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Journal articles on the topic 'Rock paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

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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9

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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10

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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11

Weiler, Reto. "Australia's mysterious rock paintings." Journal of Comparative Neurology 528, no. 17 (June 5, 2020): 2800–2803. http://dx.doi.org/10.1002/cne.24912.

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Mohanu, Dan, Ioana Gomoiu, Ileana Mohanu, and Marin Șeclăman. "Corbii de Piatră. Conclusions of a research." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 3 (2012): 119–33. http://dx.doi.org/10.47950/caieteara.2012.3.12.

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The aim of the research undertaken during 2008-2010 at Corbii de Piatră church in the rock was to provide the scientifi c background needed for an adequate approach of conserving the medieval site, especially the valuable mural painting ensemble. Starting from cross-disciplinary approach of conserving mural paintings inside the rock-hewn church, our project created a researchmonitoring-
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13

Shao, Qing-Feng, Edwige Pons-Branchu, Qiu-Ping Zhu, Wei Wang, Hélène Valladas, and Michel Fontugne. "High precision U/Th dating of the rock paintings at Mt. Huashan, Guangxi, southern China." Quaternary Research 88, no. 1 (June 5, 2017): 1–13. http://dx.doi.org/10.1017/qua.2017.24.

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AbstractThe rock art and the associated natural scenery at 38 sites located in the Zuojiang River valley, in the southwest of Guangxi Zhuang Autonomous Region, southern China, were inscribed recently on UNESCO’s World Heritage List. The painted panel at the site of Mt. Huashan is probably the largest known rock art panel in the world, consisting of approximately 1900 identifiable figures and occupying an area of approximately 8000 m2. To determine a precise age on the rock art at Mt. Huashan, 56 secondary carbonate layers above and below the paintings were studied for their mineralogy, oxygen, and carbon isotopic compositions and dated by the 230Th/U method. The 230Th/U dating results demonstrate that ages of the rock paintings can be bracketed between 1856±16 and 1728±41yr BP corresponding to the middle to the end of the Eastern Han dynasty (AD 25 to 220). The results imply that the rock painting practices at Mt. Huashan probably lasted more than a century, and the Zuojiang rock art is younger than that at Baiyunwan and Cangyuan in Yunnan Province by 1 to 10 centuries.
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Pandey, Anjali, and Garima Mishra. "COLOR SCHEME IN ROCK PAINTINGS OF CHHATARPUR." ShodhKosh: Journal of Visual and Performing Arts 1, no. 1 (June 26, 2020): 31–35. http://dx.doi.org/10.29121/shodhkosh.v1.i1.2020.9.

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English: Man's innate expression towards art is manifested by rock paintings. For early humans there were rock shelters. On prehistoric shelter sites, humans marked paintings as their natural expression. Paintings made in rock were called rock paintings. Known prehistoric paintings were discovered by Mercilona di Setuala in a cave called Altamira, located in northern Spain, from accidental exploration in 1879. Rock paintings have been discovered in many places in India [1]. Hindi: कला के प्रति मानव की सहज अभिव्यक्ति शैल चित्रों से प्रकट होती है प् प्रारंभिक मानव के लिए शैलाश्रय आवास गृह थे प् प्रागैतिहासिक आश्रय स्थलों पर मानव ने अपनी स्वाभाविक अभिव्यक्ति के रूप में चित्रों का अंकन किया प् शैलाश्रय में बनाए गए चित्र शैल चित्रों के नाम से जाने जाते हैं प् प्रागैतिहासिक चित्रों की खोज प्रमुख रूप से उत्तरी स्पेन में स्थित अल्तमिरा नामक गुफा में मर्सीलोना दी सेतुआला द्वारा चित्र राशि की खोज सन् 1879 मैं हुए आकस्मिक अन्वेषण से हो गई थी प् भारत में कई स्थानों पर शैल चित्र खोजे गए हैं। [1]
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Dayet, Laure, Francesco d’Errico, Marcos García Diez, and João Zilhão. "Critical evaluation of in situ analyses for the characterisation of red pigments in rock paintings: A case study from El Castillo, Spain." PLOS ONE 17, no. 1 (January 24, 2022): e0262143. http://dx.doi.org/10.1371/journal.pone.0262143.

