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Academic literature on the topic 'Petroglyphs'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Petroglyphs"

1

Galimzhanova, Asiya, Mekhribanu Glaudinova, and Said Galimzhanov. "THE PROBLEM OF THE UNIQUE MONUMENTS PETROGLYPHICS OF ZHETYSU’ PRESERVATION." Scientific works/Elmi eserler 1, no. 1 (April 21, 2022): 117–21. http://dx.doi.org/10.58225/sw.si.2022.1.117-121.

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Petroglyphics is an important direction in the archaeological science of Kazakhstan; Zhetysu (Seven Rivers) is considered a special region in the study of petroglyphs, since specialists from the Institute of Archeology named after A.A. Margulan discovered a huge number of petroglyphic complexes, among them we note two - the famous Tamgaly sanctuary, discovered by the expedition of A.G. Maksimova in 1957 and the last open sanctuary - the petroglyphic complex of the Arkharly pass in the Almaty region, discovered by A.N. Maryashev and documented in the summer of 2021 by a group of specialists from the Institute of Archeology. A. Margulan under the leadership of A.A. Goryachev. The authors come to the conclusion that the problem of preserving unique monuments such as Tamgaly, or the recently discovered Arkharly is relevant and necessary. Financial investments are needed both in the management section, conservation and presentation of monuments, and in scientific research on the petroglyphics of Kazakhstan monuments. The problems in the conservation of petroglyphs are enormous, so long-term cooperation is needed on a multiand interdisciplinary basis both at the national and international levels to preserve priceless archaeological Zhetysu landscapes.

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Galimzhanova, Asiya, Mekhribanu Glaudinova, and Said Galimzhanov. "THE PROBLEM OF THE UNIQUE MONUMENTS PETROGLYPHICS OF ZHETYSU’ PRESERVATION." Scientific works/Elmi eserler 1, no. 1 (April 21, 2022): 117–21. http://dx.doi.org/10.58225/sw.si.2022.117-121.

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Petroglyphics is an important direction in the archaeological science of Kazakhstan; Zhetysu (Seven Rivers) is considered a special region in the study of petroglyphs, since specialists from the Institute of Archeology named after A.A. Margulan discovered a huge number of petroglyphic complexes, among them we note two - the famous Tamgaly sanctuary, discovered by the expedition of A.G. Maksimova in 1957 and the last open sanctuary - the petroglyphic complex of the Arkharly pass in the Almaty region, discovered by A.N. Maryashev and documented in the summer of 2021 by a group of specialists from the Institute of Archeology. A. Margulan under the leadership of A.A. Goryachev. The authors come to the conclusion that the problem of preserving unique monuments such as Tamgaly, or the recently discovered Arkharly is relevant and necessary. Financial investments are needed both in the management section, conservation and presentation of monuments, and in scientific research on the petroglyphics of Kazakhstan monuments. The problems in the conservation of petroglyphs are enormous, so long-term cooperation is needed on a multi- and interdisciplinary basis both at the national and international levels to preserve priceless archaeological Zhetysu landscapes.

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Millerstrom, S., and P. V. Kirch. "Petroglyphs of Kahikinui, Maui, Hawaiian Islands: Rock Images within a Polynesian Settlement Landscape." Proceedings of the Prehistoric Society 70 (2004): 107–27. http://dx.doi.org/10.1017/s0079497x00001134.

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We report on the recording and analysis of 17 petroglyph or pictograph sites, containing a total of 168 glyphic units, carried out as part of a large scale survey of the ancient district (moku) of Kahikinui, on south-eastern Maui Island, Hawaiian Islands. In contrast with previous studies which have tended to view Hawaiian petroglyphs as divorced from their larger archaeological context, we analyse and interpret this corpus in terms of a landscape-level settlement analysis. The Kahikinui petroglyphs exhibit a regular and limited range of motifs, with certain styles of anthropomorphs and zoomorphs (especially dogs) dominating; petroglyphs dating to the early post-European contact period are characterised by Roman lettering reflecting early missionary efforts at literacy. Petroglyphs are strongly associated either with an early historic-period trail, or with rockshelters and cliff faces where there is evidence for freshwater springs or seeps. In the arid environment of Kahikinui, freshwater was a precious resource, and the petroglyphs may have served as territorial markers, or signs of individual ownership or rights of access. Excavations at three rockshelter sites with petroglyphs provide indirect evidence for dating these petroglyphs to the late prehistoric era (16th to 18th centuries AD). Comparisons with petroglyph sites on other islands in the Hawaiian archipelago indicate the existence of distinct regional variations.

