Journal articles: 'Petroglyphs'

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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.2022.1.117-121.

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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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Zotkina, L. V., S. V. Sutugin, N. V. Postnikov, I. D. Rusakova, and R. V. Davydov. "Earliest Rock Art in the Minusinsk Depression: Some Cases of Data Systematization, and Experimental and Trace Studies." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 453–58. http://dx.doi.org/10.17746/2658-6193.2021.27.0453-0458.

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Earliest Rock Art in the Minusinsk Depression: Some Cases of Data Systematization, and Experimental and Trace Studies Cultural and chronological attribution of petroglyphs from the earliest figurative stratum remains one of the current problems in the study of rock art in the Minusinsk Depression. In recent years, this area of research has been actively developing; discussions on the age of the Minusinsk and Angara styles continue, and various solutions to the problem of classification of imagery in early rock art which has grown considerably in recent years, are proposed. Field research in 2021 was aimed at systematizing the available data on early rock art of the Minusinsk Depression, and included detailed experimental and trace studies of the petroglyphs. Systematization of data on the most archaic images of the region included documentation (description and recording) of petroglyphs according to a single standard, taking into account all necessary parameters of panels and individual images for further statistical processing of information about parameters of both petroglyphs and context in which they are located. The study of superimpositions involving early images was carried out along with series of experiments aimed at establishing mechanisms for deforming peck marks at petroglyph intersections. This has led to identifying a number of limitations in our approach to superimposition analysis due to incomplete traces. On the other hand, comparison of experimental data with trace analysis of a large number of petroglyph intersections have revealed new features relevant for establishing the sequence of image production in superimpositions. Experimental and trace studies of the earliest petroglyphs have shown that one of the most important parameters in their cultural and chronological attribution is structural features and sequences of percussion lines within the images.

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Simek, Jan F., Beau Duke Carroll, Julie Reed, Alan Cressler, Tom Belt, Wayna Adams, and Mary White. "There Is No Cherokee Syllabary at Red Bird River Shelter (15CY52): Reply to Tankersley and Weeks." American Antiquity 85, no. 2 (April 2020): 388–91. http://dx.doi.org/10.1017/aaq.2020.5.

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Despite new arguments by Tankersley and Weeks that we misinterpreted petroglyph engravings and ignored site formation processes at the Red Bird River Shelter in Kentucky (15CY52), we remain convinced that there is no evidence for Cherokee Syllabary writing at the site. The petroglyphs are clearly not symbols present in any version of the Cherokee Syllabary. There is no empirical evidence for any site formation processes that have altered the shelter or its petroglyphs in the ways they suggest. There is still no evidence that Sequoyah ever spent any time in the vicinity of Red Bird River Shelter.

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Molodin, V. I., D. V. Cheremisin, Y. N. Nenakhova, and N. Batbold. "Chronology of Rock Art of the Russian and Mongolian Altai: From the Paleolithic to the Late Middle Ages." Archaeology, Ethnology & Anthropology of Eurasia 51, no. 4 (January 3, 2024): 65–77. http://dx.doi.org/10.17746/1563-0110.2023.51.4.065-077.

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This study attempts to elaborate a chronology of rock art in the Russian and Mongolian part of the Altai Mountains, from the Paleolithic to the Late Middle Ages. We focus on the style and themes of rock art and on petroglyphic palimpsests. The earliest representations date to the Upper Paleolithic. On certain palimpsests, images of horses in the Kalguty style are overlaid by Bronze Age petroglyphs. The key challenge is to identify Neolithic petroglyphs. Among the huge number of Bronze Age representations, some follow the traditions peculiar to the Afanasyevo and Chemurchek cultures. The key feature of the latter is so-called “Chemurchek anthropomorphs”. Bronze Age petroglyphs, representing animals, humans, weapons, wheeled vehicles, etc., are chronologically and culturally diverse and must be subdivided respectively. Early Iron Age ones require attribution to either the initial stage or to the mid-1st millennium BC. We discuss the difficulties of analyzing rock art of the Xiongnu-Sarmatian age, the expressive Turkic style, that of the early medieval rock art, and recent petroglyphs of the southern Russian Altai.

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Svoysky, Yuri M., Ekaterina V. Romanenko, Elena S. Levanova, Anna A. Ziganshina, Dmitry M. Pavlov, Olesya A. Kashchey, and Ekaterina R. Birukova. "Petroglyphs at Idrisovskaya II. Methods of Digital Mapping and Record Creation." Ufa Archaeological Herald 24, no. 1 (2024): 92–110. http://dx.doi.org/10.31833/uav/2024.24.2.006.

