pena, a site dated from the “transition or beginning of Bronze O4"N%/D)<"$)1%FGGKI%HY01%6)*%)%&"7.$)#"&%$.7B%*6"<#"$>%-(%#6"%#.5%.2%#6"%6,<<%:6"$"%E)5)%&.*%a),Au"*%/;.$$",)1%FGF\I%FdH1%+$"8,<<1%FGFKI%FKJYK01%-4$"l)%&.*%X.8$.*%/;)*#$.%)(&%U"$$",$)1%FG\WJFG\FI%VJd0%)(&%E)5)%&.*%E.8]u"*%/;)*#$.%
Grabados rupestres de la fachada atlántica europea y africana
120
and Ferreira, 19601961, pp. 69) are located, materials 2$.3%#6"%f".<,#6,7J;)<7.<6,#,7%#$)(*,#,.(%:"$"%7.<<"7#"&%(Gomes, 1989: 229232). In the excavation of the Pinho Monteiro’ rock shelter, layers dating from the Late Neolithic #.% #6"% E)#"% ;)<7.<,#6,7% :"$"% ,&"(#,'"&% /a.3"*1% FGHGI%Y[YJY[K1%FGGWI%dG0>%-(%@<%P"&$.*.%/@*5)$^)%O$$.9.1%FGGK1%Bradley, 2002) – in the neighbouring region of León – the excavation inside and in the front area of the decorated shelter provided material evidence and radiocarbon dates 2$.3%#6"%---%3,<<"((,83%/+$)&<"9%"#%)<,,1%YWWd0%L#6"$:,*"1%:"%38*#%(.#%2.$4"#%#6)#%#6,*%<)*#%*6"<#"$%,*%,(%#6"%*<.5"%.2%)%6,<<%:,#6%)%2.$#,'"&%*"##<"3"(#%2$.3%#6)#%3,<<"((,83>
If the III millennium could be a terminus ant quem of U,)<1%:6)#=*%6,*%#"$3,(8*%5.*#%`8"3v%-2%#6"%*,#"%,*%<.7)#"&%,(%)%3"4)<,#6,7%7.(#"T#1%#6"%'48$)#,A"%$"5"$#.,$"%6)*%)<*.%some motifs that could lead us to the IV millennium. We 6)A"%7,$7<"*%)(&%*"3,7,$7<"*%/#6"%w%3.#,2%.2%R:.6,40%J%*""%R:.6,41%FGHF!I%YVJYd1%R)!<"*%F%)(&%Y%J%5<8*%#6"%(":%2.8(&%
engravings of Fonte Coberta (Carvalho and Gomes, 2000, [d1%U,4>%FW0>%-(%#6"%*.8#6%:"%2.8(&%#6,*%A"$9%*)3"%B,(&%.2%engravings in burial contexts of the III millennium. These )$"%#6"%7)*"*%.2%D"4)%&"%a8)&)(7,)<%/R:.6,41%FGHF!I%FddJFd\1%'4>%dd01%X),3s(%Y%/+8"(.%"#%)<,,1%YWWW1%U,4>%FY01%a$)(l)%&"%R.(,m8"<.%//R:.6,41%FGHF!I%Fd\1%'4>%dK1%+8"(.%"%+)<!n(1%FGGK01%Q.#.%/R:.6,41%FGHF!I%FdGJF\W1%'4*>%KWJKY0%)(&%#6.<.*%.2%+)$$)(7.%&)%f.$)%D"<6)%/R:.6,41%FGHF!1%dH1%'4>%dH0%7.(*#,#8#"%)(%"T)35<"%.2%)%!8$,)<%7.(#"T#*%.2%#6"%---%millennium. In the menhirs they are very common: Vale e.&$,4.%/R:.6,41%FGHF!I%F\F1%'4>%KV1%a.3"*1%FGGVI%[YY1%'4>%Y01%*.3"%.2%#6"%3"(6,$*%.2%O<3"(&$"*%/a.3"*1%FGGVI%[[K1%'4>%FF1%+1%;%"%Z0>%L#6"$:,*"1%#6"%683)(%'48$"*%.2%U,)<%6)A"%*#$.(4%5)$)<<"<*%:,#6%#6"%.("*%2.8(&%,(*,&"%5)**)4"%4$)A"*I%#6"%.("%2$.3%$.7B%FF%.2%U,)<%-%/Q)(#.*1%YWWKI%FVF1%'4>%[0%:,#6% #6"%.("% 2$.3%O(#"<)*% /;)*#$.1%U"$$",$)%)(&%D,)()1%FGdKI%@*#>%D---0%.$%#6"%$"5$"*"(#"&%,(%855"$%<"2#%5)$#%.2%*<)!%;\%2$.3%R)(`8"%/R:.6,41%FGHF!I%'4>%VV0%.$%)<*.%those from the back slab from Arquinha da Moura (Cunha,
d6H;&lC&d6-:&LLJ&$(8^&he&f'("#0:-J&E6+02g;
!"#$%&'()*+&,-".(+
121
1995: Est. 11). On the right side of slab C6 from Tanque :"%2.8(&%)(.#6"$%683)(%'48$"%#6)#%$"*"3!<"*%#6"%.("%2$.3%Fial II, rock 32 (Fig. 8). We could continue, but for reasons .2%*5)7"%:"%*#.5%6"$">
