Academic literature on the topic 'Rock paintings'

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Journal articles on the topic "Rock paintings"

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Kasnowihardjo, Gunadi. "GAMBAR CADAS KALIMANTAN TIMUR: Satu Bukti Seni Lukis Kutai Purba." Berkala Arkeologi 28, no. 2 (November 30, 2008): 13–22. http://dx.doi.org/10.30883/jba.v28i2.360.

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Art including painting is an element of culture. Therefore art also becomes an object of archaeological research. Rock art paintings found in prehistoric caves in Kutai Timur regency of East Kalimantan Province are categorized as art paintings of prehistoric era. In prehistoric archaeology, arts and religion were difficult to be separated. Rock art paintings should be analized by religion approach and arts approach as well.
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Adam, John. "Rock paintings." Physics Teacher 60, no. 6 (September 2022): 521. http://dx.doi.org/10.1119/10.0013863.

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Li, Jiaxuan, and Thawascha Dechsubha. "A Study on Rock Paintings in the Yinshan Mountains from the Perspective of Peirce’s Semiotics." Technium Social Sciences Journal 39 (January 8, 2023): 569–73. http://dx.doi.org/10.47577/tssj.v39i1.8041.

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The Yinshan rock painting is an extremely important one. A large number of rock paintings in this mountain range record the nomadic life of ancient ancestors and express their emotional beliefs. They show the self feelings of the ancestors by using symbolic figures, animals, celestial bodies, signs and other ways, reflecting the living conditions of the ancestors of various nationalities who once lived in the Yinshan Mountain area. As a “meaningful form” left over from ancient times, the Yinshan rock paintings are signs of human communication of cultural information. Therefore, it is very objective and meaningful to interpret the Yinshan rock paintings from the perspective of semiotics. Charles Sanders Peirce’s semiotics, is an interpretation of meaning, representamen, interpretant. Based on the analysis of Peirce’s definition of signs and the relationship between signs and objects, this paper interprets the Yinshan rock paintings from the perspective of semiotics, explores its rich connotation, and understands the life, belief and historical development of Mongolian ancestors.
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Tan, Noel Hidalgo, and Stephen Chia. "Current Research on the Rock Art at Gua Tambun, Perak, Malaysia." Bulletin of the Indo-Pacific Prehistory Association 31 (May 26, 2012): 93. http://dx.doi.org/10.7152/bippa.v31i0.9967.

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The rock art site of Gua Tambun in Perak, Malaysia was first reported by J. M. Matthews in 1959, following the discovery of the rock paintings by a British military officer. An estimate of more than 80 forms of animals, humans, geometric designs and many other indistinct and vague forms of paintings were reported to be found on the walls of the rock shelter. Since then, no further in-depth research of the rock art has been reported, while time and weather have eroded and faded the paintings even more. In early January 2009, the site was revisited by the authors to document and to study the rock art in detail. The rock art was documented using a combination of close-range, high-resolution digital photography and digital image analysis was used to reconstruct and recompose the faded images. Samples of the material used for painting the rock art were also collected for chemical analysis and dating. This paper presents the preliminary findings of the research, which include more than 500 forms of rock art found at the site.
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Mishra, Nitesh Kumar, Anshu Mala Tirkey, and Baleshwar Kumar Besra. "Ethno archaeological study of rock paintings of Bastar region." Journal of Ravishankar University (PART-A) 29, no. 2 (October 14, 2023): 1–20. http://dx.doi.org/10.52228/jrua.2023-29-2-1.

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This research paper mainly describes the main features of rock paintings of Bastar, southern part of Chhattisgarh. The specialty of the rock paintings found in the Bastar division is that the feet and palms are mainly depicted in these paintings. The tradition of worshiping rock paintings by the tribes of Bastar region has been there for centuries. This research paper also describes the rock paintings and associated material scattered around the rock paintings. In this research paper, there is also a detailed description of the worship and festival related to the rock paintings by the tribes, such as the worships like Bagha Vida, Kollam and Pitar paksha, in which the pictures related to the rock paintings are still alive in the paintings of the tribes.
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Joy, Francis. "To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland." Polar Record 50, no. 1 (May 20, 2013): 108–11. http://dx.doi.org/10.1017/s0032247413000351.