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Petroglyphs at Idrisovskaya II are located on the left (Western) bank of the Yuryuzan River in Salavatsky District, the Republic of Bashkortostan. The Petroglyphs at Idrisovskaya II are hardly preserved. Therefore, the 1900s researchers faced significant challenges in defining and copying these images. In 2022-2023 a team of authors undertook to study Idrisovskaya II location to mainly adapt the method of comprehensive mapping and record creation for the location of petroglyphs specifically for the Southern Urals conditions. The approach to the record creation was in the first place based reflection relations between heterogeneous data that describe particular surfaces with paintings on them and their landscape context. Mapping of the landscape context and surfaces with petroglyphs was made with 3D modelling and a wide use with satellite geodesic technologies. The outcomes of the landscape context mapping of the petroglyphs location allowed to precisely determine coordinates of the surface and, as a consequence, to guarantee further rediscovery of the images, including non-figurative ones. At the same time, the site mapping results allowed re-indexation of the petroglyph-bearing surfaces. Records of the painted surfaces were also made using 3D modelling. It allowed to correctly reproduce the geometry of the images and avoid angle distortions, Such distortions are unavoidable in photography. Furthermore, 3D modelling allows to avoid damage to the images which often happens due to contact copying methods. Traces of mineral paints were determined through conversion of 3D model bitmap rendering with the decorrelation stretch algorithm. The study used 3 to 5 renders calculated with different methods. The extracted pixels were joined; the obtained image was assigned the pigment colour determined by the active sensor (spectral colorimeter) and classified with according to the Munsell scale. The data obtained in this manner were applied to the 3D model colourless render to form an image. This image s compatible with polygraphic and electronic publication. A complex of above-mentioned inter-related methods and techniques for mapping, record creation, systematization, data analysis and reproduction allow to create a complete digital image of the location of petroglyphs and to obtain the new data of the drawings. Further this digital image becomes the foundation both for publication of the petroglyphs and for comparative research of petroglyphs in different locations based on the reliable basic data.

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Kubarev, G. V. "Study of Petroglyphs in the Lower Reaches of the Chuya River in the Altai." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 488–96. http://dx.doi.org/10.17746/2658-6193.2021.27.0488-0496.

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This article describes the results of author’s work on searching, copying, and interpreting new petroglyphs and inscriptions in the lower reaches of the Chuya River (Ongudaysky District of the Altai Republic) as well as documenting engraved images at the well-known petroglyphic site of Kalbak-Tash I. Despite over a century of studying the petroglyphs at Kalbak-Tash and its monographic publications by V.D. Kubarev, the surfaces with engraved drawings have remained unprocessed or quality of their copying was not high enough. The author briefly examines the history of research into the Kalbak-Tash I petroglyphs, including the works of various scholars on copying the engravings at that site in the recent years. The article discusses technical difficulties in copying fine engravings on rocks, especially if they are a part of large compositions of different periods. History of elaborating techniques for copying engravings and use of both transparent materials and digital photography for this purpose is provided. The author concludes that the best technique for large compositions is to use them as a whole. Preliminary results of coping large engraved compositions on the surfaces of rock I at Kalbak-Tash are presented. Most likely, two chronological layers of overlapping engravings can be distinguished: the Hunnic period and Early Middle Ages. On one of the surfaces, the author discovered and copied a new rune-like inscription. The survey which was conducted on the right bank of the Chuya River in the area from the cliffy bank of Kalbak-Tash to the village of Iodro resulted in discovering new compact petroglyphic sites and two inscriptions (a rune-like line and inscription made in the Uighur script in black paint). The main cluster of petroglyphs from the Iodro site, including the central multi-row tiered composition, belongs to the Bronze Age - Early Iron Age. However, Early Medieval images of deer were also found there.

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Demattè, Paola. "Beyond Shamanism: Landscape and Self-Expression in the Petroglyphs of Inner Mongolia and Ningxia (China)." Cambridge Archaeological Journal 14, no. 1 (April 2004): 5–23. http://dx.doi.org/10.1017/s0959774304000010.

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Petroglyph sites in the Yinshan and Helanshan ranges were documented during a recent survey. Archaeological remains indicate that these areas have for millennia been both militarized borders and osmotic trading zones connecting the pastoral people of northern Asia and the Chinese world. Petroglyphs form a significant part of the material and symbolic culture of this transitional zone from the Neolithic down to the later dynastic phases (nineteenth century). By using newly-gathered data, this article moves away from interpretations which see rock art as a wholly shamanistic phenomenon, introducing territory and iconography as key elements for the understanding of local geographies, cultural interactions, and the agencies of identity. The location of the sites indicates that petroglyphs were next to travel routes and may have served as territory markers and meeting places. In addition, the scattering of marked rocks in key locations suggests that petroglyphs were markers of identity essential for a people who were engaged in a dialectic contention with the expanding agricultural world. The sense of identity can be perceived also in the subject matter (wild and domesticated animals, hunting and herding scenes, faces) which seems to emphasize respect for, or even enjoyment of, pastoral and nomadic life.

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Thorpe, Adam. "Petroglyphs." Hudson Review 55, no. 4 (2003): 621. http://dx.doi.org/10.2307/3852550.

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Fox, W. F. "petroglyphs." Interdisciplinary Studies in Literature and Environment 6, no. 2 (July 1, 1999): 211. http://dx.doi.org/10.1093/isle/6.2.211.

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Lepper, Bradley T., James R. Duncan, Carol Diaz-Granados, and John Soderberg. "Ohio Rock Art and Serpent Mound: Shared Iconography, Shared Stories." Midcontinental Journal of Archaeology 48, no. 2 (July 1, 2023): 147–71. http://dx.doi.org/10.5406/23274271.48.2.03.

