Rock Art (Other Keyword)

DOCUMENT Citation Only Alan Garfinkel Gold. Geron Marcom. Don Austin.

There exists multi-colored, historic Native American rock paintings found throughout eastern California. In a minimum of 21 locations, Native, indigenous, polychromatic rock paintings have been documented that apparently date to a time period between 1870 and 1900 (Schiffman et al. 1983; Garfinkel 1978, 1982, 2005, 2007). These rock painting sites exhibit subject matter that may relate to revitalistic religious movements popular during this short 30 year time frame. Such paintings have been...

DOCUMENT Citation Only Heather Hurst.

The rock art of the Oxtotitlán and Juxtlahuaca caves are among the earliest known examples of Mesoamerican figurative wall painting. As part of the recent research initiative examining the Oxtotitlán cave paintings, re-illustration presents new images of the ancient artworks. Detailed field drawings are combined with multispectral imaging data and analysis of painting technology to precisely record the art, even when lines are no longer visible to the naked eye. Increased clarity of the...

DOCUMENT Citation Only Paola Dematte. Paola Demattè.

In China, rock art is often found in areas considered peripheral to the so-called cradle of Chinese civilization. However, its patterns of landscape and space use are not remarkably different from those of established religions or political institutions whose artistic production in the landscape is generally not understood as “rock art”. Historic Taoist or Buddhist rock carvings and Confucian cliff inscriptions are also associated with travel routes (land, sea or river) or remarkable landscape...

DOCUMENT Citation Only David Whitley.

This is an abstract from the "The Art and Archaeology of the West: Papers in Honor of Lawrence L. Loendorf" session, at the 84th annual meeting of the Society for American Archaeology. Larry Loendorf has always emphasized that rock art research is nothing if it is not also archaeology. Much of his research has accordingly considered the importance of the (dirt) archaeological context of rock art sites, and what this can tell us about the art. In the spirit of this concern, the archaeological...

DOCUMENT Citation Only Edgar Carpio.

The Mejicanos archaeological site is located on the side of a hill surrounded by other hills and a volcanic complex, in addition to beach to Lake Amatitlan. This situation apparently sufficed for implementation of major religions to water and hills as evidenced by the ceramic offerings deposited in the lake during the Classic period as well as the many petroglyphs found in the rocky site sets. These consist mainly recorded in the rocks and miniature representations of temples, usually with...

DOCUMENT Citation Only Sam Challis.

Statements of authorship of rock art necessarily involve statements of identity. What happens, then, when identity is assumed or implied? This paper examines a well-known historical rock art panel in South Africa, supposed to portray a narrative of the demise of the San from their own perspective. To the contrary it finds that in fact the 'colonists' sporting wide-brimmed hats and toting guns are, more likely, members of an emergent identity of creolized raiding bands drawn from markedly...

DOCUMENT Citation Only David Reid.

The site Toro Muerto, located in the Majes Valley of southern Peru, constitutes one of the largest and better studied rock art sites in South America. Approaching Toro Muerto through a ‘landscapes perspective,’ we can situate the site within a changing ideological, socio-economic, and political landscape beginning in the Middle Horizon (A.D. 600-1000) to the 18th century Colonial-period. This paper goes beyond the typical site-level analysis to place Toro Muerto at the center of a southern...

DOCUMENT Citation Only Mary Brown.

Archaeologists typically dissect rock art stylistically, symbolically, and chronologically. Symbols, in particular, lead to studies of representational imagery, entoptic phenomena, or religious icons. What remains underexplored is the concept of animism and its related behavioral activities. This paper applies a behavioral theory of communication to study the interactions between people and things. It uses performance characteristics analysis to determine the activities associated with...

DOCUMENT Citation Only Julio Amador.

This presentation describes the process of recording and documenting the pictographs found at the site of Chalcatzingo, Morelos, in central Mexico. It shows the way in which state of the art technology is used for the first time at the site for this purpose. Iconographic analysis, landscape archaeology and the analysis of painting techniques and materials are as well employed to enrich the interpretation of rock art at the site. Upon this basis we elaborate a hypothesis about their relations...

DOCUMENT Citation Only Robert Haubt.

The Rock Art Database is a rock art heritage project at the Place, Evolution and Rock Art Heritage Unit (PERAHU) at Griffith University. It is designed to bring members of the greater rock art community together in one centralized global network to discuss and share rock art information. The platform functions as a hub including data repository and data visualization tools to curate and share digital data sets and encourages members to contribute to the system to improve and streamline rock art...

DOCUMENT Citation Only Teresa Rodrigues. Frances Landreth. Lorrie Lincoln-Babb. Chris Loendorf.

The Gila River Indian Community is actively engaged in the inventory and documentation of petroglyphs located within the Community. These recording efforts also include oral history interviews with tribal members who have knowledge of the areas where the art occurs. Rock art sites include prehistoric and historic period figures, and they are found throughout the buttes and mountains surrounding the Middle Gila River. This art often occurs along trails, and in prominent locations such as...

DOCUMENT Citation Only Franz Scaramelli. Kay Scaramelli.

The rock paintings of the Parguaza River form part of a tradition that extends back thousands of years. We can only speculate on why the paintings were made, who made them, or what their original meaning may have been. However, rock art provides an excellent index of the symbolic world of the peoples who settled the area, as manifested in different traditions. Local belief systems refer to ancestral territorial ties, and the mythical and ritual significance of mountains, caves, and rock art...