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ABSTRACTResearch undertaken between 1960 to 1990 into what was once a rock painting tradition in Finland, lacked a clear understanding of parallels between the painted figures found at rock painting locations in the southern and central areas of the country, and the motifs painted on the heads of Sámi shaman divination drums from Lapland. However, due to the discovery and analysis of the content of more rock painting sites in Finland from 1990 up to the present, a more comprehensive framework has emerged in which scholars from across different academic disciplines have discovered many more similar characteristics linking the rock paintings and drum symbolism. These recent findings point towards the survival of a nature based sacrificial religion from the Stone Age era in Finland. The source of this was shamanistic in its essence, and is seen portrayed on rock and boulder formations by hunters similarly to how figures were illustrated on drum heads by the Sámi shamans from the nomadic era of the 17th and 18th centuries in Lapland. This more recent recognition strengthens the argument for Sámi involvement in the creation of rock paintings in Finland.
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Józef Szykulski, Beata Miazga, and Jakub Wanot. "ROCK PAINTING WITHIN SOUTHERN PERU IN THE CONTEXT OF PHYSICOCHEMICAL ANALYSIS OF PIGMENTS." Rock Art Research 41, no. 1 (January 29, 2024): 5–27. http://dx.doi.org/10.56801/rar.v41i1.276.

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The article pertains to rock paintings recorded during studies conducted in 2017 and 2019 by an international archaeological expedition at numerous sheltered sites in the Río Atico basin and Vilavilani region in the Río Caplina catchment area within southern Peru. During the research, archaeological sites with rock art were registered, the state of preservation of the paintings was documented, and it was determined what factors were causing their destruction/degradation. The form and thematic scope of the paintings were also determined while defining four styles/stylistic conventions (styles 1–4) of the rock painting in the area in question. New arrangements regarding the superposition of representations/paintings made it possible to define the time sequence of their creation (relative chronology). Multifaceted physicochemical analyses of colouring substances were also carried out, which allowed determining their chemical composition. The mineral origin of all colouring substances has been confirmed, i.e. they should be described as inorganic pigments. At the same time, conclusions regarding the source of origin of the raw material used for their acquisition were presented. During the research, changes in the colours of individual paintings were observed, which provides the basis for conclusions regarding the chemical processes that caused them.
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Autio, Eero. "The snake and zig-zag motifs in Finnish rock paintings and Saami drums." Scripta Instituti Donneriani Aboensis 14 (January 1, 1991): 52–79. http://dx.doi.org/10.30674/scripta.67196.

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In articles about Finnish rock paintings particular attention has been paid to the significance of shamanism. The emphasis on shamanism leads in practice to the conclusion that a composition in which there is a man and a snake, or a snake like zig-zag figure, depicts a shaman and his helping animal. The explanation follows the traditional concept of arctic shamanism. However, the use of shamanism as the most significant basis for interpretation does not lead to plausible results in the study of pictographs (rock paintings) and petroglyphs (rock carvings). There are other possibilities besides shamanism for constructing an interpretation of the rock painting - ancient man did not resort only to the shaman but to magic and to the cults of fertility and ancestors.
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Wattimena, Lucas. "Lukisan Cadas: Simbolis Orang Maluku." Kapata Arkeologi 10, no. 1 (April 23, 2016): 47. http://dx.doi.org/10.24832/kapata.v10i1.217.