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Abstract James Swauger's study of Ohio's rock art, Petroglyphs of Ohio, has been the definitive guide to the subject since its publication in 1984. Swauger concluded that the Indigenous American Indian petroglyphs were created during the late precontact period and proposed that the makers of the designs were “proto-Shawnee,” but he deliberately eschewed any attempt to attribute meanings to the designs. Building on Swauger's work, we consider Ohio rock art through the lens of our previous research on Serpent Mound and the rock art of midcontinental North America, particularly the unique suite of pictographs at Picture Cave, as interpreted through the lens of Dhegiha Siouan oral traditions. We argue that several Ohio petroglyph sites include configurations of motifs that represent episodes from an ancient and widespread Indigenous creation story featuring the Great Serpent, Lord of the Beneath World, and First Woman, the mother of all living things.

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Hermann, Luc, and Napil Bazylkhan. "Kazakh ethnographic petroglyphs and an Arabic inscription in Eshkiolmes." Археология Казахстана, no. 2 (20) (June 30, 2023): 222–31. http://dx.doi.org/10.52967/akz2023.2.20.222.231.

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An Arabic inscription most probably from the 19th century and some Kazakh ethnographic petroglyphs were found in the valley 5 in Eshkiolmes (Almaty region, Kazakhstan). The Arabic inscription consists of 12 characters and does not represent the person who wrote it, but is a description of the landscape or, possibly, the name of a toponym. This inscription is associated with a petroglyph of a zoomorph, raising the question of the relation between the inscription and the depicted animal. Moreover, this inscription, as well as numerous other inscriptions in Arabic in Kazakhstan, as well as in Kyrgyzstan, show that even shepherds could write before the Soviet Union again launched a campaign to eliminate illiteracy. For this reason, the alphabetization of Central Asia before the Soviet period should be questioned. This article also analyzes two other panels with Kazakh ethnographic engravings of this location in order to see the influence of earlier petroglyphs in the Kazakh ethnographic period.

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Likhachev, Vadim A. "New findings of clusters of petroglyphes on Canozero (period 2017–2019)." Transaction Kola Science Centre 11, no. 1-2020 (October 19, 2020): 85–109. http://dx.doi.org/10.37614/2307-5252.2020.1.18.006.

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For the period 2017–2019 five new groups of petroglyphs and a significant number of previously unknown ones in already documented panels of petroglyphs were revealed on the rocky islands of the Kanozero Lake. The discovery of petroglyphs was facilitated by the use of photogrammetric techniques, as well as careful night photographing of rocks with petroglyphs. This publication presents findings of five new panels with more than 40 petroglyphs in total. These findings expand our ideas about the stylistic diversity of the Kanozero petroglyphs, about the range of heights above level of the lake on which stylistically close petroglyphs were made. In this work, new motifs and compositions of rock carvings are introduced, both having analogues and previously nottypical of Kanozero.

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Nenakhova, Yu N. "Neolithic Layer of Rock Art of North and Central Asia in the Writings of Academician A.P. Okladnikov." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 575–80. http://dx.doi.org/10.17746/2658-6193.2021.27.0575-0580.

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The formation of the main researches directions in domestic petroglyphology is associated with Academician A.P. Okladnikov. The researcher discovered and examined dozens of petroglyph locations in North and Central Asia. A.P. Okladnikov has developed a concept of cultural and chronological interpretation of rock art. For each chronological stratum, from the Paleolithic to the late Middle Ages, a general and particular set of criteria and features was determined, on the basis of which he first identified the Neolithic stratum of petroglyphs on a number of sites. General criteria for rock art are size, location on the plane, nature and technique, style, visual perception of the figure, and parallels. Subject consideration of the Neolithic images series identified by A.P. Okladnikov, also allow you to present their distribution in quantitative terms by region. Moreover, the researcher correlated specific images and compositions with the Neolithic era, i.e. elk (dominates), deer, birds, fish, snakes, bear, and animals without a clear species attribution; as well as hunting scenes (without human participation), processions of animals, etc. After the publication of the A.P. Okladnikov’s first generalizing works, in the scientific circles, the discussion focused on certain aspects of the Neolithic images selection. Without denying the likelihood of the Neolithic petroglyphs presence, the possibility of their identification, the quantitative parameter, as well as the validity of comparison with figurines was discussed. Note that within the framework of the current scientific situation, the Turochak petroglyphs locality (Altai) is dated differently, and there is a polemic towards the Tomsk and Shishkino rock art site (Western Siberia and the Baikal region, respectively). At the same time, note that many researchers began to confidently date the petroglyphs of North and Central Asia to the Neolithic period. Scientific heritage of A.P. Okladnikov is in demand and relevant nowadays.

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SADLER, LYNN VEACH. "Pipestone Petroglyphs." Anthropology and Humanism 34, no. 1 (May 5, 2009): 113. http://dx.doi.org/10.1111/j.1548-1409.2009.01030.x.