O<<%:"%6)A"%*),&%<")&%8*%#.%5$.5.*"%)%76$.(.<.49%!"#:""(%#6"%-D%)(&%#6"%---%3,<<"((,83%+;>%-2%:"%#)B"%,(#.%)77.8(#%#6"% *#$.(4% *,3,<)$,#,"*%!"#:""(% #6"% M6.$("&%'48$"*N%.2%@*7.8$)<%:,#6%7"$#),(%3.#,2*%5$"*"(#%,(%X")<%&)%Z.()%d%and Fial II, rock 33 (Fig. 9), our proposal is reinforced. In 2)7#1%#6"*"%M6.$("&%'48$"*N%,(%@*7.8$)<%:"$"%2.8(&%!"<<.:%archaeological levels radiocarbon dated from the beginning of the III millennium calBC (Gomes, R. V., Gomes, M. V. and Santos, 1983, Gomes, M. V., Gomes, R. V. and Santos, 1994).
The second phase of Fial, lesser representative than the previous one, is characterized by the presence of cross*6)5"&%'48$"*%)(&%.#6"$%6,46<9%*#9<,^"*%683)(%'48$"*1%horseshoes and footprint. This phase is dated from Late Bronze Age. The chronologic adscription of some crosses to this period is based on technique, style and context. In #6,*%4$.85%:"%*6.8<&%,(7<8&"%#6"%.("*%2$.3%U,)<%-D1%$.7B%5 and Fial IV, rock 6. Some earlier motifs are transformed ,(%683)(%'48$"*%S%U,)<%-1%$.7B%\%/U,4>%FW0%)(&%U,)<%-1%$.7B%F[!>%R6"% <.(4,#8&"*% .2% )$3*% )<<.:%8*% #.% &,*#,(48,*6"&%horseshoes from semicircles. The chronological adscription to Bronze Age is debatable. In fact, the engraving of this B,(&%.2%'48$"%7.8<&%$")76%.8$%)4">%_.:"A"$1%:"%38*#%(.#%2.$4"#%#6)#%)(.#6"$%*,#"%.2%R.(&"<)%S%P)#)%&.%;)A)<.%S%:6,76%,*%"(4$)A"&%.(<9%:,#6%)(%6.$*"*6."1%,*%<.7)#"&%,(%)%5)#6%that leads to a Late Bronze Age necropolis. Other sites that )$"%)<*.%"(4$)A"&%:,#6%2..#5$,(#*1%*876%)*%O<)4.)1%)<*.%contained horseshoes. Like the previous site, this one is also nearer a Late Bronze Age group of burial mounds. The second phase of Fial is, as mentioned before, also characterized by the presence of footprints. These motifs
d6H;&UmC&d6-:&LJ&$(8^&k&f'("#0:-J&E6+02g;
d6H;&VC&d6-:&LLJ&$(8^&hh&f'("#0:-J&E6+02g;
Grabados rupestres de la fachada atlántica europea y africana
122
)55")$%,(%&,22"$"(#%$"4,.(*%.2%#6"%7.8(#$9%,(%A"$9%*5"7,'7%7.(#"T#*>%R6"9%)55")$1%2.$%,(*#)(7"1%,(%*.3"%Q.8#6:"*#=*%*#"<)"%*876%)*%@$A,&"<%-%/a.3"*%)(&%X.(#",$.1%FGK\JFGKKI%YGYJYGK1%'4>%[1%@*#>%D0%.$%a.3"*%O,$"*%/O<3)4$.1%FG\\I%FYW1%'4>%VF0>%R6"*"%*#"<)"%*6.8<&%!"%&)#"&%2$.3%X,&&<"%+$.(^"%O4"%/h.$4"1%FGGHI%FFVJFFd0>%R6"*"%3.#,2*%:"$"%)<*.%2.8(&%,(%#:.%.2%#6"%7.A"$%*<)!*%)(&%.("%.2%#6"%*#)(&,(4%*<)!*%#6)#%:"$"%8*"&%,(%#6"%3)B,(4%.2%)%7,*#%,(%#6"%("7$.5.<,*%.2%Pardieiro (south of Portugal), dated from the I Iron Age /+",$b.1%FGGWI%FFFJFFVI%'4*%VJ\0>%-(%+",$)%O<#)1%2..#5$,(#*%:"$"%"(4$)A"&%.(%)%*<)!%2.8(&%,(%#6"%3,&&<"%.2%#6"%7),$(%.2%X.(#"%;)<A.%-%/Q,<A)1%FGGKI%\F\J\FK01%)%3.(83"(#%#6)#%should be dated from an advanced Bronze Age. The third 56)*"%.2%U,)<%,*%2$.3%6,*#.$,7)<%#,3"*%)(&%:"%:,<<%(.#%!"%discussed here.