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Paint technology, namely paint preparation and application procedures, is an important aspect of painting traditions. With the expansion of archaeometric studies and in situ non-destructive analytical methods, a renewal of technological studies is being observed in rock art. In situ analyses have several limitations that are widely discussed in the literature, however. It is not yet clear whether they provide accurate information on paint technology, except under certain conditions. Here, we evaluated digital microscopic and pXRF in situ analyses for the characterisation of a large set of red and yellow paintings from the El Castillo cave, Cantabria, Spain. We have set experiments and used statistical methods to identify differences between paint components and determine factors impacting pXRF measurements. We found that the compositional heterogeneity of the paintings’ environment, especially variations in secondary deposits, was responsible for most of the differences observed between the pXRF signals recorded on the paintings. We concluded that the El Castillo cave environment is not suitable for non-destructive technological studies, but that more favourable contexts might exist. Following previous works and our own results, we advocate a combination of both in situ and laboratory invasive analyses for the study of paint composition and paint technology. Our research protocol, based on the comparison of rock paintings, their substrate, experimental paintings and Fe-normalisation of the signals can improve the reliability of pXRF results. We also propose to include more systematic characterisation of rock wall heterogeneity and the use of microscopic analyses in non-destructive approaches.
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Enright, W. J. "Aboriginal Rock Paintings at Wollombi." Mankind 1, no. 10 (February 10, 2009): 234–35. http://dx.doi.org/10.1111/j.1835-9310.1934.tb00046.x.

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Gresser, P. J. "Aborigine Rock Paintings-Kanangra Walls." Mankind 6, no. 5 (February 10, 2009): 215–17. http://dx.doi.org/10.1111/j.1835-9310.1965.tb00350.x.

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Kholmatov, Azbiddin Ne’matillaevich. "NEW ROCK PAINTINGS OF BEKLARSOY." Theoretical & Applied Science 67, no. 11 (November 30, 2018): 153–56. http://dx.doi.org/10.15863/tas.2018.11.67.24.

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Dhiman, Kiran. "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3555.

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Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively.Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric art. It provides the basis for entering into the changing aspects of the living arts of man.
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Төрбат, Цагаан, Очирхуяг Нэргүй, and Бямбадорж Лхагвадорж. "Монгол Алтайд илэрсэн “Сэлэнгийн хэлбэрийн” зосон зургийн дурсгал (Говь-Алтай аймаг, Тонхил сум)." Mongolian Journal Anthropology, Archaeology and Ethnology 12, no. 1 (December 29, 2023): 47–53. http://dx.doi.org/10.22353/mjaae.2023120104.

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A group of ochre paintings traditionally classified as “Selenge type” has been discovered on a small rocky promontory at Choilon ford situated in the Dund Khuld river valley in the southern slopes of the Altai mountain range, within the Tonkhil soum of Gobi-Altai province. These ochre paintings can be categorized into two distinct groups. The initial group, characterized by a pair of triangles, is associated with a particular culture for which the exact dating remains uncertain. Conversely, the second group, featuring a pair of lines, depictions of animals, humans, and a square frame, corresponds to the Slab Grave culture, attributable to the Late Bronze Age and Early Iron Age. Adjacent to these paintings are four carvings of deer, aligning with the Deer Stone Khirgisuur culture. The significance of this rock art lies in its current location at the westernmost extremity of the “Selenge type” rock paintings affiliated with the Slab Grave culture, rendering it a subject of considerable research interest.
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del Hoyo-Meléndez, J. M., J. L. Lerma, E. López-Montalvo, and V. Villaverde. "Documenting the light sensitivity of Spanish Levantine rock art paintings." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3 (August 11, 2015): 53–59. http://dx.doi.org/10.5194/isprsannals-ii-5-w3-53-2015.

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A case study to evaluate the use of microfading spectrometry (MFS) for the study of colored systems found in prehistoric rock art paintings was conducted in the Cova Remígia rock-shelter, Castellón (Spain). This rock shelter is part of the rock art sites of the Mediterranean basin on the Iberian Peninsula included in UNESCO’s World Heritage List. Some of the paintings belonging to this group are exposed to environmental factors including natural daylight, wind and rain, depending on the time of the day and the season of the year. Therefore, their preservation is a major concern to stakeholders and researchers responsible for protecting and studying these prehistoric paintings. The experimental work in Cova Remigia focused on measuring the reflectance curves (400-700 nm) and determining the photostability of various areas containing red and black pigments on the rock art paintings. The preliminary results indicate that MFS is a suitable technique for studying the response to light of rock/pigment systems found in rock art sites. The advantages and limitations of the technique are discussed.
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Mandal, Barun. "Visual Rhetoric on Rock During Mesolithic Period at Chintakunta, Kadapa, Andhra Pradesh, India." International Journal of Language, Literature and Culture 2, no. 5 (2022): 1–7. http://dx.doi.org/10.22161/ijllc.2.5.1.

