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TEXTE EXPLICATIVECRESTOMAIE

ISTORIA UNIVERSALA ARHITECTURII I ARTELOR2013-2014

ANTICHITATEA I EVUL MEDIU ORIENTAL

Lector drd.arh. Corina LUCESCU

Materialele prezentate au scop didactic. Folosirea lor n alte scopuri dect celenecesare procesului de nvmnt, este sancionatpotrivit legislaiei n vigoare.

ARTA RUPESTR/ PALEOLITIC

Cave Paintings

The largest part of the cave paintings was found in Europe (from Spain upto the Ural). Naturally,on the walls of neglected caves with the entrances firmly blocked up thousands years ago, the

paintings are in a good condition. During centuries the same temperature and humidity havebeen kept up in them. That is why, together with the cave paintings, other numerous evidencesof the human activity are perfectly preserved, among them - distinct footprints of adults and,what is more impressive, of children on the wet floor of some caves.Provinces Dordogne, Ariege Upper Pyrenees in France, Spanish provinces Cantabria and

Asturias, adjoining Pyrenees from south-west, are especially remarkable for the concentration ofthe cave paintings. In literature this region is generally entitled Franco-Cantabria. There are lessmonuments of Palaeolithic art in French and Italian Riviera, on Sicily; two caves with paintingsare found in the southern Ural.

The majority of those caves and grottoes were discovered and became the objects of specialinvestigation during the last century. Palaelothic art was long considered to be a purely Europeanor Eurasian phenomenon and no monuments of this type exist on the other continents. H. Breuileven tried to substantiate this exceptional nature of proto-European culture. But later, in the 60 -70s it turned out to be not correct. In Australia, on Arnemland peninsula, depictions of a

kangaroo and hand stencils older than 12000 years were found. In South Africa finds from grottoAppolo 11 are the most interesting. In 1969 two painted stone palm-sized plaquettes were foundin the layer between Mousterian and Upper Palaeolithic. One of them was split into twofragments. A rhino depiction made with a black pigment is on one of the plaquettes, an ungulate- on the other. They are dated according to C - 14 to 28000 - 26000 years. In South Africa, in theLions Cave, the most ancient known place of ochre output, dated according to C-14 to 43200was found. Hypothetically, some ancient paintings in Siberia, southern Anatolia and northernChina are referred to the Upper Palaeolithic but still there are no more or less correct dates ofthose depictions.Modern data of the cave painting prevalence do not reflect any objective regularity. Rarity of thefinds of this kind on the territory between Frano-Cantabria and the Ural can be rather explained

by the natural conditions and unequal research of the territories with the caves than by any otherreasons. In pre-historic art study the process of the "primary accumulation" of the data is notonly far from consummation but even not complete, the more so it is difficult to determine thelevel of this "sufficiency". Even in southern France, the territory, regular studied for a hundred


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of years, one can make unexpected discoveries. In the region with concentrated cave paintings,which seems to be investigated thoroughly by abbey H.Breuil and his first pupils in their time,21 previously unknown caves were discovered in the period between 1984 up to 1994. Amongthem there are caves, just as ancient, abounding in finds and diverse as world famous due to their

paintings Altamira, Lascaux and others. As for the Chauvet cave, it occupies the leading positionamong them. Probably a new cave with even more ancient, perfect and diverse paintings will befound soon.

In 1994 more than 300 caves, grottoes and roofs with paintings, undoubtedlydated to the Upper Palaeolithic, are known in Europe. Among them 150 - inFrance, 125 - in Spain, 3 - in Portugal, 21 - in Italy, 1 - in Yugoslavia, 1 - inRoumania, 2 - in Germany and 2 - in Russia. Numerous objects of portableart are found on the sites, in caves during excavations and accidentally. Thenumber of the finds in Russia exceeded 150 ( the most eastern - in Pribaikalje)New finds and discoveries are, undoubtedly, still ahead

RUSIAKAPOVA

CAVE (Shulgan-Tash). As in many other similar cases the caveitself was known for a very longtime. In 1760 it was already described by P.I.Rychkov in one of his historic-geographical worksabout Priuralje. As V.I. Dal' noticed, many local traditions and legends are connected with thecave. But the archaeologists paid attention to the cave only after 1959, when A.V.Ryumin haddiscovered palaeolithic paintings on its walls. Mammoths, rhinos, a bison and horses are easilyrecognized among them. The first investigations of the paintings were carried out by O.N.Bader,who established that they are dated to the last period of the Upper Palaeolithic.

The cave has two levels of cavities - two "floors". Some of these cavities are called "halls".There are the Cupola Hall, The Hall of Signs, the Chaos Hall on the ground floor, the Hall ofDrawings - on the first floor. Colourful figurative drawings are, mainly, in the upper level, arather long distance from the entrance, as in the most upper palaeolithic caves. Excavations haveuncovered an occupation layer, containing isolated bones of wild animals, extinct among them,for example, the cave bear.

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Together with other finds testifying to the man's activity, numerous lumps of ochre, used formaking pigments, have been found. There also was a small limestone fragment of the wall,fallen down long ago, bearing a part of a picturesque depiction of a mammoth. Ancient charcoal

picked up in the occupation layer allowed to get an absolute date - 14680 + 150 years ago.

SPANIA

ALTAMIRAIs one of the most famous palaeolithic caves in Spain. It is situated in Cantabria province not farfrom Santander city, on the edge of Santiliana del Mar village. Although the cave and its

paintings are known all over the world, the dramatic history of its first investigator, DonMarcelino Sanz de Sautuola, the owner of the land, where the cave is located, is not so familiar.The cave was found by a local hunter, Modesto Peres in 1868. Everybody in the neighbourhoodknew about the cave, herdsmen found there refuge in bad weather, hunters made halts. But only11 years later, in 1879, Maria, M. de Sautuola's daughter, walking in the estate, turned herfather's attention on the strange images on the ceiling of one of the "halls", barely discernible inthe darkness of the cave.

hat day had started M. Sanz de Sautuola's long tribulations. A year before he had been at theworld exhibition in Paris and got aquainted with an exposition of ancient objects, which we nowcall palaeolithic small forms (art mobilier). Engraved depictions of bisons, very similar to thosefound by Maria and him on the ceiling and walls of Altamira, were among them. That made deSautuola guess that the paintings of Altamira dated back to the Stone Age. He began excavationsin the cave and invited his friend, a well-known specialist in the field of prehistoric archaeology,

professor of the Madrid university Juan Vilanova y Piera for a consultation. The latter supportedde Sautuola's conjecture. Soon they published the first information about that unique monument,which evoked general interest and even made king Alfonso XII visit the marvel cave. But all the

prominent specialists in archaeology, especially French ones, beginning with Gabriel de

Mortillet, admitting the palaeolithic age of the finds, made during excavations in Altamira,rejected flatly Piera and de M. Sanz de Sautuola's arguments in favour of the palaeolithic datingof the paintings. And what is more, de Sautuola was accused in deliberate distortion. They

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considered that the paintings had been made by one of his friends, an artist, who stayed in hiscastle. One can imagine the moral shock caused by "the guardians of the scientific truth" to thespanish nobleman with his enhanced sense of dignity and honour. Only almost 15 years after M.de Sautuolas death his opponents, and E.Kartaillak in particular, had to admit that the Altamira

paintings are really palaeolithic.

The most famous Altamira paintings are on the plafond - a low ceiling in one of the cave"vestibules" to the left from the entrance. The total area of the ceiling is about 100 sq. ms. Herethe artist had skillfully combined pigment painting with the ceiling relief. The majority of morethan 20 animal figures, (mainly bisons, though there are also a horse, a boar and a deer) isdepicted on the natural bosses of the ceiling and so there comes out an impressive picture of bas-relief, embossed figures. When the palaeolithic age of the Altamira paintings had been generallyaccepted discussions of other problems started. In particular, was the Altamira ceiling paintingthe result of a single action ( in the terms of life of one man) and conception or was it a longaccumulation of different depictions? Some investigators were sure that the Altamira ceiling is asound compositional work. Though nobody said it directly but it was somehow implied that it

was the work of one artist. It concerns not only the Altamira ceiling. The painting of the Niaux"Salon Noire" was also considered to be the work of one artist and only the ibex figure wasadmitted to be corrected later. Other specialists, A.P.Okladnikov for example, considered theAltamira ceiling to be the result of successive addition of depictions, originally not connected.The last results of the radiocarbon dating of some ceiling paintings showed that 200 - 500 yearsseparate them.

FRANTALASCAUX

Is situated near Montignak ( Dordogne, 40 kms from Perigueux), at the end of a plateau on theleft bank of the Vezer river. An old legend says, there was an underground passage from theMontignak castle under the Vezer and the Lascaux estate with hidden treasures. Four teen-agerswere looking for these treasures when on the 12th of September 1940 they had found a smallentrance into a cave which concealed real riches - magnificent rock paintings dated by the latePalaeolithic. These are depictions of different animals (horses, bisons, deer, bulls and others) andunlike figures in other caves which, at first sight, look static and almost lifeless, those in Lascauxare full of motion and harmony. Abbot Glory had been working in the cave from 1952 up to1963 and found more than 2000 depictions on its walls.

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Lascaux depictions are mainly compositions, comprising figures of bulls, horses, deer and ibices.Animal depictions are accompanied with different signs and figures: quadrangular, ramifide,lines from dots, double lines and crosses.

In one of the scenes on the wall of a deep (6ms) well a figure of a man is present. The scene hasmany interpretations, one of them is symbolically called "corrida".