The iconography of Ferraduras is very close to the one from U,)<>%Q,3,<)$%56)*"*%)$"%,&"(#,'"&>%R6"%(.#%<.7)#"&%*,#"%.2%As Ferraduras is, taking into account the descriptions, 7.(#"35.$)(".8*%:,#6%#6"%'$*#%56)*"%.2%U,)<>
P"&$)%&.%E.!.%,*%5"$6)5*%7.(#"35.$)(".8*%.2% #6"%'$*#%56)*"%.2%U,)<>%R6"%,7.(.4$)569%,*%$)#6"$%8(8*8)<>%_.:"A"$%,#%,*%5.**,!<"%#.%'(&%*.3"%*,3,<)$,#,"*%:,#6%#6"%"(4$)A,(4*%from Montedor (Lanhas, 1969), regardless of the minor &,3"(*,.(*%.2%#6"%'48$"*%.2%#6,*%<)*#%*,#">%R6"%&"7.$)#"&%rock of Montedor, although located in the dispersion area .2%O#<)(#,7%)$#1%6)*%!""(%$"4)$&"&%)*%!",(4%5)$#%.2%#6"%:.$<&%of schematic art (Bradley and Fábregas, 1999: 109, Alves, 2002: 56). As such, a chronology from the III millennium AC should not be discarded.
Arguments discussed in previous lines about footprints and horseshoes, lead us to date Alagoa, Carregueira and Pata do Cavalo from the Late Bronze Age. We remind that !.#6%#6"%'$*#%)(&%*"7.(&%*,#"%)$"%7<.*"<9%$"<)#"&%#.%4$.85*%of burial mounds from Late Bronze Age. Molelinhos &."*%)<*.%*6.:%)%56)*"%2$.3%E)#"%+$.(^"%O4">%_.:"A"$1%people continued to engrave in this site through Iron Age, )*%7)(%!"%*""(%!9%#6"%,(7,*"&%:")5.(*>%Q.3"%)8#6.$*%)<*.%advocate a Calcolithic phase for this site (Gomes and X.(#",$.1%FGKVJFGKKI%[[Y0>%-#%,*%)<*.%5.**,!<"%#.%'(&%.8#%6.$*"*6."*%)(&%2..#5$,(#*%,(%E)l)%&)*%;r)*>%_.:"A"$1%#6"%most representative motif of the decorated surfaces referes #.%#6"%56)<<,7%'48$">%R6,*%3.#,2%,*%)<*.%5$"*"(#1%#.4"#6"$%:,#6%footprints, in La Peña de Santa Maria (Spanish Meseta) /+"(,#.%)(&%a$)(&"1%YWWWI%FYdJFY\0>%k"%)<*.%'(&%#6,*%3.#,2%in Solhapa (Northeast of Portugal), a site that should be &)#"&%2$.3%E)#"%+$.(^"%O4"%/X.8$,(6.1%FGKY1%Q)(76"*%and Lebre, 1986).