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Rock paintings in Moluccas has a core meaning and symbols in the life cycle of Moluccans in the past, present and future-future. Archaeological remains of rock paintings is a cultural interpretation of the past, where the construction of the values contained therein are an integral part of the social system of human culture the people of Moluccas. The values contained is the value of kinship, religion, grouping, knowledge, survival (survival strategy). Rock paintings in Ohoidertawun, Wamkana and Gulf Saleman have hinted that there are phases of any future development of human society. Research on how the rock paintings as archaeological remains, as the impact of the cultural value system and the structure of the rock painting itself. Performed in order to determine the value of the cultural and social system structure Moluccans rock paintings. The study of literature become the main reference of the study, with emphasis on past and present the data. From the research results prove that the archaeological remains of rock paintings have been contributing to the sociocultural meaning people of Moluccas, including the meaning of identity, culture and plurality or diversity.Lukisan cadas di Maluku memiliki inti makna dan simbol dalam siklus hidup Orang Maluku pada masa lampau, sekarang dan masa-masa yang akan datang. Tinggalan arkeologi lukisan cadas merupakan interprestasi kebudayaan masa lampau, dimana konstruksi nilai yang terkandung didalamnya adalah bagian integral dari sistim sosial budaya manusia masyarakat Maluku. Nilai-nilai yang terkandung adalah nilai kekerabatan, religi, pengelompokkan, pengetahuan, bertahan hidup (survival strategy). Lukisan cadas yang ada di Ohoidertawun, Wamkana dan Teluk Saleman telah memberikan petunjuk bahwa ada fase-fase perkembangan masyarakat manusia setiap masa. Penelitian tentang bagaimana lukisan cadas sebagai tinggalan arkeologis, sebagai dampak sistem nilai budaya dan struktur lukisan cadas itu sendiri. Dilakukan dengan tujuan untuk mengetahui sistem sosial nilai budaya dan struktur lukisan cadas Orang Maluku. Studi literatur menjadi acuan utama penelitian tersebut, dengan mengutamakan data terdahulu dan kini. Dari hasil penelitian membuktikan bahwa tinggalan arkeologis lukisan cadas telah memberikan kontribusi makna bagi sosial budaya Orang Maluku, diantaranya makna identitas, peradaban dan pluralitas atau kemajemukan.
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Kivikäs, Pekka. "Rock Paintings in Finland." Folklore: Electronic Journal of Folklore 18/19 (2001): 137–61. http://dx.doi.org/10.7592/fejf2001.18.finland.

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Dissertations / Theses on the topic "Rock paintings"

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Garlake, Peter Storr. "Rock art in Zimbabwe." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29499/.

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This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.
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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.

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Mauran, Guilhem. "Rock paintings and microorganisms: a new insight on Escoural cave." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/20606.

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European cave art is of tremendous importance to understand the cultural traditions of the Upper Palaeolithic (35 000 – 10 000 BP) populations. Indeed, Prehistoric communities performed numerous cave paintings all over Western Europe. Understanding these artworks should provide a better knowledge of these early cultural aspects. Although numerous studies have been carried out to analyse the materials used by those communities, nothing has been done on the techniques’ palette of Escoural Cave’s representations. The present work aims at providing the very first data about the techniques and materials used by the Prehistoric to perform the cave paintings of Escoural (Alentejo, Portugal), and the microorganisms possibly endangering this unique parietal art. In situ observations coupled with an extensive micro-sampling and micro-destructive analyses allowed to characterize the coloured material and the way they were applied on the walls of the cave. Both red and black pigments present major composition’s disparities among the different paintings and drawings, supporting a more complex occupations’ chronology than what was earlier thought. The Palaeolithic paintings have suffered deterioration from environmental conditions and include chemical, mechanical and aesthetic alterations, possibly as a result of fungal activity. The standard techniques for biological assessments used in these contexts provided important insights on the diversity of the microbial population, though they have accuracy limitations. To understand the extent and viability of the existing microbiota, DNA quantification and biomarkers analyses, such as desidrogenase activity were performed and correlated with ergosterol amounts; RESUMO: A Arte Rupestre Europeia é de grande importância para compreender as tradições culturais da população do Paleolítico Superior (35 000 - 10 000 BP). De fato, as comunidades Pré-históricas realizaram inúmeras pinturas rupestres em toda a Europa Ocidental, sendo crucial compreender estas obras de forma a proporcionar um melhor conhecimento destes ancestrais aspectos culturais. Embora vários estudos tenham sido realizados para analisar os materiais utilizados por estas comunidades, nada foi efetuado sobre a técnica de execução das representações presentes na Gruta do Escoural. O presente trabalho visa fornecer os primeiros dados sobre as técnicas e materiais utilizados na Pré-História para executar as pinturas rupestres de Escoural (Alentejo, Portugal) bem como caracterização dos microorganismos possivelmente associados aos danos deste bem único. Observações in situ, juntamente com uma extensa micro-amostragem e análises micro-destrutivas permitiu caracterizar os pigmentos utilizados e a forma como eles foram aplicados nas paredes da caverna. Tanto os pigmentos vermelhos como os pretos apresentam composição distinta nas diversas pinturas e desenhos aí representados, apoiando a presença de diferentes ocupações contrariamente ao que se pensava até então. As pinturas Paleolíticas têm sofrido deterioração, devido às condições ambientais, nomeadamente alterações químicas, mecânicas e, possivelmente como resultado da atividade fúngica. As técnicas usualmente utilizadas para a avaliação de contaminação biológica fornecem informação importante sobre a diversidade da população microbiana, embora apresentem algumas limitações. Para entender a extensão e a viabilidade da microbiota existente, a quantificação de DNA e análise de biomarcadores como actividade de desidrogenases foram realizadas e correlacionadas com o conteúdo em ergosterol.
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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.

