Rock Art (Other Keyword)

DOCUMENT Citation Only Nicole Lohman.

Researchers and park staff recorded rock art at Petrified Forest National Park with a number of different and disparate approaches over the past half-century. As part of a graduate research project a standardized multi-scalar approach for recording rock art at the park was developed. The development process examined the efficacy of four different approaches for creating panel sketches. A comparison of the variables of time to complete, accuracy, and perceived ease for each method revealed the...

DOCUMENT Citation Only Maxime Aubert.

The recent discovery of cave paintings in Sulawesi dating to at least 40,000 years ago has altered our understanding of the origins and spread of the first painting traditions. This suggests that either rock art developed independently in Europe and Southeast Asia at about the same time, or that our species invented this trait prior to its initial expansion from Africa. Here I will discuss the implication of this discovery as well as new evidence from Borneo with the aim to deepen our knowledge...

DOCUMENT Citation Only Lucia Clayton Martinez.

Spatial analysis is a methodology that has been widely used for researching rock art. It has had a wide-ranging focus, varying from informed methods (using ethnographic information), to formal, and experiential methods. Spatial analyses undertaken on Murujuga, the Burrup Peninsula in northwest Australia, have primarily focused on establishing chronologies, the clustering of rock art motifs at a broad landscape scale, and the relationship with resource foci. My research has focused on formal...

DOCUMENT Citation Only Maxwell Forton.

East Tank Mesa is a prominent landform located within the new expansion lands of Petrified Forest National Park: harboring a high concentration of Pueblo II-Pueblo III petroglyph panels and one of the region’s few possible Chacoan outliers. This possible outlier is the Mac Stod site: a seven-room pueblo possessing some of the hallmarks of Chacoan architecture (core veneer masonry, large rooms, long straight walls, and well constructed rectangular doorways). The nature of Mac Stod, and whether it...

DOCUMENT Citation Only Emiliano Gallaga. victor ortega. Tobias García.

In this paper, we will present the preliminary results of the first field season of the El Peñón del Diablo, Janos, Chihuahua Project, focused on an interesting rock art site on the chihuahuan prairie. We like to emphasize, that this archaeological project was created under the Janos community initiative, which wanted to know more about the site for its protection and for tourist development in the area. Thanks to the close collaboration between the Janos municipality, the Centro INAH Chihuahua,...

DOCUMENT Citation Only Karly Law. Ben Chiewphasa. Lorena Craig.

The present study examines rock art and its ritual landscapes as the physical remnants of evolving cultural traditions. By incorporating an evolutionary framework in rock art studies, we can determine if rock art traditions evolved via descent with modification versus blending and borrowing of ideas. This project focuses on Fremont and Ceremonial Style shield-bearing warrior motifs associated with ritual contexts and spaces (animal medicine, cosmology, and shamanism). Drawing upon several...

PROJECT Liam Brady.

This series showcases innovative research in Indigenous studies, history and culture. Thematically, it profiles ways in which settler society and Indigenous cultures have intersected, clashed, melded and meshed. Each book emerges out of research conducted in close collaboration and partnership with Indigenous people and communities. The series is geographically confined to Oceania. It is wide-ranging in subject-matter, yet it has a distinct focus on cross-cultural dialogues. Its intention is to...

DOCUMENT Citation Only Jo Burkholder.

Drawing on the archaeological excavations at the site of Pisanay, located in the Sihuas Valley of Arequipa (southern) Peru, this paper will situate the rock art at the site within the broader contexts of multiple rock art traditions in the region. These traditions include both painted and pecked images on rock surfaces, a wide variety of geoglyphs, mobilary art, and sacred offerings made to particular rocks and geographic landmarks that represent huacas (loosely ‘holy places’). Within the...

DOCUMENT Citation Only François Gagnon. Dagmara Zawadzka.

The rock art of northeastern Ontario is less well-known than its counterpart in northwestern Ontario. However, recent explorations of the numerous lakes and meandering rivers in the Canadian Shield have led to the identification of previously unknown sites, as well as to the proper documentation of previously known sites, thus increasing greatly the sample and allowing for the emergence of a more complex regional picture. As an example, the rock art of Temagami area is discussed. This large...

DOCUMENT Citation Only Jiří Sonnek.

The Nazca Plains without mysteries The author explains the pictures on the Nazca Plains as tended work areas, created while making ropes and nets. The adjacent pictures of animals and various symbols served as symbols of the groups of makers.

DOCUMENT Citation Only Richard Vivian.

This is an abstract from the "The Role of Rock Art in Cultural Understanding: A Symposium in Honor of Polly Schaafsma" session, at the 84th annual meeting of the Society for American Archaeology. Polly's long and productive anthropological career has been characterized by her use of art as a means to better interpret the social and organizational characteristics of several prehistoric and historic societies in the American Southwest. Her research has ranged geographically from the northern...

DOCUMENT Citation Only Claire Smith. Ines Domingo. Didac Roman. Gary Jackson.

The rock art of Doria Gudaluk (Beswick Creek Cave) in the Northern Territory of Australia provided a valuable lesson in the difficulties of interpretation without local knowledge. Now, newly recorded motifs at the site—some only visible through digital enhancement—highlight the dangers of relating stylistic changes to population replacement. When considered in the context of local history, developments in the rock art of Doria Gudaluk during the second half of the twentieth century can be...

DOCUMENT Citation Only Mark Wagner. Kayleigh Sharp.

Illinois rock art studies conducted in the nineteenth and twentieth centuries typically used drawings, tracings, and print photography to record prehistoric petroglyphs and pictographs. These types of studies have been replaced in recent years by a variety of new methods including digital photography, DSTRETCH enhancement, photogrammetry, pXRF analysis, and other technologies. These new techniques have greatly enhanced our ability to quickly and accurately record rock art sites in comparison to...

