Rock Art (Other Keyword)
151-175 (200 Records)
Ngiangu is a small, six-hectare, flat-topped rocky island with numerous caves cut into the steep sides of the island. It is the western-most island in the Torres Strait. In 1985 and 1990 a Queensland Museum expidition, under the direction of Ron Colemen, undertook archaeological and geological surveys of the island. Coleman's team documented rock paintings from four caves. A total of 152 monochrome and bichrome paintings have been documented from Ngiangu. All of the documented rock-art sites are...
Rock Paintings of Pulu (2010)
Pulu Islet is situated off the coast of Mabuyag and is associated with historical ceremonial and cultural activities. Geologically, Pulu is granite boulder-strewn with a total of 14 known rock-art sites
Rock Paintings of Somerset (2010)
The colonial settlement of Somerset is located on the coast approximately 10km southeast of the tip of Cape York. The Somerset rock-art site consists of a large sandstone rockshelter located approximately 3m above High Water Mark which was formed through wave action cutting into the cliff face. A total of 353 paintings have been documented at Somerset, consisting of 289 Determinate and 64 Indeterminate images. Determinate paintings have been executed as monochrome and bichrome images, and a wide...
Rock Paintings of Zurath (2010)
Zurath is a small islet located approximately 10km south of Badu. Two rock-art sites comprising of 15 paintings have been documented from Zurath. Rock paintings have been executed in red, and range in visibility from very clear to heavily deteriorated, requiring computer enhancement for some paintings.
Rock-Art of the Torres Strait Islands, Northeastern Australia (2010)
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...
Roots and Routes of Rock Art: A Kernel Density Analysis of Newly Recorded Rock Art Sites to Understand Human Mobility in the North East Kimberley, Australia (2019)
This is an abstract from the "The Art of Archaeology" session, at the 84th annual meeting of the Society for American Archaeology. A large corpus of 1034 rock art sites in Australia's NE Kimberley has recently been recorded within the Kimberley Visions Australian Research Council Linkage Project. Rock art analysis in the Kimberley has often focused on distinctive iconographic signatures to structure images in rigid sequences. This approach is inadequate for the understanding of the complex...
Runaway Slaves, Rock Art and Resistance in the Cape Colony, South Africa (2019)
This is an abstract from the "Archaeological Approaches to Slavery and Unfree Labour in Africa" session, at the 84th annual meeting of the Society for American Archaeology. The protracted colonisation of southern Africa's Cape created conditions of extreme prejudice and violence. Like the Caribbean equivalent, however, the Cape conditions presented opportunities for the colonised to escape. Slaves, the unwilling migrants to the Cape comprised of all sorts from the Dutch and British colonies:...
Sacred Animal Images in Precontact Southeastern Rock Art (2018)
Walter Klippel has always focused his research on animal remains from archaeological sites, especially from Southeast North America. In honor of his retirement, we review how animals are depicted in Precontact rock art sites from the region he knew so well. A wide variety of creatures—mammals, birds, reptiles, fish, and even insects—were illustrated by ancient southeastern artists. Animal imagery appears in both open air and cave art, although the kinds of animals vary between these two...
Scenes and Non-Scenes in Rock Art: Are There Things We Can Learn about Cognitive Evolution from the Differences (2017)
Analysis of rock art in several regions shows great variability in the presence or absence of combinations of individual images that can be considered as scenes in our graphic traditions. This presentation will consider examples from Australia, Europe and North America to show that the differences in the way people represented the world are significant about how they related to the world.
Scratched Horses and Whirling Logs: A Reassessment of Navajo Rock Art In Chaco Canyon (2022)
This is an abstract from the session entitled "Paper / Report Submission (General Sessions)" , at the 2022 annual meeting of the Society for Historical Archaeology. Chaco Canyon has long been a home for Navajo (Diné) peoples. Despite the prevalence of Navajo sites throughout the canyon and importance of this cultural landscape to contemporary Navajo communities, their history is often underappreciated in Chaco archaeology. This is especially true for the abundant Navajo rock art incised and...
"Selfies": Culture Heroes Shown in Rock Art (2016)
Interactions, entry, timing – issues of the “First Americans” have been strongly debated. This research focuses on archaeology, recorded histories/reenactments by people, and on large-scaled forms tying culture heroes, myths, and legends to images of the Paleoindian and use of the Front Range of Colorado. Outrepăssé, reverse hinge, or overshot is a technique for stone reduction used in Clovis technology, in the Solutrean of Europe, and in a workshop/sacred center of Nohmul, a Late Classic site...
Setting and Function of the Pahranagat Valley, NV, Petroglyphs: Archaeological and Ethnographic Perspectives (2015)
Rock art is landscape art, but what may be inferred from its setting and associations? It is commonly believed that function directly follows from setting and locational association, but the assumptions underlying this inference are not examined. The Lincoln County Class III rock art inventory is partly directed at the landscape implications of the Pahranagat Valley, NV, petroglyphs, providing an opportunity to consider this question. Associational inference, appropriately applied, combined with...
Sex and Gender in Southeast Asian Rock Art: Case Studies from Borneo (2017)
Multiple indigenous and intrusive Borneo rock art (the additive or reductive human modification of naturally fixed-in-place stone) traditions depict figures and abstract designs that can be interpreted as sexed/gendered. Dating from the terminal Pleistocene through modern period, these images are an untapped source of archaeological information regarding the roles and interactions of the biological sexes and culturally constructed and ascribed genders. This paper uses rock art to identify and...
