It's portable art, which dates only from the Renaissance, that's the youngster when compared to the site-specific works in cave paintings, temples, churches, and palaces.
22.
Although portable art, such as pottery, celts, or other items could have been transported the long distances between towns, the monumental art at Chalcatzingo or Teopantecuanitlan would need to be created locally.
23.
Examples of Magdalenian portable art include batons, figurines, and intricately engraved projectile points, as well as items of personal adornment including sea shells, perforated carnivore teeth ( presumably necklaces ), and fossils.
24.
Over the years, however, the study of portable art has come into its own as archaeologists realize much information about prehistoric culture, livelihood, and societal structure can be gathered from these works or art.
25.
Originally seen as less important than the cave paintings that also marked prehistoric art, portable art was thought to be merely preceding sketches or plans to be developed in later, larger parietal, or permanent, art.
26.
In the Valencia region, the most common Paleolithic art was portable art ( unlike other regions of the Iberian Peninsula like in Cueva de Altamira, where cave art predominates ), the Cueva de Parpall?providing the best examples.
27.
Though the game hunted for food was a recurring subject within portable art, the over 10, 000 pieces that have been discovered exhibit a great diversity in terms of scale, subject, use, date of creation, and media.
28.
They argue that it was in San Lorenzo and the Olmec heartland that the hallmarks of the Olmec culture were first established, hallmarks that include the patio / plaza concept, monumental sculpture, Olmec iconography, archetypical Olmec figurines, and other portable art.
29.
"' Portable art "'( sometimes called "'mobiliary art "') refers to the small examples of Prehistoric art that could be carried from place to place, which is especially characteristic of the Art of the Upper Palaeolithic.
30.
As Olmec mythology has left no documents comparable to the Popul Vuh from Maya mythology, any exposition of Olmec mythology must be based on interpretations of surviving monumental and portable art ( such as the Las Limas figure at right ), and comparisons with other Mesoamerican mythologies.
