dario sigari | Università degli Studi di Ferrara (original) (raw)
Papers by dario sigari
Rivista di Scienze Preistoriche
Teorie e nuovi metodi per la revisione dell'arte mobiliare paleolitica. Il caso di Grotta Romanel... more Teorie e nuovi metodi per la revisione dell'arte mobiliare paleolitica. Il caso di Grotta Romanelli e il progetto Dec.O.
Anthropologie, 2022
Fumane Cave, northern Italy, with its early Upper Palaeolithic deposit, dating between 41.2–35 ky... more Fumane Cave, northern Italy, with its early Upper Palaeolithic deposit, dating between 41.2–35 ky cal BP, is one of the most significant sites for the understanding of the first Anatomically Modern Human groups in Europe. The archaeological excavations led to discover a consistent archaeological record which includes numerous items connected to the symbolic production too: shells, engraved bones and six ochred stones which are considered among the most ancient evidence of painting activity in Europe. Aside the six painted stones, a high number of ochred rock flakes collected during the excavations have been recently re-examined with the aim to trace further lines of research, i.e. what their origin is, so if they are fragments of parietal art or not and how these stones or part of them fit in the wider context of the most ancient forms of art in Europe. Specifically, within this paper, authors present four newly recognised painted stones which were analysed according to their graphic themes and techniques, their chronology and spatial distribution. This leads to deepen the issues of symbolic production in the Fumane Cave, the use of the site, identifying any productive area. Moreover, the newly presented findings, together with the already known ones are contextualized into the contemporaneous Italian and European context providing data towards the understanding of any morphological and stylistic variability and semiotic transformations to interpret any cultural dynamic process occurred in the Alpine area and beyond.
Rivista di Scienze Preistoriche, 2023
Late Pleistocene-Early Holocene Carved Figures In Valcamonica-Valcamonica is a glacial alpine val... more Late Pleistocene-Early Holocene Carved Figures In Valcamonica-Valcamonica is a glacial alpine valley in northern Italy and has one of the biggest prehistoric open air rock art concentrations of Europe. Its long and uninterrupted rock art production is rooted in the late Pleistocene-early Holocene, showing strong links with the Palaeolithic art tradition. All the known
Archivio per l'Antropologia e la Etnologia, 2023
Archaeological Research in Asia
Le Centre pour la Communication Scientifique Directe - HAL - SHS, 2020
Le Centre pour la Communication Scientifique Directe - HAL - Université de Nantes, 2022
Le Centre pour la Communication Scientifique Directe - HAL - Université de Nantes, Jul 29, 2022
Le Centre pour la Communication Scientifique Directe - HAL - Université de Nantes, 2021
Alpine and Mediterranean Quaternary, 2022
Valcamonica, an Alpine valley in northern Italy, boasts one of Europe’s largest concentrations of... more Valcamonica, an Alpine valley in northern Italy, boasts one of Europe’s largest concentrations of open-air rock art that had been produced over millennia, from the Upper Palaeolithic upto historical times. The richness and the long chronology of its rupestrian heritage pose crucial questions around the dynamic dimension of the rock art sites, according to the geomorphology of the territory and the selection of the rocks to be engraved, in the different chronological phases of the Valcamonica human occupation. Within the frame of the new research project PARC-Paesaggi dell’Arte Rupestre Camuna (Landscapes of Valcamonica Rock Art), we elaborate a DTM map providing a characterisation of the landscape surrounding those rock art and settlement sites attributed to the Upper Palaeolithic. This led to recognition of some features linked to the two site typologies. Crossrelating the viewshed projections from LUINE.034, LCR.006 and Cividate Camuno hut, we access the intervisibility patterns among the sites, highlighting how the Valcamonica territory was conceived as a structured space. Finally, this first step highlights how the implementation of the available data and the elaboration of PARC will provide a useful tool as well to understand the taphonomy of the rock art, favouring the elaboration of preservation plans in the future.