CorridaThe Lascaux shaft "scene" (about 1,5 m in cross-section) suggests some ideas. The scene of thecombat of a man and a bull from the Lascaux cave is not unique in the upper Palaeolithic art. A

painting close in subject is in the Pindal cave (Spain): a wounded bull aimed his horns at twoprostrate figures, one of them also with a marked male sign. The same subject is engraved on anantler from the Laugerie -Basse cave. One can well believe, that an artistic image of a tragicconflict between a man and a bull had appeared almost together with the art itself and remainedsteadily in all the subsequent periods of history. This theme is still one of the leading in theeurasian artistic folklore from Franco-Cantabrien and Levant on the west up to Pribaikalye andMongolia on the east. But to the east from Baikal area and tothenorth from the boundary

between the partially-wooded steppe and the taiga the image of a bull is not met in the ancientimaginative monuments. Ancient cults, connected with a bull, were also widely spread in theeurasian steppes and at the foothills. A very interesting sculptural composition from the bullskulls coated with clay and painted with ochre was found in one of the "temples" of the ancientaeneolithic settlement Chatal-Huyuk

We see an infuriated bison which will any moment trample, tear to pieces a slim strangeithyphallic figure with a bird's head. Some authors think that it is a wounded bull with sunk dartsor spears, ripped belly and the internal organs falling out of it.. Is it true or not, but the scene is

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very dramatic. The rod with a profiled image of a bird: it may be an ornamental dart-thrower,fell down from the right hand of the man. Tools of that type, skillfully cut from the horn areoften found during excavations of the palaeolithic monuments. Some of them are decorated withfigures of the birds.

In ancient Aeneolithc and Bronze burials one can find the bull's bones, that is, the remains ofmeat pieces which were put by the relatives in the grave as funeral food for the dead. Judging bythe bones the deceased was supplied with the meat of either a wild bison, or a domestic bull.Hence, even after domestication of the bull, the wild-bull-hunting still went on. Developed in theUpper Palaeolithc, the bull cult gradually turned into a sacrifice ritual and spread over the wholeeurasian zone of mountains and steppes. It is clearly seen by some finds in the barrows of thecatacomb culture (II millenium B.C.). At the catacomb entrance or in the burial mound there areaccurately piled bull's skull and bones of four legs (the end parts).It means that during funeral a

bull was killed and its skin with the head and four legs, cut off the shoulders or thighs, were

ripped off. The skin with the legs and the head were devoted to the dead and the rest carcass wasused as a funeral food.Within the boundaries of this theme some subjects with the participation of a man and a bull areof special interest. They are numerous: from the frescoes of the aeneolithic Chatal-Huyuk toHellenistic Mitra, killing a bull and up to the modern Spanish corrida.The real sources of the mythological subject, probably, lie in the world of the Upper Palaeothichunters (about 20000 years ago).The wild bull hunting was always very dangerous and requiredcomplete mobilization of moral and physical strengths of a person, his deftness, lightningresponse and thoroughly worked out "technology", which was, obviously taught from the verychildhood to make all the skills and methods automatic. A hunter could rely neither on a

prolonged fight nor on an escape in flight in case of bad luck: the forces were too unequal. That

is why he had to kill the bull almost with one exact stroke. If the stroke did not achieve the aimor was not powerful enough, the infuriated bull rushed at the hunter and the latter's destinydepended on his fast legs or a tree, happily turned up on his way, where he could shelter. On aneven place the hunter was doomed to destruction.

Archaeological observations give interesting data concerning the combat of a man and a bull. Anexceptional discovery, made by Z.A.Abramova during the excavations of the upper palaeolithic

settlement Kokorevo I in the Yeniseivalley, testifies to the thoroughly worked out technology ofthe wild- bull- hunting. There a left shoulder-blade of a large 6-7 years old bison was found. Ahorn head of a dart or of an arrow stuck in it. The sharp edge of the head, having pierced theshoulder-blade, went out almost 4 cm from its inner side. After such a stroke the slightest

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movement of the left front leg injured the bison greatlybecause at any movement of the leg thedart edge cut and torn the shoulder and chest muscles under the shoulder-blade. A single woundlike that was enough to make the animal quite unable to fight or to escape. That method ofhunting, mastered almost 15000 ago, was used during the whole subsequent period of history.The American Indians, while hunting the bisons with a spear or a bow in the XVIII c, usedalmost the same method.

Lascaux was always of great interest not only for the scientists but for numerous tourists aswell. Often visits of large tourist groups changed the microclimate of the cave and had adestructive influence on the paintings. According to the decision of the Minister of Culture ofFrance Andre Malraux, the Lascaux cave was repurchased by the state and closed for visitors for14 years. Thanks to the long and intricate work of a whole group of archaeologists , biologists,speleologists and geomorphologers the paintings and graphics of the cave were saved fromdestruction. But up till now the Lascauz cave is still closed for tourists. Only a specialist can

visit the cave by a special order, made almost a year in advance. Not more than 6 persons canenter the cave per day. Two days a week the cave is completely closed. In connection withconservation and restoration of the Lascaux paintings the public interest had greatly increased.Montignak is near busy roads, going to the south of France, the traditional place of rest. Therecame the idea to construct an artificial copy of the cave. But to put the idea into practice oneneeded a completely new technology. Such a technology was tried on the paintings from"Rotunda".

The largest congestion of depictions is in the main cavity, which, owing to its round contours iscalled "Rotunda" or the Hall of Bulls and in the adjoining Axled and Right crossings .

FRANTAROUFFIGNAC

Rouffignac is one of the longest and most ramifide caves with palaeolithic paintings. Totallength of all the chambers and galleries in three levels is about 10 kms. The cave itself was

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known long ago. It was mentioned in F. de Belfore's "Universal cosmography of the world(1575).A plan of the cave with an indication of ancient inscriptions on the Large Decorated Ceiling wasmade at the end of the last centure" (Martel). In 1915 the cave was visited by abbot HenryBreuil, a beginner - researcher of the caves then. In 1956 the piece of land with the cave was

bought by the Plassard family. The same year their friends, archaeologists Romain Robert andLouis-Rene Nougier visited the estate.

On the 26-th of June Robert, looking at the wall of the cave, called his friend: "Hi, Toto, comehere and see!". These were depictions of two mammoths - an obvious testimony of theirpalaeolithic age. Since that time the paintings and engravings of Rouffingac cave became theobject of close study by specialists and the place of continuous pilgrimage for tourists. The cave

being very long, a narrow-gauge railway with special mini-trains, consisting of open platformseach for 6-8 persons, was made there. Special lamps are fixed on the platforms, lightening somesections of the walls with paintings while the train is passing by.

MAMMOTHSThe mammoth was the most popular personage of the Rouffignac cave paintings. There are 157depictions of that ancient extinct elephant. Usually they are isolated figures or a string ofanimals. But in two cases the mammoths oppose each other. You can see one of these depictionshere (length 110 cm). The left mammoth has both tusks directed onward. One tusk of the rightmammoth is directed onward and the second is slightly turned aside. Is it a heraldic compositionor a scene of the combat between two giants? One can only guess: According to Jean ,there is not a sign of aggression in the scene.

Specialists are still discussing the authenticity and dating to the Upper Palaeolithic of somedepictions from Rouffingac cave. Mostly non-French specialists have doubts. The majority ofarguments concerns the frieze ofthree rhino figures and a part of the ceiling featuring ibexfigures. There are statements of some speleologists, who had visited the cave in the period

between September and December 1948 and saw only two rhinos then and the third one

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appeared only in 1949. Some specialists think that there are depictions of modern "naive" artistson the ceiling. Rouffingac paintings have not been dated according to C-14 yet and the necessityof the dating is obvious.

THE RHINO FRIEZEThe cave is known for a long time. A lot of different people visited it.When it was established that the majority of the paintings is dated by the Upper Palaeolithic,there appeared rumours about later, hardly not modern fakes, some hand- stencils in particular.Some people consider several mammoth depictions too "naive" to be ancient. But the most"unlucky" is the frieze with three rhinos. One local landowner claimed he saw them in 1938 butthere are also categorical statements from some speleologists who frequently visited the cave atthe end of 1940s that two rhinos out of three appeared between September and December 1948,and the third - by Easter 1949. Actually, a specialist sees the stylistic difference between two leftrhinos, on one side and the right rhino, on the other. But, of course, it does not speak to forgery.The fact that the speleologists did not see the frieze till the autumn 1948 speaks to nothing. Letus remember the Kapova cave which is known from the XVIII c., and the paintings there werediscovered only in 1959. Poor lightening, calcite film and many other circumstances can preventa nonprofessional from seeing ancient paintings. H. Breuil, discussing the rumours about fakesin the Rouffignac, humorously said that it was not an easy matter to forge Palaeolithic paintingand that in those years no one but he could do it.

THE PAINTED CEILING

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Every species of the animals is marked with its colour on the coloured drawing. Depictions of 26mammoths, 12 bisons, 12 goats, 12 horses and 3 rhinos can be seen here, on the large paintedceiling. All the horses are on the left almost in the middle of the ceiling, whereas 10 goat figures

are far (deep) at the periphery and only two of them are among figures of horses, bisons andmammoths. One schematic depiction of a rhino is at the entrance, far from the other figures, theother two are closer to the center. Depictions of bisons and mammoths are in all the parts of theceiling. parts of


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The whole painted area of the ceiling is characterized with four distinct peculiarities: themammoths are the predominant figures, their depictions are mainly out of the center; the figuresof the horses are in the left part of the ceiling; one representative of every numerous species (themammoth, the bison, the goat and the horse) is depicted larger than all the others. Theinvestigation of the overlapping of one depictions with the other shows that the process of theceiling painting was rather long. the ceiling.

FRANTANIAUX

From the very beginning of the XVII th century the cave was of great interest for tourists wholeft numerous traces on its walls. People, visited the cave, did not imagine that the paintings ofthe "Salon Noire" were so old. Only in 1906 thanks to captain Molar and his sons who made a

plan of the cave and discovered the paintings of the "Salon Noire". Niaux attracted thespecialists' attention. In 1907 it was investigated by H. Breuill and the "Salon Noire" paintingswas only the beginning. In 1925 J. Mandeman found a gallery with some black paintings and

called it Cartailhac Gallery. Later it was established that the paintings had been emerging on thecave walls during a long period between 11500 and 10500 years BC.

The visitor, entering the cave for the first time, is struck with the dimensions of its halls andgalleries. The height of the ceilings is several dozens of meters and the length of the galleries ismore than 2 km. The cave is open for the tourists the whole year but the number of visitors in agroup is strictly limited because often visits of numerous tourists can badly influence the

paintings.