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Zotkina, L. V. "On the Methodology of Studying Palimpsests in Rock Art: The Case of the Shalabolino Rock Art Site, Krasnoyarsk Territory." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 2 (June 26, 2019): 93–102. http://dx.doi.org/10.17746/1563-0110.2019.47.2.093-102.

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This paper addresses the main problems in assessing the stratigraphy of superimpositions in rock art. When a petroglyph is overlain by one or several others, this may provide important information not only about single images but also about entire stylistic traditions. Existing methods used for evaluating the relative chronology of the parts of petroglyphic palimpsests are discussed, and a new approach is proposed, combining high-resolution three-dimensional visualization at the macro-level with traceological analysis. We focus on the characteristics of the pecked surface in the area outside the palimpsest and that in the overlap zone. The comparison of these parts makes it possible to reveal the traceologically informative features in the palimpsest areas, indicating the sequence of superimposed petroglyphs. This approach is instantiated by the analysis of one of the palimpsests in the Shalabolino rock gallery, the Krasnoyarsk Territory. Images representing various stylistic traditions are found in complicated stratigraphic relations. The sequence of three main fi gures (bear, bull, and elk) in this multilayered composition has been reconstructed. The results of the analysis cannot be used as an argument for attributing these petroglyphs to vastly different chronological periods. Rather, they provide new information relevant to the debate around the age of the Angara and Minusinsk petroglyphic styles in the Minusinsk Basin.

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Kovtun, I. V. "The Oglakhty-Tom Petroglyphs of the Lower Tom Rock Art Complex." Bulletin of Kemerovo State University 23, no. 1 (April 10, 2021): 10–19. http://dx.doi.org/10.21603/2078-8975-2021-23-1-10-19.

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The present research featured the cultural and chronological context of the Oglakhty-Tom petroglyphs found in the lower valley of the Tom river. The author compiled a complete list of geometric petroglyphs of South Siberia, as well as a series of representational parallels that can help to date geometric zoomorph characters carved by the Bronze Age peoples of West Siberia. The author also illustrated some representational parallels for geometric petroglyphs from the early Andronian period found in the Vasyugan complex and the Lugavskoye burial mound in the Middle Yenisei. The paper introduces some results of carbon dating for these petroglyphs. The author detected some new archaeologic and petroglyphic complexes in the Lower Tom that go back to the epoch between Early Andronian time and the Bronze Age. He established the connection between the geometric petroglyphs and the Early Andronian complex in the Lower Tom, while the Minor Tuva-Altai petroglyphs proved to be as old as the Early Seyma-Turbino period. The paper contains palimpsests and ritual assemblages that prove that Oglakhty-Tom and Late Angara petroglyphs once co-existed. The author believes that the geometric petroglyphs and the realistic Late Angara petroglyphs date back to the same Early Andronian communities. The research also traces back various sources of these art traditions.

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Stepkin, Vitaly. "Wheel Transport in Petroglyphs of Huso Mountain in Armenia: a Reflection of Realistic and Mythological Views." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 25, 2023): 169–82. http://dx.doi.org/10.55086/sp232169182.