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Following the present to make a better future, there are areas to understand about human settlement in aforementioned, which provides the information about food, shelter, dress, culture, lifestyle, and the relation between human and animal. Moreover, the providers are available in contemporary times which carry the history like- cave paintings, rock paintings, sculptures from ancient civilizations, pots, etc. Human habitations in India had been evaluated by humans from nowhere to somewhere dated back to 10000 BC - 8000 BC, where communication was needed initially, and food, cloth, and language painting also have improved simultaneously. Ancient people depicted nonverbal communication through fighting scenes, hunting, riding, copulation, cultural practice, and genre life through ages like the palaeolithic, mesolithic, and neolithic periods. Evidence of the prehistoric cave and rock art still exist in India, like Bagh cave, Bhimvedka there are Chintakunta, Belum caves, Kethavaram and Bhogeswara in Andhra Pradesh. Apart from habitations, Color application, line, form, shapes, narrations of the paintings, and drawing are the most critical areas invented in a new way by the research scholar, archaeologists, and still, the educators are on the way to searching for new invent This paper explores the Art, aesthetics, culture, and technicality of these diverse approaches to this hidden treasure that can be beneficial in studying ancient rock art.
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Singh, Divya. "Major rock paintings of Bhanpura region and its artistic heritage." International Journal of Research -GRANTHAALAYAH 5, no. 11 (November 30, 2017): 295–306. http://dx.doi.org/10.29121/granthaalayah.v5.i11.2017.2356.

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Summary: - Shail paintings means rock paintings, caves, river drains walls, roofs and open rocks. Shailachitra is the art in which evidence of human emergence is found which shows the thinking of artistic development and intense power of human at that time.Apart from rock paintings, in various periods of human history, songs, music, dance and other genres may have made humans their medium of artistic expression, but expressions made in other mediums other than rock paintings could not be preserved in the pats of time. Thus, Shailachitra is the oldest available art of man. सारांश:-शैलचित्रों से तात्पर्य है शैलाश्रयों, गुफाओं, नदी नालों की दीवारों, छतों तथा खुली चट्टानों परपुरा मानव द्वारा किये गये चित्रण को शैल चित्र कहते हैं। शैलचित्र वह कला है जिसमें मानव के अभ्युदय होने के प्रमाण मिलते है जो उस समय के मानव के कलात्मक विकास और तीव्र इच्द्दा शक्ति की सोच को दर्शाता है। शैलचित्रों के अतिरिक्त मानव इतिहास के विभिन्न कालखण्डों में गीत, संगीत, नृत्य व अन्य विधाओं को भी मानव ने अपनी कलात्मक अभिव्यक्ति का माध्यम बनाया होगा, परन्तु शैलचित्रों के अतिरिक्त अन्य माध्यम में की गयी अभिव्यक्ति काल के थपेड़ों में सुरक्षित नहीं रह सकीं। अतः शैलचित्र मानव की सर्वाधिक प्राचीन उपलब्ध कलाकृतियाँ हैं।
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Fontugne, Michel, Qingfeng Shao, Norbert Frank, François Thil, Niède Guidon, and Eric Boeda. "Cross-Dating (Th/U-14C) of Calcite Covering Prehistoric Paintings at Serra da Capivara National Park, Piaui, Brazil." Radiocarbon 55, no. 3 (2013): 1191–98. http://dx.doi.org/10.1017/s0033822200048104.

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The question of when the first humans arrived in the New World has been a bone of contention for several decades. Similarly, the age of rock paintings has been heatedly debated. Settlements in the Serra da Capivara National Park have been dated to between 5 kyr and >50 kyr, which is far older than the Clovis barrier. Moreover, calcite formation on a rock-wall painting in a rockshelter yielded thermoluminescence (TL) and electron paramagnetic resonance (EPR) ages older than 35 kyr BP (Watanabe et al. 2003). In an attempt to contribute to this ongoing debate, we have studied calcite deposits covering prehistoric paintings from several rockshelters (Toca da Bastiana, Toca do Serrote de Moendas, and Toca da Gameleirinha [Pedra pintada]). Coupled AMS (accelerator mass spectrometry) 14C and MC-ICPMS (multi-collector inductively coupled plasma mass spectrometry) 230Th/U dating was performed in Toca da Gameleirinha. The ages obtained for these cal-cites are younger than 12 kyr and suggest that the paintings could be more recent than proposed by previous studies.
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Yang, You Zhen, Zi Fan Guo, and Han Lin Ma. "Experimental Studying on Rock of HeLanKou Deformation and Failure Characteristics under Triaxial Compression Test." Advanced Materials Research 1065-1069 (December 2014): 40–43. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.40.

