Estudos geoarqueológicos de sítios com registros rupestres na bacia hidrográfica do Rio Grande, em Barreiras e em São Desidério, Bahia, Brasil

• Autor(a) principal: Leão, Fernanda Martins da Silva
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFS
• Texto Completo: http://ri.ufs.br/jspui/handle/riufs/16818
• topic: Arqueologia; Geologia arqueológica; Patrimônio histórico; Pinturas rupestres; Sítios arqueológicos; Sítios históricos; Sites wich Rock Art; Geoarcheology; Rock Art; Barreiras-BA; São Desidério-BA; CIENCIAS HUMANAS::ARQUEOLOGIA::ARQUEOLOGIA HISTORICA

In the catchment area of the Rio Grande Hydrographic Basin, a sub-basin belonging to the São Francisco River Basin, there are numerous archaeological sites that preserve a long-term indigenous history. Between 2016 and 2017, nine sites located in the current municipalities of Barreiras-BA and São Desidério-BA were revisited and contextualized by the AOB Study Group of UFOB. Of the nine sites, six contain rocky outcrops, such as sheltered and escarped areas, suitable for the production of rock art: sites Morro dos Tapuias, Derocal, Seu Camé, Gruta das Pedras Brilhantes, Serra do Mimo and Gruta daBeleza. However, only the first five mentioned above have rock art, being the objects of this research and studied in a geo archaeological perspective from the micro to the macro-scale in order to understand the human interactions and geoenvironmental choices of rock art?s producing societies in the study area. In all five sites with rock art studied, there are both paintings and engravings. The choice of rock art?s producing to do them at each site was independent of the occurrence of water bodies close to or more distant and of the places requiring greater physical effort to reach. What there is in common is that places with large rocky outcrops and that have sheltered areas with good shading were prioritized, a context similar to that found in the Gruta da Beleza site, which, however, was not chosen for the rock art, perhaps because it did not it has been a place of passage by rock art?s producing societies or because other activities have been prioritized for the area. The diversity of techniques and themes of rock art and the variety of colors and color combinations of the paintings, in addition to the overlapping and ifferentiation of surfaces from older and more recent supports, indicate that the sites were intensely occupied at different times, with the appropriation of spaces by new occupants. The choices of supports and the position on the panels were different for engravings and paintings, depending on the availability of supports and types of lithology at each site. The occurrence of paintings and engravings in the dysphotic zones of caves in some sites may represent a form of intentional concealment of the rock art. the other hand, the occurrence of engravings in blocks and boulders that show a shine on the surface signals an intention to promote the engravings, regardless of the shine on these rocks being of anthropic or natural origin. The main factors in the loss of rock art are water percolation on rock supports and anthropic action such as lighting fires near the panels and graffiti. However, the engagement of tourist conductors, local residents and the scientific community for the conservation of sites and appropriation of archaeological knowledge tends to change this reality, while this dissertation is a respectful contribution to these people.