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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2010.
Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.
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Batiashvili, Magda. "Colour of the past. First Archaeometric investigations of Caucasian rock art paintings in Georgia." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31075.

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Abstract: This research presents the first archaeometric investigation on Damirgaya and Trialeti Rock art sites and the Neolithic settlement Khramis Didi Gora, South Caucasus, Georgia. The aim is to characterize rocks and pigments, to assess painting technology, including the possible identification of organic binders and the compatibility of inorganic pigments with those locally available. In order to build up our awareness and solve scientific curiosity, the research questions are cleared up through the comparison with adjacent archaeological sites, from Armenia, Azerbaijan and Anatolia, where traces of monochromatic red pigment were recovered in settlements, barrows, on artifacts, such as grinding tools and mainly on rock art. Several analytical techniques, specifically Optical Microscopy (OM) on samples as such and thin sections, X-ray Powder Diffraction (XRPD), and Scanning Electron Microscopy with Energy Dispersive X-ray analysis (SEM-EDX) were used to obtain mineralogical and chemical composition of the samples. Moreover, with the contribution of Fourier-Transform Infrared (FTIR) and Raman Spectroscopy, inorganic compounds were better characterized in both rock paintings and grinding tools. On the contrary, it was not possible to define organic compounds such as binders, possibly due to their low amount or absence. In terms of compatibility with local supplies, with the help of thin section and cross section analysis, it was possible to deduce that the mineralogical composition of the rocks is relatively similar to pigment samples. In terms of pigments, hematite was the major pigment used for rock art and grinding tools, while in terms of rock samples, that of Trialeti is an igneous basaltic dacite, whereas that of Damirgaya is a rock mainly composed of quartz, but it is also characterized by other minerals, such as iron oxides are likely present, as well as phyllosilicates.
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Solomon, Anne Catherine. "Rock art incorporated : an archaeological and interdisciplinary study of certain human figures in San art." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21817.

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Bibliography: p. 206-228.
Understanding a widespread motif in San rock art - a human figure depicted in frontal perspective with distinctive bodily characteristics - is the aim of this study. A concentration of these figures in north eastern Zimbabwe was first described by researchers in the 1930s and subsequently, when one researcher, Elizabeth Goodall, described them as 'mythic women'. Markedly similar figures in the South African art have received little attention. On the basis of fieldwork in the KwaZulu-Natal Drakensberg, the south western Cape (South Africa) and Zimbabwe, and an extensive literature survey, a spectrum of these figures is described. In order to further understanding of the motif, existing interpretive methods and the traditions which inform them are examined, with a view to outlining a number of areas in need of attention. It is argued that analysis of rock art remains dependent on a range of dualistic notions which may be linked to retained structuralist ideas. It is suggested that the dominant model in rock art research, in which the rock art is seen as essentially shamanistic, perpetuates distinctions between mind and body, myth and ritual, and sacred and profane, while in its search for general truths concerning the rock art, and its central focus on iconography, the model retains traces of linguistic structuralism. It is proposed that the 'mythic woman' motif, with its gendered and sexual characteristics, is not well accounted for by reference to southern San ritual and religious practice alone. Drawing on contemporary theories concerning temporality and embodiment, it is argued that the motif is better understood in relation to recurrent themes of death and regeneration in San mythology and oral narratives, with shamanistic practice enacting related themes. The motif may be seen as representing San history in terms of culturally specific temporal schemes arising from San experience of the world. The 'ethnographic method', by means of which San accounts are used to illuminate features of the art, is reassessed and extended. Hermeneutic theories are drawn upon in order to address questions regarding the way in which ethnographies and art may be mutually illuminating, and to account for the inevitability of multiple interpretations arising from the situated process of reading or viewing. Prominent themes, images and devices in San myth and oral narrative are discussed in an attempt to move beyond a narrowly iconography-centred approach and in order to account for devices and stylistic features of San arts which are evident in both verbal and visual media. Implications of the research for investigating an archaeology of gender, and the writing of San history, are discussed.
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Flygare, Åke. "Den norrländska jakt- och fångstkulturens hällmålningar och deras lokalisation." Thesis, Uppsala universitet, Arkeologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295851.

