Pinturas Rupestres de Tormón
How to get there: The cave paintings can be found next to the Tormón Forest House, in the northern part of the municipality, next to the crossing of two ravines that descend from the Tejoneras. They can be reached by the road that connects Tormón with Teruel, about 4.6 km from Tormón there is a track to the left of the road, next to the Prado fountain.
An important example of Levantine rock art, the following rock shelters stand out:
El Abrigo de la Cerrada del Tío Jorge or Tío José: discovered by a local priest in 1924. The painting is of a bull in chestnut red and flat ink, of which only the front half is preserved, with the horns in a twisted and crescent-shaped perspective, standing and lowering its head in an attitude of charging.
On the same crag, but about a hundred metres above the valley level, in the shelter of the Ceja de Piezarrodilla, there is an important painting with an elongated body and naturalistic style, short legs and powerful liriform horns in its black version; the colour in which the primitive white figure was repainted, except for the horns, which were left with their oval shape among the blacks of the second phase. This same representation also depicts a large white wild boar in flat paint.
Shelter of the “White Goats”: These paintings are found in a small cave, made up of uneven and collapsed blocks of sand. The main characteristics of this shelter are, on the one hand, that they are painted on the ceiling of the cave, on the other, the use of the colour white in the representations and, finally, the composition presented. It is a hunting scene in which a series of archers are stalking goats that are all heading in the same direction, some of them with spears stuck in them and one of them with its legs bent as if it had been shot.
Abrigo de la “Paridera”: this is located just 50m from the Abrigo de Las Cabras Blancas. It is large in size, although only four figures are found in a small area of just 0.50m². Three of the figures are grouped together in the same scene, while the fourth is isolated in a nearby panel. It is characterised by the use of the colour white and its particularity is that the surface was smoothed before painting.