Persona:
Mas Cornellá, Martí

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mmas@geo.uned.es
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0000-0003-4088-6005
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Mas Cornellá
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Martí
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2011 - 2019102020 - 202510
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Mostrando 1 - 10 de 20
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    Dehesilla Cave Rock Paintings (Cádiz, Spain): Analysis and Contextualisation within the Prehistoric Art of the Southern Iberian Peninsula
    (De Gruyter, 2024-08-14) Mas Cornellá, Martí; Solís Delgado, Mónica; Maura Mijares, Rafael; Parra Greco, Enrique; Pérez García, Pedro Pablo; Gavilán Ceballos, Beatriz; Taylor, Ruth; Torra Colell, Guadalupe; Pérez González, Javier; Barrera Vera, José Antonio; García Rivero, Daniel
    A systematic survey of Dehesilla Cave was carried out during 2017 in order to search for traces of rock art. Several panels with paintings were identified in the chamber next to the entrance (consisting of strokes, dots, stains, and remnants of shapes in red and black), which had remained unnoticed up until now and may provide relevant information towards the understanding of the prehistoric use of the cave and its seemingly symbolic topography. However, we cannot assume a priori a relationship between these paintings and the well-known Neolithic sequence of the site. To assess these paintings, we have analysed photomicrographs which have allowed us to determine their detailed characteristics, stroke morphology, and remnant features (for instance, hue, shape, density of paint, pigment grain size, micro-stroke traces left by the tools used). Taphonomic issues have also been considered and several physical and chemical techniques of analysis have been applied in order to identify the pigments and possible binders.
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    Del abrigo al público: el arte rupestre como patrimonio mundial en Hellín. Proyecto Arte Prehistórico en el Campo de Hellín
    (Ayuntamiento de Hellín, 2025-01-01) Armengol García, Alexis; Solís Delgado, Mónica; Mas Cornellá, Martí; Maura Mijares, Rafael; Pérez González, Javier; Maximiano Castillejo, Alfredo Miguel; Algobia, Rosana; Lara López, Hugo de; Ayuntamiento de Hellín; Junta de Comunidades de Castilla la Mancha
    El arte rupestre del arco mediterráneo de la península Ibérica fue declarado Patrimonio Mundial por la UNESCO en 1998. En este conjunto de casi un millar de yacimientos se encuentra representado de forma destacada el municipio de Hellín (Albacete), cuyo entorno natural conserva varios abrigos, entre ellos uno de los más destacados de toda la península, el abrigo Grande de Minateda. Este artículo recoge algunos resultados preliminares y la metodología aplicada en el proyecto de investigación “Arte prehistórico en el Campo de Hellín”, autorizado y financiado por la Consejería de Cultura y Deporte de la Junta de Comunidades de Castilla La Mancha, la UNED y el Ayuntamiento de Hellín, en el que se han llevado a cabo prospecciones sistemáticas, análisis técnicos de imagen y laboratorio, así como labores de divulgación patrimonial. Con estos trabajos se analiza cómo puede avanzarse en la conexión entre investigación y sociedad, transformando un recurso arqueológico en un patrimonio vivo y compartido.
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    La Espiral Cave (Cuba): Guano and signs of Plant Substances Used as Paint Ingredients
    (Springer Nature, 2017-05-22) Fernández, Racso; Morales, Dany; Mas Cornellá, Martí; Jorge, Alberto; Solís Delgado, Mónica; Parra, Enrique; Rodríguez, Dialvys
    At La Espiral cave, located in Bahia Honda municipality (Artemisa province, Cuba), there are several pictographs, including two of particular importance due to the design used: one of concentric circles and another of a spiral. We analyzed the pigments and binders used in one of these pictographs. The chemical ingredients of the paint are considered in this article, as well as the use of bat guano as a major pigment compound. The apparent presence of ellagic acid, ellagitannin, or anthocyanins would strengthen the hypothesis that artists used vegetable protein as a paint binder or solvent.
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    Documentación y análisis del Abrigo rupestre de Los Cortijos o Minateda III (Minateda, Hellín, Albacete)
    (Ayuntamiento de Hellín, 2024-03) Solís Delgado, Mónica; Armengol García, Alexis; Mas Cornellá, Martí; Mingo Álvarez, Alberto; Maura Mijares, Rafael; Benito Calvo, Alfonso; Pérez González, Javier; Maximiano Castillejo, Alfredo Miguel; Lozano López, Néstor; Ayuntamiento de Hellín
    Presentamos la documentación del arte prehistórico del abrigo de los Cortijos o Minateda III (Minateda, Hellín, Albacete). El yacimiento se encuentra integrado dentro de un conjunto formado por los abrigos Barranco de la Mortaja I o de la Higuera, Barranco de la Mortaja II, Canalizo del Rayo I, Canalizo del Rayo II y el mundialmente conocido Abrigo Grande de Minateda.
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    Hallazgos de cinabrio en contextos del Neolítico cordobés: la Cueva de los Murciélagos (Zuheros) y el Dolmen de Casas de Don Pedro (Belmez)
    (UNED (Universidad Nacional de Educación a Distancia), 2020) Gavilán, Beatriz; Mas Cornellá, Martí; Rodríguez, Yéssica; Solís Delgado, Mónica; Garrido, Elena
    Ofrecemos una síntesis de los resultados de las excavaciones de dos yacimientos neolíticos situados en la provincia de Córdoba que han proporcionado restos de cinabrio: la Cueva de los Murciélagos de Zuheros, en el sector sureste, y el Dolmen de las Casas de Don Pedro (Belmez), en el noroeste. En el primero atendemos a unos fragmentos cerámicos y un brazalete que presentan dicho mineral. En el segundo, el cinabrio estaba integrado en tres hogares situados al exterior de la cámara funeraria, mientras que en el interior de la misma cubría algunos de los cantos empleados en el pavimento de base, sobre el que se depositaron los restos óseos humanos. La inexistencia de cinabrio en las proximidades de ambos yacimientos, así como los resultados de otros tipos de análisis, indica una procedencia foránea del mineral y, por tanto, relaciones de intercambio que hicieron posible la llegada del mismo desde sectores alejados.