DOCUMENT Citation Only Patricia Crown.

The discovery of cacao residues in southwestern pottery raises questions about how much southwestern populations knew about Theobroma cacao. A number of possible images of cacao trees and pods suggest that some southwestern people were either familiar with the tree and the fruit that held cacao beans. Comparisons of Mesoamerican and southwestern imagery offer possible parallels in depiction of trees and fruit, and the southwestern material provides potential iconographic models that may be...

DOCUMENT Citation Only Carolyn Tate.

This is an abstract from the "Manifesting Movement Materially: Broadening the Mesoamerican View" session, at the 84th annual meeting of the Society for American Archaeology. Chicomoztoc, the place of seven caves, from which the Nahua ancestors emerged, appears in many central Mexican pictorial manuscripts as a place of origin and one of pilgrimage. Like the mythical Aztlan, its location has not been confirmed; perhaps several such places served different groups of people. However, recent...

DOCUMENT Citation Only Jean Clottes. David Wescott.

This resource is a citation record only, the Center for Digital Antiquity does not have a copy of this document. The information in this record has been migrated into tDAR from the EXARC Bibliography, originally compiled by Roeland Paardekooper, and updated. Most of these records consist of a document citation and other metadata but do not have the documents themselves uploaded. If you have a digital copy of the document and would like to have it curated in tDAR, please contact us using the...

DOCUMENT Citation Only Kelly Jenks.

Recent field investigations at Los Ojitos, a multicomponent site in the Middle Pecos River Valley, have focused on refining the site chronology and documenting the land-use practices of Hispanic homesteaders who settled this area in the late nineteenth century. Like earlier visitors to this site, the Hispanic settlers were attracted to the clean water provided by several little springs ("ojitos") that empty into the river. Survey of one of these spring-fed drainages identified at least 45...

DOCUMENT Citation Only Jeremy Freeman. Victoria Munoz. Carolyn Boyd.

The Lower Pecos Canyonlands of southwest Texas retain hundreds of rock art murals exhibiting varying degrees of preservation. Since 2009 Shumla Archaeological Research and Education Center has been documenting the murals, some of which date back 4,000 years. As part of this project, we collect Legacy Photographs to assess historic deterioration of the art. Analysis of these photographs has revealed significant changes in the imagery over the past 50 years; however, the factors affecting its...

DOCUMENT Citation Only Liam Brady. John Bradley. Karen Steelman. Amanda Kearney.

This is an abstract from the "Technique and Interpretation in the Archaeology of Rock Art" session, at the 84th annual meeting of the Society for American Archaeology. The search for meaning in rock art has been the focus of scholarly attention and debate for decades. A common feature that unites many of these studies is what the enquiry produces – for example, what a motif represents. However, studies focussing on the processes by which meaning is generated are, comparatively speaking, fewer...

PROJECT Christopher von Nagy. Mary Pohl.

Este proyecto de documentación del arte rupestre y muralismo medio formativo en el estado de Guerrero, México tiene el objetivo de creer una serie de imágenes de alta resolución además de imágenes compuestas y computacionales para facilitar estudios sobre la iconografía y la escritura temprana durante este período clave mesoamericano. Enfocamos en los sitios Oxtotitlán (Cerro Quiotepec), Juxtlahuaca, y Cahuaziziqui. This middle formative muralism and rock art documentation project in the...

DOCUMENT Citation Only Katherine Wilson. Victoria Roberts.

This is an abstract from the "SAA 2023: Individual Abstracts" session, at the 88th annual meeting of the Society for American Archaeology. Public outreach is a fundamental part of our mission, and as such, Shumla Archaeological Research & Education Center has adopted a variety of methods for public outreach. (1) For landowners and site stewards, we produce short reports containing photographs, maps, and hyperlinks to 3D models and Gigapans that summarize and illustrate our observations,...

DOCUMENT Citation Only Suzanne Baker. Ruth Ann Armitage. Roger Arrazcaeta. Silvia Torres.

This is an abstract from the "Technique and Interpretation in the Archaeology of Rock Art" session, at the 84th annual meeting of the Society for American Archaeology. Cuba has many karst caves with pictographs, but there has been uncertainty about who created the rock art. The prehistoric population, historic indigenous groups pushed to the margins by the Spanish, and maroons or escaped African slaves are all possibilities. Cuban archaeologists have debated for decades which groups were...

DOCUMENT Citation Only Ken Hedges. Diane Hamann.

This resource is a citation record only, the Center for Digital Antiquity does not have a copy of this document. The information in this record has been migrated into tDAR from the National Archaeological Database Reports Module (NADB-R) and updated. Most NADB-R records consist of a document citation and other metadata but do not have the documents themselves uploaded. If you have a digital copy of the document and would like to have it curated in tDAR, please contact us at comments@tdar.org.

DOCUMENT Citation Only Sarah Krantz.

This paper examines what might be called the "palimpsest panel" rock art tradition of the northern Rio Grande region of New Mexico. Palimpsest panels are rock faces with petroglyphs that have accrued in a layered fashion through time. Prior research into such panels has typically focused on questions of chronology, each layer representing a distinct culture-historical era of iconographic production or a chapter in a linear chronology. Here, however, I move away from the traditional chronological...

DOCUMENT Citation Only Bong Kang.

Many aquatic and terrestrial animals such as whales, sea lions and turtles, tigers, wild cats, deer, boars, and weasels were identified on the rock art of Bangudae, located in the southeastern part of Korean peninsula. The scenes of human figures, whale hunting, boats, and net and fence huntings are also presented. Some Korean scholars have suggested that domesticated animals such as cow, horse, sheep, goat, pig, and dog appear in the rock art. This paper argues that domesticated animals do not...