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<!DOCTYPE html> <html > <head> <meta charset="utf-8"> <meta rel="search" type="application/opensearchdescription+xml" href="/open_search.xml" title="Academia.edu"> <meta content="width=device-width, initial-scale=1" name="viewport"> <meta name="google-site-verification" content="bKJMBZA7E43xhDOopFZkssMMkBRjvYERV-NaN4R6mrs"> <meta name="csrf-param" content="authenticity_token" /> <meta name="csrf-token" content="JVwwWHcRWBImpd0hQedoCCi_OE0bvo4UTtLOz3G9KBxOBc8hID9kUqbym12MNcyTM2_PjJHfRCRlCkYPyJNvWw" /> <meta name="citation_title" content="Project central (Bahia, Brazil): Rock art in the Chapada Diamantina uplands" /> <meta name="citation_publication_date" content="1994/01/01" /> <meta name="citation_journal_title" content="v. 8 n. 1" /> <meta name="citation_author" content="Darlan Cordeiro" /> <meta name="twitter:card" content="summary" /> <meta name="twitter:url" content="https://www.academia.edu/50281984/Project_central_Bahia_Brazil_Rock_art_in_the_Chapada_Diamantina_uplands" /> <meta name="twitter:title" content="Project central (Bahia, Brazil): Rock art in the Chapada Diamantina uplands" /> <meta name="twitter:description" content="Iniciado em 1982, o Projeto Central cobre uma área de 105.000 m2 com o seu epicentro no município de Central, no coração da caatinga. Um dos objetivos do projeto é estudar as milhares de pinturas rupestres da área, das quais aquelas com" /> <meta name="twitter:image" content="http://a.academia-assets.com/images/twitter-card.jpeg" /> <meta property="fb:app_id" content="2369844204" /> <meta property="og:type" content="article" /> <meta property="og:url" content="https://www.academia.edu/50281984/Project_central_Bahia_Brazil_Rock_art_in_the_Chapada_Diamantina_uplands" /> <meta property="og:title" content="Project central (Bahia, Brazil): Rock art in the Chapada Diamantina uplands" /> <meta property="og:image" content="http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif" /> <meta property="og:description" content="Iniciado em 1982, o Projeto Central cobre uma área de 105.000 m2 com o seu epicentro no município de Central, no coração da caatinga. Um dos objetivos do projeto é estudar as milhares de pinturas rupestres da área, das quais aquelas com" /> <meta property="article:author" content="https://independent.academia.edu/DarlanCordeiro" /> <meta name="description" content="Iniciado em 1982, o Projeto Central cobre uma área de 105.000 m2 com o seu epicentro no município de Central, no coração da caatinga. Um dos objetivos do projeto é estudar as milhares de pinturas rupestres da área, das quais aquelas com" /> <title>(PDF) Rock Art Studies in Chapada Diamantina</title> <link rel="canonical" href="https://www.academia.edu/50281984/Project_central_Bahia_Brazil_Rock_art_in_the_Chapada_Diamantina_uplands" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = 'dc2ad41da5d7ea682babd20f90650302fb0a3a36'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1739745382000); window.Aedu.timeDifference = new Date().getTime() - 1739745382000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"Iniciado em 1982, o Projeto Central cobre uma área de 105.000 m2 com o seu epicentro no município de Central, no coração da caatinga. Um dos objetivos do projeto é estudar as milhares de pinturas rupestres da área, das quais aquelas com representações de mamíferos tem sido estudadas delicadamente desde 1987 (Beltrão e Lock, 1988). Sítios no quartzito pré-cambiano, no município de Morro do Chapéu na borda nordeste da Chapada Diamantina, contém considerável número de pinturas, principalmente mamíferos (veados), seguido por antropomorfos e pássaros. Nestes sítios 94% das pinturas representam \u0026amp;amp;quot;biomorfos em ação\u0026amp;amp;quot; e 6% das figuras são \u0026amp;amp;quot;biomorfos estáticos\u0026amp;amp;quot;.","author":[{"@context":"https://schema.org","@type":"Person","name":"Darlan Cordeiro","url":"https://independent.academia.edu/DarlanCordeiro"}],"contributor":[],"dateCreated":"2021-07-26","dateModified":"2025-02-02","datePublished":"1994-01-01","headline":"Project central (Bahia, Brazil): Rock art in the Chapada Diamantina uplands","image":"https://attachments.academia-assets.com/68326069/thumbnails/1.jpg","inLanguage":"en","keywords":["Arte Rupestre","Chapada Diamantina","Revista de Arqueologia"],"publication":"v. 8 n. 1","publisher":{"@context":"https://schema.org","@type":"Organization","name":null},"sourceOrganization":[{"@context":"https://schema.org","@type":"EducationalOrganization","name":null}],"thumbnailUrl":"https://attachments.academia-assets.com/68326069/thumbnails/1.jpg","url":"https://www.academia.edu/50281984/Project_central_Bahia_Brazil_Rock_art_in_the_Chapada_Diamantina_uplands"}</script><style type="text/css">@media(max-width: 567px){:root{--token-mode: Rebrand;--dropshadow: 0 2px 4px 0 #22223340;--primary-brand: #0645b1;--error-dark: #b60000;--success-dark: #05b01c;--inactive-fill: #ebebee;--hover: #0c3b8d;--pressed: #082f75;--button-primary-fill-inactive: #ebebee;--button-primary-fill: #0645b1;--button-primary-text: #ffffff;--button-primary-fill-hover: #0c3b8d;--button-primary-fill-press: #082f75;--button-primary-icon: #ffffff;--button-primary-fill-inverse: #ffffff;--button-primary-text-inverse: #082f75;--button-primary-icon-inverse: #0645b1;--button-primary-fill-inverse-hover: 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{"work":{"id":50281984,"created_at":"2021-07-26T13:43:13.168-07:00","from_world_paper_id":171177237,"updated_at":"2025-02-02T02:39:41.242-08:00","_data":{"abstract":"Iniciado em 1982, o Projeto Central cobre uma área de 105.000 m2 com o seu epicentro no município de Central, no coração da caatinga. Um dos objetivos do projeto é estudar as milhares de pinturas rupestres da área, das quais aquelas com representações de mamíferos tem sido estudadas delicadamente desde 1987 (Beltrão e Lock, 1988). Sítios no quartzito pré-cambiano, no município de Morro do Chapéu na borda nordeste da Chapada Diamantina, contém considerável número de pinturas, principalmente mamíferos (veados), seguido por antropomorfos e pássaros. Nestes sítios 94% das pinturas representam \u0026quot;biomorfos em ação\u0026quot; e 6% das figuras são \u0026quot;biomorfos estáticos\u0026quot;.","ai_title_tag":"Rock Art Studies in Chapada Diamantina","publication_date":"1994,,","publication_name":"v. 8 n. 1"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Project central (Bahia, Brazil): Rock art in the Chapada Diamantina uplands","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [17422866]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "full_page_mobile_sutd_modal"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":68326069,"attachmentType":"pdf"}"><img alt="First page of “Project central (Bahia, Brazil): Rock art in the Chapada Diamantina uplands”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/68326069/mini_magick20210726-9003-1iuma1z.png?1627332392" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Project central (Bahia, Brazil): Rock art in the Chapada Diamantina uplands</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="17422866" href="https://independent.academia.edu/DarlanCordeiro"><img alt="Profile image of Darlan Cordeiro" class="ds-work-card--author-avatar" src="//a.academia-assets.com/images/s65_no_pic.png" />Darlan Cordeiro</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">1994, v. 8 n. 1</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">15 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 50281984; 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if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Iniciado em 1982, o Projeto Central cobre uma área de 105.000 m2 com o seu epicentro no município de Central, no coração da caatinga. Um dos objetivos do projeto é estudar as milhares de pinturas rupestres da área, das quais aquelas com representações de mamíferos tem sido estudadas delicadamente desde 1987 (Beltrão e Lock, 1988). Sítios no quartzito pré-cambiano, no município de Morro do Chapéu na borda nordeste da Chapada Diamantina, contém considerável número de pinturas, principalmente mamíferos (veados), seguido por antropomorfos e pássaros. Nestes sítios 94% das pinturas representam &quot;biomorfos em ação&quot; e 6% das figuras são &quot;biomorfos estáticos&quot;.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":68326069,"attachmentType":"pdf","workUrl":"https://www.academia.edu/50281984/Project_central_Bahia_Brazil_Rock_art_in_the_Chapada_Diamantina_uplands"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":68326069,"attachmentType":"pdf","workUrl":"https://www.academia.edu/50281984/Project_central_Bahia_Brazil_Rock_art_in_the_Chapada_Diamantina_uplands"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-premium-marketing"></div></div><div class="ds-signup-banner ds-signup-banner-premium-marketing"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="premium-banner-content"><div class="left"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><span>Get access to the world's latest research</span></div><div class="right"><div class="card free"><div class="header">Free</div><div class="feature-list"><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Download one paper at a time</span></div><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Save papers to bookmarks</span></div><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Basic search</span></div></div><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--small ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"premium-banner-desktop-free"}">Sign up for free</button></div><div class="card premium"><div class="pill">Recommended</div><div class="header premium">Premium</div><div class="feature-list"><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Get highly curated PDF