In Valeira Ferradura there is also a footprint engraved on a 5"$,56"$9%.2%)%&"7.$)#"&%5)("<>%O%7.35.*,#,.(%:,#6%<,("*1%basins and cupmarks occupies the centre of the decorated surface. The grammar links this rock to Atlantic art. In fact, the most evident parallel to the composition is group IX of Q)(#)%R"7<)%/P.(#"A"&$)1%a)<,^)01%:6,76%,*%8(&"$%-$.(%O4"%archaeological layers (Costas, 1988: 42). This fact leads
us to conclude that by then the symbolic character of the decoration had lost is value. That does not contradict the short chronology for Atlantic art centred in the transition IIIII millennium AC proposed by Peña and Rey to Atlantic Art (2001: 105119) nor the longer one proposed by Alves /YWW[I%VYHJV[F0%:6.%)&3,#*%#6)#%#$)(*,#,.(%)*%#6"%#"$3,(8*%ant quem for this graphic manifestation. Due to the fact #6)#%#6"%,7.(.4$)569%.2%#6"%$.7B%*6.:*%#6)#%:"=$"%2)7,(4%)%3)$4,()<%*,#"%,(*,&"%#6,*%#$)&,#,.(1%:"%!"<,"A"%#6)#%#6"%transition IIIII millennium AC or some moment inside the last one are both acceptable chronologic propositions to the decoration. The same can be said in relation to Fiais, a $.7B%*8$2)7"%:,#6%)%7.35.*,#,.(%!)*"&%.(%3")(&"$"&%<,("*1%7,$7<"*%:,#6%,(("$%785J3)$B*%)(&%,*.<)#"&%785J3)$B*>
-(%*9(#6"*,*1%:"%&"'("%#6"%&,)76$.(,7%$)(4"%.2%#6"%$.7B%)$#%2$.3%R.(&"<)%)*%2.<<.:*I%U,)<1%O*%U"$$)&8$)*%)(&%U"$$)&8$)*%are dated from the transition IVIII millennium BC. These sites occupy the same places that megalithic burials do and )$"%5)$#,)<<9%7.(#"35.$)(".8*%:,#6%#6"3>%O%*,#"%<,B"%P"&$)%do Lobo is perhaps slightly recent and should be dated from the III millennium. Valeira Ferradura and Fiais, due to the simplicity of the engraved compositions, should be understood as marginal sites of Atlantic art tradition. The <.7)#,.(%.2%#6"%'$*#%.(%#6"%*.8#6"$(%!.$&"$%.2%;)$)38<.=*%X.8(#),(% 5$.A,&"*% ,#%:,#6% )% 4$")#% A,*,!,<,#9% $)(4"% #6)#%7.(#$.<*%#6"%5)**)4"%!"#:""(%#6"%A)<<"9%.2%+"*#",$.*%)(&%#6"%A)<<"9%.2%X.$#g48)1%#6)#%,*%#.%*)9%S%#6"%5)#6%!"#:""(%#6"%7.)*#)<%$"4,.(%)(&%#6"%,(#"$<)(&>%R6,*%$"<)#,.(%:,#6%()#8$)<%5)**"*%,*%A"$,'"&%)<*.%,(%U,),*1%)%*,#"%7<.*"$%#.%#6"%6,46:)9*%#6)#%7$.**%#6"%$"4,.(%(.:)&)9*%S%OYV%)(&%OYd>%-(%E)#"%+$.(^"%O4"1%:"%)**,*#%#.%)%$"J)55$.5$,)#,.(%.2%")$<,"$%*,#"*%such as Fial, Ferraduras and Valeira Ferradura. Contrasting :,#6%#6"%5$"A,.8*%5"$,.&*%:6"(%.(<9%*.3"%*,#"*%:"$"%76.*"(%#.%"(4$)A"&1%:"%(.:%)**,*#%#.%)%&,A"$*,'7)#,.(%.2%#95"*%.2%places to engraved – from bottom valleys near small streams (Alagoa, Carregueira and Molelinhos) until the higher slopes of Caramulo (Laja das Côcas). The footprint is the omnipresent motif, only excluded from Pata do Cavalo. R6"%$"<)#,.(%!"#:""(%#6"*"%*,#"*%:,#6%E)#"%+$.(^"%O4"%4$.85*%.2%3.8(&*%,*%"A,&"(#%,(%#:.%7)*"*%S%P)#)%&.%;)A)<.%and Alagoa. Molelinhos is, at the moment, the only site dated from Iron Age. In historical times, people continue to engrave in previous decorated surfaces or ex nihilo in .#6"$*%$"<)#"&%:,#6%,35.$#)(#%5)#6*%/P.$#"<)%&)%P"4)&,(6)0%or parish boundaries (Pedra da Meia Légua).