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The paper is aimed to examine petroglyphs depicting wheel transport on stones of Huso mountain in Armenia. The research objectives are to define design features of wheel transport, to determine its cultural and chronological background, to consider the semantics of these images. Semiotic analysis of historical content and analogy was used to cope with the task. Results. The first petroglyph presents a two-wheeled horsed carriage. The wheel transport cut on two other stones is depicted as an element of compositions. The first composition includes the following signs: a two-horse carriage (biga), two anthropomorphous forms, a chaotically twisting snake (a sign of anrta — chaos), two coiled snakes (a sign of rta — cosmic order). The second composition pictures a three-horse carriage (triga), an anthropomorphous form with a tool in hands, a bezoar goat (lat. Capra hircus aegagrus). The described petroglyphs with carriages are dated by the author by the methods of historical content and analogues from 2nd millennium BC. They contain mythological subjects connected with cosmogonic views reflected in Rigveda. The petroglyphic compositions accompanied some certain cult actions directed to advance the cattle-raising cycle coinciding with the summer solstice. As Aryans understood, by the beginning of each seasonal movement of nomadic tribes in the alpine zone, the charioteer Indra, following the cosmogonic plot, defeated the daemon Vritra who had turned water streams of Mt. Huso into snow and ice. Conclusion. The wheel transport petroglyphs on Mt. Huso stones are an important source for study.

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Русакова, И. Д. "ABAKANO-PEREVOZ I PETROGLYPHIC SITE IN KHAKASSIA." SCIENTIFIC REVIEW OF SAYANO-ALTAI, no. 1(29) (January 13, 2022): 43–71. http://dx.doi.org/10.52782/kril.2021.1.29.005.

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В статье публикуются петроглифы местонахождения Абакано - Перевоз 1, являющегося частью крупного петроглифического комплекса, расположенного на скальных выходах хребта Большие Бояры в Хакасии. Публикация является результатом многолетних работ на памятнике, связанных с исследованием, расчисткой от лишайника, документированием древних рисунков. В статье приводится хронологическая атрибуция выявленных петроглифов. Первые рисунки появились здесь в раннетагарское время. Выявлены петроглифы тесинского, таштыкского времени, эпохи средневековья, этнографического времени. The article publishes petroglyphs of Abakano - Perevoz 1 site. It is а part of a large petroglyphic complex located on the Bolshie Boyary Ridge in Khakassia. The publication is the result of long - term work at the site, which is related to research, clearing of lichen, documenting of ancient petroglyphs. The article publishes a chronological attribution of the identifi ed petroglyphs. The earliest petroglyphs appeared here in the early Tagar time. The petroglyphs of the Tes and the Tashtyk cultures, the Middle Ages, ethnographic time were discovered here.

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Park, Jun Cheol. "Bangudae Petroglyphs production experiment and study of overlapping pictures." Yeongnam Archaeological Society, no. 87 (May 30, 2020): 5–34. http://dx.doi.org/10.47417/yar.2020.87.5.

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The archaeological approach of Bangudae petroglyphs the bottom of the overlapping picture is a whale picture. When the whales were mainly hunted, it was possible to estimate the possibility that the Earthenware Bowl with Raised Pattern group produced whale paintings of petroglyphs. It was observed that Bangudae petroglyphs were artificially represented by lines (Section IIB), which was a long trace, similar to the cutting technique that began in the Neolithic era. The manufacturing technique appeared in various ways in one picture, and many facets were produced by pecking. The petroglyph manufacturing experiment is presumed to have had a drafting phase to draw a precise picture, and it was produced by different techniques (split and drawn) depending on the part. The manufacturing technique was usually a method similar to the indirect peeling of stone making.

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Kęsik, Jacek, Marek Miłosz, Jerzy Montusiewicz, and Nella Israilova. "Documenting Archaeological Petroglyph Sites with the Use of 3D Terrestrial Laser Scanners—A Case Study of Petroglyphs in Kyrgyzstan." Applied Sciences 12, no. 20 (October 18, 2022): 10521. http://dx.doi.org/10.3390/app122010521.