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The deformation and failure characteristics of rock have a decisive influence on the value of the heritage itself. Therefore, the rock samples were taken from the HeLanKou rock paintings area. The triaxial compression test was completed with the multi-function apparatus RMT-150C. Then the deformation and failure analysis were analyzed. The results show that the porosity and water imbibition are all low. The triaxial compression strength is high. The rock belongs to brittle material. The results can provide data support and reference for HeLanKou rock paintings protection.
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GÜLER, Hülya. "Anadolu Kaya Resimleri Anatolia Rock Paintings." Aydın Sanat İstanbul Aydın Üniversitesi Güzel Sanatlar Fakültesi Dergisi 6, no. 11 (2015): 33–42. http://dx.doi.org/10.17932/iau.sanat.2015.015/sanat_v06i11004.

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Finch, Damien, Andrew Gleadow, Janet Hergt, Pauline Heaney, Helen Green, Cecilia Myers, Peter Veth, Sam Harper, Sven Ouzman, and Vladimir A. Levchenko. "Ages for Australia’s oldest rock paintings." Nature Human Behaviour 5, no. 3 (February 22, 2021): 310–18. http://dx.doi.org/10.1038/s41562-020-01041-0.

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Ozmak Mercan, Ayse. "ARTISTIC ACCEPTANCE OF TURKISH ROCK PAINTINGS." Ulakbilge Dergisi 7, no. 41 (October 31, 2019): 755–65. http://dx.doi.org/10.7816/ulakbilge-07-41-07.

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Rowe, Marvin W. "Radiocarbon Dating of Ancient Rock Paintings." Analytical Chemistry 81, no. 5 (March 2009): 1728–35. http://dx.doi.org/10.1021/ac802555g.

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Deacon, Janette, R. Townley Johnson, and T. Maggs. "Major Rock Paintings of Southern Africa." South African Archaeological Bulletin 47, no. 155 (June 1992): 65. http://dx.doi.org/10.2307/3888997.

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Peisach, M., C. A. Pineda, and L. Jacobson. "Nuclear analytical study of rock paintings." Journal of Radioanalytical and Nuclear Chemistry Articles 151, no. 1 (September 1991): 221–27. http://dx.doi.org/10.1007/bf02040149.

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Pak, Hyoŭn. "Words and Images Representing Real Places : Chŏng Sŏn’s Picture of the Thousand Buddhas Rocks and Pictures of the Terrace of Splendid Waves." Korean Journal of Art History 317 (March 31, 2023): 5–43. http://dx.doi.org/10.31065/kjah.317.202303.001.