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Lobanov, N. V. "Petroglyphs of Karelia in the context of their relationship with surrounding landscape." Heritage and Modern Times 5, no. 4 (January 27, 2023): 406–25. http://dx.doi.org/10.52883/2619-0214-2022-5-4-406-425.

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Petroglyphs of Karelia are one of the most valuable and largest concentrations of Rock Art monuments of Neolithic hunters-fishermen-gatherers in Northern Europe. The main territory of the monuments is an integral part of the historical and cultural landscapes preserved from antiquity, which have exceptional attractiveness, originality and a certain natural uniqueness. In 2021, petroglyphs of Karelia were included in the UNESCO list, they became the first monument of rock art from Russia.The proposed article is devoted to study of the sacred natural space of Karelian rock carvings. Special emphasis is placed on the manifestations of the organic relationship of ancient rock art panels with the surrounding landscapes and with the features of the rock microrelief itself. The author analyzes the possible motivating reasons for the Rock Art appearance on the eastern shore of the Onega Lake and in the Vyg River delta, gives some examples of the inclusion of petroglyphic motifs and scenes in the natural relief of rock panels and their possible interpretation.

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Simek, Jan F., Jay D. Franklin, and Sarah C. Sherwood. "The Context of Early Southeastern Prehistoric Cave Art: A Report on the Archaeology of 3rd Unnamed Cave." American Antiquity 63, no. 4 (October 1998): 663–77. http://dx.doi.org/10.2307/2694114.

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In the deep recesses of “3rd Unnamed Cave,” a karst cavern in Tennessee, evidence for an ancient association between dark zone cave art and chert mining has recently been documented. The art comprises petroglyphs on the ceiling of a chamber more than 1 km from the cave entrance. On the floor below the art, natural sediments were excavated prehistorically to obtain high-quality chert nodules. Radiocarbon age determinations place the mining during the Terminal Archaic period. Studies in lithic technology, geoarchaeology, and petroglyph description are presented.

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Francis, Julie E., Lawrence L. Loendorf, and Ronald I. Dorn. "AMS Radiocarbon and Cation-Ratio Dating of Rock Art in the Bighorn Basin of Wyoming and Montana." American Antiquity 58, no. 4 (October 1993): 711–37. http://dx.doi.org/10.2307/282204.

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Samples of organic matter and rock varnish from seven rock-art sites in the Bighorn Basin of Wyoming and Montana were collected for dating purposes. Petroglyphs sampled include Dinwoody-style figures, shield-bearing warriors, and other well-known Plains rock-art motifs. Accelerator mass spectrometry (AMS) dating of 10 petroglyphs yielded dates from the Early Archaic to the Protohistoric periods. A strong numerical relation between varnish leaching and time was found for petroglyphs older than 1,000 years, permitting the derivation of a cation-leaching curve (CLC) and calibrated cation-ratio (CR) ages for 15 different petroglyphs. No clear numerical relation between varnish leaching and time was found for petroglyphs less than 1,000 years old, possibly due to historical damage or past environmental conditions. As a result, calibrated CR ages could not be derived for six petroglyphs, and they are considered to be only younger than 1,000 years. Although further research is needed to establish whether one CLC can be used for all petroglyphs in the region, these studies constitute the first numerical chronology for rock art in the Bighorn area. Results indicate the occurrence of spatially discrete, but temporally concurrent styles in the Bighorn Basin during the last 800-900 years.

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Tolmacheva, Elena G. "Study and publication of the heritage of the Nubian archaeological expedition of the USSR Academy of Sciences. Petroglyphs of Umm-el-Agaib (Khukab-Karar). Part 2. Historical and cultural context of the site." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 4 (November 20, 2023): 117–31. http://dx.doi.org/10.32521/2074-8132.2023.4.117-131.

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Introduction. This article is a publication of the first results of the work under the grant of the Russian Sciences Foundation "Scientific research of the Nubian Archaeological Expedition of the USSR Academy of Sciences 1961–1963…" related to the study of petroglyphs found during the work of the Nubian Expedition of the USSR Academy of Sciences, organized in 1961. Materials and methods. After construction of the Aswan dam, the territories where the Soviet expedition worked as well as many other foreign scientific organizations, were flooded. Thus, the negatives of black-and-white photographs of petroglyphs preserved in the archives, along with some previously published data, are the only source of our information. Individual petroglyphs and groups of petroglyphs have never been outlined properly. This became our task at the first stage, when the drawings of individual signs were made in the Photoshop program (Adobe Photoshop CC version 10.1.2 ×64). Results and discussion. In recent decades the study of petroglyphs of the Eastern and Nubian deserts has become one of the main areas of archaeologists’ work. It seems relevant to us to re-study the petroglyphs discovered by the Nubian Soviet expedition, analysis of some subjects and images, development of the main approaches to study. The study of the approaches existing in the scientific literature to the dating and classification of petroglyphs of the Eastern and Nubian deserts gives an idea of the disputable nature of the most chronologies. The study of petroglyphs of Hukab-Karar is complicated by the limitations of the source – the quality of the photo does not always allow us to draw conclusions about the technique of execution of a particular sign. Nevertheless, a number of these petroglyphs can be dated by analogy with the petroglyphs from the well-known sites, as well as using published and handwritten descriptions of the participants of the Nubian expedition. Conclusion. About 200 petroglyphs discovered by the Nubian Expedition of the USSR Academy of Sciences in a place called Umm-Aghaib (Huqab-Karar) have been published. Among them are numerous images of African fauna are presented. There are also images of hunting scenes, animals and birds, boats, tribal signs, anthropomorphic images dating to the widest historical period. @ 2023. This work is licensed under a CC BY 4.0 license

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Gortner, Willis A. "Evidence for a Prehistoric Petroglyph Trail Map in the Sierra Nevada." North American Archaeologist 9, no. 2 (October 1988): 147–54. http://dx.doi.org/10.2190/5gdu-1c21-5t63-1vdf.