ROCK ART FROM BEIRA ALTA: A PROPOSAL OF SYSTEMATIZATION
@A"(% ,2%:"% #)B"% ,(#.% )77.8(#% #6"% <)7B% .2% #$)7,(4*% )(&%3.(.4$)56,7%:.$B*% .2% #6"% *,#"*% 2$.3%+",$)%O<#)1% ,#% ,*%possible to assume that the Tondela’s case is a kind of $"?"T,.(%.2%:6)#% ,*% #6"%$.7B%)$#%56"(.3"(.(%,(%)<<% #6"%district of Viseu. In fact, based in formal similarities of #6"%&"5,7#"&%3.#,2*1%:"%7)(%7.(*,&"$%)*%7.(#"35.$)(".8*%.2%U,)<%#6"%2.<<.:,(4%*,#"*I%P"&$)])1%L8#",$.%&"%@*5,(6.1%Ferraduras Pintadas, Cantinhos, Eiras de Seixa, Serra
!"#$%&'()*+&,-".(+
123
da Arada (phase 1), Santa Bárbara (phase 1) and, most probably, Penedo Gato, Ferronhe and the site at Northeast .2%Qg>%O3.(4%#6"%*,#"*%#6)#%:"%7)(%)2'<,)#"%,(%#6"%O#<)(#,7%tradition it is possible to identify: Pedra Escrita de Serrazes, f.**)% Q"(6.$)% &)% a8,)1% ;g$7.&)1% E8'(6)1% P"&$)% &.*%Pratos, Serra da Arada (phase 2), Santa Bárbara (phase 2). The sites that have engravings from Late Bronze Age are: Outeiro dos Mouros, Rasto dos Mouros, Ferraduras Pintadas (phase 2), Penedo do Gato (phase 2) and Santa Bárbara (phase 3). Amiais, Pombeiras and Braçaes are very &,2'78<#%#.%&)#"%&8"%#.%#6"%2)7#%#6)#%#6"9%:"$"%"(4$)A"&%.(<9%:,#6%785J3)$B*>%-(%;)*#"<.1%&"*5,#"%#6"%2)7#%#6)#%.(<9%#6,*%3.#,2%,*%5$"*"(#1%:"%7)(%,(2"$%)%E)#"%+$.(^"%O4"t-$.(%O4"%76$.(.<.49>%-(%2)7#1%#6"%$.7B%,*%,(*,&"%)%*,#"%:,#6%3)#"$,)<%evidences from those periods (Gomes and Carvalho, 1992: 8485).
-(%*9(#6"*,*1%:"%6)A"%,(%+",$)%O<#)%V%M)$#,*#,7%:.$<&*NI%.("%:,#6%7<")$%O#<)(#,7%76)$)7#"$,*#,7*%)(&%#6)#%7.$$"*5.(&*%#.%X)$#,(6.%+)5#,*#)=*%4$.85%-p%)%*"7.(&%#6)#%,*%)(%"(4$)A"&%A)$,)(#%.2%Q76"3)#,7%O$#1%:,#6%3.#,2*%#6)#%X)$#,(6.%+)5#,*#)%6)*% ,(#"4$)#"&% ,(% 6,*% 4$.85% --p% )% #6,$&%&)#"&% 2$.3%E)#"%+$.(^"%O4"1%)<*.%:,#6%*.3"%'48$"*%#6)#%X)$#,(6.%+)5#,*#)%6)*%7.(*,&"$"&%#.%!"%5)$#%.2%6,*%4$.85%--p%)%2.8$#6%&)#"&%2$.3%Iron Age, characterized by the exclusive use of incision (this one corresponds to Baptista’s group III).