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The animals' depictions on the photo are a part of the central panel of the "Salon Noire", almosta round hall with six magnificent panels, mainly with depictions of bisons, horses, goats anddifferent symbols. The animals are almost always profiled -depicted as they are easilyrecognized in such a position. Next to the nearly schematic sketches there are figures of animalswith thoroughly depicted details, more than enough to recognize the animal.

The bison is the main subject of the paintings in the cave. At the photo you can see one of theseven bisons from the third panel of "Salon Noire", which is, as all other depictions of the cave,an evidence of the high skill of the prehistoric artists. Not a single depiction is repeated twice,the eyes, nostrils, horns of every animal are painted in a special manner. Owing to the accuracy

of depiction Niaux is one of the caves with a small number of depictions which are not realized.

FRANTAPECH MERLE

Pech Merle cave is in the south of France, departmentLot, 280 m high on the eastern slope of the hill of thesame name. Pech Merle was discovered in 1922 bytwo teenagers, H. David and A. Duterte. It is the mainelement of a system, consisting of the neighbouringcaves. The average width of its galleries is 10 m and the height of the ceilings is often from 5 to10 m. It lies in two levels but the paintings are seen only in the first one; total length of the

painted walls is 300 m. The paintings include painted and graphic depictions of animals anddifferent signs.Besides, there are anthropomorphic figures too, some of them are rather realistic. On the wholethere are about 700 depictions on the cave walls. But the traces of prehistoric peoples are notonly on the walls of the cave: imprints of children's feet, fragments of charcoal, the remains of adeer shoulder- blade and three silicic tools: a burin, a lamp and a shaped stone. All these findsmay be dated to the Upper Palaeolithic. A small number of finds and other traces, left by a manon the cave floor testifies to the that it was not intended for a long inhabitation and was visited

rather seldom, only in connection with some ritual actions.

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On a hill at the entrance in the cave there is Amedee Lemozi Museum, founded by AbbotLemozi in 1934. At that time the museum was in Cabrera township, 2,5km from Pech Merle in amiddle-aged castle, belonging to M.Lebaudi, a patron of the arts, who had helped to organizedthe museum. In 1964 the owner sold the castle and handed the museum collections as a gift theCabrera commune for a new museum. But only in 17 years, on the 5th of April 1981, the new

building, built according to the modern constructivism project, was opened. The museumcollections completely reflect the ancient man's activity, his everyday life, his attitude towards

death and creative work. Exhibition halls ran around a small, comfortable video-hall, where onecan see films, video and slide-popular-science programs. A special staircase near the museumleads to the cave. Together with the cave the museum made The Center on studying of

prehistoric culture Pech Merle. Michel Lorblanchet, a prominent specialist in prehistoric art, is ascientific curator of the museum and of the cave. Similar centers, combining successful

presentation in a museum of a real prehistoric monument and a highly professional scientificorganization are still rare both in Europe and in the world. One can remember a small butwonderful museum at Altamira cave, reserve Mont-Bego in the vallee de Merveiiles in the southof France, Val Camonica in the north of Italy and few other places. Connecting a prehistoric artmonument and a museum of such level allows to solve two tasks at once: the stuff lives andworks close to the monument and the visitors of the museum can vividly imagine the life of an

ancient man in its full variety.

Mammoth's depictions can be considered an indisputable proof of their belonging to the UpperPalaeolithic. But they are found not in every cave. For example, there are no mammoth'sdepictions in Altamira and that was one of the reasons for the disputes about the age of the

paintings. In Pech Merle, apart from the depiction of a mammoth, we now have the radiocarbon

dating (23610 350; 22750 390; 25120 390; 19300 270) which testifies to the age of thepaintings and to the fact that sometimes two depictions are separated with a long time gap.

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"Spotted horses" is one of the most popular frescoes from Pech Merle, published many times.Above the horses and in front of the left horse there are hand stencils made by splitting the

pigment, "sufflage" as the Frenchmen call it. The easiest way to do it is to take liquid pigmentinto the mouth and to blow as sometimes women do while ironing the linen. The pigment is

black. The analysis showed that the black pigment was made either from charcoal or fromgrinded lumps of manganese oxide. There will be no harm from taking pigment made from coal

into the mouth. But manganese oxide could cause death. It gives grounds to think of a ritual witha possible fatal outcome.

FRANTACOSQUER

The Cosquer cave is located in the Ardeche department, on the Mediterranean coast, close to themouth of the Rhone river, some miles from Marseilles. In 1985 a professional diver HenriCosquer discovered a narrow passage some 36 meters under the level of the sea, which led,

slightly rising, in the thick layer of the coast sedimentary rocks. He visited the passage severaltimes, but every time he went back, not reaching its end, until in September 1985, he emergedfinally into the main chamber about 160 meters from the entrance, full of the calcite draperies,crystals of aragonite and submerged stalagmites. He did not notice any paintings at first and kepthis secret to himself, until in summer 1991 he returned to the close exploration of his cave. InJuly 1991 he saw the first painting- it was a hand stenciled in red on the dry wall of the largechamber. The entire French and European press was interspersed with sensation news.

The answer to the first question (how did the entrance in the cave submerge deep in the water?)is rather simple. The last ice age had ended about 10-9 millenia and melting of the huge glacier

began. The level of the World Ocean rose 120 meters high, if compared with the ice age. When

the cave was visited by ancient people the entrance in the inclined passage was not under thewater but, on the contrary, 80 meters above the sea level and 11 kms from the coast up themountainside.

About 10 millenia ago the epoch of the last glaciation came to an end and melting of hugeglaciers started. The level of the World Ocean rose 120 m high in comparison with the Ice Age.At the time when the cave was visited by people the entrance in the inclined passage was notunder the sea level but, on the contrary, almost 80m higher the bank level and 11 km from it upon the mountainside. This is an approxomate view of the mountainside; the entrance in the cave

before the glacier retreat is marked with a red circle.

The second question (how old are the paintings?) was answered soon after their discovery.Counting of the atom number of the radioactive carbon in the painting scrapes showed that theearliest depictions (hand stenciles made with black pigment on the base of charcoal) are almost

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28000 years old, and the latest ones - almost 18000 years old (depictions of horses, ibex, sealsand, probably, penguins, which lived there in the Ice Age).

The creature, represented on this piece of the paintings, arose certain bewilderment amongspecialists. Some supporters of exotic interpretations even supposed that it is a dinosaur.According to the discussion between Francesco d'Errico from the University of Turin and JoanMcDonald from Calgary, published in ANTIQUITY, it can be assumed that it is either a GreatAuk, lived in the Mediterranean Sea in those times or a bird of the spices belonging tp penguins.

The horse is one of the most popular personages of the Palaeolithic art. The bison, the mammothand the horse make the majority in the animal repertroire of the cave paintings. There are 36equids recognized in the Cosquer cave; all of them attributed to the species of the horse. Unlikethe modern horse, the wild one was undersized, short-headed and more massive. Its hair wasthicker to survive in the cold climate of the Ice Age. There are many bones of the wild horse onPalaeolithic sites. The horse hunting was obviously less dangerous than the bull hunting and somore preferable. Edouard Piette considered that on some works of art he could make outharnesses or leads. It allowed him to put forward the idea that the horse had been domesticatedduring the Upper Palaeolithic. Henri Breuil and Emile Cartailhac had demolished that idea but afew years ago it was taken up by Paul Bahn, basing on the particular pattern of teeth wear ofPalaeolithic horses. But the most reliable information concerning the horse domestication is still

dated to the later period - the Aeneolithic.The Cosquer cave paintings will be studied for a long time. It is impossible to get into the cavewithout special equipment or being unexperienced in deep-sea swimming. In summer 1992 three

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divers perished there. After that dramatic incident the entrance in the underwater cave wasclosed and the passage was fitted with a lifeline. Only some specialists have visited the cave.TheFrench Ministry of Culture set up a special commission to study the Cosquer cave, headed by a

prominent specialist in Paleolithic art, General Conservator of the National Heritage, JeanClottes. At the photo you can see Jean Courtin (at left), an archaeologist and diver, and HenriCosquer, the discoverer of the cave.

Jean Clottes (at left) and Jean Courtin wrote and published the book "La grotte Cosquer" and itsenglish version "The Cave Beneath the Sea" with a great number of marvelous photos byAntoine Chene.

La grotte Cosquer est situe dans les Calanques, prs deMarseille, au cap Morgiou. Elle est accessible par untunnel long de 175 mtres dont l'entre est 37 mtresde fond.Unique au monde, cette grotte sous-marine abrite

plusieurs dizaines d'oeuvres peintes et graves il y aenviron 27 000 et 19 000 ans.

Srie de mains ngatives sur fond noirCe massif stalagmitique, situ prs du grand puits noy porte un groupe de huit mains gauches.Ces mains, aux doigts raccourcis, ressortent sur un fond de charbon de bois pulvris.

27 000 ans avant le present

Mains ngatives doigts incompletsLe manque de phalanges apparaissant sur les mains dessines a suscit de nombreusesinterrogations. S'agit-il de tmoignages de mutilations, de sacrifices rituels , de maladiescirculatoires ou de doigts gels ?. Sur ces mains aux doigts incomplets, le pouce est toujoursintacts, ce qui limine d'emble l'hypothse de gelures graves ayant entran la ncrose des

phalanges. Aucun squelette du Palolithique suprieur retrouv ce jour ne prsente des mainsaux phalanges incompltes.

L'hypothse la plus probable serait alors que les mains taient dessines avec les doigts replis,signe de reconnaissance ou langage cod, vraisemblablement li la chasse et divers rites,

langage silencieux jadis utilis par des peuples chasseurs tels les Bushmen, ou les Aborignesd'Australie.

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27 740 (+-)410 ans avant le present

Srie de tracs digitauxLes tracs digitaux sont prsent partoutdans la grotte et lis la phase ancienne.

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FRANTA

CHAUVETIs one of the latest and most brilliant sensations, not only inarchaeology, but in human culture ingeneral. It is located in the steep side of a cliff in the gorges of the Ardeche, a tributary of theRhone river. One of the famous in France natural sights, Pont d'Arc, is situated not far from thecave. Pont d'Arc is a huge arc, cut through a rock by the waters of the Ardeche, which forms agigantic single-span bridge, 60 ms high.

Speleologist Jean- Marie Chauvet, after whom the cave got its name.