packages</span></div><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Track your impact with Mentions</span></div><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Access advanced search filters</span></div><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Support Academia’s mission</span></div><div class="feature"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">check</span><span>Create your personal website</span></div></div><button class="ds2-5-button ds2-5-button--small ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"premium-banner-desktop-upgrade","submitText":"Try Premium for $1"}">Try Premium for $1</button></div></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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The ongoing examination of these habitats, settlements and rock-art sites seeks to better understand the territories and cultures of the precolonial groups who inhabited the southernmost part of Mato Grosso. In the course of these decades, systematic prospections in the region of the Vermelho River uncovered over a hundred sites decorated with both figurative and non-figurative paintings, drawings and carvings that depict images such as animals, humans and signs. This article analyzes the most recent discoveries of rock-art sites identified on the banks of the Vermelho and Gavião rivers. It contextualizes the region and the researches undertaken in its territory, and outlines the previous approaches and the methodology adopted at its rock-art sites. It then describes these rock-art sites and discusses the originality and the symbolic continuity of the marks left by precolonial groups in their landscape.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"New rock-art data from the state of Mato Grosso, Brazil: A graphical analysis of rock-art shelters between the Vermelho and Gavião rivers","attachmentId":113509925,"attachmentType":"pdf","work_url":"https://www.academia.edu/117725294/New_rock_art_data_from_the_state_of_Mato_Grosso_Brazil_A_graphical_analysis_of_rock_art_shelters_between_the_Vermelho_and_Gavi%C3%A3o_rivers","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/117725294/New_rock_art_data_from_the_state_of_Mato_Grosso_Brazil_A_graphical_analysis_of_rock_art_shelters_between_the_Vermelho_and_Gavi%C3%A3o_rivers"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="35624667" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/35624667/Arte_Rupestre_e_Pesquisa_Arqueoastron%C3%B4mica_em_Monte_Alegre_Par%C3%A1_Brasil_Descoberta_de_Novas_Pinturas_na_Etapa_de_2009_2010_Rock_Art_and_Archaeoastronomy_Research_At_Monte_Alegre_do_Para_Brazil_New_Art_Discoveries_2009_2010_Field_Season">Arte Rupestre e Pesquisa Arqueoastronômica em Monte Alegre, Pará, Brasil. Descoberta de Novas Pinturas na Etapa de 2009-2010 / Rock Art and Archaeoastronomy Research At Monte Alegre do Para, Brazil New Art Discoveries 2009-2010 Field Season</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="56083311" href="https://mchenry.academia.edu/ChristopherDavis">Christopher S Davis</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Amazônica - Revista de Antropologia - Periódicos UFPA, 2011</p><p class="ds-related-work--abstract ds2-5-body-sm">This report covers the field season from December 19th, 2009 to March 1st 2010. The objectives were to make archaeoastronomy measurements of the rock art at Serra da Lua and Painel do Pilão that might coincide with the Winter Solstice on December 21st, to locate and record all the previously recorded and published rock art of the region, and to locate and excavate art-related sites at Serra da Lua and Gruta 15 de Março in order to produce more dates that coincide with the age of the art. However, during this field season the most surprising results were the discoveries of previously unrecorded rock art. Although dates for the new art have not been determined, they are believed to be authentic and ancient, not recent graffiti or imitations, due to the remote locations and pristine conditions in which they were found. Este relatório cobre a obra de campo de dia 19 de dezembro em 2009 ate 1 de março em 2010. Os objetivos deviam para fazer medidas de archaeoastronomy da arte rupuestre em Serra da Lua e Painel do Pilão que talvez coincida com o Solstício de Inverno no 21 de dezembro, para localizar e registrar todos os sitios da arte rupuestre no região que foram registrado previamente, e para localizar e escavar locais relacionados com os desenhos em Serra da Lua e Gruta 15 de Março para produzir mais datas que coincidem com a idade da arte. No entanto, durante este obra do campo os resultados mais inesperados eram as descobertas de arte rupuestre novos previamente sem registro. Embora que os datas para a nova arte não são determinados, eles são acreditados ser autênticos e antigos, não pichações recentes nem imitações, porque às localizações remotas e condições puras em que eles foram encontrados.