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This paper reveals the location depicted in Picture of the Thousand Buddhas Rocks (千佛嵓圖, ‘Ch’ŏnburamdo’), the last unidentified image in Album of Famous Sights of East Kangwŏn Region (關東名勝帖, ‘Kwantongmyŭngsŭngch’ǒp’) by famous Korean painter Chǒng Sǒn (鄭敾, 1676-1759), and identifies the subject of the painting as the Terrace of Splendid Waves (凌波臺, ‘Nŭngp’adae’) in present-day Tonghae City. The location of the painting’s subject can be derived from the evidence of Chǒng Sǒn and other well-known figures’ visitation to the scenic spots in the vicinity of Samch’ŏk during the Chosŏn Dynasty. Chǒng Sǒn’s painting of Nŭngp’adae as Ch’ŏnburamdo and the evidence of his visitation, including two rock epigraphs (one on the left side of Yongch’u Waterfall, the other beside a flat boulder known as “Murŭngpansŏk”), as well as the large quantities of poetry and prose detailing and praising the beauty of ‘Nŭngp’adae’, were largely unknown until now. The aim of this paper is to examine from iconographic and painting subject perspectives the region and location depicted in Ch’ŏnburamdo, and to analyze the process of representation in 18th-19th century visuals in regard to the famous sights of the East Kangwǒn Region, thus confirming the location of Ch’ŏnburamdo as Nŭngp’adae and further deepening the understanding of Chǒng Sǒn and other late Chosŏn painters. First, a literature review inspecting the validity of Ch’ŏnburam’s location in the existing research will be conducted, through which two potential candidates for the location of Ch’ŏnburam – Haegŭmgang and Nŭngp’adae – will be examined in terms of their place specific characteristics vis-a-vis Ch’ŏnburamdo. Next, the depictions of the scenic sights in the East Kangwŏn region by Chǒng Sǒn and other 18-19th century Korean painters will be discussed with a focus on the famous east coast locations depicted in 9 paintings in Kwantongmyŭngsŭngch’ǒp. The establishment of these locations as icons and imagery of landscape painting subjects as well as the progressions and changes of these depictions will also be detailed. Also, it can be derived that interactions with Lee Pyǒngyǒn, the magistrate of Kŭmhwa in the early 1710’s and who would later govern the entire Samch’ŭk region in the early and mid-1730’s, were decisive motivations for the representations of East Kangwǒn’s famous locations. It can also be derived that Chǒng Sǒn would record landscape sketches at every available opportunity so that these sketches could be used in the creation of new paintings. These sketches are also the key foundation of the proposition of the existence of Nŭngp’adaedo – a drawing of Nŭngp’adae by Chǒng Sǒn. Lastly, the source painting of Ch’ŏnburam (Nŭngp’adae) in Chǒng Sǒn’s painting sketches explains how Kwǒn Sinŭng’s later imitation painting of Chǒng Sǒn’s work, Nŭngp’adaedo, resembles Ch’ŏnburamdo in both form and structure, why thousand buddhas – the rocks’ namesake – is mentioned in Kwǒn Sǒp’s poetry and prose of the same imitation painting, and how Lee Yunyǒng created a new Nŭngp’adaedo as a way to diverge from Chǒng Sǒn’s influence. As a result, we can conclude that in the 1730’s and early 1740’s, Chǒng Sǒn painted Ch’ŏnburamdo (Nŭngp’adaedo), which then inspired Kwǒn Sinŭng in 1744 and Lee Yunyǒng in the 1750s to paint their own versions of Nŭngp’adaedo. It can also be concluded that, in 1788 and beyond, Kim Hongto and his followers would paint new versions of Nŭngp’adaedo as a continuation of this artistic flow. Until now, visual recreations of Nŭngp’adae were viewed mainly from the perspective of Kim Hongto’s work and without understanding how Chǒng Sǒn’s work and influence impacted future generations of this piece. But now, Chǒng Sǒn and Kim Hongto’s Ch’ŏnburamdo and Nŭngp’adaedo can be placed side-by-side in the history of true-view landscapes. Additionally, the imagery of these paintings, including the iconic Ch’ottaepawi Rock, rocky coastal cliffs and hills, pine forests, and staffage have now also been clearly identified. Thus, for future identifications of regions, places, and time periods in landscape paintings, this paper calls for specific attention to be paid to how text can be more subject to change than imagery vis-à-vis the conveyance of the characteristics of a region or location in a landscape; how the similarities in imagery between works in a clear chronological era can provide more conducive evidence than a written document or record; and how, despite the aforementioned points, text can still be a decisive force in identifying the real locations of landscapes, such that a more minute discussion of the historical reality of the subject, imagery, and artistic context of landscape paintings can be theorized.
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Mishra, Nitesh Kumar, Anshu Mala Tirkey, and Baleswar Kumar Besra. "The Cultural Study of Tribes and Prehistoric Rock Paintings of Simdega District." Journal of Ravishankar University (PART-A) 26, no. 1 (February 12, 2021): 39–48. http://dx.doi.org/10.52228/jrua.2020-26-1-7.

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This research paper will mainly consist of the unreported Neolithic site and rock art sites of Simdega district. In this paper there will be the detailed information about the rock paintings. The detailed study will be done of the various figures of the paintings. This paper will also describe the associated remains found along with the rock paintings. The research paper also consists of the developing phase of the rock art which can be seen in the tribal communities. Paper will also consist of the study of saddle quern, its various uses and how it is related to the tribal community. There will the content about the importance of the rock art in the tribal society. Various rituals are performed on the rock art site by the tribal people till today. This research paper will describe these rituals which are performed by the tribal people. The paper will consists of the study of correlation between the rock art and the various arts forms and cultures present in the tribal community.
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Tan, Juan. "Role and Performance of Nanomaterials in Rock Paintings in Rocks." Integrated Ferroelectrics 236, no. 1 (June 12, 2023): 130–49. http://dx.doi.org/10.1080/10584587.2023.2194833.

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SMITH, BENJAMIN W., and JOHAN A. VAN SCHALKWYK. "THE WHITE CAMEL OF THE MAKGABENG." Journal of African History 43, no. 2 (July 2002): 235–54. http://dx.doi.org/10.1017/s002185370100799x.

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Research in the Northern Province of South Africa has revealed a most surprising new rock art find: a painting of a camel. This paper investigates how and why a camel came to be painted in the remote rock art of the Makgabeng hills. Analysis of archival material allows one to attribute the painting to a Northern Sotho artist who was active in the first decade of the twentieth century. The purpose of the painting is revealed in its context; it forms part of a collection of paintings which ridicule elements of ineptness in the ways of the new white intruders. We argue that this pointed humour helped the Makgabeng community to overcome some of the trauma of the displacement and violence which characterized the era of the first white settlement in northern South Africa.
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Higuchi, Ryo, Tamaki Suzuki, Mina Shibata, Yoko Taniguchi, and Murat Gülyaz. "Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey." Virtual Archaeology Review 7, no. 14 (May 31, 2016): 31. http://dx.doi.org/10.4995/var.2015.4241.

