Representations of wounded animals and humans in European Upper Palaeolithic art have traditionally been conceived as figures related to the hunting activities of hunter-gatherer societies. In this paper, we propose an analysis of Franco-Cantabrian figurative representations showing signs of violence between 35,000 and 13,000 cal. bp to qualify the interpretations of hunting and death in Palaeolithic art. To this end, both multivariate statistical analyses and hypothesis tests have been used to highlight the formal, thematic, chronological and regional similarities and differences in these types of artistic representations. The results show that wounded graphic units are mythograms coded by different variables that do not seem to reflect the actual hunting of the animal, but rather a more complex meaning. It was also discovered that, in early times, the artist preferred to wound secondary or less frequent animals, like deer. This changed in more recent times, when the main animals, such as bison, are wounded under greater normativity and homogeneity in the Pyrenees or the Cantabrian region.

中文翻译：

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受伤的动物以及在哪里可以找到它们。旧石器时代艺术中狩猎的象征意义

欧洲旧石器时代晚期艺术中受伤的动物和人类的代表传统上被认为是与狩猎采集社会的狩猎活动有关的人物。在本文中，我们建议对显示 35,000 至 13,000 年间暴力迹象的佛朗哥-坎塔布里亚形象进行分析。BP来限定旧石器时代艺术中对狩猎和死亡的解释。为此，多元统计分析和假设检验都被用来强调这些类型的艺术表现形式在形式、主题、时间和区域上的相似性和差异。结果表明，受伤的图形单元是由不同变量编码的神话图，这些变量似乎并不反映动物的实际狩猎，而是更复杂的含义。人们还发现，在早期，艺术家更喜欢伤害次要或不常见的动物，例如鹿。这种情况在最近发生了变化，当时主要动物，如野牛，在比利牛斯山脉或坎塔布连地区的更大规范性和同质性下受到伤害。