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Arte Rupestre e Pesquisa Arqueoastronômica em Monte Alegre, Pará, Brasil. Descoberta de Novas Pinturas na Etapa de 2009-2010 \r\n/\r\nRock Art and Archaeoastronomy Research At Monte Alegre do Para, Brazil New Art Discoveries 2009-2010 Field Season","attachmentId":55493106,"attachmentType":"pdf","work_url":"https://www.academia.edu/35624667/Arte_Rupestre_e_Pesquisa_Arqueoastron%C3%B4mica_em_Monte_Alegre_Par%C3%A1_Brasil_Descoberta_de_Novas_Pinturas_na_Etapa_de_2009_2010_Rock_Art_and_Archaeoastronomy_Research_At_Monte_Alegre_do_Para_Brazil_New_Art_Discoveries_2009_2010_Field_Season","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/35624667/Arte_Rupestre_e_Pesquisa_Arqueoastron%C3%B4mica_em_Monte_Alegre_Par%C3%A1_Brasil_Descoberta_de_Novas_Pinturas_na_Etapa_de_2009_2010_Rock_Art_and_Archaeoastronomy_Research_At_Monte_Alegre_do_Para_Brazil_New_Art_Discoveries_2009_2010_Field_Season"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="31784059" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/31784059/BETTENCOURT_AMS_SAMPAIO_HA_SANTOS_EST%C3%89VEZ_M_CARDOSO_D_2017_Prehistoric_rock_art_and_landscape_the_outcrops_and_its_forms_were_certainly_not_simple_carving_surfaces_RN_Martins_C_Ribeiro_eds_I_International_Seminar_on_Art_and_Landscape_Guimar%C3%A3es_Laborat%C3%B3rio_de_Paisagem">BETTENCOURT, AMS; SAMPAIO, HA; SANTOS-ESTÉVEZ, M; CARDOSO, D. 2017 Prehistoric rock art and landscape: the outcrops and its forms were certainly not simple carving surfaces, RN Martins, C Ribeiro (eds) I International Seminar on Art and Landscape, Guimarães: Laboratório de Paisagem</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="800391" href="https://uminho.academia.edu/AnaBettencourt">Ana M . S . Bettencourt</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1803099" href="https://csic.academia.edu/ManuelSantosEst%C3%A9vez">Manuel Santos Estévez</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The aim of this paper is to focus the importance of dialog between outcrops morphology and prehistoric motifs engraved or inscribed in them. Altogether, these elements form a well-adapted methodology that contributes to interpretation of rock art and prehistoric landscapes. The theoretical framework was based in the landscape assumptions proposed by C. Tilley (2002): " physical " world is not simply made of inert things, but full of significant properties that matter to its inhabitants. In this sense, outcrops and their forms were not simple surfaces to carve, but acting agents that added meanings to these rock art places and stories to tell for posterity. The rock engravings of Crastoeiro (Mondim de Bastos) and Lage dos Sinais/Monte do Olheiro (Barcelos) form the first and second case studies. In both cases there appears to be an inter and deep relationship between the topography of the engraved outcrops and the topography where they are located. By the arrangement of the motifs in the outcrops, both cases evidence intentional will to influence how to look to the slopes and ridges of both hills, probably of great symbolism during the past. The third case study is Santo Adrião, in the parish of Âncora (Caminha). In this case, either the orientation of the slope of the outcrop and the engraved weapons indicate a narrative of blind and passive deposition of weapons. A fourth case study, which clearly illustrates these assumptions, is Fornelos, in the parish of Carreço (Viana do Castelo). In different panels, several equines, horsemen, a dog, and an anthropomorphic were engraved. The space chosen for the carvings of these signs, the orientation of motifs, the topography of the outcrop and its coloration create an impressive scenic effect for its audience. At the same time, all these elements appear to tell a real or a mythical narrative, 2 where horses and horsemen seem to have travelled a certain path-narrowed, poorly lighted, and limited – from where only a few would return. A fifth case study consists in the different outcrops engraved with footprints identified at Monte de São Romão (Guimarães). Here, the orientation of footprints, and their dialogue with the outcrops orientations suggest certain paths, related to some kind of symbolic interpretation. During the difficult task of interpreting past landscape, it is important to think in outcrops not as simple carving surfaces, but as active elements in the surroundings, already bearers of stories and senses in the landscape, resulting from the complex social structures and, at the same time, acting as actors in between that structure.