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A single petroglyph site in the North-Central Sierra Nevada in the upper watershed of the North Fork of the American River has a unique glyph with meandering and connecting wavy lines that are now proposed as trail maps. A tracing of this glyph was made from a photograph, and this was then placed with the same compass alignment on a topographic map showing all petrographic sites along the North Fork watershed. The ability to superimpose and accurately orient the glyph tracing over a map of these petroglyph sites, and the presence of petroglyphs on seventy-seven individual rock outcroppings mostly within 50 m of the presumed trails, support the trail map interpretation of this rock carving. It is suggested that a hunt shaman may have incised this glyph for ritualistic use.

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Andreae, Meinrat O., and Tracey W. Andreae. "Archaeometric studies on rock art at four sites in the northeastern Great Basin of North America." PLOS ONE 17, no. 1 (January 26, 2022): e0263189. http://dx.doi.org/10.1371/journal.pone.0263189.

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Rock art originated some 46,000 years ago and can provide unique insights into the minds of our human ancestors. However, dating of these ancient images, especially of petroglyphs, remains a challenge. In this study, we explore the potential of deriving age estimates from measurements of the areal densities of manganese (DMn) and iron (DFe) in the rock varnish on petroglyphs, based on the concept that the amount of varnish that has regrown on a petroglyph since its creation, relative to the surrounding intact varnish, is a measure of its age. We measured DMn and DFe by portable X-ray fluorescence (pXRF) on dated Late Pleistocene and Holocene rock surfaces, from which we derived accumulation rates of Mn and Fe in the rock varnish. The observed rates were comparable to our previous findings on basalt surfaces in North America. We derived age estimates for the rock art at four sites in the northern Great Basin region of North America based on DMn measurements on the petroglyphs and intact varnish. They suggest that rock art creation in this region began around the Pleistocene/Holocene transition and continued into the Historic Period, encompassing a wide range of styles and motifs. Evidence of reworking of the rock art at various times by Indigenous people speaks of the continued agency of these images through the millennia. Our results are in good agreement with chronologies based on archeological and other archaeometric techniques. While our method remains subject to significant uncertainty with regard to the absolute ages of individual images, it provides the unique opportunity to obtain age estimates for large ensembles of images without the need for destructive sampling.

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Likhachev, Vadim A. "Kanozero rock art complex: New figures of Kamenny 4 panel." Transactions of the Kоla Science Centre. Series: Natural Sciences and Humanities 3, no. 2/2024 (June 28, 2024): 132–38. http://dx.doi.org/10.37614/2949-1185.2024.3.2.013.

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The paper presents new documentation of the Kamenny 4 panel with petroglyphs of the Kanozero rock art complex. Drawings of petroglyphs and microrelief elements are made based on 3D model obtained with the help of the photogrammetry technique. Refinements of known figures and revealed new images are necessary for detailed compositional analysis of the cluster and hypotheses on interpreting this composition of petroglyphs.

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Komissarov, S. A., and Yu A. Azarenko. "Petroglyphs of Taiwan." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 25 (2019): 409–14. http://dx.doi.org/10.17746/2658-6193.2019.25.409-414.

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Christenson, Andrew L., and James L. Swauger. "Petroglyphs of Ohio." American Indian Quarterly 13, no. 2 (1989): 203. http://dx.doi.org/10.2307/1184068.

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Oynazarov, Xolyor. "PETROGLYPHS OF GADOYTOPMASSOY." JOURNAL OF LOOK TO THE PAST 15, no. 2 (August 15, 2019): 98–107. http://dx.doi.org/10.26739/2181-9599-2019-15-12.

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The scientific significance of Gadoytopmassoy paintings is that they provide the scientific basis for the emergence and development of early art in Uzbekistan. It serves as scientific sources on the mythological and religious worldview and imagination of the ancient population

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Bednarik, Robert G. "Petroglyphs of Victoria." Proceedings of the Royal Society of Victoria 132, no. 1 (2020): 7. http://dx.doi.org/10.1071/rs20001.

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Victorian rock art in its Australian context is considered, focusing on petroglyphs and the natural markings mistaken for rock art. Nearly all known Victorian petroglyphs occur in limestone caves, with only three minor sites currently reported to be above ground. These occurrences are described briefly, and an explanation of their distribution in the context of Tasmanian and mainland rock art suites is attempted.