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The use of 3D terrestrial laser scanners (TLS) in the documentation of archaeological sites is an effective method of collecting information about the area under study. The wide range of acquired data makes this method a versatile tool, and not limited only to documentation tasks. This article presents the possibilities of 3D TLS and their postprocessing software in the pioneering work related to the digitization of exhibits in The Petroglyphs of Cholpon-Ata Open-air Museum near Lake Issyk-Kul in Kyrgyzstan. A 3DScaMITE methodology adapted for that task is highlighted. The data obtained during the scanning were used to build high-accuracy 3D digital petroglyph models, together with their location within the open-air museum area. The acquired models also allowed a detailed analysis of the geometric parameters of the cavities forming the petroglyph figures. The results of the analysis confirmed the thesis about improper preservation of petroglyphs. It has been demonstrated in this way that the used TLS method is completely universal in documenting petroglyphs, including the location and shape of their place of creation, as well as creating a sufficiently accurate analysis of the structure of drawings.

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Simek, Jan F., Beau Duke Carroll, Julie Reed, Alan Cressler, Tom Belt, Wayna Adams, and Mary White. "The Red Bird River Shelter (15CY52) Revisited: The Archaeology of the Cherokee Syllabary and of Sequoyah in Kentucky." American Antiquity 84, no. 2 (March 12, 2019): 302–16. http://dx.doi.org/10.1017/aaq.2018.89.

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This article reanalyzes petroglyphs from the Red Bird River Shelter (15CY52), a small sandstone shelter in Kentucky. In 2009–2013, it was claimed that some of the carvings at the site represented the earliest known examples of Cherokee Syllabary writing, dating to the first two decades of the nineteenth century. It was also suggested that Sequoyah, the Cherokee artist and intellectual who invented the Cherokee Syllabary in the early nineteenth century, had made these petroglyph versions during a visit to see his white paternal family living in Kentucky. Our reanalysis categorically contests this interpretation. We do not see Cherokee Syllabary writing at Red Bird River Shelter. We do not believe that historical evidence supports the notion that Sequoyah had white relatives in Kentucky whom he visited there at the time required for him to have authored those petroglyphs. We also believe that this account misrepresents Sequoyah's Cherokee identity by tying him to white relatives for whom there is no historical warrant. We argue that the Red Bird River Shelter is a significant precontact petroglyph site with several panels of line-and-groove petroglyphs overlain by numerous examples of modern graffiti, but there is no Sequoyan Syllabary inscription there.

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Dissertations / Theses on the topic "Petroglyphs"

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Judd, Anthony Michael. "Petroglyphs of the Eastern Desert of Egypt." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504505.

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Hambelton, Karla Lucille. "Scratched Petroglyphs in the Bennett Hills, Idaho." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/329.

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This study examines rock art sites containing scratched petroglyphs in the Bennett Hills, Idaho. Despite their research potential, scratched petroglyphs have received little attention in rock art research or literature. This study contributes valuable data to scratched rock art research and the corpus of rock art research in general. Two samples of ten scratched petroglyph sites were examined and recorded for a total of twenty petroglyph sites. Using formal and contextual research methods, multiple attributes of scratched petroglyphs are identified and analyzed. The formal qualities of scratched petroglyphs are examined to define the extent and to characterize the motif assemblage. Formal qualities were also studied to test hypotheses concerning the relationship between scratched and pecked petroglyph styles and associations between scratched petroglyphs and other archaeological phenomena. The contexts of scratched petroglyphs are studied on site and landscape scales to identify correlations with other archaeological phenomena and environments. The formal analyses revealed that there are more scratched petroglyphs in the Bennett Hills than records and literature currently indicate. Few site records document the presence of scratched petroglyphs, although as a result of this analysis it appears to be ubiquitous in the Bennett Hills. It is possible that scratched petroglyphs are under recorded in other locales as well, and that further investigations may identify a greater frequency of scratched petroglyphs throughout the Great Basin. Proper identification of scratched petroglyphs may alter how these properties are evaluated and in turn how they are managed. The Bennett Hills encompass a limited and unique assemblage of scratched petroglyph motifs that are dissimilar to petroglyphs manufactured using other techniques. This is significant in that it helps support the idea that scratched petroglyphs are distinct. Rather than just an alternative method to pecking, scratched petroglyphs serve a unique function that is different from and independent of pecked petroglyphs. Contextual analyses indicated that scratched petroglyphs are located in patterned and significant associations with artifacts, features, environments, and landscapes. The contextual analysis suggested that scratched rock art was produced in a public context in close proximity to subsistence related activities, perhaps in association with resource gathering events. There are various hypotheses that deal with the interaction between scratched and pecked petroglyph styles. Scratched petroglyphs occur both independent of and in association with other pecked petroglyph styles, although scratched petroglyphs do not commonly occur with any one pecked motif. When scratched and pecked petroglyph styles overlap scratched petroglyphs are always later than and superimposed over earlier pecked petroglyphs. Data was collected to test three hypotheses concerning the intention of association between scratched and pecked petroglyphs. It does not appear that scratched petroglyphs serve to obliterate earlier pecked petroglyphs or function as a sketch that would be pecked later. There is evidence that some scratched petroglyphs enhance earlier pecked petroglyphs however, this hypothesis cannot sufficiently describe the range of patterns and associations found in the Bennett Hills scratched petroglyph assemblage. Hypotheses suggesting associations between scratched rock art and other archaeological phenomena were also examined. The association between scratched petroglyphs and scratched stones is deserving of further research. It may also be too soon to dismiss the association between scratched petroglyphs and quartz. The examination of scratched petroglyphs in the Bennett Hills provides a unique insight into the minds of the makers of these petroglyphs, contributing valuable data our knowledge of the prehistoric peoples of the Bennett Hills and surrounding areas.

