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Encyclopedia > Gravettian

The Gravettian was an industry of the European Upper Palaeolithic. It is named after the type site of La Gravette in the Dordogne region of France. It dates from between 28,000 and 22,000 BP (Before Present) and succeeded the Aurignacian. Venus of Vestonice, 2600 years BCE File history Legend: (cur) = this is the current file, (del) = delete this old version, (rev) = revert to this old version. ... The Paleolithic or Palaeolithic – lit. ... Dordogne is a département in central France named after the Dordogne River. ... Aurignacian is the name of a culture of the Upper Palaeolithic present in Europe and south west Asia. ...


The diagnostic artefact from the industry is a small pointed blade with a blunt but straight back, known as a Gravette Point. Artistic achievements included the Venus figurines The industry had counterparts across central Europe and into Russia. This article is about the archaeological concept of artifacts (or artefacts). ... In archaeology a blade refers to a thin, straight stone tool that has been struck as a flake from a larger prepared core. ... External links Venus figures from the Stone Age Images of women in ancient art http://perso. ...


  Results from FactBites:
 
Notes on Y Haplogroup I and R1b (848 words)
Gravettian is the second subdivision of the Upper Paleolithic technological phase in western Europe (from 27,000 to 21,000 years ago).
Gravettian culture A phase (c.28,000-23,000 ya) of the European Upper Paleolithic that is characterized by a stone-tool industry with small pointed blades used for big-game hunting (bison, horse, reindeer and mammoth).
R1b (previously known as Hg1 and Eu18) is the most prolific haplogroup in Europe and its frequency changes in a cline from west (where it reaches a saturation point of almost 100% in areas of Western Ireland) to east (where it becomes uncommon in parts of Eastern Europe and virtually disappears beyond the Middle East).
LeRoy McDermott (1882 words)
Among the Gravettian figurines, the clearly exaggerated wide hips and buttocks and the thin arms were largely invited by the lozenge form and the pragmatics of carving, not necessarily by autogenous observation.
A "close reading" of the Gravettian females indicates that culturally relevant symbolic attributes or determinatives were often, also, added to the figurines after the basic anatomy had been carved.
The notion that mature females across Gravettian Europe were looking under their arms at their hips and buttocks and down to their navels for thousands of years in order to carve images of themselves in hard materials is rather startling.
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