DOCUMENT Citation Only Kevin Rafferty.

Valley of Fire is one of the gems of Nevada archaeology known as an area rich in archaeological resources. Yet little work had been undertaken in the area. Since 2003 the College of Southern Nevada (CSN) has conducted five survey field schools in Valley of Fire designed to teach students survey and site recording. The results so far demonstrate that Valley of Fire is an area rich in rock art and other cultural resources, with new rock art sites being recorded and data from earlier recorded...

DOCUMENT Citation Only Mavis Greer. John W. Greer.

Ethnohistorical sources in our region are mainly used for rock art explanation relative to warfare scenes, but they are equally important for tribal demographics and travel patterns and often more detailed than other sources. Ethnohistory can also provide support for theories about gender and age of rock art production and use when no other information is available. Such references supply details regarding religious practices and beliefs as they actually happened, not as they were later...

DOCUMENT Citation Only Lawrence Loendorf.

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. Sacred Sites Research, Inc. and Versar Inc., working in cooperation with the Mescalero Apache Tribe and the Hopi Tribe, recorded and evaluated 17 rock art sites in New Mexico's Permian Basin, a project supported through the Bureau of Land Management programmatic agreement. Sixteen of the sites...

PROJECT Uploaded by: Courtney Williams

This report provides information intended to sensitize CRMs in the DoD to the presence of rock art on installations in all regions of the U.S. The document 1) defines the general characteristics of rock art sites in the northeastern U.S., 2) provides a regional context and predictive model for rock art in the study area, 3) analyzes potential threats to rock art sites as a result of military, civilian, or natural activities or factors, and 4) develops recommendations for managing rock art sites...

DOCUMENT Full-Text Christopher Polglase. Clement Meighan. Martha Williams.

This report provides information intended to sensitize CRMs in the DoD to the presence of rock art on installations in all regions of the U.S. The document 1) defines the general characteristics of rock art sites in the northeastern U.S., 2) provides a regional context and predictive model for rock art in the study area, 3) analyzes potential threats to rock art sites as a result of military, civilian, or natural activities or factors, and 4) develops recommendations for managing rock art sites...

DOCUMENT Citation Only Kim Cox. Whitney Cox.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. There has been a long-running debate over the function of rock art. The authors provide a definition of prehistoric Southwest Native American religion relating to cyclical time and the cosmos and show how certain aspects of rock art in the American Southwest operate within a greater Mesoamerican ideological and religious worldview.

DOCUMENT Citation Only Johan Ling. Per Cornell.

For most of the twentieth century the Bronze Age rock art in Southern Scandinavia has been seen as a manifestation of an agrarian ‘cultic’ ideology in the landscape. In this context the dominant ship image and the armed humans have been perceived as abstract religious icons, not as active symbols relating to real praxis in the landscape. Whilst violence and war related social and ritual traits indeed are common features in the Scandinavian rock art from the Bronze Age and the violence on the...

DOCUMENT Citation Only Liam Brady.

The island of Badu and its smaller satellite islands is historically known for having a reputation of fearful headhunting raids to neighbouring islands. Badu's geological structure forms part of the Badu Suite of granite. A total of 24 rock-art sites consisting of 188 pictures have been documented from 2001 to 2004. The paintings are either monochrome or bichrome, and use three different colours: red, white and yellow. A single stencil has also been documented from an island site.

DOCUMENT Citation Only Liam Brady.

The island of Dauan is located 10km south of Papua New Guinea and contains the northern-most documented rock-art sites of Australia. Geologically Dauan consists of Late Carboniferous-Early Permian rocks that form part of the Badu Suite of granite. A total of 70 red rock paintings, in various stages of deterioration were recorded from four sites on the north-facing side of the island. Photos of the rock-art along with cumputer-enhanced images are located in this monograph.

DOCUMENT Citation Only Liam Brady.

Iama is part of the Central Islands of the Torres Strait which are characterised mainly by low-lying, sandy islands and coral cays. Geologically it has been described as being a part of a distinct granitoid phase and separate from the geological unit known as the Badu Suite of granite found elswhere in the Torres Strait.A total of 12 paintings have been recorded with computer-enhanced imagery.

DOCUMENT Citation Only Liam Brady.

Kirriri is located in the northern part of the south-Western Islands, in Kaurareg territory. A total of 27 rock paintings have been identified from the site.

DOCUMENT Citation Only Liam Brady.

Mua is the second largest island in the Torres Strait. Beginning in 2001, six rock-art sites totalling 100 Determinate pictures, have been documented from the northeastern and southwestern side of the island. Bruno David and Ian McNiven recorded Mua 1 and Mua 10 in 2001. Liam Brady documented the rock-art from remaining sites in 2002 and 2003.

DOCUMENT Citation Only Liam Brady. Lynette Russel.

Muralag is the largest island in Torres Strait and is the acknowledged home of the Kaurareg Aboriginal community. A total of three rock-art sites comprising of 106 monochrome and bichrome paintings were documented during fieldwork in 2003 and 2004. All three sites are located in coastal settings on the west coast of Muralag - two were discovered during surveys , while the third is Frenchman's Cave.