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The rock paintings of the hunter-gatherers in the province of Norrland, and their localisation. The aim of this thesis is to find a couple of distinguishing features for the localisation of the rock paintings of the hunter-gatherers in Norrland. This will be done through studies of Swedish and international literature, about ancient rock-art and the belief system of the hunter-gatherers. I will make comparisons  with other groups of hunter-gatherers and try to find analogies. My belief is that there must be a large number of undetected rock paintings in Norrland. They are hard to find because of overgrowth by lichen and damages due to wethering. Theretoo I feel that there hasn´t been enough of structured surveys. I hope that my resulting short list of practical clues of where to find them will help: seek for them in the boreal forest area from 200 meters above the sea level to the present alpine tree line zone in close vicinity to neolithic winter dwellings in close vicinity to pitfall traps on vertical rock walls of cliffs or boulders in close vicinity to standing water/ alternatively in a hillside in the forest the rock faces to the south on imposing natural formations try to find them in cloudy, humid weather
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Lishiko, Billiard Berbbingtone. "The politics of production of archaeological knowledge :a case study of the later stone age rock art paintings of Kasam, Northern Zambia." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa.
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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.

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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.
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Books on the topic "Rock paintings"

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Parkington, John. Cederberg rock paintings. Clanwilliam: Living Landscape Project, 2003.

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Tewari, Rakesh. Rock paintings of Mirzapur. Lucknow: U.P. State Archaeological Organisation, 1990.

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Godden, Elaine. Rock paintings of Aboriginal Australia. Frenchs Forest, NSW: New Holland, 2001.

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Godden, Elaine. Rock paintings of Aboriginal Australia. Kew, Vic: Reed, 1997.

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Smith, Benjamin. Zambia's ancient rock art: The paintings of Kasama. Livingstone, Zambia: National Heritage Conservation Commission, 1997.

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Lewis-Williams, J. David. Rock paintings of the Natal Drakensberg. Pietermaritzburg: University of Natal Press, 1992.

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Khan, M. Nasim. Buddhist paintings in Gandhara. Peshawar: M. Nasim Khan, 2000.

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Mathpal, Yashodhar. Rock art in Kerala. New Delhi: Indira Gandhi National Centre for the Arts, 1998.

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Kumar, Giriraj. Rock art of India. Delhi: Sharada Publishing House, 2015.

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Jumabay, Bayakmet. Reverberations from rock art. Kuitun: Ili People Pub. Press, 2009.

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Book chapters on the topic "Rock paintings"

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Armitage, Ruth Ann, and Adelphine Bonneau. "Rock Paintings." In Encyclopedia of Geoarchaeology, 1–15. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-44600-0_197-1.

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Pesce, Laura. "Rock Paintings: Primordial Graffiti." In Close Encounters of Art and Physics, 3–6. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22730-2_1.

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Bwasiri, Emmanuel J. "Kondoa Rock Paintings: Traditional Use." In Encyclopedia of Global Archaeology, 6294–300. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2149.

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Bwasiri, Emmanuel J. "Kondoa Rock Paintings: Traditional Use." In Encyclopedia of Global Archaeology, 4301–7. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_2149.

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Edwards, Howell G. M., Peter Vandenabeele, and Philippe Colomban. "Cave Paintings and Rock Art." In Raman Spectroscopy in Cultural Heritage Preservation, 155–68. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14379-3_8.