Archaeological and Anthropological Sciences
Because of their inherent symbolic significance, personal ornaments gained a key role in the scie... more Because of their inherent symbolic significance, personal ornaments gained a key role in the scientific debate regarding the emergence and evolution of symbolic behaviour; the presumed Acheulean beads discovered in the nineteenth century in northern Europe’s sites are considered crucial evidence of this. The fossils of the sponge Porosphaera globularis, because of their morphological characteristics, have been interpreted by some archaeologists as the starting point of this evolutionary path. In this work, the largest collection of Porosphaera globularis specimens is analysed, after remaining unpublished to this day. This was originally found in the French site of Saint-Acheul and preserved at the Civic Museums of Modena. An integrated analysis was carried out to understand whether these fossils were indeed used as beads; results revealed that they were actually not used as ornaments. This suggests the importance of finding strong arguments and evidence to support theories about the...
Nel territorio di Scario, all'interno di una piccola grotta, sono state riconosciute delle pi... more Nel territorio di Scario, all'interno di una piccola grotta, sono state riconosciute delle pitture parietali di colore rosso
After 40 years of closure to researchers and public, Grotta Romanelli was reopened to scientific ... more After 40 years of closure to researchers and public, Grotta Romanelli was reopened to scientific research in 2015. Continuing the tradition initiated by Blanc, the new excavations follow a multidisciplinary approach, involving specialists of different disciplines. A pivotal part of the project is also focused on digital technologies and experimental methods, to promote data sharing and scientific dissemination. With this aim, a 3D model of the entire cave has been produced by photogrammetry. This technique allows to create a 3D model of a real object, in a digital environment and with high resolution photos. During the 2016 excavation campaign, the base for the 3D model has been created. During the last excavation campaign, in September 2017, the 3D model has been edited and updated with the new surveys. Here we present the last update of the model and the relative workflow
ArkeoGazte: Revista de arqueología - Arkelogia aldizkaria, 2019
This thesis manuscript is a systematic work on the Palaeolithic rock art in the Italian peninsula... more This thesis manuscript is a systematic work on the Palaeolithic rock art in the Italian peninsula including it into a wider debate involving the Euro-Mediterranean region, and offering a valid support for further researches in this field. The first Palaeolithic rock art evidence in Italy was discovered in 1904, in the Romanelli cave, which was destined to be the only rock art site known in Italy until 1949, when Minellonno and Graziosi found the Cala del Genovese cave on the Levanzo island. Since then until the Eighties the majority of the Italian upper Palaeolithic rock art sites were discovered, thanks to Graziosi’s research that lasted for decades as the main reference for all the Palaeolithic rock art studies in Italy, despite several discoveries occurred in the other countries. Moreover a great discordance could be found in the available bibliography, where the concept of a “Mediterranean artistic province” or “facies” is still adopted. So a deep review was urged in this sense....
Encyclopedia of Global Archaeology, 2020
Antiquity, 2021
The Romanelli Cave in south-east Italy is an important reference point for the so-called ‘Mediter... more The Romanelli Cave in south-east Italy is an important reference point for the so-called ‘Mediterranean province’ of European Upper Palaeolithic art. Yet, the site has only recently been subject to a systematic investigation of its parietal and portable art. Starting in 2016, a project has recorded the cave's interior, discovering new parietal art. Here, the authors report on a selection of panels, featuring animal figures, geometric motifs and other marks, identifying the use of different types of tools and techniques, along with several activity phases. These panels are discussed with reference to radiocarbon dating of nearby deposits, posing questions about chronology, technology and wider connections between Upper Palaeolithic cave sites across western Eurasia.
Rivista di Scienze Preistoriche
Teorie e nuovi metodi per la revisione dell'arte mobiliare paleolitica. Il caso di Grotta Romanel... more Teorie e nuovi metodi per la revisione dell'arte mobiliare paleolitica. Il caso di Grotta Romanelli e il progetto Dec.O.
