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Journal articles on the topic 'Rock art'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 June 2024

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1

Kitchenham, Paul. "Rock Art: “Tatooing” Rocks?" Time and Mind 2, no. 3 (January 2009): 347–48. http://dx.doi.org/10.2752/175169609x12464529903254.

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2

Porr, Martin. "Rock art as art." Time and Mind 12, no. 2 (April 3, 2019): 153–64. http://dx.doi.org/10.1080/1751696x.2019.1609799.

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3

Gamble, Clive. "Brilliant — rock art and art rock in Australia." Nature 351, no. 6328 (June 1991): 608. http://dx.doi.org/10.1038/351608a0.

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4

Rosenfeld, Andrée. "Rock art and rock markings." Australian Archaeology 49, no. 1 (January 1999): 28–33. http://dx.doi.org/10.1080/03122417.1999.11681653.

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5

Deboer, Warren. "Handbook of Rock Art Research:Handbook of Rock Art Research." American Anthropologist 105, no. 1 (March 2003): 214–15. http://dx.doi.org/10.1525/aa.2003.105.1.214.2.

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6

Aas, Lars Reinholt. "The rock and the hunter. The significance of rocks and boulders in rock art production in the western Himalayas." Archaeological Dialogues 24, no. 2 (December 2017): 155–74. http://dx.doi.org/10.1017/s1380203817000204.

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AbstractThis paper is an addition to the recent advances in the field of rock art research and aims to accentuate the significance of rocks and boulders in the production of rock art. I argue that the rock itself must be recognized as an important element in rock art production even in cases where there are no discernible connections between the rock art images and the irregularities found in the rock surface. The paper concerns rock carvings from the Taru Thang site in Ladakh in northern India and builds on ethnography drawn from the Dardic-speaking people of the western Himalayas. I argue that the rocks must be understood as devices of communication between hunters and their supernatural allies, and that the images represent messages conveyed through the rock interface. In these acts of communication, the geological irregularities of the rock surface serve no purpose and have been avoided rather than included in the compositions.
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7

Searight, Susan. "Rock Art Congress." Anthropology Today 11, no. 6 (December 1995): 18. http://dx.doi.org/10.2307/2783521.

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8

Solomon, Anne. "San Rock Art." Safundi 16, no. 2 (April 2, 2015): 244–50. http://dx.doi.org/10.1080/17533171.2015.1024971.

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9

Turner, Mark, Stephen Dowsland, Aron Mazel, and Myra Giesen. "Rock art CARE." Journal of Cultural Heritage Management and Sustainable Development 8, no. 4 (November 19, 2018): 420–33. http://dx.doi.org/10.1108/jchmsd-09-2017-0064.

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Purpose Crowdsourcing heritage information has enormous potential to help gather data needed to make decisions over the deployment of resources and heritage conservation funding. Taking advantage of the rapid proliferation of mobile devices, such as phones and tablets, packed with sensors to record data about the real world, and the global growth of mobile app stores, reaching potential crowdsourcing volunteers is easier than ever before. The purpose of this paper is to describe the design of a mobile application known as Rock Art CARE (condition assessment risk evaluation) to crowdsource heritage conservation data, in the context of rock art conservation. Design/methodology/approach As with conservation efforts of any kind, accurate information is vital to make informed triage decisions over where to route effort, resources and funding. The Rock Art CARE application is a cross-platform mobile application for crowdsourcing information about rock art carvings, where the collated data are stored in a central location for access by different stakeholders. Findings The paper goes on to detail the web portal with its application programming interface and database schema, and how the collected data are passed on to policy and decision makers to aid in the identification and conservation of the carvings most at risk. Originality/value The paper presents a method of harnessing common technology to forge a link between the mobile devices of the general public and key stakeholders responsible for the preservation of the UK’s rock art.
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10

Kloor, K. "Rock Art Dustup." Science 320, no. 5881 (June 6, 2008): 1275c. http://dx.doi.org/10.1126/science.320.5881.1275c.

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11

Goldhahn, Joakim. "Rock art worldings." Time and Mind 12, no. 3 (July 3, 2019): 165–67. http://dx.doi.org/10.1080/1751696x.2019.1645525.