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<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>
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Higuchi, Ryo, Tamaki Suzuki, Mina Shibata, Yoko Taniguchi, and Murat Gülyaz. "Digital non-metric image-based documentation for the preservation and restoration of mural paintings: the case of the Üzümlü Rock-hewn Church, Turkey." Virtual Archaeology Review 7, no. 14 (May 31, 2016): 31. http://dx.doi.org/10.4995/var.2016.4241.

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<p class="VARKeywords">Digital photography is a valuable documentation technique for the preservation of a cultural heritage site because highresolution photography presents both general and detailed views of mural paintings and mural condition in a single image. Advanced digital technology is particularly helpful for preserving and restoring mural paintings given that the painting condition is recorded on high-resolution base maps shows how mural paintings are damaged by environmental stresses, mechanical damages and inappropriate treatments, among others. In addition, photogrammetric software technology is rapidly advancing and being applied to the digital documentation of mural paintings or rock art. Nevertheless, human experience and investigation of mural paintings is indispensable for recording the condition of mural paintings, and this highlights that every step of documentation conducted in situ is desirable. However, images by photogrammetric software do not show sufficient resolution because most normal portable computers used on-site are not usually sufficient. Based on our experience at the Üzümlü Church in Cappadocia, Turkey, we propose a new approach to document mural conditions in situ for preservation and restoration. Our method is based on a comparison of a non-metric but approximate high-resolution image with the actual mural paintings. The method does not require special instruments and enables digital documentation of the mural condition in situ at a low cost, in a short time frame and using minimal human resources.</p>
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NAJAFLI, Ramiz. "MATERIALS OF KALBAJAR MUSEUM OF REGİONAL STUDIES AS A SOURCE IN THE STUDY OF ROCK PAINTINGS." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 22 (September 25, 2021): 50–56. http://dx.doi.org/10.38064/eurssh.264.

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This article deals with the role of the materials of Kalbajar Museum of Regional Studies as a source in the invstigation of rock carvings in Azerbaijan and important proofs in its study. In Kalbajar, called second Gobustan, written monuments, including rock carvings, are known as Bronze Age monuments in our country. For the first time, rock paintings were studied on the basis of materials from the Kalbajar Museum of Regional Studies. The article deals with about 4.000 rock paintings recorded by the museum’s expedition team in one of the charming corners of Azerbaijan – in Gelin qayasi, Zalkha gholu, Sercheli dagh, Soltan Heydar. Gonag ghormez, Yuzbulaq, Peri chingili, Ayi chingili, Gurbagali chay, Qizil tepe, Gara ghol areas of Kalbajar. The ancient hunting activities of our ancestors, their economic life, as well as the activities of cattle-brreders and farmers, their religious ideas are described on the basis of paintings. In the article is emphasizes that hundreds of rock carvings of the region still needs for research.
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Belova, Aleksandra D. "David Lewis-Williams’s Cognitive Archeology: New Approach to Shamanism." Study of Religion, no. 2 (2019): 92–97. http://dx.doi.org/10.22250/2072-8662.2019.2.92-97.

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The article outlines the main ideas of the archaeologist David Lewis-Williams and his contribution to the study of shamanism and the analysis of rock paintings. Author examines the depicted scenes, the process of the painting, as well as artifacts and ethnographic evidences of the alleged rituals. The reconstruction of rituals is accompanied by the Lewis-Williams’s conception of the spectrum of consciousness and its various states. Universal mental images arising during ASCs played a large role in the genesis of shamanism, and their fixation in rock art allows one to reconstruct the inner state of the creators of images and the role of trance experiences. The author finds confirmation of his concept in the history of religions. The article also contains critical remarks on the Lewis-Williams’ theory, mainly related to the definition of symbolic activity and the insufficient attention of the author to social organization. The author of the article partially agrees with the criticism, and also brings auxiliary theories that remove some of the criticism. The article outlines the prospects for using the Lewis-Williams’ method in analyzing not only rock paintings, but also folklore sources.
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Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.

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Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and indicates a growing concern by people with using graphic art to record their relationship with the site. Over the last millennium changes in the surviving frieze of paintings at Puritjarra record fundamental changes in graphic vocabulary, style, and composition of the paintings. These coincide with other evidence for changes in the geographic linkages of the site. As Puritjarra's place in the social geography changed, the motifs appropriate for the site also changed. The history of this rock shelter shows that detailed site histories will be required if we are to disentangle the development of central Australian graphic systems from the temporal and spatial variability inherent in the expression of these systems.
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Lewis-Williams, J. David, and Thomas A. Dowson. "Through the Veil: San Rock Paintings and the Rock Face." South African Archaeological Bulletin 45, no. 151 (June 1990): 5. http://dx.doi.org/10.2307/3887913.