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Yun, Fang, Qiao Liang, Yan Shaojun, Peng Pengcheng, and Zhu Qiuping. "Mechanisms of Rock Cracking on Huashan Rock Paintings." In Engineering Geology for Society and Territory - Volume 8, 147–51. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09408-3_23.

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Davidson, Iain. "Variation in Early Paintings and Engravings." In A Companion to Rock Art, 51–68. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch4.

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Reese, Ronnie L., Elmo J. Mawk, James N. Derr, Marian Hyman, Marvin W. Rowe, and Scott K. Davis. "Ancient DNA in Texas Rock Paintings." In ACS Symposium Series, 378–90. Washington, DC: American Chemical Society, 1996. http://dx.doi.org/10.1021/bk-1996-0625.ch027.

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Ilger, W. A., Marian Hyman, J. Southon, and Marvin W. Rowe. "Radiocarbon Dating of Ancient Rock Paintings." In ACS Symposium Series, 401–14. Washington, DC: American Chemical Society, 1996. http://dx.doi.org/10.1021/bk-1996-0625.ch029.

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Alves, Lara Bacelar, and Mário Reis. "Schematic Art Paintings in Northern Portugal." In The Prehistoric Rock Art of Portugal, 163–86. London: Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-8.

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Conference papers on the topic "Rock paintings"

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Carrión-Ruiz, Berta, Silvia Blanco-Pons, and Jose Luis Lerma. "DIGITAL IMAGE ANALYSIS OF THE VISIBLE REGION THROUGH SIMULATION OF ROCK ART PAINTINGS." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3560.

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Non-destructive rock art recording techniques are getting special attention in the last years, opening new research lines in order to improve the level of documentation and understanding of our rich legacy. This paper applies the principal component analysis (PCA) technique in images that include wavelengths between 400-700 nm (visible range). Our approach is focused on determining the difference provided by the image processing of the visible region through four spectral images versus an image that encompasses the entire visible spectrum. The images were taken by means of optical filters that take specific wavelengths and exclude parts of the spectrum. Simulation of rock art is prepared in laboratory. For this purpose, three different pigments were made simulating the material composition of rock art paintings. The advantages of studying the visible spectrum in separate images are analysed. In addition, PCA is applied to each of the images to reduce redundant data. Finally, PCA is applied to the image that contains the entire visible spectrum and is compared with previous results. Through the results of the four visible spectral images one can begin to draw conclusions about constituent painting materials without using decorrelation techniques.
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Blanco, Silvia, Berta Carrión, and José Luis Lerma. "REVIEW OF AUGMENTED REALITY AND VIRTUAL REALITY TECHNIQUES IN ROCK ART." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3561.

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The usage of augmented reality (AR) and virtual reality (VR) technologies began to grow when smartphones appeared. Until then, the number of portable devices capable of incorporating these technologies was reduced. Video games are the main field where these technologies are applied, but in other fields such as in archaeology, these technologies can offer many advantages. Ruins reconstruction, ancient life simulation, highly detailed 3D models visualisation of valuable objects from the past or even user free movement in missing places are just some examples found in literature.This paper reviews the latest visualisation technologies and their applicability to the rock art field. The main purpose is to disseminate rock art paintings through AR and VR applications. After the image-based three-dimensional (3D) modelling is obtained, an interactive visit to a shelter for displaying rock art paintings is presented. This is one of examples developed in this paper that pretends to apply the revised AR and VR techniques. In addition, an example of AR is developed that can be easily adapted to further applications displaying rock art paintings.
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Pozo Antonio, Jose Santiago, Teresa Rivas, Pablo Barreiro, Vera Caetano, Fernando Carrera, and Lara Bacelar Alves. "In situ characterization of prehistoric rock paintings: the Côa Valley (Portugal)." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. Budapest: IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2023.095.

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Pozo Antonio, Jose Santiago, Teresa Rivas, Pablo Barreiro, Vera Caetano, Fernando Carrera, and Lara Bacelar Alves. "In situ characterization of prehistoric rock paintings: the Côa Valley (Portugal)." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. Budapest: IMEKO, 2023. http://dx.doi.org/10.21014/10.21014/tc4-arc-2023.095.