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12

Keyser, James D. "San rock art." Azania: Archaeological Research in Africa 49, no. 1 (January 2, 2014): 127–28. http://dx.doi.org/10.1080/0067270x.2013.873196.

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13

Wessels, Michael. "San Rock Art." Journal of Southern African Studies 41, no. 4 (July 4, 2015): 934. http://dx.doi.org/10.1080/03057070.2015.1059208.

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14

Ronsse, Lauren M. "Rock art acoustics." Journal of the Acoustical Society of America 116, no. 4 (October 2004): 2500. http://dx.doi.org/10.1121/1.4784975.

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15

Lewis-Williams, J. D., and J. Clottes. "World Rock Art." South African Archaeological Bulletin 58, no. 177 (June 2003): 39. http://dx.doi.org/10.2307/3889157.

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16

Bullington, J. "Rock Art Revisited." Science 296, no. 5567 (April 19, 2002): 468a—468. http://dx.doi.org/10.1126/science.296.5567.468a.

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17

Woodcock, David G., Colin Pearson, and B. K. Swartz. "Rock Art and Posterity: Conserving, Managing and Recording Rock Art." APT Bulletin 24, no. 1/2 (1992): 81. http://dx.doi.org/10.2307/1504314.

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18

Horn, Christian, and Rich Potter. "Transforming the Rocks – Time and Rock Art in Bohuslän, Sweden." European Journal of Archaeology 21, no. 3 (August 11, 2017): 361–84. http://dx.doi.org/10.1017/eaa.2017.38.

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Human representations are one of the most important groups of depictions in rock art in southern Scandinavia. These humans have long been discussed as complete, stable, and temporally-fixed images. The results of a new survey challenge this view. Recording rock art with Reflectance Transformation Imaging (RTI) enabled us to discern a possible sequence of production of individual human representations, their bodily features, and associated objects. Figures from a rock art site in Finntorp (Tanum, Sweden) will be used as an example. Differences in the dimensions of the engraved lines, the chronology of the depicted objects, and the placement of body parts suggest that several individuals may have been involved in making human representations on the rocks, and that their appearance as complete figures is the result of repeated transformations. The results presented demonstrate that Scandinavian rock art is not stable in time. We suggest that rock art is best understood as the creation of communities over time, which enables them to engage with the past by transforming the rocks.
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19

Zerboni, Andrea, Federica Villa, Ying-Li Wu, Tadele Solomon, Andrea Trentini, Alessandro Rizzi, Francesca Cappitelli, and Marina Gallinaro. "The Sustainability of Rock Art: Preservation and Research." Sustainability 14, no. 10 (May 22, 2022): 6305. http://dx.doi.org/10.3390/su14106305.

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Rock art is a widespread cultural heritage, representing an immovable element of the material culture created on natural rocky supports. Paintings and petroglyphs can be found within caves and rock shelters or in open-air contexts and for that reason they are not isolated from the processes acting at the Earth surface. Consequently, rock art represents a sort of ecosystem because it is part of the complex and multidirectional interplay between the host rock, pigments, environmental parameters, and microbial communities. Such complexity results in several processes affecting rock art; some of them contribute to its destruction, others to its preservation. To understand the effects of such processes an interdisciplinary scientific approach is needed. In this contribution, we discuss the many processes acting at the rock interface—where rock art is present—and the multifaceted possibilities of scientific investigations—non-invasive or invasive—offered by the STEM disciplines. Finally, we suggest a sustainable approach to investigating rock art allowing to understand its production as well as its preservation and eventually suggest strategies to mitigate the risks threatening its stability.
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20

Rocchietti, Ana Maria. "TRES SITIOS RUPESTRES EN LA SIERRA DE COMECHINGONES, PROVINCIA DE CÓRDOBA / Three rock art sites in Comechingones Hill, Cordoba Province." Revista del Museo de Antropología 9, no. 1 (June 22, 2016): 21. http://dx.doi.org/10.31048/1852.4826.v9.n1.11257.