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Kagazezhev, Zh V. "Petroglyphs of Khagondokovo." News of the Kabardin-Balkar Scientific Center of RAS 4, no. 114 (2023): 121–31. http://dx.doi.org/10.35330/1991-6639-2023-4-114-121-131.

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Tankersley, Kenneth Barnett, and William Rex Weeks. "Red Bird and Sequoyah: A Reply to Simek et al." American Antiquity 85, no. 2 (April 2020): 383–87. http://dx.doi.org/10.1017/aaq.2020.4.

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Red Bird was a Cherokee murdered at the Red Bird River Petroglyph site (15Cy51) and buried at the Red Bird River Rockshelter (15Cy52) during the late eighteenth century, where he left an important record of traditional petroglyphs. His legacy is key to understanding the origins of Sequoyah's Cherokee Syllabary and its relationship to rock art. Personal testimonies of Red Bird's descendants are supported by primary documents and archaeological evidence, including the letters of Sequoyah's maternal uncle, John Watts, and prototypes of Cherokee Syllabary characters engraved at 15Cy52 in 1808, when members of Sequoyah's matrilineal family resided nearby.

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Likhachev, V. A. "New findings of petroglyphes at Kanozero in Eloviy 3 panel." Transaction Kola Science Centre 12, no. 1-2021 (October 19, 2021): 132–54. http://dx.doi.org/10.37614/2307-5252.2021.1.20.009.

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For the period 2016–2019 a significant number of previously unknown petroglyphs were revealed in the Elovy 3 panel (the Elovy Island, Kanozero Lake). Detection of petroglyphs was facilitated by the use of photogrammetry techniques, careful night photographing of the panel with petroglyphs. The total number of new revealed rock carvings is is over 150, among them about hundred figures are recognizable and fall into one of the categories accepted in the study of rock art (anthropomorphs, zoomorphs, etc.).These findings expand our ideas about the stylistic diversity of the Kanozero petroglyphs. In this work, new motifs and compositions of rock carvings are introduced, both having analogues and previously not typical for the Kanozero rock art complex.

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Likhachev, Vadim A. "Ancient quarry at Kanozero: traces of crystalline schist quarrying at the Kamenny 5 panel." Transactions of the Kоla Science Centre. Series: Natural Sciences and Humanities 1, no. 1/22 (December 28, 2022): 185–95. http://dx.doi.org/10.37614/2949-1185.2022.1.1.018.

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It is known that some sites of rock art finds coexist with traces of mining: stone material for making tools, asbestos for ceramics, ocher for paint, etc. The petroglyphs of Kanozero also turned out to be associated with “mining”. So, near the group of petroglyphs Kamenny 5 on Kamenny Island, a rocky area was discovered where crystalline schist was mined, probably used to make stone tools. The article provides a description of the traces of mining at this rock outcrop, the stages of separating stone blocks that could be traced. A discussion is proposed regarding the connection of this mining of stone with making of petroglyphs. Recently discovered petroglyphs of this panel are also published.

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Mohammadi Sefidkhani, Ramin, and Hossein Sarhaddi-Dadian. "Introducing Newly Documented Rock Art in Mianeh County of the East Azarbaijan Province in North-Western Iran." Annals of the Náprstek Museum 43, no. 1 (2022): 125–38. http://dx.doi.org/10.37520/anpm.2022.008.

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This essay seeks to conduct a short study for the first time of the classification of a number of petroglyphs in Mianeh County in the Eastern Azarbaijan Province. The north-western region of Iran is one of the richest regions in rock art; due to its abundant springs, landscape, and the specific lifestyle of nomads who regularly move around the same places. The petroglyphs were discovered 20 km west of Mianeh City on the right side of Tabriz Road, and are located on a black mountain in the Chupughlu region. One of the key challenges in the study of the petroglyphs in Iran and north-western region of Iran is their dating. Due to the lack of laboratorial equipment, they have not been studied yet. During the survey in 2016 of the Chupughlu region almost seventy sites were identified and are located at a distance of between 60–100 m from each other. Here we present eleven sites. The petroglyphs of Mianeh are among the most original and admirable petroglyphs that reflect parts of the life of the residents of this region in the past. The most remarkable images found through the petroglyphs consist of human, animal, and geometrical images

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E., GIENKO, and Parshikov S. "PETROGLYPH WITH SYMMETRICAL SPIRALS IN THE AREA OF CHUI-OOZI." Preservation and study of the cultural heritage of the Altai Territory 28 (2022): 175–82. http://dx.doi.org/10.14258/2411-1503.2022.28.25.

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The article describes a compact petroglyph with symmetrical spirals (10 cm), discovered by E.P. Matochkin in 2012 near the confluence of the Katun and Chuya rivers (Kalbak-Tash-I and II). The petroglyph is a palimpsest in which horns in the form of symmetrical spirals are added to the original image of a hoofed animal. The different timing and technique of the drawings are noted. The parallels with the symbolism of the symmetrical spiralsin the bronze ornaments of the Andronovo culture are made. The high accuracy of the location of the symmetry axis of the drawing in the meridian (0.14 degrees) is demonstrated, which confirms the importance of the northern direction in ancient mythological representations. It is proposed to determine the orientation of petroglyphs and rock planes with drawings by fixing the moment of photographing a shadow and light picture.