The cave was discovered on the 18th of December 1994 by three speleologists - Jean-Marie

Chauvet, Eliette Brunel Deschamps and Christian Hillaire. They had already been experienced inexploration caves; several of them had the traces of a pre-historic man's stay. They had seen thehalf-covered entrance into an unnamed cave before but it seemed to be of a secondary interestand was not explored. That day when Eliette wriggled into the narrow duck, she saw a big cave

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about 10 metres below her - the speleologists were certainly above a big gallery! Theyunderstood that they must return to the van for the necessary equipment. It was already eveningand they even thought of putting the exploration off but still they took a ladder, came back intothe cave and climbed down into a wide passage. They moved some dozens metres in the galleryand saw traces of red ochre and a depiction of a mammoth and other beasts - a new monument of

palaeolithic paintings was before them!

A complete study of the cave will take several decades. There is a succession of four big

"vestibules" with about or more than 300 paintings. They are in a remarkable state ofpreservation. At present the paintings are the oldest known on the Earth (about 32 millenia).Even the first investigations shook the established notions concerning the art of the UpperPalaeolithic period and pushed its beginning almost 5 millenia to the back. Chauvet cave isdescribed in many scientific articles, not mentioning sensational materials in mass media, a largeartistic album is published and translated into the main european languages.

ANGLIABritain's 'earliest' prehistoric cave artBy Dr David Whitehouse

BBC News Online science editorIt consists of 12,000-year-old engravings of birds and an ibex carved into the stone walls atCreswell Crags, Derbyshire.The identification was made by Paul Bahn and Paul Pettitt, with Spanish colleague SergioRipoll.They report their findings in the journal Antiquity.There are fine examples of cave art in France and Spain but none has been found in the UK -until now.The British art is less impressive than the paintings found in continental caves. It is also

substantially younger.

Enhanced view: This image traces the outline of the ibex

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Continental styleIt is thought modern humans appeared in Europe around 45,000 years ago. Over a time span ofabout 15,000 years, they replaced the continent's then occupants, the Neanderthals.The newcomers produced some remarkable works. The best of these are the stampeding horsesand charging bulls painted at Lascaux and Chauvet in France, and at Altamira in Spain.

and a normal view: The art is partially obscured by 1940s graffiti

It is surprising that Palaeolithic cave art has not been identified in the UK before now becausethe British Isles was linked to the continent during this time and known to have been inhabited.However, experts believe that most cave paintings would have been destroyed in Britain's dampclimate.The researchers examined the Creswell Crags because of previous Stone Age discoveries at thatlocation. In the 19th Century a 12,000-year-old bone needle was found there.Bahn, Pettitt and Ripoll say the engravings are of a style similar to the cave art of France andSpain.Of the two birds carved on the wall of the cave, one might be a crane or swan, the other a bird of

prey. The other engraving could be an ibex, an animal not thought to have existed in Britain.

ROMANIA

PETERA DE LA CUCIULAT

de Marin Carciumaru

La o suta de ani de la descoperirea celebrului plafon policrom de la Altamira, arheologiaromneasca avea sa sarbatoreasca evenimentul prin descoperirea picturilor rupestre din pesteraCuciulat (jud. Salaj, pe DN 1 H, Dej-Jibou, pna n satul Cuciulat; C.F.R. 400 pna la haltaCuciulat; la cteva sute de metri de halta, n fosta cariera de exploatare a calcarului).Pestera Cuciulat era cunoscuta de localnici nca nainte de primul razboi mondial, cnd ncepeaici exploatarea calcarului, prin efectuarea unor explozii chiar pe frontul pesterii.

Exploatarea intensiva a calcarului din ultimele decenii avea sa distruga cel putin cteva sute demetri de galerii din prima parte a ei, intrarea n pestera fiind, de altfel, mereu obturata din cauzaexploziilor repetate din cariera. n aceste conditii, pestera a fost practic redescoperita n anul1978, de o echipa de speologi amatori din cadrul Clubului "Emil Racovita", de pe lnga Casa deCultura a Studentilor "Grigore Preoteasa" din Bucuresti.

Cu ocazia acestei prime cercetari, membrii expeditiei (echipa de explorare speologica eraalcatuita din A. Done, F. Cucu, T. Vadeanu, M. Codrescu si Simona Manolescu) au observat,ntr-una din galeriile pesterii, silueta unui cal, desenata pe o cornisa a plafonului. Poate fara sarealizeze imediat implicatiile descoperirii lor, speologii amatori au avut inspiratia fericita sa facao prima fotografie micutului calut, ceea ce dovedeste ca, de fapt, nu le-a scapat ntru totul sensul

desenului respectiv, n eventualitatea n care s-ar fi dovedit autenticitatea si vechimea lui.Diapozitivul n cauza ne-a fost oferit pentru observatii de coordonatorul tehnic al clubului, ing.V. Giurgiu

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La nceputul anului urmator, pe data de 30 martie 1979, aveam sa patrundem n pestera nconditii extrem de grele, din cauza unui pachet gros de ml care acoperise complet asa-zisaintrare. Mi se alaturasera n aceasta tentativa doi dintre membrii aceluiasi club de speologie, A.Muraru si A. Done. n urma unor eforturi mari, sub o ploaie marunta si deasa, am reusit sa creamun tunel de acces n acest pachet gros de ml si printre imensii bolovani rezultati din exploziiledin cariera, consolidati acum de argila moale. Tot acest sector de la intrare era, n aceste conditii,un drum cotit, asemanator unci cochilii de melc, care ne strngea ca ntr-un adevarat corset.

Odata depasit acest sector, am ajuns ntr-o galerie destul de nalta, de circa 2 m, si cu o latime ce,n primii 15 m, variaza ntre 1,5 si 2 m. Urmeaza apoi o sala larga, cu podeaua n forma de plniespre un put care face legatura cu una din galeriile inferioare ale pesterii. Sala are o lungime deaproximativ 10 m si este fragmentata de o serie de bolovani rezultati din prabusire. Dupa circa25 m, n care galeria se ngusteaza din nou si tavanul coboara adesea la mai putin de 1,5 m, apareo noua salita, care, chiar daca nu are dimensiunile precedentei, prezinta o importanta deosebita,gentru ca n ea sunt concentrate picturile rupestre. De la aceasta salita, galeria continua nca circa30 m, de-a lungul unui parcurs destul de anevoios, dupa care se nfunda.

Dimensiunile salii cu picturi sunt modeste: 3,70 m lungime si 2,50 m latime. Delimitarea ei ncadrul galeriei se face mai mult prin coborrea usoara a plafonului, ceea ce imprima spatiului

respectiv o oarecare autonomie. Totodata, aceasta cornisa a plafonului te obliga, n momentul ncare doresti sa patrunzi n salita, sa nclini corpul n fata. Odata depasit nsa acest obstacol,instinctiv ridici capul. Surpriza este extrem de mare pentru ca, n acel moment, apare silueta unuical, pictata pe o suprafata astfel aleasa, pentru ca privirea sa cada aproape perpendincular si nacest fel imaginea sa poata fi observata n toata plenitudinea ei. Redat monocrom, cu culoarearosie caramizie, fara nici un contur incizat sau nuantat cu tenta de culoare mai aceentuata, caluldin pestera Cuciulat nu depaseste n lungime 24,5 cm si 12,5 cm naltime.

De la nceput frapeaza stilul naturalist al reprezentarii, realismul si n parte miscarea n care estesurprins calul, sugernd parca oprirea sa brusca din alergare. Gtul este puternic arcuit, iar

picioarele, mai ales cele posterioare, att ct sunt conturate, lasa impresia ca abia s-au oprit dinalergare.Atunci, aveam sa descoperim ca silueta calului nu este izolata, fiind nsotita de nenumarate petede culoare, dintre care se detasa imaginea unei feline, pictata pe plafonul ncaperii, spre mijloculacesteia.Felina, n raport cu calul, este mai degradata, conturul sau fiind mai greu de urmarit. Totusi, se

poate ntrevedea botul scurt, specific felinelor, si ceafa animalului. Urechile, mult mai vizibile,sunt redate att prin culoarea rosie caramizie, ct si cu cte doua incizii n calcar, n scopul de ale da mai multa profunzime si contur. Picioarele anterioare au suferit cel mai puternic de peurma proceselor de spalare si degradare de-a lungul timpului. Cu toate acestea, cu un minimefort de imaginatie, se poate intui pozitia ntinsa a lor, precum si faptul ca sunt ndepartate unul

fata de celalalt. Din acest punct de vedere, ele par n concordanta directa cu jumatateaposterioara, sugernd un animal n atac sau fuga.

n imediata apropiere a felinei din pestera Cuciulat, n partea posterioara a ei, se poate ntrezari omare pata de culoare rosie caramizie, care aminteste, parca, de silueta greoaie a unei fiinteumane. Conturul este foarte estompat, nct autenticitatea ei ramne ndoielnica. naltimea sa arfi de 51 cm si latimea de ~26 cm.

ntr-una din ultimele campanii de cercetare a picturilor de la Cuciulat, am observat, ntr-o nisasituata n partea stnga a salii cu picturi, o figura ce seamana cu o pasare. Dimensiunile ei sunt

de 21/14 cm. Este destul de bizara aceasta aparitie, cu att mai mult cu ct pasarile sunt slabreprezentate n arta parietala paleolitica. Oricum, ea se nscrie stilistic n aceeasi nota arealismului artei din aceasta perioada, fiind n deplina concordanta cu reprezentarea calului si afelinei.


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Destul de incert este capul unui al doilea cal, care, att ct se poate observa, nu iese nici el dincanoanele naturalismului artei parietale paleolitice. Alaturi de aceste reprezentari, mai mult saumai putin clare, n micuta sala de la Cuciulat exista numeroase alte pete de culoare, carora ne-afost greu sa le mai gasim forma si sensurile initiale.

Pestera Cuciulat este deci singura descoperita pna acum n tara noastra care a conservat opictura n stil naturalist si n maniera realismului paleolitic al artei animaliere specifice acestei

perioade. Ea este situata pe valea Somesului, care are, n cadrul Podisului Somesan, rol de hotarntre o serie de unitati fizico-geografice mai mici. Asa, de exemplu, n regiunea de care neocupam, desparte Culmea Prisnelului si Culmea Boiului (din cadrul Platformei Chioarului),situate n nord, de Prispa Prisloapele, din sud.