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<p>Resumen<br />Este artículo presenta tres sitios rupestres que considera “transversales” en su enigmático contenido pictográfico y propone su análisis con la perspectiva de que exigió una imaginación alucinada y que supuso una ideología dotada de una coherencia similar. Este arte se encuentra en la Sierra de Comechingones, Provincia de Córdoba.<br />En las tres obras parece existir alienación en el lenguaje gráfico, un experimento en el despliegue de la pintura y una energía psíquica común. Las geoformas que las contienen posee un alto impacto visual y permiten inferir que arte y roca forman un conjunto sígnico inseparable. La roca –en tanto significante- precede al arte y realiza un “corte” en lo real de tal modo que predetermina la significación. Esto hace singular a cualquier sitio rupestre. Las rocas definieron</p><p> </p><p><strong>Abstract</strong></p><p><br />This paper presents three rock art sites, considers it “transversal” in their enigmatic pictorial content, offers an analysis with the perspective that it demanded a hallucinated imagination and that was an ideology of a similar consistency. This art is located in the Sierra de Comechingones, Province of Cordoba.<br />It seems to be alienation in graphic language, an experiment in painting and deployment of a common psychic energy. Geoforms containing them have a high visual impact; art and rock form a simbolic whole. The rock is a signifier and precedes the art; it performs a “cut” about real in such a way that it predetermines the significance. Therefore, any rock site is unique. Rocks defined the charm of the place of rock art before this existed.</p><p> </p>
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21

Fahlander, Fredrik, and Tony Axelsson. "The rock, the whole rock, and everything about the rock." In Situ Archaeologica 16 (December 30, 2023): 49–66. http://dx.doi.org/10.58323/insi.v16.11764.

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The traditional documentation methods of rock art only rarely record the context and relations of the imagery in full. The new 3D techniques, however, offer interesting possibilities for documenting and analyzing petroglyphs, and are well-equipped to suit such tasks. Handheld scanners and photogrammetrical approaches have varying abilities to record smaller areas of rock art but only rarely a whole outcrop with rock art. In order to capture the full context and relations of the petroglyphs, we have evaluated the potential of other types of 3D-scanners, a Multistation scanner, Leica MS60 and a dedicated dome-scanner, Leica RTC360, to record the topography and rock art of seven rock outcrops in central-eastern Sweden. Our tests conclude that although the scanners perform parts of the recording process differently, they both are capable to capture even faint petroglyphs as well as the curvature and topography of an outcrop, including textures.
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22

Handoko, Wuri, Godlief Arsthen Peseletehaha, Andrew Huwae, and Tofan Gayum Rumaf. "Kaimear Island Rock Art Site at Kur Island in West Kei Islands Region, A New Discovery in Eastern Indonesia." Kapata Arkeologi 14, no. 2 (December 31, 2018): 123. http://dx.doi.org/10.24832/kapata.v14i2.531.

