Escola Superior de Tecnologia de Tomar

SANTOS DA ROSA, Neemias & GARCÊS, Sara (2013) Arqueologia Experimental – contribuição para o estudo do Complexo de Arte Rupestre do Vale do Tejo (Portugal). VI Jornadas de Jóvenes en Investigación Arqueológica JIA2013 – Câmbio en situaciones de crisis. Experiencias passadas y nuevas perspectivas desde la arqueologia. Universitat de Barcelona.

O projecto Ruptejo (2008-2012) apresentou-se como uma tentativa de colmatar algumas lacunas no estudo da Pré-História do Alto Ribatejo. O Complexo de Arte Rupestre do Vale do Tejo centrou-se assim como alvo de diferentes abordagens desde a sua descoberta tendo a investigação se concentrado nos seus aspectos mais importantes e nos contextos regionais. A abordagem contextual inclui outros sítios de arte rupestre que se localizam no âmbito da sua bacia hidrográfica. A representação do cervídeo na arte rupestre portuguesa e, prin- cipalmente, tagana surge como parte integral da investigação. As associações com outras gravuras, a paisagem e geografia do mesmo poderá revelar o a importância do papel que este animal representa no mundo conceptual das comunidades pré-históricas nesta parte da Europa.

La investigación sobre lo que se considera uno de los mayores complejos de arte rupestre en la Penínsu- la Ibérica está asociada a la construcción de la presa de Fratel, que sumergió 90% de las rocas grabadas existentes. Hoy, el Complejo de Arte Rupestre del Valle del Tajo (CARVT) aún está disponible para estudiar gracias a una técnica única y diferente de moldear la superficie de las rocas grabadas. El equipo de investigación utilizó esta técnica en la década de 1970 cuando el Tajo fue descubierto científicamente. La última serie de trabajos de investi- gación realizada en el valle del Tajo ha sido la combinación de metodologías que van desde el trabajo de campo en tres de los últimos sitios que permanecen fuera del agua hasta que el trabajo de rastreo exhaustivo y detallado de las más de 1.500 moldes que constituyen la documentación de arte rupestre del Tajo. Varias metodologías se han aplicado y otras más recientes y proporciona más tecnología se han desarrollado y pensado para aplicar en futuros proyectos en el resto de rocas grabadas surgidas. La investigación ha servido a los estudiosos para entender mejor el comportamiento simbólico de las comunidades prehistóricas en la zona del alto Ribatejo, Portugal Central.
Palabras clave: arte rupestre, Alto Ribatejo, Tajo, Complejo, Calco

Photography is a cross-discipline, which demands specific knowledge of words and things. It crosses from the surface of an image for semantic depth of the visual field (optical). Archaeology processes knowledge in the inverse way, from the depth to the surface by contact (the haptic). Both deal with the darkness in emergency and revelation, respectively, of the image and the layers.
In both the awareness of time and duration is a crucial dimension. These two processes of (re) construction of knowledge and reality are deficient. Together, they complement and potentiate each other. It would say that would constitute a third discipline that detects the material and immaterial dimensions of the environment, what surrounds us, it brings to mind the past time, who summons the memory trace as the union of continuity, the transmission of a heritage and cultural heritage.
The application of photography in archaeological work was once considered only as a descriptive technique for knowledge of the monument, with a highlight on its historical value. The photography used in a systematic way, as a support for cooperation of notes and observations made during excavation work, complement the visual perceptual information and aesthetics of archaeologists during the intervention process and study of the archaeological sites.
The work presented here is intended to illustrate the photographic methodological development in archaeology, with the highlight of the rock engravings from the Cobragança site located in Mação, Portugal.
These are two engraved quartz countertops with representations of concentric circles, squares, lines, rectangles, and that seems to suggest a zoomorphic figure. The history of this rock art site accompanies various times of the evolution of the use of photography in archaeology. It has been proved as indispensable technique in digital preservation thereof having regard to the engravings near-total destruction by the action of a forest fire a decade ago.
Illustration connects these two concepts of memory in different media: photography, the photographic record in its visual support in paper, and the rock engraving, permanent engraved in the rock, both documenting something of different perceptions and different meanings in different media, but both connect up to your visual concept.