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Allen, Jr., Hubert A., and Terry Edward Ballone. "Star Imagery in Petroglyph National Monument." Culture and Cosmos 08, no. 0102 (October 2004): 7–14. http://dx.doi.org/10.46472/cc.01208.0205.

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Petroglyph National Monument, in Albuquerque, New Mexico, USA, is dedicated solely to preserving an estimated 17,000 carvings on rock (petroglyphs) made by ancestral and historic Native Americans, early colonists and regional visitors. Among the images that recur along the 17 miles of volcanic escarpment is a four-pointed star, sometimes called the ‘star-being’ or ‘star-head’ by locals and park guides, as it usually involves some degree of anthropomorphism. This image may be as simple as a circle with four symmetrically disposed points and no other details to as elaborate as the basic star-head with facial features, crown and body with, perhaps, limbs holding objects – a cane, staff, or club. This project involved a photographic field survey of the ‘star-head’ image in the Monument. Two teams of two and three surveyors combed the escarpment rock (height ranging from 10m - 100m high) and identified and photographed approximately 100 ‘star-head’ images. Results include a classification of ‘star-head’ images according to level of detail, size of images, and associations with other petroglyphs and archaeological remains. The literature review discusses the possible role of this icon as a war symbol and a Venus deity and provides a rough time line of their creation and cultural associations.

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Iliasov, Lecha Makhmudovich. "On the issue of the methodology of the study of petroglyphs of medieval architectural structures of the North Caucasus." Genesis: исторические исследования, no. 5 (May 2024): 1–10. http://dx.doi.org/10.25136/2409-868x.2024.5.70588.

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The article is devoted to the problems of the methodology of the study of petroglyphs of architectural structures of the North Caucasus. The author considers methodological approaches to the interpretation of their semantics, taking into account the dual nature of petroglyphs of architectural structures, which, on the one hand, are a special cultural phenomenon with their pictorial traditions and a set of symbols, and, on the other, genetically go back to rock art, respectively, possessing the properties of rock paintings. The author believes that, interpreting the semantics of petroglyphs and their compositions, it is very important to take into account the historical context in which they were created and consider their significance in line with religious traditions relevant to the population of that era. According to the author, epic formulas or ideograms that originate in rock art play a special role in deciphering the meaning of petroglyphs of architectural structures, and in petroglyphs of architectural structures they acquire a specific character due to a narrow set of sacred symbols. The methodological basis of the research is a set of general historical, ethnographic and archaeological research methods, the use of which is determined by the nature of the material being studied. The author believes that, despite the difficulties of interpreting petroglyphs of architectural structures associated with the reconstruction of religious and mythological representations of the ancient population, it is a certain set of sacred symbols and their compositions, as well as epic formulas, that are the key to their deciphering. Petroglyphs of architectural structures have their origin in ancient rock art, which makes it possible to use in their research, including methodological techniques for studying rock paintings, the historiography of which has almost 150 years and a huge number of scientific monographs and articles. At the same time, the petroglyphs of medieval buildings in the North Caucasus possessed expressive self-sufficiency, which allowed the peoples of the region to use it to fix their religious, mythological and social traditions for transmission to the next generations.

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Kolnegari, Mahmood, Mohammad Naserifard, Mandana Hazrati, and Matan Shelomi. "Squatting (squatter) mantis man: A prehistoric praying mantis petroglyph in Iran." Journal of Orthoptera Research 29, no. 1 (March 13, 2020): 41–44. http://dx.doi.org/10.3897/jor.29.39400.

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A 14-cm motif of a six-legged creature with raptorial forearms was discovered in the Teymareh rock art site in central Iran (Markazi Province) during a 2017 and 2018 survey of petroglyphs or prehistoric stone engravings. In order to identify it, entomologists and archaeologists compared the motif to local insects and to similar motifs and geometric rock art from around the world. The inspected motif resembles a well-known ”squatter man” motif based on aurora phenomena and found all over the world, combined with a praying mantid (Mantodea), probably a local species of Empusa. The petroglyph proves that praying mantids have been astounding and inspiring humans since prehistoric times.

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44

Schaafama, Polly. "The Petroglyphs and Pictographs of Missouri:The Petroglyphs and Pictographs of Missouri." American Anthropologist 103, no. 4 (December 2001): 1182–83. http://dx.doi.org/10.1525/aa.2001.103.4.1182.

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45

Hubbard, Timothy L., and Susan E. Ruppel. "The (Dynamic) Mind in the Cave." Empirical Studies of the Arts 35, no. 1 (July 24, 2016): 67–92. http://dx.doi.org/10.1177/0276237416638487.

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Four experiments examined whether reported looming of cave paintings and petroglyphs was due to representational momentum. Participants viewed a target photograph of a cave painting or petroglyph, and then a probe photograph of the same cave painting or petroglyph was presented. The viewpoint in the probe was closer, the same as, or farther than the viewpoint in the target. Participants judged if the probe viewpoint was (a) the same as or different from the target viewpoint or (b) closer, the same distance as, or farther than the target viewpoint. Experiments 1, 2, 3A, and 3B presented photographs of objects and entities, and Experiments 4A and 4B presented photographs of handprints and stencils. In all experiments, responses were not consistent with representational momentum, but were consistent with boundary extension. It is suggested perception of looming arises with continued inspection and reflects a mismatch between previously perceived (displaced) and currently perceived information.

