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| Author(s): |
Loredana Marise Ricardo Ribeiro
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Museu de Arqueologia e Etnologia (MAE) |
| Defense date: | 2006-06-29 |
| Examining board members: |
Paulo Antonio Dantas de Blasis;
Pedro Paulo Abreu Funari;
Renato Kipnis;
André Pierre Prous Poirier;
Pedro Ignacio Schmitz
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| Advisor: | Paulo Antonio Dantas de Blasis |
| Abstract | |
This work is the result of a research in rock art stylistics and space analyses of about one hundred shelters from the region of Alto-médio São Francisco (north of the brazilian state of Minas Gerais and southwest of the state of Bahia), with the objective of elaborating a chrono-stylistic relative picture of the regional rock-art register that could support correlational studies of stratrigraphics and successory stylistics sequences. The analyses developed were based on the existing rock art classifications of Central Brazil and region(Agreste, São Francisco, Nordeste and Complexo Montalvânia traditions), and were aimed at discussing the operationality of the given classificatory methodology and the interpretative reach of these categories of analysis. The stylistics and space diachronic analyses resulted in the definition of diverse successive styles, some of them possibly contemporaries. The successory stylistic sequence was compared to the regional stratigraphic sequence using the absolute and relative datings available as bollards to develop an initial rock-art periodization of the northern region of the state of Minas Gerais. This periodization still hypothetical, once the the available datings are related to only two of the twelve identified styles shows that the middle Holocen rock art stands for several associated styles that cannot be surely organized in a successory sequence and that might have been practiced at the same time. The study of the stylistic variation in its graphical, temporal and spacial aspects (in small and great scale) has showed that styles that are considered distinct because of thematic criteria in fact interconnect and articulate each other in other dimensions. The observation of relevant differences between styles, as well as of oppositions between the thematic attributes of localization in the shelters and the shelters in the regional landscape, suggests the simultaneous existence of complementary thematic repertoires in the middle Holocen rock art, composing a complex system of visual representations. The study suggests that, instead of improving the organization of the rock art register, the use of rock-art traditions as a parameter for analysis makes this organization more difficult, in as much as it directs the research to standards of similarity. In analyses focused in these standards, the contrasts and the differences between expressions are masked and dimmed. Thematicly distinct stylistics expressions can be connected in important and complementary ways, making it necessary to investigate the relations between styles characterized by distinct thematic characteristics and to evaluate their oppositions and disimilarities before attributing them to distinct traditions. (AU) | |