O*%:"%6)A"%:$,##"(%,(%5$"A,.8*%5)4"*1%X)$#,(6.%+)5#,*#)%6)*%7.(*,&"$"&%#6)#%#6"%&,*#$,7#%.2%D,*"8%6)*%)%A"$9%*5"7,'7%#95"% .2% "(4$)A,(4*% #6)#% 7.8<&% 2.$3% )% (":"$% 4$.85% .$%alternatively make of this province one of the richest of 4$.85%#:.>%U.$%)<<%:"%6)A"%*),&1%,#%,*%.!A,.8*%#6)#%:"%)$"%,(7<,("&%#.%)77"5#%#6"%'$*#%695.#6"*,*>%-(%2)7#1%:6)#%:"%.!*"$A"%,(%+",$)%O<#)%,*%)(%M)$#,*#,7%:.$<&N%#6)#%*6.8<&%!"%older than the Atlantic one, occurring the opposite in the 7)*"%.2%X)$#,(6.%+)5#,*#)=*%4$.85%-->%_)A,(4%*),&%#6)#1%:"%:,<<%#$9%(.:%#.%&"3.(*#$)#"%#6"%5$.5.*"&%76$.(.<.4,7)<%$"<)#,.(%!"#:""(%#6"%4$.85%.2%*,#"*%.2%O#<)(#,7%#$)&,#,.(%)(&%the engraved variant of schematic art.
Atlantic art is a prehistoric graphic phenomenon that is spread along the European coast from Great Britain to the North of Portugal. This graphic manifestation has been characterized and discussed by several authors (Bradley, FGGKI%[[JVH1%P"m)%)(&%e"91%YWWFI%YYJdK0>%-(%P.$#84)<%,#%,*%A"$9%2$"`8"(#1%5)$#,78<)$<9%,(%X,(6.%:6"$"%:"%B(.:%of such sites as Monte da Laje (Silva and Cunha, 1986: ;8(6)%)(&%Q,<A)1%FGKGI%FYG01%X.(#"%&"%U.$#"*%/;8(6)%)(&%Q,<A)1%FGKGI%FYYJFYd01%R)5)&)%&.%L^b.%/;8(6)%)(&%Q,<A)1%FGKGI%FYdJFYG01%E)(6"<)*%/D,)()1%FG\W01%Q)!$.*.%/P,(#.1%1929), Briteiros (Sarmento, 1902: 112, 1904: 61) or Bouça &.%;.<)&.%/+)5#,*#)1%FGHF0>%R.%#6"%*.8#6%)$"%B(.:(%#6"%sites of Monte Eiró, located in the right margin of the river Douro (Vitorino, 19231924, Ferreira, 1940, Brandão, 1961), and several more in the Vouga’s valley. Along this basin, that crosses Beira Alta, there are sites spread from the coast line – being Forno dos Mouros (Souto, 1932, 1938, O<A"*1%YWW[I%Y[GJY\K0%#6"%3.*#%$"5$"*"(#)#,A"%.("%S%#.%
the hinterland, being Pedra dos Pratos (Rodrigues et alii, FGHG1%Q)(#.*1%YWWW0%#6"%(")$"*#%*,#"%#.%#6"%*5$,(4>%-2%:"%look at the distribution of Atlantic rock art sites in Beira O<#)%,#%,*%"A,&"(#%#6)#%:"%)$"%2)7,(4%)(%,(#$8*,A"%#$)&,#,.(>%-(%2)7#1%3.*#%5)$#%.2%#6"%*,#"*%,*%<.7)#"&%.(%#6"%:"*#%.2%#6"%:"*#"$(%3.8(#),(*1%!",(4%#6.*"%)<.(4%#6"%D.84)=*%A)<<"9%the exceptions. Even today, the valley separating Caramulo and Grallheira’s Mountains, is the principal connection !"#:""(%#6"%7.*#)<%$"4,.(*%)(&%#6"%,(("$%.("*%#.%#6"%")*#%.2%#6"%k"*#"$(%3.8(#),(*>%R6)#%#6,*%M)$#,*#,7%:.$<&N%,*%)(%intrusion in a region that has a previous one is something that must be validated by the study of rocks that contain 3.#,2*%!"<.(4,(4%#.%!.#6%M*#9<"*N>%-2%,(%Q)(#)%+g$!)$)%#6"%'48$"*%)$"%,(%&,22"$"(#%5)("<*1%#6"%*)3"%&."*%(.#%6)55"(%,(%Q"$$)%&)%O$)&)>%-(%2)7#1%,(%6"$"%#6"%*5,$)<*%:"$"%5<)7"&%.(%#6"%3)$4,(*%.2%#6"%&"7.$)#"&%*8$2)7"%:6,<"%#6"%*76"3)#,7%3.#,2*%.77859%#6"%7"(#"$%.2%#6"%5)("<%/Q,<A)1%FGKHI%@*#>%-D1%photos 1 and 2). As such, it is of the utmost importance the monographic study and tracing of the site.
