Iconography and Art: Rock Art (Other Keyword)

DOCUMENT Citation Only Gordon Ambrosino.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. The Fortaleza Ignimbrite (FI) is a geologic formation, situated at the headwaters of the Fortaleza and Santa Rivers in highland Ancash Peru. A 2014 survey of the FI by the Proyecto de Investigación Arqueológica Arte Rupestre del Alto Fortaleza (PIA ARAF) documented 192 rock art places on the FI, demonstrating correlations between specific images and production...

DOCUMENT Citation Only Dagmara Zawadzka.

Unlike most material culture, rock art is firmly embedded in its place. This particular circumstance has shaped its research, as well as its reception among the general public. While famous sites, such as Lascaux, are well known and recognised despite difficulty in accessing them, other sites, especially those in Canada, are still relatively unknown. This paper will briefly address how rock art has been consumed and presented to the general public within Canada. Next, I will address how this...

DOCUMENT Citation Only Pawel Polkowski.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. Situated some 350 km from the Nile Valley, Dakhleh Oasis is considered one of the largest rock art complexes in Egypt. The petroglyphs found there were executed in various periods, beginning from the Early Holocene, through Pharaonic times, towards modernity. Often being located in the same areas, they constitute large palimpsests witnessing a long history of...

DOCUMENT Citation Only Nathalie Brusgaard.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. In the late 1st millennium BC and the early 1st millennium AD, nomadic groups inhabited the Black Desert of northern Arabia. These desert societies are elusive, having left behind few material remains and archaeological research having been scarce. What we know about them has been based almost solely on the inscriptions they carved into the basalt rocks. Yet...

DOCUMENT Citation Only Benjamin Alberti.

Archaic rock art in the Rio Grande Gorge in northern New Mexico demonstrates an intimacy with the ecologies of which it is a part, from the microscopic life with which it shares its surfaces, to the talus slopes it occupies or watches over. Knowledge of materials and the ecological processes with which they were thoroughly entangled encouraged hunters to lay down tracks and traces of their own, including the geometric patterns and animal and bird prints that constitute the archaic rock art...

DOCUMENT Citation Only Sally May. Joakim Goldhahn. Gabriel Maralngurra.

This is an abstract from the "Painting the Past: Interpretive Approaches in Global Rock Art Research" session, at the 89th annual meeting of the Society for American Archaeology. In recent decades, studies of contact rock art have significantly contributed to rock art research globally. A key reason for this is that such artworks can represent a reverse gaze across cross-cultural encounters. Another reason is that contact rock art affords us neatly chronological points of time, before and...

DOCUMENT Citation Only Radoslaw Palonka. Aaron Wright. Katarzyna Ciomek.

This is an abstract from the "Painting the Past: Interpretive Approaches in Global Rock Art Research" session, at the 89th annual meeting of the Society for American Archaeology. How we frame the study of rock imagery (i.e., petroglyphs and pictographs) conditions the types of questions we ask, the types of data we employ, and ultimately the types of conclusions we draw. In the North American Southwest, the study of rock imagery has long focused on the images, less so on the rocks, and only...

DOCUMENT Citation Only Carolina Guedes.

A new project carried out in the region of the Rio Vermelho / São Lourenço river basin in the central-western region of Brazil started in 2016. This project focus on the studies of the initial stages of the establishment of the hunters gathers groups in this region. It is intended through excavations, surveys and research in rock art to show patterns of the peoples who inhabited that region. The first systematic field surveys within this project, entitled "Archeology in the Pantanal region"...

DOCUMENT Citation Only Ricardo Higelin.

This is an abstract from the "The Value of Rock Art: Interdisciplinary Approaches to Current Rock Art Documentation, Research and Analysis Part II" session, at the 90th annual meeting of the Society for American Archaeology. <html> <b>This study presents the outcomes of applying the Institutional Analysis and Development (IAD) framework to define focal action situations within the Mexican Cultural System (MCS). Through a detailed examination of San Pablo Villa de Mitla, Rock Art, and The...

DOCUMENT Citation Only Carlos Rodriguez-Rellan. Ramón Fábregas Valcarce.

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 Schaafsma has often emphasized the use of ethnographic analogy to get insights into the use and ideological framework of ancient pictographs. While this is both feasible and reasonable in Southwestern rock art, the numerous petroglyphs known in the Galician region mainly belong to a period...

DOCUMENT Citation Only Don Hann.

This is an abstract from the "From the Plains to the Plateau: Papers in Honor of James D. Keyser" session, at the 86th annual meeting of the Society for American Archaeology. American Indian peoples of the Columbia Plateau have engaged with numerous scholars and others since the mid-nineteenth century to document many aspects of their traditional lifeways. The resulting documentary record has provided a gold mine for researchers studying the rock art of the region. Jim Keyser has been a...

DOCUMENT Citation Only Marissa Molinar.

This presentation examines traditional, contemporary, and experimental methods of illustration and photography in rock art recording. Addressed accordingly are the processes and problems unique to pictographic (painted) and petroglyphic (pecked) parietal imagery, superimposition and dating. As a rock art researcher, photographer, and artist, many examples will be drawn from my fieldwork; specifically contemporary methods utilizing panoramic photography and an experimental photographic technique...

DOCUMENT Citation Only Marissa Molinar.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. This presentation examines traditional, contemporary, and experimental methods of illustration and photography in rock art recording. Addressed accordingly are the processes and problems unique to pictographs (painted) and petroglyphs (pecked) parietal imagery, superimposition and dating. As a rock art researcher, photographer, and artist, many examples will...

DOCUMENT Citation Only Chester Liwosz.