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"BETTENCOURT, AMS; SAMPAIO, HA; SANTOS-ESTÉVEZ, M; CARDOSO, D. 2017 Prehistoric rock art and landscape: the outcrops and its forms were certainly not simple carving surfaces, RN Martins, C Ribeiro (eds) I International Seminar on Art and Landscape, Guimarães: Laboratório de Paisagem","attachmentId":55526351,"attachmentType":"pdf","work_url":"https://www.academia.edu/31784059/BETTENCOURT_AMS_SAMPAIO_HA_SANTOS_EST%C3%89VEZ_M_CARDOSO_D_2017_Prehistoric_rock_art_and_landscape_the_outcrops_and_its_forms_were_certainly_not_simple_carving_surfaces_RN_Martins_C_Ribeiro_eds_I_International_Seminar_on_Art_and_Landscape_Guimar%C3%A3es_Laborat%C3%B3rio_de_Paisagem","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/31784059/BETTENCOURT_AMS_SAMPAIO_HA_SANTOS_EST%C3%89VEZ_M_CARDOSO_D_2017_Prehistoric_rock_art_and_landscape_the_outcrops_and_its_forms_were_certainly_not_simple_carving_surfaces_RN_Martins_C_Ribeiro_eds_I_International_Seminar_on_Art_and_Landscape_Guimar%C3%A3es_Laborat%C3%B3rio_de_Paisagem"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="39978160" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/39978160/Abstract_and_subnaturalistic_prehistoric_rock_art_in_the_Tr%C3%A1s_os_Montes_and_Alto_Douro_region_of_Portugal_the_case_study_of_Passadeiro_rockshelter_Pala%C3%A7oulo_Miranda_do_Douro_">Abstract and subnaturalistic prehistoric rock art in the Trás-os-Montes and Alto Douro region of Portugal: the case study of Passadeiro rockshelter – Palaçoulo (Miranda do Douro).</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1161501" href="https://flup.academia.edu/JoanaCastroTeixeira">Joana Castro Teixeira</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3150332" href="https://up-pt.academia.edu/MariaJesusSanches">Maria Jesus Sanches</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Recorded places, experienced places. The holocene rock art of the Iberian atlantic margin. , 2017</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Abstract and subnaturalistic prehistoric rock art in the Trás-os-Montes and Alto Douro region of Portugal: the case study of Passadeiro rockshelter – Palaçoulo (Miranda do Douro).","attachmentId":60169219,"attachmentType":"pdf","work_url":"https://www.academia.edu/39978160/Abstract_and_subnaturalistic_prehistoric_rock_art_in_the_Tr%C3%A1s_os_Montes_and_Alto_Douro_region_of_Portugal_the_case_study_of_Passadeiro_rockshelter_Pala%C3%A7oulo_Miranda_do_Douro_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/39978160/Abstract_and_subnaturalistic_prehistoric_rock_art_in_the_Tr%C3%A1s_os_Montes_and_Alto_Douro_region_of_Portugal_the_case_study_of_Passadeiro_rockshelter_Pala%C3%A7oulo_Miranda_do_Douro_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="45643800" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/45643800/The_rock_art_of_Tradi%C3%A7%C3%A3o_Agreste_in_Pernambuco_Brazil">The rock art of Tradição Agreste in Pernambuco – Brazil</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="120619824" href="https://usp-br.academia.edu/MariliaPerazzoValadaresdoAmaral">Marilia Perazzo Valadares do Amaral</a></div><p class="ds-related-work--metadata ds2-5-body-xs">(IFRAO), Darfo Boario Terme, Valcamonica (Itália), 29 ago.-2 set. (Livro de resumos: The rock art of Tradição Agreste in Pernambuco – Brazil), 2018</p><p class="ds-related-work--abstract ds2-5-body-sm">The objective of this work was to formulate new parameters to categorize the analysis of Tradição Agreste based on the identification of the essential elements that characterize it. Defining the parameters for this rock art tradition was carried out through the study of the rock paintings, which were analyzed from the three perspectives: thematic, technical and scenographic. Within the thematic analysis two categories were used: representational and abstract. In the technical analysis three categories were used: trace thickness, contour lines and support treatment. In the scenographic analysis the composition of the space, morphology, size, proportionality, movement, fill and color were considered. These categories allowed for categorizing the characteristic elements of this tradition at an operational level. Within the sites studied there are the common aspects of theme, scenography and technique, represented by: a) Cognitively recognizable figures; b) Anthropomorphic and zoomorphic figures represented distorted from the morphological and postural point of view; c) Abstract figures with thick traces with modal values varying from 0.70 cm to 1.90 cm, completely filled and with irregularities in the contour lines; d) Intensively painted graphic spaces exhibiting figures that appear, in a dominant way, grouped but not related to each other, characterized by individualized figures.