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Русакова, И. Д., and И. В. Ковтун. "PAINTINGS OF THE TUTALSKAYA ROCK ART SITE ON THE RIVER TOM." In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.159-173.

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Статья посвящена находкам ранее не известных изображений на Тутальской писанице. Памятник известен с начала ХХ в., его исследованию посвящен целый ряд публикаций, однако совершенствующиеся методы выявления и документирования древних изображений позволяют находить новые рисунки и на известных плоскостях. В 2017 2018 гг. было проведено новое документирование плоскости 1 Тутальской писаницы. Ключевым результатом этой работы является выявление серии крашеных наскальных рисунков и определение последовательности нанесения изображений на скальную поверхность. Рассматриваются также вопросы хронологии и культурной принадлежности крашеных изображений и связанного с ними массива петроглифов плоскости. Эти рисунки отнесены к крохалёвскому культурному комплексу и датированы последней четвертью III тыс. до н. э. The paper is devoted to the discovery of previously unknown images at Tutalskaya rock art site. This rock art site is known since the beginning of the XX century. A number of publications were devoted to the study of it. New methods of detection and documentation of the ancient images allow finding some new drawings at the known surfaces. A new documenting of panel 1 of Tutalskaya rock art site in 2017 2018 conducted. The main result of this work is the identification of a series of paintings and establishing the sequence of rendering images on the rock surface. The issues of chronological and cultural attribution of these paintings as well as the associated petroglyphs on the panel are considered. All these images are attributed to the Krokhalevskaya culture which is dated to the last quarter of the 3rd millennium BC.
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Blanco Pons, Silvia, and José Luis Lerma. "DIFUSIÓN DEL ARTE RUPESTRE A TRAVÉS DE APLICACIONES MÓVILES DE REALIDAD AUMENTADA: UN ENFOQUE PRÁCTICO." In 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6598.

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Rock art of the Mediterranean Basin of the Iberian Peninsula was declared World Heritage Site by UNESCO, it has an outstanding cultural value hence its dissemination is essential. Over the years, rock art paintings have been deteriorated and even some have disappeared. Consequently, it is quite difficult to recognise them in situ without experts. At this point, non-invasive and novel techniques can offer great potential, on the one hand, avoiding direct contact with the surface promoting its conservation, and on the other hand, through dissemination and analysis of these elements. One of the most promising techniques is Augmented Reality (AR). By means of AR applications, the visitor can see any kind of virtual content related to cultural heritage, through its mobile or tablet screen. Thus, any virtual content that is considered of interest can be added, offering in this way additional information that complements the real element. In this study, two approaches are presented for the rock art dissemination of the Cova dels Cavalls. The first is based on a marker recognition, which launches the application that displays an image of the motif and a descriptive text about it. In the second proposal, the camera device recognises the real image of the painting and the virtual information is overlapped. The study aims at evaluating the use of these AR techniques applied to rock art dissemination and shows the methodology for its development.http://dx.doi.org/10.4995/CIGeo2017.2017.6598
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Cabrelles, Miriam, and José Luis Lerma. "DOCUMENTACIÓN 3D DE LA COVA DELS CAVALLS Y DE SU ENTORNO (TÍRIG, CASTELLÓN)." In 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6627.

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Archaeological cultural heritage is a precious resource that should be transmitted to future generations. The 3D digital representation of monuments and sites has proven to be a reliable method for this aim. This article shows the geomatics workflow undertaken for the complex rock art documentation of the Cova dels Cavalls (Tírig, Castellón). The paintings are part of the Rock art of the Mediterranean Basin of the Iberian Peninsula declared a UNESCO’s World Heritage Site in 1998. The various stages are reviewed, from the acquisition phase up to the delivery of part of the derived metric products, such as 3D models and photorealistic models.http://dx.doi.org/10.4995/CIGeo2017.2017.6627
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Carrión-Ruiz, Berta, and José Luis Lerma. "ANÁLISIS DE COMPONENTES PRINCIPALES DE IMÁGENES MULTIESPECTRALES EN EL ÁMBITO DEL ARTE RUPESTRE." In 1st Congress in Geomatics Engineering. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6597.