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De, Roberto Paola. "Information visualization: from petroglyphs to CoDe Graphs." Doctoral thesis, Universita degli studi di Salerno, 2018. http://hdl.handle.net/10556/3083.

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2016 - 2017
Data visualization concerns the communication of data through visual representations and techniques. It aims at enhancing perception and support data-driven decision making so enabling insights otherwise hard to achieve. A good visualization of data makes it possible to identify patterns and enables better understanding of phenomena. In other words, data visualization is related to an innate human ability to quickly comprehend, discern and convert patterns into useful and usable information. Humans have used visual graphical representations as early as 35.000 B.C., through cave drawings. Indeed, human ancestors already reasoned in terms of models or schemata: the visual representation of information is an ancient concept, as witnessed by the rock carvings found. Over the centuries, information visualization has evolved to take into account the changing human needs and its use has become more and more conscious. The first data visualization techniques have been developed to observe and represent physical quantities, geography and celestial positions. Successively, the combined use of euclidean geometry and algebra improved accuracy and complexity of information representation, in different fields, such as astronomy, physics and engineering. Finally, in the last century most modern forms of data representations were invented: starting from charts, histograms, and graphs up to high dimensional data, and dynamic and interactive visualizations of temporal data [41]. Nowadays, the huge amount of information enables more precise interpretation of phenomena so fostering the adoption of infographic techniques, in particular, for supporting managerial decision-making in the business area... [edited by author]
XVI n.s.

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4

James, Heidi. "The rock engravings of several portions of the farm Doornkloof 393 JQ along the Magaliesberg Range /." Pretoria : [s.n.], 2000. http://upetd.up.ac.za/thesis/available/etd-05052005-1110000/.

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Woody, Alanah J. "How to do things with petroglyphs : the rock art of Nevada." Thesis, University of Southampton, 2000. https://eprints.soton.ac.uk/43793/.

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The focus of this thesis is the rock art of Nevada, a state in the western United States. While the previously dominant models of rock art interpretation (hunting-magic and shamanism) have produced significant bodies of research, I argue that both are based on faulty Anthropological theory and produce theorisations which are one dimensional because of the focus on rock art imagery at the expense of site contexts. Because meaning is not derived from the images themselves, but is rather derived from the social contexts of use and production, it is these which must be reconstructed and which will elucidate the imagery. Therefore, it is necessary to examine the details of rock art site contexts, rather than simply select a model and apply it to the site regardless of fit. In short, rock art must be approached as archaeology, albeit informed by ethnography when possible. In this thesis I examine in detail the official rock art site records for the state of Nevada and identify patterns in the contexts and distributions and examine variation and similarities throughout the state. Based on these, I suggest alternative analyses of Nevada's rock art and discuss the role that it may have played in the colonization of the Americas; the symbolic construction of social and ethnic identities; the identification of ritual spaces in pre-history; and the significance of rock art to modern Native Americans.

