Rock Art (Other Keyword)

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.

DOCUMENT Citation Only Liam Brady.

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...

DOCUMENT Citation Only Liam Brady.

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

DOCUMENT Citation Only Liam Brady.

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...

DOCUMENT Citation Only Liam Brady.

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.

DOCUMENT Citation Only 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 Mariangela Lanza.

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...

DOCUMENT Citation Only Sam Challis. Brent Sinclair-Thomson.

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:...

DOCUMENT Citation Only Jan Simek. Alan Cressler.

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...

DOCUMENT Citation Only Iain Davidson.

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.

DOCUMENT Citation Only Maxwell M Forton.

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...

DOCUMENT Citation Only Marsha Sims.

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...

DOCUMENT Citation Only David Whitley.

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...

DOCUMENT Citation Only Rachel Hoerman.

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...

DOCUMENT Citation Only Alex Ruuska.

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...

DOCUMENT Citation Only Aurora Skala.

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....

DOCUMENT Citation Only Mavis Greer. John W. Greer.

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...

DOCUMENT Citation Only Kevin Rafferty.

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...