Valea Somesului, o vale larga, adesea cu terase ntinse, cu debit bogat, adunndu-si, prinafluentii ei, apele fie de pe pantele sudice ale Muntilor Rodnei, fie de pe naltimile Apusenilor, aconstituit, desigur, o atractie pentru om din cele mai vechi timpuri. Dupa unirea la Dej aSomesului Mare si Somesului Mic, Valea Somesului se transforma, totodata, ntr-o larga poartade legatura ntre Bazinul Transilvaniei si Cmpia Tisei (din cadrul unitatii mai largi a CmpieiPanonice). Nu este exclus ca si n preistorie, poate chiar n paleolitic, anumite comunitati umane

sa fi pendulat ntre cele doua unitati fizico-geografice - Cmpia Panonica si PodisulTransilvaniei, tocmai de-a lungul acestei importante artere de legatura.

Aparitia pesterii Cuciulat este legata de existenta terasei de 75 m a Somesului (terasa a IV-a),considerata a se fi format n pleistocenul vechi. ntr-un rest al acesteia, care se prezinta ca oterasa n roca, mai exact o terasa sculptata n calcare eocene, apa a sapat, de-a lungul miilor deani, galeriile acestei pesteri; ce mai trziu avea sa serveasca omului ca adapost, loc demanifestare a primelor senzatii si simtaminte artistice si, poate, dupa cum vom vedea, ca lacas cufunctiuni mult mai complexe, cu o puternica nuanta spirituala.

Asa cum am amintit, pestera Cuciulat a fost puternic afectata de exploatarea calcarului ntr-ocariera foarte extinsa n ultimele decenii. Unul din fronturile de exploatare a calcarului,dezvoltndu-se chiar pe axul pesterii, a distrus cel putin cteva sute de metri de galerii din primaei parte. Se pare, dupa spusele localnicilor, ca pestera prezenta, n apropierea intrarii, o saladestul de mare, n care nu este exclus sa fi existat o locuire paleolitica, ca n majoritatea

pesterilor cu astfel de spatii largi aproape de intrare. Din pacate, asupra acestui aspect nu putemavea nici o certitudine, o imagine initiala a pesterii fiind practic irecuperabila, n masura n careexploziile din cariera nu au lasat nici o speranta, privndu-ne, poate, de cel mai serios argumentstiintific, atunci cnd discutam despre cronologia picturilor rupestre din aceasta pestera [...].Sistemul carstic de la Cuciulat se dezvolta deci pe trei niveluri: galeria fosila (pe care amdescris-o si de-a lungul careia se gaseste sala cu picturi), care ramne uscata chiar la cele mai

mari inundatii; galeria subfosila, n care nu patrunde apa dect foarte rar; galeria activa, prin carecursul de apa este permanent.

Urmele unui vechi ru subteran se observa chiar si n galeria fosila, printre acumularile de pietresi blocurile mari desprinse din plafonul pesterii sesizndu-se cursul sau de altadata. Singurul locdin galeria superioara n care nu mai poate fi observat este n interiorul salii cu picturi. Aici,

blocurile de calcar par astfel dispuse, chiar aranjate, pentru a crea o suprafata de calcare cuoarecare stabilitate si, n acelasi timp, prin dispunerea lor pe podea, pentru a da posibilitatea de aajunge la plafonul pesterii. Daca acesti bolovani nu ar exista n sala cu picturi, un om de staturamedie nu ar putea sa ajunga la tavan.

Culoarea rosie caramizie a picturilor a fost obtinuta dintr-o argila bogata n oxizi de fier. Unbulgare de argila de acest fel a fost gasit ntre actuala intrare si sala pictata. Vopseaua este binefixata, aproape pretutindeni acoperita cu o crusta subtire de calcit curat, ceea ce i confera si maimulta stabilitate.


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Analiza chimica a vopselei, extrasa de pe o bucata de calcar cu o alveolare usoara, gasita pe

blocurile care acopera podeaua si care nu este exclus sa fi folosit ca suport al vopselei pentrupictorul paleolitic, a dat rezultate interesante. Paralel, a fost efectuata analiza chimica abulgarului de argila si a unei bucati de ocru (rosu aprins), descoperita ntr-un strat neolitic dinbine cunoscuta statiune de la Cascioarele (jud. Calarasi).

Analiza chimica a vopselei din pestera Cuciulat releva continutul mare de Fe2O3 (13,17%), celcare a imprimat picturii, n mod sigur, culoarea rosie caramizie. Nu trebuie sa surprindaprocentele ridicate de CaO (30,66%), deoarece vopseaua este ntinsa pe calcar, iar, atunci cnd afost prelevata proba pentru analiza chimica, implicit s-a colectat si ceva din stratul superficial alcalcarului. Mai curioase par a fi pierderile la calcinare (24,40), n care nu este exclus sa fiecuprinse si eventualele substante folosite ca liant al vopselei.

n ceea ce priveste argila colectata din galeria fosila, continutul ei n Fe2O3 este aproape dublu(24,33%) n raport cu cel al vopselei; trebuie sa se tina seama nsa ca, n cazul ei, CaO si

pierderile la calcinare sunt extrem de scazute si, prin urmare, celelalte elemente se prezinta nprocente mai ridicate.

Este usor de observat asemanarea procentuala, cel putin n privinta hidroxidului de fier, ntreargila de la Cuciulat si bucata de ocru de la Cascioarele. De altfel, aceasta asemanare estenormala, ntruct ocrul este mai apropiat, prin structura sa, de starea naturala a materiei prime.Ocrul probabil ca si schimba compozitia prin folosire, cnd i se adauga diferite ingrediente

pentru fixarea pe suprafata care se vopseste.

Adaptare dupa editia de baza: Marin Carciumaru, Marturii ale artei rupestre preistorice n

Romnia, Editura Sport-Turism, Bucuresti, 1987.

PICTURI PALEOLITICE IN PESTERA CUCIULAT

Pana relativ de curand predomina parerea ca pe cuprinsul tarii noastre cele mai vechi manifestariale omului de a impodobi diferite obiecte ar corespunde cronologic noii epoci a pietrei (Neolitic:mileniul VI i.e.n.; - prima jumatate a mileniului III i.e.n). Cat priveste eventualitatea existenteiartei picturale pe peretii unor grote, chestiunea nici nu intra in discutie cata vreme nu numai inRomania, ci si in aria mai cuprinzatoare a Peninsulei Balcanice, nu se semnalase o astfel dedescoperire arheologica. Se admitea de catre specialisti in materie ca arta rupestra pe continentuleuropean s-a nascut si a evoluat doar in cadrul comunitatilor umane ale epocii vechi a pietrei ce

vietuisera in Peninsula Iberica si in sudul teriroriului Frantei, precum si in rasarit la poaleleMuntilor Urali.

Dar, in anul 1978, o echipa de speologi facand parte din clubul Emil Racovita a patruns ininteriorul pesterii numite Grota din cariera Cuciulat, situata in teritoriul apartinator comuneiLetca, judetul Salaj. Spre surprinderea speologilor, intr-una dintre galerii, luminile reflectoarelorau expus privirii mai multe imagini pictate pe bolta incaperii subterane.

Fireste, ca orice premiera stiintifica de rasunet, anuntarea aflarii intr-o pestera din CarpatiiApuseni a picturilor realizate in culori a starnit nu numai un val de curiozitate ci si de oarecareneincredere. Dar, dupa o serie de cercetari efectuate de diveri eruditi in materie de picturi

paleolitice s-a autentificat faptul ca intr-adevar picturile dateaza din epoca straveche a pietrei,fiind create cu aproximativ 10 000 de ani i.e.n.

Sala cu picturi, denumita de cercetatorii pesterii Cuciulat Galeria fosila, este o incapere


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prelunga masurand in lungime 3,7 m, in latime 2,5 m, bolta situandu-se intre limitele de inaltimede 1,7-2 m.

Elementul pictural amplasat cel mai la vedere consta din imaginea unui cal in plina miscare,animal redat la dimensiunea de 24,5x12,5 cm. Este realizat prin aplicarea pe stanca calcaroasa aunui material colorant rosu-caramiziu, fara ca imaginea animalului sa fie marcata printr-uncontur desenat cu o alta culoare. Cu toate acestea reprezentarea calului apare deosebit de realista,

naturalista: gatul puternic arcuit si picioarele din spate puternic incordate sugereaza momentulfoarte scurt al unei bruste opriri a calului dupa o vijelioasa alergare. De notat ca figura caluluieste extrem de bine pastrata.

Cea de-a doua imagine, aproape la fel de elegant redata, a fost pictata fara conturarea clara aextremitatilor, folosindu-se aceeasi culoare rosie, infatiseaza un animal apartinator grupuluifelinelor probabil o pantera de pestera (specie disparuta), pisica salbatica sau ris. Lungimea deaproape 1 m (0,8m) si inaltimea de 0,45 m fac acest animal foarte vizibil pe bolta incaperii. Denotat ca si aceasta vietate e redata tot intr-o pozitie de incordare a muschilor, sugerand

privitorului ca dfelina e gata sa se arunce asupra unei prazi spre a o prinde si devora.La mica distanta deasupra felinei e pictata o a treia imagina, si anume un corp uman de 0,51m si

lat de 0,26m. Spre deosebire de maniera realist-naturalista in care fusesera pictate cele douavietati (calul si felina) figura umana este redata mult mai schematic: cpul ii este mult impins spreinainte fata de umeri, iar detaliile chipului lipsesc. Cat priveste partea superioara a spatelui edeosebit de curbata incat personajul pare sa fi fost cocosat.