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Konoske, Ashley Anderson. "The archaeology and rock art of Rock Creek, northwestern Nevada /." abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1436190.

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Thesis (M.A.)--University of Nevada, Reno, 2006.
"May, 2006." Includes bibliographical references (leaves 241-257). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2006]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

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O'Sullivan, Rebecca. "Landscape and connections : petroglyphs of the Altai in the 2nd and 1st Millennium BCE." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:0171a563-274b-4b02-9577-4c31dfe9f388.

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This thesis presents a holistic study of connections in the Altai Mountains of the eastern Eurasian Steppe, as shown by rock-art. Currently divided by four countries, pecked images (petroglyphs) and painted images from the 2^nd-1^st millennium BCE have been subjected to very separate research traditions, exacerbated by language barriers. This thesis focusses on the entire Altai Mountain range as a study area, integrating research published in Chinese and Russian, with supplementary literature in Kazakh and Mongolian consulted. To demonstrate the potential for connectivity and, consequently, movement, a map of accessibility was generated, showing that there are various optimal routes for movement throughout the Altai. The locations of rock-art sites relative to these routes indicate that movement was a key feature contributing to the creation of rock-art. Examining topographic features in the vicinity of rock-art sites of three regions (Mongolia, Russia, PRC) highlighted an association between watercourses and sites, whilst studying the micro-landscape within panels found that the creators of rock-art were not representing the tangible spatial relationship of figures to the landscape. More broadly, similarities between motifs at rock-art sites, as well as on portable art, demonstrate that the people making them, regardless of whether they were aware of it or not, were part of a wider understanding of how to depict subjects. Evidence of this understanding can be found even in regions with very different cultural backgrounds to the Steppe, such as the Chinese Central Plains, demonstrating that groups outside of the Steppe were aware of and using this way of representing. By combining analysis of motifs with that of the landscape, this thesis demonstrates that rock-art as a practice was inherently linked with to the landscape, whereas content and style are more indicative of a wide-ranging belief system amongst Steppe pastoralists, which was expressed aesthetically.

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Pendegraft, Signa Winona. "Ground stone and pecked rock rock art on the Pah Rah Uplands, Washoe County, Nevada /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447618.

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Lishiko, Billiard Berbbingtone. "The politics of production of archaeological knowledge :a case study of the later stone age rock art paintings of Kasam, Northern Zambia." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa.

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Susino, George J. "Microdebitage and the archaeology of rock art an experimental approach /." Connect to full text, 1999. http://hdl.handle.net/2123/606.

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Thesis (M. Sc.)--University of Sydney, 2000.
Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.

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Books on the topic "Petroglyphs"

1

Summers, Kathy. Petroglyphs. San Diego, Calif: KidHaven Press, 2005.

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D, Wilson Meredith, ed. Pohnpaid petroglyphs, Pohnpei. Pohnpei?]: publisher not identified, 1999.

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James, Cowan. Petroglyphs: Prose poems. Rose Bay, NSW: Brandl & Schlesinger, 1996.

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Lacasse, Louise-Solanges. Louise-Solanges Lacasse: Petroglyphs. [Saint-Lambert, Québec]: L.-S. Lacasse, 1995.

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Melnikova, L. V. Shishkinskai︠a︡ pisanit︠s︡a: Shishkinskiye petroglyphs. Irkutsk: Institut zemnoĭ kory SO RAN, 2011.

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Dinosaur National Monument (Agency : U.S.), ed. Dinosaur: Petroglyphs and pictographs. [Washington, D.C.?]: National Park Service, U.S. Dept. of the Interior, Dinosaur National Monument, 2008.