Anthropologie, 2022
Fumane Cave, northern Italy, with its early Upper Palaeolithic deposit, dating between 41.2–35 ky... more Fumane Cave, northern Italy, with its early Upper Palaeolithic deposit, dating between 41.2–35 ky cal BP, is one of the most significant sites for the understanding of the first Anatomically Modern Human groups in Europe. The archaeological excavations led to discover a consistent archaeological record which includes numerous items connected to the symbolic production too: shells, engraved bones and six ochred stones which are considered among the most ancient evidence of painting activity in Europe. Aside the six painted stones, a high number of ochred rock flakes collected during the excavations have been recently re-examined with the aim to trace further lines of research, i.e. what their origin is, so if they are fragments of parietal art or not and how these stones or part of them fit in the wider context of the most ancient forms of art in Europe. Specifically, within this paper, authors present four newly recognised painted stones which were analysed according to their graphic themes and techniques, their chronology and spatial distribution. This leads to deepen the issues of symbolic production in the Fumane Cave, the use of the site, identifying any productive area. Moreover, the newly presented findings, together with the already known ones are contextualized into the contemporaneous Italian and European context providing data towards the understanding of any morphological and stylistic variability and semiotic transformations to interpret any cultural dynamic process occurred in the Alpine area and beyond.
Rivista di Scienze Preistoriche, 2023
Late Pleistocene-Early Holocene Carved Figures In Valcamonica-Valcamonica is a glacial alpine val... more Late Pleistocene-Early Holocene Carved Figures In Valcamonica-Valcamonica is a glacial alpine valley in northern Italy and has one of the biggest prehistoric open air rock art concentrations of Europe. Its long and uninterrupted rock art production is rooted in the late Pleistocene-early Holocene, showing strong links with the Palaeolithic art tradition. All the known
Archivio per l'Antropologia e la Etnologia, 2023
Archaeological Research in Asia
Le Centre pour la Communication Scientifique Directe - HAL - SHS, 2020
Le Centre pour la Communication Scientifique Directe - HAL - Université de Nantes, 2022
Le Centre pour la Communication Scientifique Directe - HAL - Université de Nantes, Jul 29, 2022
Le Centre pour la Communication Scientifique Directe - HAL - Université de Nantes, 2021
Alpine and Mediterranean Quaternary, 2022
Valcamonica, an Alpine valley in northern Italy, boasts one of Europe’s largest concentrations of... more Valcamonica, an Alpine valley in northern Italy, boasts one of Europe’s largest concentrations of open-air rock art that had been produced over millennia, from the Upper Palaeolithic upto historical times. The richness and the long chronology of its rupestrian heritage pose crucial questions around the dynamic dimension of the rock art sites, according to the geomorphology of the territory and the selection of the rocks to be engraved, in the different chronological phases of the Valcamonica human occupation. Within the frame of the new research project PARC-Paesaggi dell’Arte Rupestre Camuna (Landscapes of Valcamonica Rock Art), we elaborate a DTM map providing a characterisation of the landscape surrounding those rock art and settlement sites attributed to the Upper Palaeolithic. This led to recognition of some features linked to the two site typologies. Crossrelating the viewshed projections from LUINE.034, LCR.006 and Cividate Camuno hut, we access the intervisibility patterns among the sites, highlighting how the Valcamonica territory was conceived as a structured space. Finally, this first step highlights how the implementation of the available data and the elaboration of PARC will provide a useful tool as well to understand the taphonomy of the rock art, favouring the elaboration of preservation plans in the future.
Archaeological and Anthropological Sciences
Because of their inherent symbolic significance, personal ornaments gained a key role in the scie... more Because of their inherent symbolic significance, personal ornaments gained a key role in the scientific debate regarding the emergence and evolution of symbolic behaviour; the presumed Acheulean beads discovered in the nineteenth century in northern Europe’s sites are considered crucial evidence of this. The fossils of the sponge Porosphaera globularis, because of their morphological characteristics, have been interpreted by some archaeologists as the starting point of this evolutionary path. In this work, the largest collection of Porosphaera globularis specimens is analysed, after remaining unpublished to this day. This was originally found in the French site of Saint-Acheul and preserved at the Civic Museums of Modena. An integrated analysis was carried out to understand whether these fossils were indeed used as beads; results revealed that they were actually not used as ornaments. This suggests the importance of finding strong arguments and evidence to support theories about the...