Cea de-a patra imagine pictata, situata in partea stanga a salii cu desene, amplasata intr-una dinnisele naturale ale boltii, apare ca o pata rosie, de aspect oval, asemanandu-se cu corpul unei

pasari al carei penaj este foarte bogat, de-a dreptul abundent. Si acest element pictural precarconservat este pictat tot cu rosu-caramiziu si fara elimitarea neteda a conturului.In aceasta sala cu picturi, cu toate ca nu este si nici n-a fost in vechime strabatuta de firul uneiape, pe podea sunt asezati din loc in loc bolovani de mari dimansiuni (diametrul 0,5-0,7m). Dupafelul amplasarii acestor bolovani pe pardoseala incaperii apare ca verosimila ideea selectariiintentionate a acestor pietre pentru a fi puse din loc in loc facilitand in aceste puncte ca persoaneurcate pe respectivii bolovani sa poata atinge tavanul. Probabil ca operatiunea plantarii

pietrelor s-a facut in vederea realizarii picturilor aplicate pe bolta situata la inaltimea de peste doimetri fata de podea. De asemenea, din dispunerea acestor bolovani calcarosi se intrevede si oeventuala delimitare a spatiului incaperii prin asezarea la ambele extremitati, acolo unde boltacoboara, a blocurilor supradimensionate, ingustandu-se astfel in mod artificial intrarea si iesireadin spatiul cu picturi.

Aceste amenajari din grota picturilor rupestre pledeaza pentru o destinatie aparte a acestui spatiu

subteran, aceea de locas de cult. Cat priveste semnificatiile cultual-magice ale reprezentariloranimaliere si ale figurii umane, ele aduc in atentie unul dintre cele mai sensibile aspecte aleevolutiei gandirii umane, si anume o foarte timpurie dovada a preocuparilor omului societatii

paleolitice de pe aceste meleaguri de a reda prin desen imagini ale unor vietuitoare din mediulinconjurator, fiinte despre care se credea ca detin puteri supranaturale. Aparitia unor astefl de

preocupari artistice puse in slujba unei conceptii ideatice constituie un adevarat sondajstiintific al istoricului modern in universul gandirii umane din acel foarte indepartat timp. Arta

parietala din pesteri este dovada sigura a practicarii unor proceduri magice legate de credinta caunele dintre vietati detineau resorturi de putere care, bine dirijate de om, ii puteau fi de folos inanumite imprejurari. Or, oficierea unor atari ritualuri considerate hotaratoare pentru existentacomunitatilor tribale, reclama atat prezenta simbolica a animalelor invocate, ceea ce se putea

realiza cu relativa usurinta prin procedeul pictarii acestora, cat si desfasurarea ceremonialuluiintr-un loc de mare intimitate si multa discretie, ferit de vazul si auzul celor neinitiati in tainelemagico-religioase.


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Facand analogie cu pozitiile foarte retrase, ascunse chiar, ale salilor cu picturi rupestre existentein grote din sudul Frantei si din nordul Spaniei in aceste cazuri loturile picturale sunt exclusivin galerii secundare si pestera Cuciulat prezinta aceasta particularitate. Ca modalitate deamplasare fata de planul general al galeriilor sale ornamentata cu figuri animaliere si fiinteumane se prezinta aproape aidoma cu situatia semnalata in pesteri din sud-vestul european.Aceasta pozitie ascunsa a salii cu picturi de la Cuciulat-Letca a facut ca picturile sa nu fi fost

aflate cu multe secole mai inainte, pastrandu-se in bune conditiuni pana in zilele noastre.Extinzand cercetarile arheologice in zona s-a constatat faptul ca pestera pictata din CarpatiiApuseni, din dealul Carierei de la Cuciulat, inaltime denunita de localnici Culmea Prisnelului,este situata intre doua asezari paleolitice: una descoperita la nord de comnuna Letca, in

perimetrul satului Busag, comuna Tauti-Magheraus, judetul Maramures, cealalta spre miazazi deCuciulat, in aria satului Perii Vadului, comuna Ileandra, judetul Salaj. E verosimil ca pestera safi fost folosita ca sanctuar de catre locuitorii celor doua statiuni paleolitice mentionate, dupa cumeste de admis si ipoteza prezentei unei statiuni paleolitice chiar in pestera din Dealul Prisnelului,anume in acea portiune de la intrare, galerie care a fost dislocata in decursul timpului de catre oexploatare industriala a calcarului, fara ca acel perimetru de galerie sa fi fost vazut de vreunspeolog sau un arheolog.

Analiza chimica a vopselei intrebuintate pentru pictare in pestera Cuciulat arata ca s-a utilizatocru bogat in bioxid de fier, material colorant ce a imprimat imaginilor acel rosu-caramiziu.Asemenea argila rosie-ocru se afla din abundenta chiar in podeaua galeriei acestei pesteri, astfelincat cei ce au executat imaginile animaliere si figura umana stilizata n-au avut decat sa prepare

prin adaos de ingrediente constand din ulei vegetal si praf de calcar, ambele materii servind caliant al culorii, vopseaua necesara executarii imaginilor.

Cat priveste importanta stiintifica a acestei descoperiri, ea este cu totul remarcabila nu numaipentru istoria noastra straveche ci si pentru istoria universala. Pana la cunoasterea acestei grotepictate de pe valea Somesului atat Europa Centrala cat si cea sud-estica erau considerate inprivinta artei picturale paleolitice drept zone albe . Intre gruparea de pesteri pictate din ariaSpania-Franta si obiectivul arheologico-speologic similar existent in Urali, pestera Kopova, nuse intrevedea nici o legatura, astfel incat grota cu picturi din masivul montan ce constituiegranita naturala dntre Europa si Asia era privita de unii specialisti cu oarecare susceptibilitate in

privinta autenticitatii imaginilor,datorita extremei sale departari teritoriale fata de nucleul sud-vest european al picturilor rupestre. Actualmente un asemenea mod de apreciere a lucrurilor nuisi mentine valabilitatea deoarece pestrea pictata din tara noastra se inscrie ca un pilon delegatura intre cele doua zone atat de indepartate, atestand un mobilism si dinamism de populatiesi vehiculari culturale pe ample spatii geografice. Totodata picturile cu ocru de la Cuciulat, pelanga faptul ca sunt unicat pe teritoriul tarii noastre, ele au aceeasi importanta singulara si pentru

partea centrala a continentului european, reprezentand o contributie cu totul remarcabila laimbogatirea tezaurului culturii material-spirituale a umanitatii, dovedind ca zorii artei picturalein spatiul carpato-danubiano-pontic s-au ivit in urma cu peste douasprezece mii de ani. Desisingulara, deocamdata, arta picturala animaliera si antropomorfa din cadrul pesterii Cuciulatreprezinta un moment jalonator in cunoasterea genezei si evolutiei preocuparilor artistice aleomului epocii stravechi, situand teritoriul Romaniei in acea arie a continentului in care s-au

petrecut importante etape ale procesului de tranzitie a societati de la Paleolitic la Neolitic,inclusiv in domeniul atat de gingas al cultelor magico-religioase de a caror practici eradependenta arta straveche. Astfel, preocuparile omului pentru realizarea unor reprezentarigrafice, concretizate in Paleoliticul din tara noastra prin picturile rupestre din galeria de laCuciulat, pot fi considerate drept un antecesor al artei din perioada de tranzitie spre noua epoca a

pietrei, arta ale carei manifestari concrete au fost puse in lumina prin sapaturile arheologiceintreprinse in Clisura unarii, vestigii constand din incizii geometrice aplicate pe placute de os sipe fragmente de coarne de cerb.


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Prin complexitatea problemeticii stiintifice a picturilor rupestre de la Cuciulat, aceste veritabilecomori de arta straveche, unicate la noi in tara pana la stadiul actual al cercetarilor in acestdomeniu, vor ramane inca multa vreme ca punct central de studiere atat pentru specialistiiromani cat si straini. Imaginile pictate pe bolta grotei din Apusni, de un izbitor realism creativinspirat din mediul natural in mijlocul caruia vietuise anonimul artist, apartin fondului de aur alvalorilor artistice perene ale intregii umanitati.

In perioada 27-29.01.1995 in Pestera Lii de la Cuciulat (jud. Salaj) s-a organizat o tentativa descufundare, pentru depasirea terminusului de atunci al pesterii. Participantii: Mihai Baciu(G.E.S.S.), Eugen Constantinescu si Robert Gergely (Montana). Tentativa a esuat din cauzaviiturilor. Pestera are o dezvoltare actuala de 1317 m si o denivelare de 29 m (-2:+27).

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PICTURA VECHE DE 14.386 DE ANI !!! IN JUDETUL SALAJ.Doua localitati - Cuciulat si Moigrad - plaseaza judetul in topul "zonelor de maxim interes". LaCuciulat, o localitate de pe malul Somesului, intr-o pestera dintr-o zona de exploatare a pietreide calcar, au fost descoperite picturi rupestre, datand de 12.000 de ani. Ele reprezinta cele maivechi picturi ale genului din aceasta parte a Europei, provenind din perioada paleoliticuluisuperior. La Moigrada fost gasit cel mai mare tezaur de aur masiv de pe teritoriul Romaniei, ingreutate de 780 g, apatinand perioadei noelitice, cu idoli antropomorfi, simboluri ale fertilitatii.Tot aici se afla o importanta asezare dacica (Porolissum), situata pe magura Moigradului,asezare pomenita de Ptolemeu in lucrarea sa Geographia.

PEERA DE LA COLIBOAIA

Cap de rinocer

O echipde speologi romni a gsit ntr-o peterdin judeul Bihor mai multe picturi ce pot fincadrate ca aparinnd unei perioade vechi a artei parietale, Gravettian sau Aurignacian, ntre 23000 i 35 000 de ani. Este pentru prima datcnd n Europa Centralse atestarta parietalaa

de veche.

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Speologii Tudor Rus (Club de speologie Speodava tei), Mihai Besesek, Valentin AlexandruRadu, Roxana Laura oiciu (Asociaia de Speologie Speowest Arad) i Marius Kenesz (SpeoClub Zarand Brad) au descoperit ntr-o peterdin Romnia picturi paleolitice.

Picturile au fost descoperite n petera Coliboaia. "Picturile negre reprezint animale, printrecare un bizon, un cal, posibil o felin, unul sau doucapete de urs i doi rinoceri. Aici se gsescde asemenea i cteva gravuri. Pe sol sunt rspndite oase de urs. n timpul ederii n peter,

urii au zgriat i au lustruit pereii peterii", a explicat Viorel Lascu, preedintele FederaieiRomne de Speologie.