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Newcombe, C. F. Petroglyphs in British Columbia. [Victoria, B.C.?: s.n.], 1997.

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I, Tashbaeva K., and International Institute for Central Asian Studies., eds. Petroglyphs of Central Asia. Bishkek: International Institute for Central Asian Studies, Samarkand, 2001.

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Dubelaar, C. N. South American and Caribbean petroglyphs. Dordrecht, Holland: Foris Publications, 1986.

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Aldo, Colleoni, Mongolyn Shinzhlėkh Ukhaany Akademi, and Consiglio nazionale delle ricerche (Italy), eds. Petroglyphs of Javkhlant Mountain (Mongolia). Trieste: Edizioni Università di Trieste, 2005.

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Book chapters on the topic "Petroglyphs"

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Sundstrom, Linea. "Petroglyphs." In Encyclopedia of Geoarchaeology, 652–60. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-1-4020-4409-0_144.

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Sundstrom, Linea. "Petroglyphs." In Encyclopedia of Geoarchaeology, 1–9. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-030-44600-0_144-1.

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Troncoso, Andrés. "Andean Petroglyphs." In Encyclopedia of Global Archaeology, 329–38. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2560.

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Troncoso, Andrés. "Andean Petroglyphs." In Encyclopedia of Global Archaeology, 1–10. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-51726-1_2560-1.

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Sheng, Su. "Huashan Mountain Petroglyphs." In Encyclopedia of Global Archaeology, 5310–12. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_1270.

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Mulvaney, Ken. "Dampier Archipelago Petroglyphs." In Encyclopedia of Global Archaeology, 3105–9. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2151.

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Sheng, Su. "Huashan Mountain Petroglyphs." In Encyclopedia of Global Archaeology, 1–3. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_1270-2.

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Sheng, Su. "Huashan Mountain Petroglyphs." In Encyclopedia of Global Archaeology, 3509–11. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_1270.

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Mulvaney, Ken. "Dampier Archipelago Petroglyphs." In Encyclopedia of Global Archaeology, 2025–29. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_2151.

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Cliver, Blaine. "Documenting Petroglyphs on Easter Island." In Easter Island, 37–52. Boston, MA: Springer US, 2003. http://dx.doi.org/10.1007/978-1-4615-0183-1_4.

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Conference papers on the topic "Petroglyphs"

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Borodovskiy, Andrew. "PETROGLYPHS OF SALDYAR." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s9.034.

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Helskog, K. "CHANGING PETROGLYPHS – CHANGING BELIEFS?" In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.17.

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This paper takes a starting point in the periodic division of the approximately 6000 petroglyphs made during the last 5000 years BC in a North Norwegian fjord area, the ethnography of changing the hunter-fishing- pastoral Sami population in Fennoscandia and the documentation of their traditional system of belief as documented during the 16th 18th hundreds. In addition, the study draws upon the ethnography of Siberian indigenous populations and their understanding and interaction with other than human life in the environment. The makers of the petroglyphs were hunter - fisher - gatherers. This paper focuses on the communication between humans and non-humans such as spirits, reindeer, European elk (Alces alces), bears, birds, sea mammals, halibut and boats depicted in the rock art, and the environments of which they were a part. The analysis shows distinct diachronic morphological and stylistic differences between figures as well as variation in frequencies, compositions and classes. Variations that illustrates both continuity and discontinuity in stories and beliefs within a relatively small geographic area through time. For example, compositions and morphological changes and differences in groups of figures such as animals might reflect changing beliefs, rituals and identities related to contacts with other populations through time. Likewise, some changes in boats reflect both techno-logical alterations and outside contacts. Boats facilitates coastal mobility, resources exploitations and settlement movements, and there was probably extensive social and trade networks. Sometimes influences came from afar, such as agricultural societies in southern Scandinavia, and/or from foragers further to the east in Fennoscandia, societies that might have influenced how people in the Alta fiord region understood the environment in which they lived. In essence, the paper focuses on changes and continuities in the rock art from perspectives of beliefs.