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This paper tackles principal component analysis (PCA) in images that include wavelengths between 380-1000 nm. Our approach is focussed on taking advantage of the potencial of ultraviolet and infrarred images, in combination with the visible ones, to improve documentation process and rock art analysis. In this way, we want to improve the discrimination between pigment and support rock, and analyse the spectral behaviour of rock art paintings in the ultraviolet and infrared regions. Three images were used, one image from the ultraviolet (UV) region, one from the visible region (VIS) and another one from the near infrared region (NIR). Optical filters coupled to the camera optics were used to take the images. These filters capture specific wavelengths excluding radiation that we are not interested in registering. Finally, PCA is applied to the acquired images. The results obtained demonstrate the PCA usefulness with imagery in this field and also it is possible to extract some conclusions about the correspondent paint pigments.http://dx.doi.org/10.4995/CIGeo2017.2017.6597
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Saw, Chaw Yeh, and Hsiao Mei Goh. "The Rock Art in Kinta Valley, West Malaysia: A synthesis Lukisan Gua di Lembah Kinta, Semenanjung Malaysia: Satu sintesis." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-10.

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This paper presents a synthesis of the new rock art mapping project in the Kinta Valley of West Malaysia. Through our collaboration with Kinta Valley Watch, we have successfully located more than 30 new rock art sites between 2019 and June 2021. The rock art is represented by both red and black paintings, with a wide variety of motifs including anthropomorph, zoomorph, botanic, watercraft, weapon, animal rider, handprint, geometric shape, line art, and other abstract design. This discovery is instrumental to the contemporary rock art research in Malaysia and demonstrated a collective effort in rock art research through long-term collaboration with the local stakeholders. Kertas kerja ini merupakan satu sintesis hasil daripada projek pemetaan lukisan gua di Lembah Kinta, Semenanjung Malaysia. Melalui kolaborasi dengan organisasi tempatan iaitu Kinta Valley Watch, kami telah mengenalpasti lebih daripada 30 lokasi lukisan gua antara tahun 2019 dan 2021. Antara bentuk lukisan gua yang dijumpai termasuklah antropomor ik ( igura manusia), zoomor ik ( igura haiwan), tumbuh-tumbuhan, perahu, senjata, penunggang haiwan, gambar tangan, geometrik, seni garisan dan simbol abstrak. Jumpaan ini amat berharga untuk kajian lukisan gua di Malaysia dan memaparkan satu usaha bersama demi kajian lukisan gua melalui kolaborasi jangka panjang dengan komuniti tempatan.
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Trujillo, Judith. "Geochemical studies of rock paintings in Serranía de La Lindosa of Colombia as an input for cultural management in this area." In Goldschmidt2021. France: European Association of Geochemistry, 2021. http://dx.doi.org/10.7185/gold2021.5422.

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Reports on the topic "Rock paintings"

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Rajnovich, G. Reading rock art: interpreting the Indian rock paintings of the Canadian Shield. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2002. http://dx.doi.org/10.4095/216231.

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Iliev, Mihail, Milena Mitova, Ralitsa Ilieva, Veneta Groudeva, and Petar Grozdanov. Bacterial Isolates from Rock Paintings of Magura Cave and Sensitivity to Different Biocides. "Prof. Marin Drinov" Publishing House of Bulgarian Academy of Sciences, May 2018. http://dx.doi.org/10.7546/crabs.2018.05.08.

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Selections from the Inter-American Development Bank Art Collection: 2007. Inter-American Development Bank, July 2007. http://dx.doi.org/10.18235/0006431.

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In commemoration of the fifteenth anniversary of the IDB Cultural Center, the IDB proudly accepted the invitation of Anne Plummer, Director of the Arkansas Art Center (AAC), to share a selection of 65 artworks owned by the IDB, a fraction of the nearly 1,700 collected over more than 48 years, to be exhibited in Little Rock between July 6th and August 19th. This outstanding group of paintings, drawings, mixed media works, and prints, selected from the IDB's vast and impressive collection by AAC curator Joseph W. Lampo, represents the best in Latin American art of the recent past. It surely encouraged Arkansas already growing interest in the art of these countries.
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