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Tripathi, Shubha, and Beena Jain. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.

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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta art is considered as the classical age of Indian painting. The artists of Ajanta did not follow the law of perspective and represented the figures in its entirety rather than appeared through a normal eye. Ajanta artists tried to depict the whole view through horizontal bands. In the paintings at Ajanta, the background was painted at the topmost band, the middle part of the painting below it and the foreground below the middle ground.
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Robinson, David W., Kelly Brown, Moira McMenemy, Lynn Dennany, Matthew J. Baker, Pamela Allan, Caroline Cartwright, et al. "Daturaquids at Pinwheel Cave, California, provide unambiguous confirmation of the ingestion of hallucinogens at a rock art site." Proceedings of the National Academy of Sciences 117, no. 49 (November 23, 2020): 31026–37. http://dx.doi.org/10.1073/pnas.2014529117.

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While debates have raged over the relationship between trance and rock art, unambiguous evidence of the consumption of hallucinogens has not been reported from any rock art site in the world. A painting possibly representing the flowers ofDaturaon the ceiling of a Californian rock art site called Pinwheel Cave was discovered alongside fibrous quids in the same ceiling. Even though Native Californians are historically documented to have usedDaturato enter trance states, little evidence exists to associate it with rock art. A multianalytical approach to the rock art, the quids, and the archaeological context of this site was undertaken. Liquid chromatography−mass spectrometry (LC-MS) results found hallucinogenic alkaloids scopolamine and atropine in the quids, while scanning electron microscope analysis confirms most to beDatura wrightii. Three-dimensional (3D) analyses of the quids indicate the quids were likely masticated and thus consumed in the cave under the paintings. Archaeological evidence and chronological dating shows the site was well utilized as a temporary residence for a range of activities from Late Prehistory through Colonial Periods. This indicates thatDaturawas ingested in the cave and that the rock painting represents the plant itself, serving to codify communal rituals involving this powerful entheogen. These results confirm the use of hallucinogens at a rock art site while calling into question previous assumptions concerning trance and rock art imagery.
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Joy, Francis. "Noaidi drums from Sápmi, rock paintings in Finland and Sámi cultural heritage – an investigation." Polar Record 53, no. 2 (February 27, 2017): 200–219. http://dx.doi.org/10.1017/s0032247416000917.

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ABSTRACTA new, extensive examination of figures with horns and triangular shaped heads in prehistoric rock paintings in Finland reveals remarkable parallels with similar attributes on the Radien and Akka groups of spirits, pictured as male and female powers of the sky, earth and underworld, painted on the heads of indigenous Sámi noaidi drums from Swedish and Norwegian Sápmi during the seventeenth and eighteenth centuries. What makes this particular study of interest is that the cultural context or origins of rock paintings in Finland remains ambiguous. They are contextualised as being ‘Finnish’ according to academic literature. This paper explores these theories further and presents the findings of this investigation. In light of these findings, a re-examination and re-interpretation of the cultural context of rock paintings in Finland concerning Sámi pre-Christian religion and cultural heritage is prompted.
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Jain, Sushma. "PRE-HISTORIC ROCK PAINTING: DICKEN (DISTRICT NEEMUCH)." International Journal of Research -GRANTHAALAYAH 8, no. 3 (May 25, 2020): 128–35. http://dx.doi.org/10.29121/granthaalayah.v8.i3.2020.137.