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46

Molodin, V. I., D. V. Cheremisin, N. Batbold, Yu N. Nenakhova, L. V. Zotkina, and B. Umirbyek. "New Petroglyphs of the Baga-Oygur River (Right Bank) in Northwestern Mongolia." Vestnik NSU. Series: History and Philology 23, no. 5 (May 23, 2024): 95–105. http://dx.doi.org/10.25205/1818-7919-2024-23-5-95-105.

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Purpose. The prehistory of the Mongolian Altai is represented by chronologically various archaeological sites, especially the rock art ones. In 2023 (as part of 2019 season), the Russian-Mongolian expedition continued to study the rock art complexes in northwestern Mongolia.Results. On the right bank of Baga-Oygur River, 7 new petroglyphs locations were discovered; the photo and graphic documenting of multi-temporal compositions was performed. In particular, the earliest petroglyphs of the “Kalguty” style were studied. Conclusion. Dozens of images refer to the Bronze Age; images and scenes of the Early Iron and Medieval periods are also discovered. Along with the points where petroglyphs are concentrated and strictly localized, a wide distribution of petroglyphs was noted on boulders lying on coastal terraces, as well as on rocky outcrops and on the peaks of the mountain frame of the river.

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47

Polosmak, N. V., M. A. Shah, and L. P. Kundo. "PETROGLYPHS OF ZANSKAR, INDIA: FINDINGS OF THE 2016 SEASON." Archaeology, Ethnology & Anthropology of Eurasia 46, no. 2 (June 29, 2018): 60–67. http://dx.doi.org/10.17746/1563-0110.2018.46.2.060-067.

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This article introduces new petroglyphs found in 2016 by the Russian-Indian expedition in Zanskar, India. For the fi rst time in this region, we discovered images unilaterally pecked out on small rectangular plates at abandoned Buddhist sanctuaries. Unlike tens of thousands of famous images from Ladakh and Zanskar, these are examples of mobile art, i.e., they could be moved from one place to another. They show scenes of fi ghting wild yaks, a hunter on horseback accompanied by a dog, and a Buddhist stupa. Especially interesting are several kindred scenes reproducing fi ghts between male yaks, which occur in the fall, during the rut. Images realistically and accurately convey a tense atmosphere of rivalry. The image of a horse is unusual. The animal is decorated with a breast tassel and a head plume or sheathed forelock, marking the horseman’s high rank and setting the representation apart from other known images of horses in the petroglyphic art of Ladakh and Zanskar. Very important is the archaic type of stupa, before which the yaks are fi ghting. It provides one of the clues for dating the whole composition, since such types of stupas were built from the 1st century BC onwards. It is proposed that the newly found petroglyphs represent a hitherto unknown tradition of using small specially prepared stone plates.

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48

Baitileu, Darkhan, Zhaken Taimagambetov, and Talgat Mamirov. "Spatial Organization and Cave Paintings of Toleubulak Large Grotto in Mugodzhar." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 30, 2022): 219–31. http://dx.doi.org/10.55086/sp222219231.

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This article introduces the material on the Mugodzhar petroglyphs for scientific discussion. For the first time, full-fledged copies of cave paintings obtained during the continuous fixation of the flat surfaces of the Toleubulak large grotto are published, which allows attracting a wide range of researchers to study and analyze the earliest rock art of Kazakhstan. A comparative and narrative-stylistic study and an analysis of the technique of cave paintings in the Toleubulak large grotto helped to identify three main chronological layers with cave paintings: petroglyphs of the pre-Paleometallic epoch (Neolithic), petroglyphs of the transition period from the Stone Age to the Bronze Age (Eneolithic–Early Bronze) and petroglyphs of the Late Bronze Age. The new interpretation of cave paintings of mushroom-shaped figures of the late Bronze Age is proposed. Thus, parallels are drawn with the images of the labyrinths of Dagestan, the drawings on the Northeastern Caspian sanctuary, the labyrinths of the White Sea and the arrow-shaped structures of Ustyurt.

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KOLPAKOV, E. M., A. I. MURASHKIN, A. YU TARASOV, A. A. MALYUTINA, and K. N. STEPANOVA. "PETROGLYPHS OF KANOZERO: EXCAVATIONS." TRANSACTIONS OF THE INSTITUTE FOR THE HISTORY OF MATERIAL CULTURE Russian Academy of Science, no. 26 (2022): 52–63. http://dx.doi.org/10.31600/2310-6557-2022-26-52-63.

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50

Beyazıt, Mustafa, and Başaran Doğu Göktürk. "The Petroglyphs of Yandaklıdere." Journal of Ankara Studies 10, no. 1 (2022): 1–44. http://dx.doi.org/10.5505/jas.2022.10327.

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Journal articles on the topic 'Petroglyphs'

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