Lecture by Sylvie Beyries

Thursday, March 16, 2017 -
19:00 to 20:00
Αμφιθέατρο “Ι. Δρακόπουλος”, Κεντρικό κτήριο Πανεπιστημίου Αθηνών, Πανεπιστημίου 30
Event Description: 

Sylvie Beyries (Διευθύντρια ερευνών στο Εθνικό Ίδρυμα Ερευνών της Γαλλίας, Νίκαια), "The Roc-aux-Sorciers shelter, a palaeolithic site with its exceptional sculptures"

During the Middle Magdalenian (18,000 and 16,000 cal. BP)
decorated sites are characterized by carved friezes; an artistic
Roc-aux-Sorciers (Angles-sur-Anglin, Vienne) is the most outstanding
1930s by L. Rousseau, and more extensively studied by S.
place of intense occupation, covering approximately fifty meters
The parietal art that occupied the vertical wall at the bottom
vault and the wall are composed of thin, porous, and soft bioclastic
art, composed of animalist and human representations, and
presence of multiple anatomical details (sensory organs, muscles
ongoing process, the techno-formal study of the parietal art
range of techniques associated with engraving, sculpture and
an interdisciplinary study of the archaeological material. Previous
used for craft and domestic activιties, while a large proportion
to the transformation of the wall. By combining technical
the functional analysis, it has been possible to specify the composition
link between rock art and the domestic sphere at the Roc-aux

in western France, between Vienne and Dordogne, some
phenomenon unique to the period. The rock-shelter of
example. Discovered and excavated first in the
Saint-Mathurin and D. Garrod in the 1950s, the site was a
of the shelter, as well as the vault, collapsed. Both the
limestone. The site presents naturalist monumental
is characterized by the proportions of the subjects, the
and bone structures), and a great dynamism. As an
compliments the micro-wear analysis, highlighting a wide
painting. This research is conducted in the framework of
research has shown that most of stone tools were
was used a second time, recycled for activities related
observations of the decorated walls and the first results of
of the artists’ tool-kit and, beyond, question the