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Situs Rock art di Pulau Kaimear, Kepulauan Kur yang berada di kawasan Kepulauan Kei adalah temuan situs rock art terbaru, dan untuk pertama kalinya dicatat dan dilaporkan oleh Tim Penelitian Balai Arkeologi Maluku pada tahun 2018. Situs rock art di Pulau Kaimear sebelumnya tidak pernah dicatat dan dilaporkan oleh arkeolog di dunia. Temuan rock art Kaimear menambah deretan sejumlah rock art di Kepulauan Maluku yang sebelumnya dilaporkan oleh para arkeolog dari negara luar. Penelitian ini merupakan publikasi terkini terkait dengan penemuan lokasi situs rock art baru di wilayah Maluku. Penelitian ini menggunakan pendekatan deskriptif kualitatif berdasarkan penelitian arkeologi melalui survei dan observasi didukung oleh studi pustaka. Penelitian ini juga bersifat penelitian eskploratif yang menindaklanjuti informasi dari masyarakat lokal. Pengumpulan data penelitian ini dengan cara mengambil gambar sejumlah panel rock art dan catatan lapangan yang berisi deskripsi singkat. Berdasarkan hasil analisis data, rock art di Pulau Kaimear termasuk temuan rock art yang masif, dengan jumlah gambar diperkirakan mencapai 400-500 motif gambar pada satu lokasi ceruk tebing cadas yang terjal. Selain bentuk figur manusia dalam berbagai variasi gaya, juga ditemukan bentuk hand stencil, foot stencil, perahu, hewan, lingkaran, dan masih banyak jenis gambar-gambar lain yang belum teridentifikasi. Hasil penelitian cukup menunjukkan pentingnya temuan situs ini, maka perlu ditindaklanjuti penelitian yang lebih sistematis dan intensif guna menunjang upaya pelestarian situs di masa yang akan datang.The Rock art site on Kaimear Island, the Kur Islands in the Kei Islands region was for the first time recorded and reported by the Balai Arkeologi Maluku Research Team in 2018. Archaeologists have never recorded and reported any rock art site on Kaimear Island before. The discovery of Kaimear's rock art adds to the rock art sites in Maluku, which were previously reported by archaeologists from outside the country. This study uses a qualitative descriptive approach based on archaeological research through surveys and observations supported by literature studies. It is also exploratory research that follows up information from local communities. Data collection for this study consisted of taking images of a number of rock art panels and field notes containing a brief description. Rock art on Kaimear Island includes many panels of rock art, with the number of images estimated at 400-500 patterns in a steep rocky niche location. In addition to human figure shapes in various styles, there are also hand stencils, foot stencils, boats, animals, circles, and many other unidentified images. The results of the study establish the importance of the discovery of this site, and that it is necessary to follow up with more systematic and intensive research to support the preservation of the site in the future.
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23

Taçon, Paul S. C. "Australian Pleistocene rock art." Nature Human Behaviour 5, no. 3 (February 22, 2021): 301–2. http://dx.doi.org/10.1038/s41562-020-01043-y.

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24

Krupp, E. C. "Crab Supernova Rock Art." Journal of Skyscape Archaeology 1, no. 2 (December 3, 2015): 167–97. http://dx.doi.org/10.1558/jsa.v1i2.28255.

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“Star” and crescent combinations in rock art in the American Southwest were first interpreted in 1955 as eyewitness depictions of the 1054 AD supernova explosion that produced the Crab nebula. While the Crab nebula is visible only telescopically, the event that generated it was brilliant, and for a time, only the sun and moon were brighter. Additional Crab supernova candidates in California and Southwest rock art were suggested 20 years later, and they included Chaco Canyon’s Penasco Blanco pictograph panel, which became the poster child for Crab supernova rock art and is now called “Supernova” on signage at the site. By 1979, a list of 21 Crab supernova rock art sites was assembled, and the inventory has continued to expand more slowly since then. This critical review of the supernova interpretation of star/crescent rock art, the product of 35 years of fieldwork, required an independent re-examination of all of the primary sites in person. That enterprise has already demonstrated that the Tenabo, New Mexico panel does not illustrate the Crab supernova and that the two Arizona sites on which the entire supernova rock art premise is based (White Mesa and “Navaho Canyon”) are unlikely records of the event. This detailed evaluation of the primary proposed star/crescent images indicates none is a satisfactory portrayal of the striking 1054 AD supernova.
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25

Montelle, Yann. "Rock-art as mapping." Before Farming 2003, no. 2 (January 2003): 1–7. http://dx.doi.org/10.3828/bfarm.2003.2.4.

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Crook, Simon. "Rock Art and Shamanism." Anthropology Today 15, no. 2 (April 1999): 24. http://dx.doi.org/10.2307/2678268.

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27

Jones, Andrew Meirion. "Rock Art and Ontology." Annual Review of Anthropology 46, no. 1 (October 23, 2017): 167–81. http://dx.doi.org/10.1146/annurev-anthro-102116-041354.

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28

Waller, Steven J. "Sound and rock art." Nature 363, no. 6429 (June 1993): 501. http://dx.doi.org/10.1038/363501a0.

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29

Lopes, Cristina. "Valcamonica Rock Art Weapons." Sociology and Anthropology 4, no. 12 (December 2016): 1079–83. http://dx.doi.org/10.13189/sa.2016.041206.

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30

Schaafsma, Polly. "Chaco Rock Art Matters." Journal of the Southwest 60, no. 1 (2018): 42–73. http://dx.doi.org/10.1353/jsw.2018.0003.

