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The presence of equines in Northwestern Portuguese rock art reflects the tendential figurative engravings that along with weapons, vessels, or solar symbols, stands apart from the traditional abstract grammar from both Atlantic and Schematic arts. Its naturalistic or schematic nature is based on the adopted engraving technique: using several grooves (defining head and body) or a single groove (defining head, body, and tail), respectively. The geographical dispersion of these motifs is extended, roughly speaking, between the South of the Galician (Rias Baixas) and river Ave. Except for rare cases chronologically attributed, with some reserves, to the Paleolithic, these motifs are included in the Bronze and Iron Ages, that is, between the end of the 3rd and the end of the 1st millenniums BC. In the region of Minho there are, until now, 71 engraved places inventoried that include horses. Their proximity to abstract art manifestations is understood as resulting from processes of addition over time, and its relationship with segmented circles has been interpreted as a metaphor of cults to the solar horse, whose existence during the Bronze Age is attested. From the Late Bronze Age onwards and during the Iron Age, new equines would have been engraved, however, being part of dynamic narratives where horseman and weapons reflect new socio-ontological transformations. Thus, it can be assumed that during more than 2000 years equines held a great significance in terms of the ideological systems from the communities inhabiting the region, that is, the South of Galicia and the Northwest of Portugal. Remnants and reinterpretations of this imagery seem to have endured within local populations’ imaginary until the XX century. This can be assumed by the presence of toponomy, legends, beliefs, and some habits, moment when horses seem to lose their impact due to the substitution of the old fashioned and traditional lifestyles. In this sense, it is imperative safeguarding and disclosing this kind of material and immaterial cultural heritage, important to a better comprehension of Minho’s traditional landscape and populations. If not all the rock art including equines is liable for tourism valorization, there are cases where that is possible, and desirable: (1) whenever accompanied with tangible discourses destined to the public in general, and (2) being part of wider networks linked to places where horses are still active in the popular imagery, to spaces where the Garrano still grows and lives in herds, and to places where the Equestrian Tourism is active. Thus, this work focusses the tourism valorization of the places from Minho with engraved equines in interrelation with Equestrian Tourism, considering that its target audience is sensible to this thematic, whether seeking for horse observation or equitation. The combination of these two local resources allows to dynamize and to create distinguish tourism offer, in some cases, accessible even to public with any constrains., Luciano Vilas Boas would like to thank to Fundação da Ciência e Tecnologia for its Ph.D fellowship (reference FCT-2020.07121.BD).

Deposition of metal artefacts during the Bronze Age is a wider phenomenon attested in Northwestern Iberia, as well as all over Europe. The study of such a phenomenon in that area has been conducted using several approaches, including typological, metallurgical, contextual, and interpretative. The main goal of this paper is to interpret the Late Bronze Age hoards - mainly those containing axes or spearheads - considering that they resulted from intentional and structured depositions made in one or more selected places in the context of the Bronze Age network landscape. Based on recent research this approach will consider several variables, such as the physical organisation or orientation of the objects’ deposition, and the micro and medium contexts of their deposition. Interpretations related to the importance of certain liminal places or hills positioned over natural pathways can be explained by a communal interpretation about the cosmos and in the framework of an increasing amount of autochthonous and non-autochthonous journeys and exchanges that connected peoples during the Late Bronze Age, and fostered encounters between different communities.

Já com duas edições realizadas, O EJI – PATER tem como objetivo ser um evento científico de partilha, discussão e reflexão direcionado para os jovens investigadores e profissionais que trabalham nas mais diversas áreas científicas, como a Arqueologia, a Antropologia, a Arquitetura, a Geologia, a História, a Geografia, as Artes Visuais entre muitas outras. O presente livro resulta dos trabalhos apresentados no EJI – PATER II – 2º Encontro de Jovens Investigadores em Estudos do Património & Território, realizado entre 6 e 7 de junho de 2019, na Universidade do Minho.

The aim of this work is to publish the rock engravings of Monte das Porreira 6, located in the council of Paredes de Coura, in the Northwest of Portugal. The study was based on photogrammetric surveys and subsequent contrast recurring to geometric distance determination./nIt is a profusely decorated rock with a long diachrony of carving. The initial phase includes Classical Atlantic Art, integrated in the regional Neo-Chalcolithic period. The second phase includes representation of several types of equids, horsemen, and antenna-hilted daggers. Based on parallels for such weapons, it is possible to integrate these motifs between the Late Bronze Age and an Early Iron Age of North-western Iberia. /nIt is also possible to observe a change from an abstract grammar, during the first phase, to a figurative grammar, in which we can identify a narrative related to human and animal sacrifices, associated with the use of antenna-hilted daggers. These depictions recall a symbolism reminiscent of Strabo's writings, including bronze objects containing sacrificial scenes. The final phase of engraving indicates new symbolic changes, with valorisation of isolated actions perpetrated by horsemen, carrying throwing weapons, which may be a representation of a deity or hero. El objetivo de este trabajo es publicar los grabados rupestres del Monte das Porreira 6, situado en Paredes de Coura, en el no de Portugal. El estudio se ha basado en un levantamiento fotogramétrico y el posterior contraste con la determinación de la distancia geométrica./nSe trata de una roca profusamente decorada con una larga diacronía de grabados. La fase inicial incluye el arte atlántico clásico, integrado en el Calcolítico Reciente. La segunda fase incluye la representación de équidos, jinetes y puñales con mango de antenas. Basándose en los paralelos de dichas armas, es posible integrar estos motivos entre la Edad de Bronce Final y la Edad de Hierro Inicial. /nTambién es posible observar el paso de una gramática abstracta, durante la primera fase, a una gramática figurativa, en la que se puede identificar una narrativa relacionada con los sacrificios humanos y de animales, asociada al uso de puñales con mango de antenas. Estas representaciones evocan un simbolismo que recuerda a los textos de Estrabón y objetos de bronce que contienen escenas de sacrificio. La última fase del grabado indica nuevos cambios simbólicos, con la valorización de acciones aisladas perpetradas por un jinete, portando un arma arrojadiza, que pueden representar a una divinidad o a un héroe.