Nel territorio di Scario, all'interno di una piccola grotta, sono state riconosciute delle pi... more Nel territorio di Scario, all'interno di una piccola grotta, sono state riconosciute delle pitture parietali di colore rosso
After 40 years of closure to researchers and public, Grotta Romanelli was reopened to scientific ... more After 40 years of closure to researchers and public, Grotta Romanelli was reopened to scientific research in 2015. Continuing the tradition initiated by Blanc, the new excavations follow a multidisciplinary approach, involving specialists of different disciplines. A pivotal part of the project is also focused on digital technologies and experimental methods, to promote data sharing and scientific dissemination. With this aim, a 3D model of the entire cave has been produced by photogrammetry. This technique allows to create a 3D model of a real object, in a digital environment and with high resolution photos. During the 2016 excavation campaign, the base for the 3D model has been created. During the last excavation campaign, in September 2017, the 3D model has been edited and updated with the new surveys. Here we present the last update of the model and the relative workflow
ArkeoGazte: Revista de arqueología - Arkelogia aldizkaria, 2019
This thesis manuscript is a systematic work on the Palaeolithic rock art in the Italian peninsula... more This thesis manuscript is a systematic work on the Palaeolithic rock art in the Italian peninsula including it into a wider debate involving the Euro-Mediterranean region, and offering a valid support for further researches in this field. The first Palaeolithic rock art evidence in Italy was discovered in 1904, in the Romanelli cave, which was destined to be the only rock art site known in Italy until 1949, when Minellonno and Graziosi found the Cala del Genovese cave on the Levanzo island. Since then until the Eighties the majority of the Italian upper Palaeolithic rock art sites were discovered, thanks to Graziosi’s research that lasted for decades as the main reference for all the Palaeolithic rock art studies in Italy, despite several discoveries occurred in the other countries. Moreover a great discordance could be found in the available bibliography, where the concept of a “Mediterranean artistic province” or “facies” is still adopted. So a deep review was urged in this sense....
Encyclopedia of Global Archaeology, 2020
Antiquity, 2021
The Romanelli Cave in south-east Italy is an important reference point for the so-called ‘Mediter... more The Romanelli Cave in south-east Italy is an important reference point for the so-called ‘Mediterranean province’ of European Upper Palaeolithic art. Yet, the site has only recently been subject to a systematic investigation of its parietal and portable art. Starting in 2016, a project has recorded the cave's interior, discovering new parietal art. Here, the authors report on a selection of panels, featuring animal figures, geometric motifs and other marks, identifying the use of different types of tools and techniques, along with several activity phases. These panels are discussed with reference to radiocarbon dating of nearby deposits, posing questions about chronology, technology and wider connections between Upper Palaeolithic cave sites across western Eurasia.
XVII UISPP CONGRESS. Burgos 1-7 September 2014
Segni dalla preistoria. Siti dell’arte rupestre italiana nell’archivio dell’Istituto Italiano di Preistoria e Protostoria, 2018
Segni dalla preistoria. Siti dell’arte rupestre italiana nell’archivio dell’Istituto Italiano di Preistoria e Protostoria, 2018
La giornata di studio del 19 si articolerà in due sessioni principali: novità di arte rupestre da... more La giornata di studio del 19 si articolerà in due sessioni principali: novità di arte rupestre dai territori dell’Italia peninsulare e delle isole; metodologie di documentazione e analisi dell’arte rupestre. Il 20 maggio si prevede una visita su un sito di incisioni rupestri in alta Versilia. È prevista una sessione poster.
Si richiede: titolo; abstract in italiano e inglese, lunghezza tra 4000 e 5000 battute, bibliografia inclusa; almeno due foto o tavole grafiche (min 300 dpi o 600 dpi); massimo cinque parole chiave; elenco degli autori con relativa affiliazione e indicazione dell’autore di riferimento.
Comitato Scientifico: Andrea Arcà, Marzia Bonato, Francesco M.P. Carrera, Stefania Casini, Fabio Cavulli, Angelo Fossati, Renata Grifoni Cremonesi, Dario Sigari, Anna Maria Tosatti.