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31

Slack, Laura. "Myths about rock art." Time and Mind 12, no. 1 (January 2, 2019): 51–52. http://dx.doi.org/10.1080/1751696x.2019.1577659.

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32

McMahon, Jennifer A. "Aesthetics and Rock Art." British Journal of Aesthetics 46, no. 2 (April 1, 2006): 208–10. http://dx.doi.org/10.1093/aesthj/ayj025.

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33

Bowdler, Sandra. "Repainting Australian rock art." Antiquity 62, no. 236 (September 1988): 517–23. http://dx.doi.org/10.1017/s0003598x00074639.

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34

Bengtsson, Boel, and Björn Bengtsson. "Sailing Rock Art Boats." Journal of Maritime Archaeology 6, no. 1 (September 7, 2011): 37–73. http://dx.doi.org/10.1007/s11457-011-9077-2.

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35

Alaoui, Fatima-Zohra Sbihi, and Susan Searight. "Rock Art in Morocco." Proceedings of the Prehistoric Society 63 (1997): 87–101. http://dx.doi.org/10.1017/s0079497x00002383.

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Rock art in Morocco is widespread and varied, but little known in English-speaking circles. The present paper aims to present a broad outline of this art — almost entirely represented by engravings — as it is known today. A brief survey of past research is given. The distribution of sites is indicated, showing the country to be roughly divided into two areas: the High Atlas mountains and the sub-Saharan regions to the south. Four major groups of engravings are identified, according to theme, technique, and, to a certain extent, style. In the absence of radiocarbon or other datings, the only clues to the chronology of the engravings come from datable material objects or events. None of this art is thought to be older than Neolithic and the most recent engravings certainly date from early historical times. Problems of conservation are discussed, along with measures being taken both to protect the sites and to extend research on this informative aspect of Morocco's past.
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36

Davis, Whitney. "Rock Art and Archaeopsychology." Current Anthropology 29, no. 1 (February 1988): 184–86. http://dx.doi.org/10.1086/203625.

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Brady, Liam M., John J. Bradley, and Amanda J. Kearney. "Negotiating Yanyuwa Rock Art." Current Anthropology 57, no. 1 (February 2016): 28–52. http://dx.doi.org/10.1086/684683.

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38

Deacon, Janette. "South African rock art." Evolutionary Anthropology: Issues, News, and Reviews 8, no. 2 (1999): 48–64. http://dx.doi.org/10.1002/(sici)1520-6505(1999)8:2<48::aid-evan4>3.0.co;2-9.

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39

Jalandoni, Andrea, and Maria Kottermair. "Rock art as microtopography." Geoarchaeology 33, no. 5 (April 3, 2018): 579–93. http://dx.doi.org/10.1002/gea.21677.

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40

Guillermo, Muñoz. "Group of indigenous rock art investigation (Gipri): rock art investigation in Colombia." Before Farming 2005, no. 2 (January 2005): 1–3. http://dx.doi.org/10.3828/bfarm.2005.2.7.

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41

Charlton, Thomas H. "Art on the rocks: Contemporary and prehistoric indigenous rock art in Australia." Reviews in Anthropology 27, no. 2 (January 1998): 123–39. http://dx.doi.org/10.1080/00988157.1998.9978194.

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42

Griffiths, Billy. "Working with Rock Art: Recording, Presenting and Understanding Rock Art Using Indigenous Knowledge." Transactions of the Royal Society of South Africa 69, no. 2 (May 4, 2014): 123–24. http://dx.doi.org/10.1080/0035919x.2014.921796.

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V., Tashak, and Antonova Yu. "NEW INVESTIGATIONS OF ROCK ART ON THE WEST OF THE TSAGAN-DABAN RIDGE (WESTERN TRANSBAIKALIA)." Teoriya i praktika arkheologicheskikh issledovaniy 35, no. 2 (June 2023): 114–29. http://dx.doi.org/10.14258/tpai(2023)35(2).-07.