Potrivit directorului Muzeului rii Criurilor, Aurel Chiriac, zona nu este una accesibilpublicului larg i probabil va rmne aa, avnd n vedere ctrebuie trecut pe sub appentru aajunge la picturi. "ncsunt n curs de verificare, zona este sub protecie, nchis. nc testmnite lucruri, dacse va confirma este vorba de o descoperire senzaional", a spus Chiriac. El a

precizat c probabil nici dup finalizarea cercetrilor zona nu va fi deschis publicului ci varmne o rezervaie arheologicaccesibiln primul rnd specialitilor.

Specialitii au atestat autenticitatea picturilor

O echipfrancez, formatdin speologii Marcel Meyssonnier i Valrie Plichon, un paleontologspecializat pe ursul de peter, Michel Philippe, preistoricul Franoise Prudhomme i doispecialiti n artde peter, Jean Clottes i Bernard Gly, au ajuns la picturi la 16 mai 2010 iau atestat autenticitatea acestora. Echipa a beneficiat de suportul logistic al asociatiilor SpeodavaStei, Speowest Arad, Frana Romnia Speologia si a Parcului Natural Apuseni sub coordonarealui Viorel Lascu. "Dupfactura acestora, picturile pot fi ncadrate ca aparinnd unei perioadevechi a artei parietale, Gravettian sau Aurignacian, ntre 23 000 i 35 000 de ani", a precizatViorel Lascu. Este pentru prima dat cnd n Europa Central se atest arta parietal aa de

veche.

Petera, pusn stare de conservare

Petera, numit Coliboaia, este situat pe teritoriul Parcului Natural Apuseni, judeul Bihor -

Romnia. Este strbtut de un ru subteran, care formeaz mai multe sifoane, fcnd astfelexcepional, dar i dificilparcurgerea peterii. Picturile sunt conservate ntr-o galerie nalt.Alte picturi au fost probabil distruse de ap. "Petera a fost pusn stare de conservare prin grijaFederaiei Romne de Speologie i a Administraiei Parcului Natural Apuseni sub autoritatea

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arheologic a Muzeului rii Criurilor din Oradea i administrativ a Consiliului JudeeanBihor. Muzeul rii Criurilor este autorizat de ctre Ministerul Culturii, Cultelor iPatrimoniului Naional pentru a dezvolta cercetrile printr-un complex proiect de cercetaremultiinstituional i multinaional", a declarat Viorel Lascu, preedinteleFederaiei Romne deSpeologie.

Foto: Andrei Posmoanu

Intrarea triunghiulara, de numai 2m inaltime, strajuita de-o faleza inalta de calcar, se deschide invirful unei pante de grohotis care coboara intr-o sala de 15m latime si vreo 40m lungime,

continuata cu o galerie larga si rectilinie, parcursa in toata desfasurarea ei de un curs de apa careapare dintr-un sifon impenetrabil. Alte doua sifoane complica traseul subteran. Piriul curge incea mai mare parte printre terase de argila si se pierde, in functie de debit, fie la capatul galeriei,fie sub peretele sudic al salii. El reapare definitiv la zi printr-un izbuc situat sub intrarea in

pestera. Apele pot inunda la viituri intreg planseul galeriei. Concretiunile sint limitate la ultimatreime a galeriei, unde peretii sint acoperiti de largi scurgeri stalagmitice. Lungimea totala a

pesterii este de 750m.

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Descoperiri de senzaie la Petera Coliboaia din munii Apuseni cele maivechi picturi paleolitice din Europa central

La sfritul anului trecut, o echip de speologi romni a descoperit ntr-o peter din MuniiApuseni unele dintre cele mai vechi picturi paleolitice din Europa Central. n luna mai 2010,acestea au fost atestate ca fiind autentice de ctre o echipde specialiti francezi. Este vorbadespre un numr de aproximativ zece figuri de animale, realizate n crbune de culoare neagrpe

pereii unei galerii mai nalte a peterii.

Rinocerul desenat de oamenii preistorici care au locuit n Apuseni

Speologii Tudor Rus, de la Clubul de Speologie Speodava tei, Mihai Besesec, ValentinAlexandru Radu, Roxana Laura oiciu, de la Asociaia de Speologie Speowest Arad, iMarius Kenesz de la Speo Club Zarand Brad au descoperit n petera Coliboaia din Parcul

Natural Apuseni, judeul Bihor, cele mai vechi picturi paleolitice din Europa Central. Estevorba despre aproximativ zece figuri de animale (un bizon, un cal, foarte posibil o felin, unulsau doucapete de urs i doi rinoceri), realizate de oamenii preistorici care au trit n aceastregiune a pmntului.

Celebra de acum peter este strbtut de un ru subteran care formeazmai multe sifoane.Picturile sunt conservate ntr-o galerie mai nalt.

Viorel Traian Lascu, preedintele Federaiei Romne de Speologie, ne-a declarat ceste foarteprobabil ca n perimetrul respectiv sfi mai existat i alte asemenea picturi care, din cauza apei,au fost distruse.

Artparietalunicat de acum 23.000-35.000 de ani

Picturile sunt de culoare neagr, fiind desenate cu crbune. Ele reprezintanimale, printre careun bizon, un cal, posibil o felin, unul sau doucapete de urs i doi rinoceri. Aici se gsesc, deasemenea, i cteva gravuri. Pe sol sunt rspndite oase de urs. n timpul ederii n peter, uriiau zgriat i au lustruit pereii peterii, se arat n comunicatul oficial dat publicitii despecialiti. Acest aspect constituie o dovada autenticitii desenelor.

Dei au fost descoperite la sfritul anului trecut, abia la 16 mai 2010, o echipfrancez, formatdin speologii Marcel Meyssonnier i Valrie Plichon, specialistul n preistorie FranoisePrudhomme, specialitii n art de peter Jean Clottes i Bernard Gly i paleontologulspecializat pe ursul de peterMichel Philippe au atestat autenticitatea picturilor, pe care le-auncadrat perioadei vechi a artei parietale Graventtian sau Aurignacian, adicn urmcu 23.000 i

35.000 de ani.

Descoperirea este cu att mai important, cu ct este prima datcnd se atestartparietalaade veche n Europa Central. Conform domnului Viorel Traian Lascu, n aceastzona Europeia mai fost descoperit un bizon desenat undeva pe teritoriul Ucrainei, dar care este mult mairecent. Domnia sa este de prere cpetera n care au fost descoperite picturile nu reprezintununicat, n munii Bihorului existnd mai multe asemenea peteri i grote, motiv pentru care nuexclude posibilitatea existenei i a altor opere parietale. O asemenea ipotez are dreptargument descoperirea mai multor obiecte de tranzit comercial din perioada neolitic,

paleolitici epoca bronzului, care demonstreazo migraie i o circulaie permanentn aceastregiune.


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Verdictul pus de specialitii francezi urmeaza fi susinut i de datarea cu C14, care se va facen cteva laboratoare din Europa, pentru a nu exista nici un fel de suspiciune cu privire laautenticitatea picturilor.

Scene de vntoare sau simboluri ale unor ceremonii magice?

La scurt timp dupstudierea desenelor, specialitii francezi au declarat ceste aproape sigur c

oamenii preistorici care au realizat aceste picturi erau vntori-culegtori, nicidecum agricultorisau cresctori de animale.

O problemdelicato constituie descifrarea semnificaiei acestor desene. Dat fiind cn Europaexistmai multe zone cu picturi rupestre, problema a dat natere la mai multe teorii. Una dintreele explicfaptul cdesenele ar reprezenta scene de vntoare care aveau un scop magic. Cu altecuvinte, oamenii preistorici ar fi vnat n mod simbolic pe pereii peterilor ceea ce urmau svneze din belug n realitate.

O alt teorie, mbriat i de cercettorii francezi care au studiat picturile de la Coliboaia,explicfaptul canimalele desenate n peteri nu au toate legturcu cele vnate n realitate, ci

sunt mai degrab simboluri ale unor ceremonii magice sau religioase. Acesta ar fi i motivulpentru care multe dintre picturi sunt executate adnc n interiorul cavernelor.

Petera Coliboaia a fost pusn stare de conservare prin grija Federaiei Romne de Speologie ia Administraiei Parcului Natural Apuseni, sub autoritatea arheologic a Muzeului riiCriurilor din Oradea i cea administrativa Consiliului Judeean Bihor.

Accesul publicului larg nu este posibil n aceastpeter, att din cauza condiiilor dificile deacces, ct i datorit grijii pentru conservarea i protejarea picturilor fa de amatorii desuveniruri sau braconierii de relicve preistorice. Un exemplu este cel al urmei de pa i imprimaten calcit, decupatprofesionist de hoi, ajuns, dupcum se pare, n Germania.

Cele mai importante picturi rupestre din Europa

Cele mai importante picturi rupestre din paleolitic, datate n jurul anului 31.000 .Hr., se aflnpetera Chavet din departamentul Ardche, din Frana. La fel de celebre sunt i picturile dinAltamira, din Spania, create ntre 14.000 i 12.000 .Hr., precum i cele din peterile Lascaux,Dordogne, din Frana, executate ntre 15.000 i 10.000 .Hr.

Cea mai importantpicturdin mezolitic este cea a rzboinicilor n mar, de la Cingle de Mola,Castelln, Spania, care dateazntre 7.000 i 4.000 .Hr.

Sursa: Ziarul Lumina

Picturile rupestre din Apuseni, ferite de publicul larg i de vandali

Autor: Andreea Dogar

Cnd a vzut picturile rupestre, a crezut ceste o gluma unui coleg ce avea reputaia de a leface speologilor tot soiul de farse. ns expertiza specialitilor francezi avea s confirmeautenticitatea desenelor din petera Coliboaia i sle stabileascoriginea ntr-un interval de timpai crui ani se numrcu zecile de mii: 23.000-35.000. Iar surprizele par snu se fi ncheiat aici.
http://www.ziarullumina.ro/http://www.evz.ro/de-acelasi-autor/autor/andreea-dogar.htmlhttp://www.evz.ro/de-acelasi-autor/autor/andreea-dogar.htmlhttp://www.ziarullumina.ro/


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Sursa: Federaia Romn de Speologie / Fotografie realizat de Andrei PosmosanuCnd a vzut picturile rupestre, a crezut ceste o gluma unui coleg ce avea reputaia de a leface speologilor tot soiul de farse. ns expertiza specialitilor francezi avea s confirmeautenticitatea desenelor din petera Coliboaia i sle stabileascoriginea ntr-un interval de timpai crui ani se numrcu zecile de mii: 23.000-35.000. Iar surprizele par snu se fi ncheiat aici.