R6"%*#$.(4%*,3,<)$,#,"*%!"#:""(%#6"%*76"3)#,7%"(4$)A"&%art from Beira Alta and the painted one from the South ,*%)%$"?"7#,.(%.2%7.(#)7#*%!"#:""(%#6"%#:.%$"4,.(*1%)%2)7#%that is corroborated by other archaeological evidence. In megalithic art, Lara Bacelar Alves stresses the strong 5)$)<<"<*%:,#6%#6"%*76"3)#,7%5),(#"&%)$#%2$.3%#6"%Q.8#6%)(&%the East (Alves, 2003: 296306). On the other hand, some material found inside these monuments is closely related to #6"%*.8#6"$(%:.$<&I%,(%D)<"%&"%U)76)*%,#%:)*%2.8(&%)%*76,*#%5<)`8"%/;."<6.1%FGFYI%V[1%VGJdW0p%-(%;.$4)*%&)%X)#)(])%,#%:)*%"(7.8(#"$"&%)%M)<3"$,"(*"N%,&.<%,(%l"#%/;$8^1%;8(6)%)(&%a.3"*1%FGHHJFGHGI%[K0p%-(%Q)!848",$.%,#%:)*%7.<<"7#"&%)%M!"#,<.N% ,&.<% /a.3"*1%;)$A)<6.%)(&%;.,3!$)1%FGGV0>%Early Neolithic pottery from Beira Alta has also strong *,3,<)$,#,"*%:,#6%#6"%.("%2$.3%O(&)<8^,)%/D)<"$)1%FGGHI%140143). The recent discoveries of prehistoric statuesmenhires in Beira Alta such as Alto da Escrita (Carvalho, Gomes and Francisco, 1999), AdeMoura (Silva, 2000), f)A"%-%)(&%--%/;$8^1%YWWFI%FK[JFKH0%.$%O#)q&"*%/D,<)])%"#%)<,,1%YWWF1%YWW[0%,*%)(.#6"$%"A,&"(7"%.2%7.(("7#,.(*%:,#6%#6"%X"&,#"$$)(")(%:.$<&%)<.(4%#6"%---%3,<<"((,83%+;>%-(%)%6)!,#)#%7.(#"T#%2$.3%#6"%*)3"%5"$,.&%S%X)<6)&)%S%:)*%,&"(#,'"&%M*93!.<,7%5.##"$9N%/D)<"$)1%YWWWI%Fdd0>%a,A"(%)<<% #6"% "A,&"(7"1% :"% *6.8<&% (.#% !"% *8$5$,*"&% :,#6% #6"%*,3,<)$,#,"*%!"#:""(%.8$%"(4$)A"&%$.7B%)$#%)(&%#6"%5),(#"&%one from the south.
In Late Bronze Age, the case from Tondela is again a $"?"7#,.(%.2%:6)#%6)55"(*%,(%+",$)%O<#)I%(":%$.7B*%)$"%engraved and motifs, such as footprints, are added to panels already decorated in previous times. This is the case of Ferraduras Pintadas, Penedo do Gato or Santa Bárbara. In Iron Age, as in other peninsular regions such as the A)<<"9*% .2%;r)% /+)5#,*#)1% FGGGI% F\KJFHF0% .$%a8)&,)()%(Baptista, 2002: 162163, Collado, 2006: 441501), rocks )$"%&"7.$)#"&%:,#6%3.#,2*%3)&"%!9%,(7,*,.(>
-(%*9(#6"*,*1% ,#% ,*%5.**,!<"% #.%&"'("%V%)$#,*#,7%797<"*% ,(%
Grabados rupestres de la fachada atlántica europea y africana
124
Beira Alta: one that corresponds to an engraved variant of schematic art dated from the end of the IV – beginning .2%#6"%---%3,<<"((,83%+;p%)%*"7.(&%.("%,(#"4$)#"&%,(%#6"%Atlantic tradition that should be dated from Early Bronze O4"p% )% #6,$&% 2$.3% E)#"% +$.(^"%O4"% 76)$)7#"$,^"&% !9%2..#5$,(#*1%6.$*"*6."*1%56)<<,7%3.#,2*%)(&%.#6"$%'48$"*p%a fourth dated from Iron Age characterized by the use of incision.
With the data available at the moment this is the possible synthesis on rock art from Beira Alta, a region that is, even #.&)91%)#%#6"%7$.**$.)&*%.2%&,22"$"(#%:.$<&*j
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