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The western spurs of the Tsagan-Daban mountain range (Western Transbaikalia), fringing the right bank of the Selenga river valley from the mouth of the Khilka to the mouth of the small river Zhirimka, are poorly studied in archaeological terms. Only in the last decade, objects of ancient rock art have become known here, most of which are difficult to access — removed from the Selenga coast, and located high above the river level, which makes it difficult to find them. All currently discovered rock carvings in this area and the immediate vicinity are painted with ocher of various shades. Many of the rock paintings are poorly preserved and are visible on the reddish surface of syenite and granite rocks in the form of indistinguishable spots, which makes their simple visual examination impossible. To study such rock carvings, the method of digital processing of their photographs was used, which makes it possible to reveal the contours of ancient drawings. One of these objects is an archaeological site, called Kamennaya Baba, after the name of the rocky peak located nearby. More than half of the drawings of this locality are not visually distinguishable, and the general layout of the entire rock panel, without special research methods, cannot be traced. While studying the archaeological object, an opinion was proposed about the appearance of individual drawings on the surface of the rock at different times. This opinion is confirmed by various stylistic features of the drawings, as well as their varying degrees of preservation. The drawings found on the surface of the rock belong to the Selenga type of ancient images, among which anthropomorphic and ornithomorphic images form the basis.
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Quinlan, Angus R., and Alanah Woody. "Marks of Distinction: Rock Art and Ethnic Identification in the Great Basin." American Antiquity 68, no. 2 (April 2003): 372–90. http://dx.doi.org/10.2307/3557085.

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Great Basin ethnography contains little information concerning rock art, suggesting that much of it is pre-Numic. The presence of historic rock art, however, should permit differences between pre-Numic and Numic populations to be identified. Anthropological theory suggests pioneer groups use ritual to socialize the landscape. Rock art may also be associated with colonizing groups to secure access to new resources. Numic populations seem to have responded to pre-Numic rock art through modification of the art. Once the landscape had been re-socialized rock art was generally avoided. This explains why rock art production became sporadic, and memory of it lost.
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Eka Permana, R. Cecep. "Lukisan Dinding Gua (Rock Art)." Jurnal Konservasi Cagar Budaya 9, no. 2 (December 2, 2015): 43–51. http://dx.doi.org/10.33374/jurnalkonservasicagarbudaya.v9i2.140.

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Lukisan dinding gua merupakan salah satu data arkeologi yang sampai sekarang dapat dijumpai pada sejumlah situs gua prasejarah di dunia, termasuk Indonesia.Tinggalan berupa lukisan dinding gua antara lain sebagai bukti aktivitas manusia berkaitan dengan kehidupan religi dan kesenian yang berasal dari puluhan ribu tahun yang lalu. Lukisan dinding gua prasejarah tersebut menjadi penting karena juga merupakan sumber daya tak tergantikan. Karena dari rentang waktu yang sangat lama dan umumnya berada pada tempat-tempat terbuka di alam, maka lukisan dinding gua sangat terancam dan memerlukan konservasi. Keterancaman lukisan dinding gua dapat berasal dari alam dan dapat pula dari manusia. Adapun upaya konservasi dilakukan baik terhadap lukisan itu sendiri maupun media atau lingkungan tempat lukisan itu berada.
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46

Schoonraad, Murray, and A. R. Willcox. "The Rock Art of Africa." South African Archaeological Bulletin 42, no. 145 (June 1987): 83. http://dx.doi.org/10.2307/3887794.

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47

Díaz-Andreu, Margarita. "Recent Studies in Rock Art." American Journal of Archaeology 107, no. 1 (January 2003): 107–10. http://dx.doi.org/10.3764/aja.107.1.107.

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48

Boivin, Nicole. "Shamanism and Indian rock art." Before Farming 2006, no. 4 (January 2006): 1–3. http://dx.doi.org/10.3828/bfarm.2006.4.2.

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Taçon, Paul. "Shamanism and rock art interpretation." Before Farming 2006, no. 4 (January 2006): 1–3. http://dx.doi.org/10.3828/bfarm.2006.4.6.

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Fischman, Joshua. "Portuguese Rock Art Gets Younger." Science 269, no. 5222 (July 21, 1995): 304. http://dx.doi.org/10.1126/science.269.5222.304.b.

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