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Humans have been lovers of beauty and art from the beginning. Like human life, the history of the rise of art is very mysterious, vast and unknown. It is not easy to present the facts of past merged in innumerable layers of time, even today we have a complete lack of means and evidence. The places where rock paintings have been found in India are still located in dense forests far away from human reach. All these prehistoric arts are pre-human. With these inscriptions we not only gain knowledge of the nature, life, struggle and conditions of the primitive human, but we also get the proof of the aesthetic sense of creativity in his consciousness. These rock paintings did not come to light suddenly, after a decade of prehistoric paintings of Spain, France, rock paintings also became a topic of discussion in India. Credit for the discovery of these Shailashrayi paintings first goes to Carlile and Cuckburn. 3 मानव प्रारम्भ से ही सौंदर्य एवं कला प्रेमी रहा है । मानव जीवन की भाँति कला के उदय का इतिहास अत्यंत रहस्यमय, विराट तथा अज्ञात है । काल की असंख्य परतों में विलीन अतीत के तथ्यों को मूर्त रूप में प्रस्तुत करना सहज नहीं है, आज भी हमारे पास साधनों एवं प्रमाणों का सर्वथा अभाव है।1 भारत में शैलचित्र जिन स्थानों पर प्राप्त हुए हैं वे स्थान आज भी मानव की पहुंँच से दूर घने जंगलों में स्थित हैं।2ये समस्त प्रागैतिहासिक कलाएँ मानव के सभ्य होने से पूर्व की हैं । इन शिलाचित्रों से हम न केवल आदिम मानव के स्वभाव, जीवन, संघर्ष तथा उसकी परिस्थितियों का ज्ञान प्राप्त करते हैं वरन् उसकी चेतना में व्याप्त सृजनशीलता से युक्त सौंदर्य बोध का भी प्रमाण पाते हैं । ये शैलचित्र अचानक ही प्रकाश में नहीं आ गए स्पेन, फ्रांस के प्रागैतिहासिक चित्रों के एक दशक पश्चात् भारत में भी शैलचित्र चर्चा का विषय बन गए । इन शैलाश्रयी चित्रों की खोज का श्रेय सर्वप्रथम कार्लाइल तथा काकबर्न को जाता है ।3
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Devlet, Ekaterina G., D. Uranchimeg, B. Bayartur, Yuri M. Svoyskiy, and Ekaterina V. Romamenko. "GACHUURT ROCK ART PAINTINGS IN MONGOLIA: RECONSIDERATION." Journal of historical philological and cultural studies 2, no. 60 (June 30, 2018): 101–15. http://dx.doi.org/10.18503/1992-0431-2018-2-60-101-115.

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Armitage, Ruth Ann, Marian Hyman, Marvin W. Rowe, Lawrence L. Loendorf, and John R. Southon. "Dated Rock Paintings at Red Cliffs, Arizona." KIVA 65, no. 3 (January 2000): 253–66. http://dx.doi.org/10.1080/00231940.2000.11758411.

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Garlake, P. S. "Archetypes and attributes: Rock paintings in Zimbabwe." World Archaeology 25, no. 3 (February 1994): 346–55. http://dx.doi.org/10.1080/00438243.1994.9980250.

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Kazim-Zada, Aydin Kazim. "INFORMATIVE FEATURES OF ROCK PICTURES OF VARIOUS COUNTRIES." EurasianUnionScientists 1, no. 7(76) (August 20, 2020): 47–51. http://dx.doi.org/10.31618/esu.2413-9335.2020.1.76.896.

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The article provides examples of petroglyphs of Russia, Central and Central Asia, Gobustan of the Republic of Azerbaijan and other countries. The informative features of rock paintings are identified and investigated. The structure of the information retrieval system is given. A number of symmetrical rock paintings are considered. The graphs of the distribution density of images of Gobustan deer are presented. The process of recognition and identification of petroglyphs takes place on the basis of informative features.
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Tran, Ngoc Cao Boi. "RESEARCH ON THE ORIGINAL IDENTITIES OF SOME TRADITIONAL PAINTINGS AND ROCK ENGRAVINGS OF AUSTRALIAN ABORIGINAL COMMUNITIES." Science and Technology Development Journal 13, no. 3 (September 30, 2010): 43–57. http://dx.doi.org/10.32508/stdj.v13i3.2160.

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Different from many other communities, Australian aboriginal communities had lived separately from the rest of the world without any contact with great civilizations for tens of thousands of years before English men’s invasion of Australian continent. Hence, their socio-economic development standards was backward, which can be clearly seen in their economic activities, material culture, mental culture, social institutions, mode of life, etc. However, in the course of history, Australian aborigines created a grandiose cultural heritage of originality with unique identities of their own in particular, of Australia in general. Despite the then wild life, Aboriginal Art covers a wide medium including painting on leaves, wood carving, rock carving, sculpture, sandpainting and ceremonial clothing, as well as artistic decorations found on weaponry and also tools. They created an enormous variety of art styles, original and deeply rich in a common viewpoint towards their background – Dreamtime and Dreaming. This philosophy of arts is reflected in each of rock engravings and rock paintings, bark paintings, cave paintings, etc. with the help of natural materials. Although it can be said that most Aboriginal communities’ way of life, belief system are somewhat similar, each Australian aboriginal community has its own language, territory, legend, customs and practices, and unique ceremonies. Due to the limit of a paper, the author focuses only on some traditional art forms typical of Australian aboriginal communities. These works were simply created but distinctively original, of earthly world but associated with sacred and spiritual life deeply flavored by a mysterious touch. Reflected by legendary stories and art works, the history of Australian Aboriginal people leaves to the next generations a marvelous heritage of mental culture.
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