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The rock art of Tradição Agreste in Pernambuco – Brazil","attachmentId":66139790,"attachmentType":"pdf","work_url":"https://www.academia.edu/45643800/The_rock_art_of_Tradi%C3%A7%C3%A3o_Agreste_in_Pernambuco_Brazil","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/45643800/The_rock_art_of_Tradi%C3%A7%C3%A3o_Agreste_in_Pernambuco_Brazil"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="32489717" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/32489717/ANA_M_S_BETTENCOURT_HUGO_S_ALUAI_MANUEL_SANTOS_EST%C3%89VEZ_DANIELA_CARDOSO_2017_PREHISTORIC_ROCK_ART_AND_LANDSCAPE_THE_OUTCROPS_AND_ITS_FORMS_WERE_CERTAINLY_NOT_SIMPLE_CARVING_SURFACES">ANA M.S. BETTENCOURT; HUGO S. ALUAI; MANUEL SANTOS ESTÉVEZ; DANIELA CARDOSO (2017) PREHISTORIC ROCK ART AND LANDSCAPE: THE OUTCROPS AND ITS FORMS WERE CERTAINLY NOT SIMPLE CARVING SURFACES</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="38833217" href="https://independent.academia.edu/DanielaCardoso14">Daniela Cardoso</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1803099" href="https://csic.academia.edu/ManuelSantosEst%C3%A9vez">Manuel Santos Estévez</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2017</p><p class="ds-related-work--abstract ds2-5-body-sm">The aim of this paper is to focus the importance of dialog between outcrops morphology and prehistoric motifs engraved or inscribed in them. Altogether, these elements form a well-adapted methodology that contributes to interpretation of rock art and prehistoric landscapes. The theoretical framework was based in the landscape assumptions proposed by C. Tilley (2002): " physical " world is not simply made of inert things, but full of significant properties that matter to its inhabitants. In this sense, outcrops and their forms were not simple surfaces to carve, but acting agents that added meanings to these rock art places and stories to tell for posterity. The rock engravings of Crastoeiro (Mondim de Bastos) and Lage dos Sinais/Monte do Olheiro (Barcelos) form the first and second case studies. In both cases there appears to be an inter and deep relationship between the topography of the engraved outcrops and the topography where they are located. By the arrangement of the motifs in the outcrops, both cases evidence intentional will to influence how to look to the slopes and ridges of both hills, probably of great symbolism during the past. The third case study is Santo Adrião, in the parish of Âncora (Caminha). In this case, either the orientation of the slope of the outcrop and the engraved weapons indicate a narrative of blind and passive deposition of weapons. A fourth case study, which clearly illustrates these assumptions, is Fornelos, in the parish of Carreço (Viana do Castelo). In different panels, several equines, horsemen, a dog, and an anthropomorphic were engraved. The space chosen for the carvings of these signs, the orientation of motifs, the topography of the outcrop and its coloration create an impressive scenic effect for its audience. At the same time, all these elements appear to tell a real or a mythical narrative, 2 where horses and horsemen seem to have travelled a certain path-narrowed, poorly lighted, and limited – from where only a few would return. A fifth case study consists in the different outcrops engraved with footprints identified at Monte de São Romão (Guimarães). Here, the orientation of footprints, and their dialogue with the outcrops orientations suggest certain paths, related to some kind of symbolic interpretation. During the difficult task of interpreting past landscape, it is important to think in outcrops not as simple carving surfaces, but as active elements in the surroundings, already bearers of stories and senses in the landscape, resulting from the complex social structures and, at the same time, acting as actors in between that structure.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"ANA M.S. BETTENCOURT; HUGO S. ALUAI; MANUEL SANTOS ESTÉVEZ; DANIELA CARDOSO (2017) PREHISTORIC ROCK ART AND LANDSCAPE: THE OUTCROPS AND ITS FORMS WERE CERTAINLY NOT SIMPLE CARVING SURFACES","attachmentId":52675908,"attachmentType":"pdf","work_url":"https://www.academia.edu/32489717/ANA_M_S_BETTENCOURT_HUGO_S_ALUAI_MANUEL_SANTOS_EST%C3%89VEZ_DANIELA_CARDOSO_2017_PREHISTORIC_ROCK_ART_AND_LANDSCAPE_THE_OUTCROPS_AND_ITS_FORMS_WERE_CERTAINLY_NOT_SIMPLE_CARVING_SURFACES","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/32489717/ANA_M_S_BETTENCOURT_HUGO_S_ALUAI_MANUEL_SANTOS_EST%C3%89VEZ_DANIELA_CARDOSO_2017_PREHISTORIC_ROCK_ART_AND_LANDSCAPE_THE_OUTCROPS_AND_ITS_FORMS_WERE_CERTAINLY_NOT_SIMPLE_CARVING_SURFACES"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="90641479" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/90641479/Rock_paintings_of_mammals_at_Central_Bahia_Brazil">Rock paintings of mammals at Central, Bahia, Brazil</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="47623615" href="https://independent.academia.edu/MarthaLocksGuimaraes">Martha Locks</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Revista Brasileira de Zoologia, 1993</p><p class="ds-related-work--abstract ds2-5-body-sm">Maria da Conceição de M.C. Beltrão 2,3 Martha Locks 2 ABSTRACT. Rock paintings of mammals have been studied in five of the 243 localities contained within the 270,000 km 2 Archeological Region of Central, Bahia. From features