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Беднарик, Р. Дж. "THE EARLIEST PETROGLYPHS IN THE WORLD." In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.85-100.

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Пещера Аудиториум из комплекса памятников Бхимпетка в центральной Индии, находящегося в Списке всемирного наследия ЮНЕСКО, была первым в мире памятником наскального искусства, отнесенным к Нижнему палеолиту. В статье описывается археологический контекст этого открытия, в частности, особенности пре-ашельской (или Mode 1 для Индии) индустрии каменных орудий. Учитывая, что в настоящее время известно уже четыре памятника с ямочными углублениями, в том числе еще одно в Индии, которые обоснованно отнесены к Нижнему палеолиту, это предположение уже воспринимается не таким преждевременным, как когда оно было высказано впервые. Петроглифы Бхимбетки детально обсуждаются в статье, также как и трудная тема определения их древности. Принят консервативный подход, но он базируется на археологическом контексте в Дараки-Чаттан высказано предположение, что ямочные углубления пещеры Аудиториум тоже могут быть датированы на основе технокомплекса Mode 1 Auditorium Cave at the World Heritage-listed site complex of Bhimbetka in central India was the first site in the world whose rock art was attributed to the Lower Palaeolithic. The archaeological background to this discovery is described, particularly the nature of the pre-Acheulian or Mode 1 lithic industries of India. Bearing in mind that there are now four other cupules sites known, including one more in India, that are soundly attributed to the Lower Palaeolithic, this proposition is no longer as precipitate as it may have appeared when it was first made. The Bhimbetka petroglyphs are discussed in some detail, together with the difficult subject of determining their antiquity. A conservative approach is adopted, but based on the archaeological evidence at Daraki-Chattan, it is suggested that the Auditorium Cave cupules, too, date from a Mode 1 technocomplex.

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Varyonov, A. "Animal style in petroglyphs of Western Tibet." In Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.135-138.

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Казаков, В. В., А. И. Симухин, В. С. Ковалев, К. Б. Жумадилов, and Л. В. Лбова. "Three-dimensional modeling of South Siberian petroglyphs." In Археология и геоинформатика. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-289-6.46-47.

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Kolpakov, Eugen, and Vladimir Shumkin. "Economic activities refected in the petroglyphs of Scandinavia." In SUBSISTENCE STRATEGIES IN THE STONE AGE, DIRECT AND INDIRECT EVIDENCE OF FISHING AND GATHERING. Institute for the History of Material Culture Russian Academy of Science, 2018. http://dx.doi.org/10.31600/978-5-907053-00-7-2018-260-264.

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Tashbaeva, Kadicha. "SUBJECT LINES IN THE PETROGLYPHS OF SAIMALY-TASH." In ANCIENT AND MEDIEVAL CULTURES OF CENTRAL ASIA (THE FORMATION, DEVELOPMENT AND INTERACTION OF URBANIZED AND CATTLE-BREEDING SOCIETIES). Institute for the History of Material Culture of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-09-5-119-121.

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Zaika, A. "Okunev masks among petroglyphs of the Shalobolinskaya pisanitsa." In Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.66-69.

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Tashbaeva, K. "The solar cult represented in petroglyphs of Saymaly-Tash." In Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.133-135.

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Zaika, A., and X. Bo. "ANTHROPOMORPHIC IMAGES OF NORTH CHINA (BASED ON HELANSHAN PETROGLYPHS)." In Ancient cultures of Mongolia, Southern Siberia and Northern China: Transactions of the XIth International Conference (September 8–11, 2021, Abakan). Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-19-4.317-322.

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Reports on the topic "Petroglyphs"

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Hambelton, Karla. Scratched Petroglyphs in the Bennett Hills, Idaho. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.329.

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Schwemm, Catherin. Natural resource condition assessment: Petroglyph National Monument. National Park Service, November 2022. http://dx.doi.org/10.36967/2294627.

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Erosion assessment at the Petroglyph National Monument area, Albuquerque, New Mexico. US Geological Survey, 1995. http://dx.doi.org/10.3133/wri944205.

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