Shamanistic Rock Art Motifs: Dynamic and Emplaced Performances of the Sacred among the Ojibway (2016)
The Ojibway on the northern and southern shores of Lake Superior of North America created transitory as well as relatively permanent material expressions of sacred experiences and cultural narratives. Using examples of 'spirit objects' expressed via emplaced pictographs in the landscape in Ontario Canada and the Upper Peninsula of Michigan, Mide’wiwin birch bark scrolls, and culturally modified ‘storied’ trees, this paper compares and contrasts dynamic and emplaced expressions of the sacred, and...
"Showing up" at rock art sites: Ethical behavior while using DStretch in Heiltsuk and Wuinkinuxv Territories on the BC Coast, Canada (2016)
The results of this 2013-15 MA research will showcase the successful use of DStretch to bring out hidden images at pictograph sites in a geographically-remote area where prior photographs are unavailable. The examples used will be taken from First Nations Territories, primarily from Heiltsuk Nation and Wuikinuxv Nation, on the Central Coast of British Columbia, Canada. Although these examples are a case study of one region, the concepts presented may offer insight regarding sites worldwide....
Signage Effectiveness as Rock Art Protection (2017)
Site signage has long been used to inform people of the importance and fragile nature of rock art and consequences of damaging the images and related cultural remains. Many styles of signs, with variable content, amount of information, and degrees of threatened legal action, have been used around the world, and their effectiveness may be evaluated by damage to the sign, associated rock art, and surrounding landscape. Other factors, such as fences, walkways, distance from roads, and presence of...
Site 26CK206 Near Atlatl Rock, Valley of Fire State Park, Clark County, Nevada: A Re-examination of Site Recording Techniques, Condition, and Interpretation After 50 Years (2016)
Although Valley of Fire has been mentioned in the archaeological literature since the 1930s (Harrington n.d.), the first real reconnaissance surveys were conducted by the Richard and Mary Shutler in 1961 (Shutler and Shutler 1962). They recorded 32 sites throughout the park, many of which were near present-day Atlatl Rock. One particular site, 26CK206, was recorded by the Shutlers at that time, and also partially by Heizer and Baumhoff (1962). In 2011 the CSN Valley of Fire survey project...
Sketching in the Shadows: Re-illustration of the Olmec Paintings of Oxtotitlán, Mexico (2016)
Re-illustration of the well-known cave paintings at Oxtotitlán, Guerrero, Mexico has revealed important new iconographic details. The use of multispectral imaging, as well as direct observation following recent conservation work, contributed to re-visioning the artworks with increased clarity and accuracy to the originals. This paper will present new renderings of the Olmec-period paintings and summarize observations on artistic practice and iconographic significance that resulted from this...
Strat is where its at: Analyzing and Managing Complex Mural Stratigraphy at Rattlesnake Canyon, TX (2016)
Pecos River style murals are highly-ordered, complex compositions of layered figures composed of different pigments. Through analysis of sequential ordering and stratigraphic relationships of these figures, researchers can gain insights into the technical history of a mural and the artistic and cognitive processes that led to its creation. The Pecos River style mural in Rattlesnake Canyon spans 32 meters and contains more than 250 finely-executed, polychromatic figures. Shumla is investigating...
Subjectivity and the recording of palaeolithic cave art (1992)
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...
Symbolic behavior at the end of the Paleolithic: a view from Cantabrian region rock art (2017)
In the field of graphic activity, the recent Magdalenian (14,500-11,500 BP) is characterized by a homogenizing process along a vast territory in southwestern Europe. It also represents the most splendorous rock art period and, at its end, figurative graphic activity suddenly disappears from Europe for millennia. A representative assemblage of recent Cantabrian Magdalenian rock art sites has been studied. The results of this research led to the discovery of several unpublished figures and...
Taking a Byte out of Rattlesnake: An Overview of the Rattlesnake Canyon Project (2016)
The Rattlesnake Canyon mural represents one of the most well-preserved and compositionally intricate rock art murals in the Lower Pecos Canyonlands, and perhaps the world. Deposited gravels from a major flood episode in June 2014, however, raised the canyon floor approximately 10 feet, enabling future floods to destroy the fragile panel. The Rattlesnake Canyon Project is an emergency collaborative effort among Texas Tech University, the National Park Service, and Shumla to document this...
The Tale of Rattlesnake Canyon: Ongoing Documentation of an Endangered Rock Art Site (2017)
The Rattlesnake Canyon mural represents one of the most well-preserved and compositionally intricate rock art murals in the Lower Pecos Canyonlands, and perhaps the world. Deposited gravels from a major flood episode in June 2014, however, raised the canyon floor approximately 10 feet, enabling future floods to destroy the fragile panel. This presentation provides an update on emergency documentation efforts currently underway at Rattlesnake Canyon. Documentation and analyses of this mural...
A Tale of Two Management Plans: Comparing Visitor Impacts to Rock Art Sites on National Park Service Land vs. San Bernardino County Land (2017)
On July, 6 2016 it was announced that management of the Coyote Hole rock art site located near the village of Joshua Tree, California would be transferred from the San Bernardino County Flood Control District to the Native American Land Conservancy. The site’s proximity to Joshua Tree National Park (JOTR) provides a unique opportunity to compare this highly-accessible site with unregulated visitation to similarly threatened sites that are managed by JOTR. The publication of sensitive...
Talking Stone: Cherokee Syllabary Inscriptions in Dark Zone Caves (2016)
Caves have offered the Cherokee people concealment before and after contact with Europeans. With the invention of Sequoyah’s Syllabary a way to record these hidden activities became available. A number of caves in the Southeastern United States contain such historical inscriptions and interpreting these can tell archaeologists about who made them and when they were made. This paper considers several such inscription caves, located in the area of North Alabama, North Georgia, and southeastern...