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    Minateda rock shelters (Albacete) and post-palaeolithic art of the Mediterranean Basin in Spain: Pigments, surfaces and patinas
    (Elsevier, 2013-12) Mas Cornellá, Martí; Jorge, Alberto; Gavilán, Beatriz; Solís Delgado, Mónica; Parra, Enrique; Pérez, Pedro Pablo
    The inorganic and organic fractions of two microsamples of prehistoric paint from the same site, the Minateda rock shelters, are analysed here for the first time. The two samples correspond to two rock shelters of different styles (Levantine and schematic) e Abrigo Grande de Minateda (The Great Rock Shelter of Minateda) and Abrigo del Barranco de la Mortaja (Del Barranco de la Mortaja Rock Shelter). Since its discovery, historiographical tradition has emphasised the Abrigo Grande de Minateda, with its magnificence and complexity, as emblematic of the origin and evolution of rock art in the Mediterranean Basin of the Iberian Peninsula (a UNESCO World Heritage Site). Four complementary techniques eMicrophotography, Scanning Electron Microscopy-Energy Dispersive X-Ray Spectroscopy (SEM-EDX), Raman Spectroscopy and Gas ChromatographyeMass Spectroscopy (GCeMS)e were combined to identify and characterise the physicochemical properties of the paint and of the surface. We present an interpretation of the results that leads us to define complex taphonomic alterations beyond the usual distinction of layers that include the surface, pigments and patinas.
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    Dots, circles and horses: new rock art evidences through image-based digital methods in Moro Cave
    (Elsevier, 2023-02) Barcia García, Camilo; Mas Cornellá, Martí; Maximiano Castillejo, Alfredo Miguel; Jordá Pardo, Jesús Francisco
    In the mid-1990s, Moro Cave rock-shelter became a key site to understand the rock art phenomenon in southernmost Iberia, as the discovery of Solutrean engravings settled former arguments about the presence of Upper Palaeolithic art in the region. Since then, discontinuous and unsystematic interventions in this site not only left many questions unanswered but also reduced its scientific relevance in broader reviews and discussions. In this paper, we highlight how current digital applications of image-based spatial methods are improving the study of rock art in Campo de Gibraltar and La Janda ancient lagoon area (Cádiz province, Spain). Here we present the first results of the introduction of ‘free and open-source’ image-based recording methods to research at Moro Cave, such as photogrammetric Structure from Motion, orthophotomosaics, microtopography, and statistical band-processing of raster imagery. As a result, spatial modelling of the rock-shelter, microtopography of panels, and the discovery of numerous unpublished motifs across the whole site provide promising insights for future research. This paper focuses on new faint and particular dotted painted patterns (spirals/concentric circles, alignments, and aggregations) related to the large horse on the lower floor; cultural parallels, Upper Palaeolithic adscription, taphonomic issues and future directions are discussed. As a conclusion, a Late Solutrean/Early Magdalenian chronology is proposed due to dot size and shape, arrangement and composition, comparison with other sites, and degree of degradation.
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    Paleobiodiversity versus biodiversity. Animal representations in Tamanart and Azguer rock art (Marocco)
    (Pan African Archeological Association, 2018) Bernáldez Sánchez, Eloísa; García Viñas, Esteban; Mas Cornellá, Martí; Lemjidi, Abdelkhalek; Solís Delgado, Mónica; Maura Mijares, Rafael; Oumouss, Ahmed; https://orcid.org/0000-0002-7467-2139
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    Relative and Absolute Chronologies, Iconographic Sequences. Pigments and Pictorial Micro-Stratigraphies: Aouinet Azguer 1 Rock Paintings
    (Universidad Mohamed V, 2023-06-22) Mas Cornellá, Martí; Lemjidi, Abdelkhalek; Solís Delgado, Mónica; Maura, Rafael; Parra, Enrique; Pablo Pérez, Pedro; Jawhari, Tariq; Oumouss, Ahmed; Asmahri, El Mahfoud; Oulmakki, Naima; Torra Colell, Guadalupe; Pérez, Javier; García, María; Maximiano Castillejo, Alfredo Miguel
    Aouinet Azguer 1 is one of the most representative painting rock shelters in Morocco due to the quantity and characteristics of the images on display, which were carried out over an extended time lapse. In Aouinet Azguer 1 and 12, we find some zoomorphous figures outlined in red whose composition, size, style and technique bear no relation to the rest of the motifs. These figures correspond to an early chronocultural first phase, they were painted choosing privileged or central positions and in most cases we are not able to identify them since, even if by their volumetric shape the images seem to follow a naturalist tendency, their execution is highly conventional. In this study, the AMS 14C dating was possible on an anthropomorph of the third phase also painted in red (3770 to 3650 Cal BC, minimum age), on the basis of a well-known technique (oxalates dating). These results were completed using a methodology that combines physicochemical and micro-stratigraphic analyses used to interpret this dating, which is difficult to get it. Considering the need to put in first place the preservation of the rock paintings under study we could not get another one. Furthermore, a meaningful number of questions arise related to dating and cultural relationship to the first pictorial phase which has been defined upon traditional archaeological criteria, which we intend to propose as our leading hypothesis, by means of the analysis of archaeological environment from the Atlantic area, proposing a probable date (Later Stone Age-Early Holocene).