This is an abstract from the "Archaeoacoustics: Sound, Hearing, and Experience in Archaeology" session, at the 86th annual meeting of the Society for American Archaeology. Since the first forays into the use of databases and computational analysis of rock art compositions by Leroi-Gourhan in the middle of the twentieth century, digital archaeology applications have boomed, becoming a virtual necessity in twenty-first-century practice. Contemporary computerized tools for managing “big-data”...

DOCUMENT Citation Only Nancy Olsen.

This is an abstract from the "The Value of Rock Art: Interdisciplinary Approaches to Current Rock Art Documentation, Research and Analysis Part II" session, at the 90th annual meeting of the Society for American Archaeology. Semiotics applied to rock art is useful when it is part of an archaeological project because semiotics contributes a framework of principles of communication, methodology and definitive vocabulary from linguistics for analyzing imagery in a substantive manner. Using...

DOCUMENT Citation Only David Robinson. Eleni Kotoula. Clare Bedford. Devlin Gandy. Matthew Baker.

The over-painting sequences at the elaborate rock-art site of Pleito, South-Central California, is one of most complex in the Americas. In a region famous for its polychromatic traditions, including Chumash, Yokuts, Kitanemuk, and other Californian native groups, Pleito stands out as the richest in terms of variety of colours, iconography, and over-painting. This over-painting, or superimposition, offers the 'deepest' data rich relative sequence in the region. Integrated work employing...

DOCUMENT Citation Only John Johnson.

This is an abstract from the "Supernatural Gamekeepers and Animal Masters: A Cross-Cultural Perspective" session, at the 84th annual meeting of the Society for American Archaeology. Native peoples along the Pacific Coast of North America exploited stranded whales that washed ashore, providing abundant meat and oil for consumption. Many rock art sites along the coast between Alaska and Acapulco contain images of whales and other cetaceans, and portable effigies also depict these marine...

DOCUMENT Citation Only Andrzej Rozwadowski.

This is an abstract from the "Interdisciplinary Approaches to Rock Art Documentation, Research, and Analysis" session, at the 88th annual meeting of the Society for American Archaeology. Southern Siberia is the home of unique images of shamans, some of which show specific associations with rock surface features, notably fissures. In my previous research, I analyzed one such image from the Minusinsk Basin; namely, from the site of Ilinskaya Pisanitsa (Cambridge Archaeological Journal 2017). In...

DOCUMENT Citation Only Mairead Doery.

This is an abstract from the "SAA 2024: Individual Abstracts" session, at the 89th annual meeting of the Society for American Archaeology. "Tool grooves”, "incised lines" and “axe-sharpening marks” are some of the varying names used to describe linear rock modifications found across western North America. Previous ethnoarchaeological research has examined methods and motivations surrounding the creation of such markings, but consideration of their individual landscape contexts remains...

DOCUMENT Citation Only Julie Solometo. Wesley Bernardini. Dalton Olson. David Biddle.

This is an abstract from the "SAA 2019: General Sessions" session, at the 84th annual meeting of the Society for American Archaeology. Shields and shield bearers are recurrent and widespread motifs in Pueblo IV (AD 1300-1540) rock art. Polly Schaafsma has argued that depictions of shields and shield bearers in the Rio Grande were part of an iconographic complex that expressed ideas about warfare and war ritual. When inscribed on the landscape, shields may have recalled actual warfare, but...

DOCUMENT Citation Only Michele Hayward. Michael Cinquino. Frank Schieppati. Don Smith.

There is some suggestion in the literature, most explicitly developed by Espenshade (2014) for Puerto Rico, that major enclosures, particularly with rock art, at some point in their life cycle could be considered shrines or special religious places that increasingly attracted visitors or pilgrims from non-local on- and off-island locations. Pilgrimage rounds are well-established components of religious systems both past and current in various parts of world, including the incorporation of a...

DOCUMENT Citation Only Jenny Ni.

This is an abstract from the "Northern Rio Grande History: Routes and Roots" session, at the 86th annual meeting of the Society for American Archaeology. Survey in the Rio Grande Gorge of New Mexico over the past decade has revealed a robust corpus of rock art that depicts horses in the Plains Biographic tradition. Comparison of the Rio Grande Gorge horses to horses in Plains Biographic rock art of other regions and cultures may address questions of cultural affiliation, movement of people,...

DOCUMENT Citation Only Thomas Huffman. Frank Lee Earley.

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. Abstract rock art formed part of a pilgrimage trail that led from the lower Apishapa Canyon to the Spanish Peaks near Trinidad, Colorado. Hunter/gatherer ethnography from the Great Basin makes sense of abstract engravings in the canyon at sites such as Cramer, Canterbury, and Snake Blakeslee. The Apishapa Canyon leads from...

DOCUMENT Citation Only Lindsay Montgomery.

Over the past century, a great deal of scholarly attention has been paid to Plains horse culture, particularly focusing on how horses transformed the economic practices of nomadic people and the ecology of the Great Plains. As one of the most iconic equestrian cultures of the eighteenth century, the Comanche have been a common subject of these anthropological and historical investigations. Recent studies of the Comanche have focused on the role of horses in facilitating their rise from...

DOCUMENT Citation Only Carolyn Boyd.

Pecos River style rock art was produced in the Lower Pecos Canyonlands of southwest Texas and Coahuila, Mexico during the Archaic beginning around 2700 BC. This style is characterized by finely executed anthropomorphic and zoomorphic figures arranged in highly-ordered, complex compositions. Pecos River style anthropomorphs are frequently portrayed with a series of dots emanating upwards from an open mouth. Zoomorphic figures of felines and deer are also represented with this pictographic...