of external morphology, it was possible to recognize II mammals represented in the paintings: for five , to attribute the species; another five , the genera; and, for one, merely lhe family. This study aims lO underline lhe imporlance of prehistoric man 's conlribulion, by way of these rock paintings, to our knowledge of the mammals depicled , both taxonomically and in terms of their distribution within the bounds of the Project in the State of Bahia. KEY WORDS. Mammals, rock paintings, morphology, archeological region , Bahia, Brazil Project Central embraces an area of270,000 km 2 containing 24310calities in the western and eastern Chapada Diamantina in northeastern Bahia State. Its epicenter lies in the municipality of Central (11 0 9'S and 43°7'W) on the limestone uplands of the Chapada Diamantina. The rock paintings were found at sites denominated grottoes and gorges, on Precambrian quartzite rocks or on limestone rocks of the Salitre and Caatinga formations in the municipalities of Central, Xique-Xique, Uibaí, Gentio do Ouro (11°03'-11°19'S and 42°04'-42°28'W) and Morro do Chapeú (11°26'-11° 29'S and 41°16'-41°17'W) (Fig. 1; Tab. 1). The prehistoric paintings of mammals in the Archeological Region of Central range in size from 2 cm to 130 cm. The animais' outlines are blocked in with single colors and generally without detail work, attention being limited to essentials: head, neck, ears, members and tail (BELTRÃO & LIMA, 1986). The paintings are stylized although some show sufficient detail to permit taxonomic recognition of deer, anteater, tapir, etc. The results presented here relate to only five of the 243 localities covered by Project Central.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Rock paintings of mammals at Central, Bahia, Brazil","attachmentId":94148194,"attachmentType":"pdf","work_url":"https://www.academia.edu/90641479/Rock_paintings_of_mammals_at_Central_Bahia_Brazil","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/90641479/Rock_paintings_of_mammals_at_Central_Bahia_Brazil"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="31787598" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/31787598/BETTENCOURT_A_M_S_SAMPAIO_H_A_SANTOS_ESTEVEZ_M_and_CARDOSO_D_forthcoming_Prehistoric_Rock_Art_and_Landscape_the_outcrops_and_its_forms_were_certainly_not_simple_carving_surfaces">BETTENCOURT, A.M.S.; SAMPAIO, H.A.; SANTOS-ESTEVEZ; M. & CARDOSO, D. (forthcoming). Prehistoric Rock Art and Landscape: the outcrops and its forms were certainly not simple carving surfaces</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="552350" href="https://uminho.academia.edu/HugoAluaiSampaio">Hugo Aluai Sampaio</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1803099" href="https://csic.academia.edu/ManuelSantosEst%C3%A9vez">Manuel Santos Estévez</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The aim of this paper is to focus the importance of dialog between outcrops morphology and prehistoric motifs engraved or inscribed in them. Altogether, these elements form a well-adapted methodology that contributes to interpretation of rock art and prehistoric landscapes. The theoretical framework was based in the landscape assumptions proposed by C. Tilley (2002): " physical " world is not simply made of inert things, but full of significant properties that matter to its inhabitants. In this sense, outcrops and their forms were not simple surfaces to carve, but acting agents that added meanings to these rock art places and stories to tell for posterity. The rock engravings of Crastoeiro (Mondim de Bastos) and Lage dos Sinais/Monte do Olheiro (Barcelos) form the first and second case studies. In both cases there appears to be an inter and deep relationship between the topography of the engraved outcrops and the topography where they are located. By the arrangement of the motifs in the outcrops, both cases evidence intentional will to influence how to look to the slopes and ridges of both hills, probably of great symbolism during the past. The third case study is Santo Adrião, in the parish of Âncora (Caminha). In this case, either the orientation of the slope of the outcrop and the engraved weapons indicate a narrative of blind and passive deposition of weapons. A fourth case study, which clearly illustrates these assumptions, is Fornelos, in the parish of Carreço (Viana do Castelo). In different panels, several equines, horsemen, a dog, and an anthropomorphic were engraved. The space chosen for the carvings of these signs, the orientation of motifs, the topography of the outcrop and its coloration create an impressive scenic effect for its audience. At the same time, all these elements appear to tell a real or a mythical narrative, 2 where horses and horsemen seem to have travelled a certain path-narrowed, poorly lighted, and limited – from where only a few would return. A fifth case study consists in the different outcrops engraved with footprints identified at Monte de São Romão (Guimarães). Here, the orientation of footprints, and their dialogue with the outcrops orientations suggest certain paths, related to some kind of symbolic interpretation. During the difficult task of interpreting past landscape, it is important to think in outcrops not as simple carving surfaces, but as active elements in the surroundings, already bearers of stories and senses in the landscape, resulting from the complex social structures and, at the same time, acting as actors in between that structure.