"Prima data crezut ce o gluma unui speolog local, care a intrat printre primii n petericare de obicei le mai face glume d-astea speologilor, povestete Viorel Traian Lascu,preedintele Federaiei Romne de Speologie, despre speologul amator Tudor Rus, cel care avzut primul picturile.

"Chiar eu am fcut la un moment dat o escaladfoarte dificiln petera Focul Viu din Padi,care are un horn nalt, foarte greu accesibil, i el mi-a zis caici o sgseti ceva nou, unde nu amai fost nimeni. Era o escaladde vreo 30-40 de metri, cu strmtori verticale, i cnd am ajunsn capt, m-am aezat pe o formaiune. i n faa mea era un bileel nfipt n argil. Am deschiz

bileelul i scria: "Credeai c eti singurul?"", i amintete Lascu de o astfel de fars aspeologului cu pricina.

nspicturile rupestre din Coliboaia nu au fost rezultatul unei pcleli. n total, s-au descoperit njur de zece figuri de animale, printre care un bizon, un cal, posibil o felin, unul sau doucapetede urs i doi rinoceri. Toate sunt de culoare neagri au fost fcute de oamenii preistorici cuajutorul crbunelui.

Ele se aflntr-o galerie mai nalta peterii, motiv pentru care acei perei nu au fost acoperii deap, ceea ce a fcut posibil conservarea picturilor. Tot acolo au fost descoperite i ctevagravuri. Pe sol sunt rspndite i cteva oase de urs.

O dovada autenticitii: picturile sunt zgriate de urii de peter

Potrivit specialitilor, picturile din Coliboaia sunt n mod sigur sunt cele mai vechi descoperitepnacum n Europa Central. "Mai existun bizon undeva n Ucraina, dar este mult mai nou",spune Lascu.

Dei picturile au fost descoperite la sfritul anului trecut, totul a fost inut secret pn cndechipa francez de experi, condus de Jean Clottes, le-a analizat n mai 2010.

Stabilirea autentitii s-a fcut prin analizcomparativa picturilor din Coliboaia cu alte picturi

rupestre din peterile Europei. "Este o estimare pe baza unei tipologii a desenului, n sensul cntr-o anumit perioad, de exemplu, capul de cal are o anumit form, explic Lascu.

Jean Clottes a explicat pentru evz.ro c acest tip de examinare nu ofer data la care au fostrealizate picturile, ci un rspuns la problema autenticitii: "Te uii cu atenie la figuri ca svezidacsunt greeli, te uii la gradul de conservare al desenului, pentru cdesenele fcute acum miide ani au un aspect puin alterat. n Coliboaia, unele dintre ele sunt zgriate de urii de peter,iar altele sunt zgriate de lilieci. Acest lucru nu a fost fcut foarte recent, sspunem acum 50 deani: urii de peter au disprut nainte de finalul ultimei glaciaiuni (acum 15.000-20.000).

Datarea cu ajutorul C14 va fi fcut, cel mai probabil, de dou-trei laboratoare, astfel nct snu

existe controverse legate de rezultatele obinute.


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Misterul picturilor rupestre ajunge i n Romnia

Referitor la oamenii preistorici care au fcut picturile, Clottes spune ceste vorba de vnttori-culegtori, oameni care nu practicau agricultura sau creterea animalelor.

Una dintre primele teorii propuse de specialiti pentru a explica semnificaiile picturilor rupestre

a fost cea a lui Henri Breuil. El a interpretat picturile ca fiind scene de vntoare ce aveau unscop magic. Astfel, oamenii preistorici le-ar fi vnat n mod simbolic pe pereii peterii, ncredina castfel vor vna un numr ct mai mare de animale n realitate. Unul dintre cele maiimportante argumente n favoarea acestei teorii era acela cunele figuri preau saibndreptatespre ele vrfuri de sgei.

Jean Clottes, alturi de ali specialiti, a propus o altexplicaie: "Animalele pe care le desenaunu erau neaprat animalele pe care le vnau. De exemplu, n petera Coliboaia sunt doureprezentri de rinoceri, iar acei oameni nu vnau rinoceri. Vnau cai, bizoni, reni i uri, dar nurinoceri.

Astfel, expertul francez consider c picturile rupestre erau realizate n timpul ceremoniilormagice sau religioase: "Aceste desene erau fcute adnc n interiorul peterii, unde oamenii nulocuiau. Este acelai lucru (n Romnia-n.r.) ca i n Frana sau Spania. Sunt cteva peteri nFrana i Spania n care mergeau unu, doi, trei kilometri n interiorul peterii pentru a facedesenele. Scopul lor era probabil de a fi folosite n ceremonii magice, religioase. Dar care erascopul exact al ceremoniei, nu putem ti.

Galeria naltdin petera ColiboaiaSursa: Federaia Romn de Speologie / Fotografie realizat de Andrei Posmosanu"Vor fi surprize foarte mari n continuare"

Bazndu-se pe micile descoperiri ale diferiilor speologi care strbat peterile din Romnia,Lascu e de prere caceastdescoperire este doar nceputul.

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"Petera nu este un unicat. Este un complex arheologic care se ntinde de la poalele mun ilorBihorului i traverseazPdurea Craiului. Faptul cn multe peteri s-au gsit chiar obiecte dechihlimbar baltic sau obiecte de tranzit comercial din perioade neolitice, paleolitice i epoca

bronzului, arat c aici a fost o migraie i o circulaie permanent. n mod sigur aceastdescoperire va aduce dupea alte descoperiri care vor merge pe un lande migraie", explicel.

La ntrunirea de la Oradea n cadrul creia Jean Clottes a inut o prelegere despre arta parietal

din Europa, civa speologi au adus fotografii din diferite peteri care ar putea conine altepicturi rupestre, mai aratLascu. "Probabil vor fi surprize foarte mari n continuare", spune el.

"n Romnia e periculos sscoi la iveallucruri extraordinare"

Deocamdat, totul este secret, iar speologii sunt foarte discrei n a oferi mai multe informaii."Secretomania" se justific, spune Lascu, dacne gndim n primul rnd la protejarea picturilor:"Lucrurile sunt inute n momentul de fa la saltea pentru c exist aceast rezerv c nRomnia este periculos sscoi la iveallucruri extraordinare pentru cexistriscul ca ele sfiedistruse, degradate sau afectate iremediabil. i istoria este dovad c nc nu avem o cultur

destul de solidde a ine la valorile noastre. Din pcate".

n prezent, petera Coliboaia este securizat, au fost amplasate pori i o serie de "trucuri" astfelnct la picturi s se ajung foarte greu. Zona este supravegheat i de rangerii din Parcul

Naional Apuseni, iar poliia i jandarmeria au fost alertate.

Cum poi fura o urmpreistoricimprimatntr-un mineral

n orice caz, natura a avute grij naintea oamenilor s faco eventualplimbare prin peterextrem de dificil. Ea este strbtutde un ru subteran, care formeazmai multe sifoane. "Ca sajungi (la picturi-n.r.) sunt trei pasaje inundate complet care sunt greu de trecut i cu scafandru,

pentru cgaleria este foarte aproape de podea, apa se tulbur foarte repede i traseul pe caretrebuie sl urmezi nu este unul drept, ci este sinuos", spune Lascu.

Al treilea sifon din petera Coliboaia

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Sursa: Federaia Romn de Speologie / Fotografie realizat de Andrei Posmosanu

Preedintele FRS aratcmsurile de securitate nu i propun sndeprteze turitii din zon, cisunt doar o metodde a "preveni potenialii amatori de tablouri". Un astfel de caz de vandalisms-a petrecut chiar n Frana, cnd un grup de indivizi a ncercat sdetaeze prin cioplire nitegravuri de 12.000 de ani.

Peterile din Romnia au avut de suferit att din cauza jafului, ct i a neglijenei. De pild, npetera Ciur Izbuc din Bihor existau urme de om preistoric de acum 45.000 de ani, nsele aufost distruse de oamenii care au clcat peste tot, aratLascu. El citeazncun exemplu, al uneiadintre urmele de pai imprimate n calcit n petera Vrtop: "A fost tiat n peter cu undispozitiv cu care au tiat-o foarte fin, au detaat-o i am neles cacum se aflprin colecii nGermania".

"Astfel de locuri nu sunt destinate publicului larg"

Dar speologul romn spune cpublicul larg nu va fi privat complet de a vedea picturile deoarece

Consiliul Judeean Bihor intenioneaz s amenajeze un lan de peteri n care s aduc ireproduceri ale picturilor din Coliboaia.

"Astfel de locuri nu sunt destinate publicului larg, nu sunt un loc de pelerinaj. Chiar dac zonanu ar fi extraordinar de dificil, ele nu ar fi destinate publicului larg", spune el, i citeazcazul

peterii Lascaux, din Frana, unde accesul este interzis publicului larg dupce oamenii au avutacces iniial i au adus n interior o ciupercce ameninpicturile.

Petera Coliboaia se afl acum sub autoritatea arheologic a Muzeului rii Criurilor dinOradea i sub autoritatea administrativa Consiliului Judeean Bihor.

Speologii care au fcut descoperirea:

Tudor Rus (Club de speologie Speodava tei)Mihai BesesekValentin Alexandru RaduRoxana Laura oiciu(Asociatia de Speologie Speowest Arad)Marius Kenesz(Speo Club Zarand Brad)

Echipa francezcare a analizat picturile:

Speologii Marcel Meyssonnieri Valrie PlichonPaleontologul specializat pe ursul de peterMichel PhilippeIstoricul Franoise PrudhommeSpecialitii n artde peterJean Clottesi Bernard Gly

Download - 02-Texte- Arta Rupestra Paleolitic

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