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"BETTENCOURT, A.M.S.; SAMPAIO, H.A.; SANTOS-ESTEVEZ; M. \u0026 CARDOSO, D. (forthcoming). Prehistoric Rock Art and Landscape: the outcrops and its forms were certainly not simple carving surfaces","attachmentId":52088696,"attachmentType":"pdf","work_url":"https://www.academia.edu/31787598/BETTENCOURT_A_M_S_SAMPAIO_H_A_SANTOS_ESTEVEZ_M_and_CARDOSO_D_forthcoming_Prehistoric_Rock_Art_and_Landscape_the_outcrops_and_its_forms_were_certainly_not_simple_carving_surfaces","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/31787598/BETTENCOURT_A_M_S_SAMPAIO_H_A_SANTOS_ESTEVEZ_M_and_CARDOSO_D_forthcoming_Prehistoric_Rock_Art_and_Landscape_the_outcrops_and_its_forms_were_certainly_not_simple_carving_surfaces"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="35601809" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/35601809/BETTENCOURT_A_M_S_SAMPAIO_H_A_SANTOS_EST%C3%89VEZ_M_and_CARDOSO_D_2017_Prehistoric_rock_art_and_landscape_the_outcrops_and_its_forms_were_certainly_not_simple_carving_surfaces">BETTENCOURT, A.M.S.; SAMPAIO, H.A.; SANTOS-ESTÉVEZ, M. & CARDOSO, D. 2017. Prehistoric rock art and landscape: the outcrops and its forms were certainly not simple carving surfaces</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1803099" href="https://csic.academia.edu/ManuelSantosEst%C3%A9vez">Manuel Santos Estévez</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="552350" href="https://uminho.academia.edu/HugoAluaiSampaio">Hugo Aluai Sampaio</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The aim of this paper is to focus the importance of dialog between outcrops morphology and prehistoric motifs engraved or inscribed in them. Altogether, these elements form a well-adapted methodology that contributes to interpretation of rock art and prehistoric landscapes. The theoretical framework was based in the landscape assumptions proposed by C. Tilley (2002): “physical” world is not simply made of inert things, but full of significant properties that matter to its inhabitants. In this sense, outcrops and their forms were not simple surfaces to carve, but acting agents that added meanings to these rock art places and stories to tell for posterity. The rock engravings of Crastoeiro (Mondim de Bastos) and Lage dos Sinais/Monte do Olheiro (Barcelos) form the first and second case studies. In both cases there appears to be an inter and deep relationship between the topography of the engraved outcrops and the topography where they are located. By the arrangement of the motifs in the outcrops, both cases evidence intentional will to influence how to look to the slopes and ridges of both hills, probably of great symbolism during the past. The third case study is Santo Adrião, in the parish of Âncora (Caminha). In this case, either the orientation of the slope of the outcrop and the engraved weapons indicate a narrative of blind and passive deposition of weapons. A fourth case study, which clearly illustrates these assumptions, is Fornelos, in the parish of Carreço (Viana do Castelo). In different panels, several equines, horsemen, a dog, and an anthropomorphic were engraved. The space chosen for the carvings of these signs, the orientation of motifs, the topography of the outcrop and its coloration create an impressive scenic effect for its audience. At the same time, all these elements appear to tell a real or a mythical narrative, where horses and horsemen seem to have travelled a certain path - narrowed, poorly lighted, and limited – from where only a few would return. A fifth case study consists in the different outcrops engraved with footprints identified at Monte de São Romão (Guimarães). Here, the orientation of footprints, and their dialogue with the outcrops orientations suggest certain paths, related to some kind of symbolic interpretation. During the difficult task of interpreting past landscape, it is important to think in outcrops not as simple carving surfaces, but as active elements in the surroundings, already bearers of stories and senses in the landscape, resulting from the complex social structures and, at the same time, acting as actors in between that structure.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"BETTENCOURT, A.M.S.; SAMPAIO, H.A.; SANTOS-ESTÉVEZ, M. \u0026 CARDOSO, D. 2017. 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