A Companion to Rock Art E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Serie: Blackwell Companions to Anthropology
• Sprache: Englisch

Seitenzahl: 1475

Veröffentlichungsjahr: 2012

Beschreibung

This unique guide provides an artistic and archaeological journey deep into human history, exploring the petroglyphic and pictographic forms of rock art produced by the earliest humans to contemporary peoples around the world.

• Summarizes the diversity of views on ancient rock art from leading international scholars
• Includes new discoveries and research, illustrated with over 160 images (including 30 color plates) from major rock art sites around the world
• Examines key work of noted authorities (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and outlines new directions for rock art research
• Is broadly international in scope, identifying rock art from North and South America, Australia, the Pacific, Africa, India, Siberia and Europe
• Represents new approaches in the archaeological study of rock art, exploring issues that include gender, shamanism, landscape, identity, indigeneity, heritage and tourism, as well as technological and methodological advances in rock art analyses

Leseprobe

Table of Contents

Cover

The Blackwell Companions to Anthropology

Title page

Copyright page

List of Plates

List of Figures

List of Tables

Notes on Contributors

Foreword: Redefining the Mainstream with Rock Art

CHAPTER 1 Research Issues and New Directions

RATIONALE FOR THIS VOLUME AND ITS STRUCTURE

RESEARCH ISSUES AND NEW DIRECTIONS

PART I: Explanatory Frameworks: New Insights

CHAPTER 2 Rock Art and Shamanism

DEFINITION

ALTERED STATES OF CONSCIOUSNESS

SHAMANIC AND SHAMANISTIC

METHOD AND EVIDENCE

ANIMISM AND SHAMANISM: A SOUTHERN AFRICAN EXAMPLE

MYTHOLOGY AND SHAMANISM

NORTH AMERICA

ANALOGY

UPPER PALEOLITHIC ART

“UNUSUAL AND PECULIAR”

MOVING FORWARD

ACKNOWLEDGMENT

CHAPTER 3 Pictographs, Patterns, and Peyote in the Lower Pecos Canyonlands of Texas

THE METHOD

STEP 1: FEATURE ANALYSIS

STEP 2: ETHNOGRAPHIC REVIEW AND FORMULATING HYPOTHESES

STEP 3: TESTING HYPOTHESES

CONCLUSIONS

CHAPTER 4 Variation in Early Paintings and Engravings

APPROACHES TO MEANING IN PLEISTOCENE PAINTINGS AND ENGRAVINGS

RITUAL PAINTING AND ENGRAVING IN THE WEST MEDITERRANEAN REGION

PLEISTOCENE PAINTING, ENGRAVING, AND RITUAL IN THE EAST MEDITERRANEAN

CONCLUSION

ACKNOWLEDGMENTS

PART II: Inscribed Landscapes

CHAPTER 5 Rock Art and Seascapes

MARITIME PEOPLES AND SEASCAPES

EDGE OF THE SEA

INLAND SEASCAPE

MARITIME IDENTITY AND AGENCY

MARITIME IDENTITY AND MARINE REFERENCING

REAFFIRMING MARINE COSMOLOGIES

FISHING MAGIC

VOYAGING

CONCLUSIONS

ACKNOWLEDGMENTS

CHAPTER 6 The Social Dynamics of Aggregation and Dispersal in the Western Desert

STYLE AS SOCIAL STRATEGY

WESTERN DESERT AGGREGATION AND DISPERSION PATTERNS

WHY DID WESTERN DESERT PEOPLE PRODUCE ROCK ART?

ARCHAEOLOGICAL TEST IMPLICATIONS

CONCLUSIONS

CHAPTER 7 Rock Art and Transformed Landscapes in Puerto Rico

ENCLOSURES IN A CARIBBEAN CONTEXT

TRANSFORMED LANDSCAPES AND ROCK ART

ICONOGRAPHIC COMPARISON

DISCUSSION

CONCLUDING REMARKS

PART III: Rock Art at the Regional Level

CHAPTER 8 Megalithic Rock Art of the Mediterranean and Atlantic Seaboard Europe

WHAT IS MEGALITHIC ART?

THE INTERPLAY OF ART AND ARCHITECTURE

ORIGINS AND ESTABLISHING A GRAMMAR

ORIGINS AND DISTRIBUTION OF PAINTED MOTIFS

ESTABLISHING A VERY NORTHERN EUROCENTRIC GRAMMAR

THE IRISH SEA PROVINCE CONNECTION AND BEYOND

DEFINING A NORTHERN BOUNDARY

DISCUSSION: VARIATIONS OF A THEME

ACKNOWLEDGMENTS

CHAPTER 9 North American–Siberian Connections

PREVIOUS STUDIES

USING MULTIVARIATE STATISTICS TO ANALYZE ROCK ART DATA

NORTH AMERICAN EARLY HUNTING TRADITION

SOUTH SIBERIAN EARLY PETROGLYPH STYLES

CONCLUSIONS

CHAPTER 10 Southern Melanesian Rock Art

NEW CALEDONIA’S CULTURAL CHRONOLOGY

ROCK ART RESEARCH IN NEW CALEDONIA

NEW CALEDONIAN PETROGLYPHS

SOME KANAK ORAL TRADITIONS ON PETROGLYPHS

PAINTED ROCK ART

ANALYSIS

CONCLUSION

CHAPTER 11 Rock Art Research in India

ROCK ART STUDIES IN INDIA

DISTRIBUTION OF SITES

PROBLEMATIZING INDIAN ROCK ART RESEARCH

CASE STUDIES FROM SOUTHERN INDIA

CONCLUSIONS

PART IV: Engendered Approaches

CHAPTER 12 Engendering Rock Art

SEX AND GENDER

WHAT KINDS OF PEOPLE ARE DEPICTED?

WHO MADE IMAGES ON STONE AND HOW DID MAKING IMAGES ON STONE MAKE GENDER?

GENDERED LIVES

GENDERED LANDSCAPES

GENDERED COSMOS

GENDERED DISCOURSE ABOUT ROCK ART, AND BEYOND

CHAPTER 13 Pictures of Women

ANTHROPOMORPHS

DIFFERENT WAYS OF LOOKING AT GENDERED DEPICTIONS

MURUJUGA

SYDNEY REGION

CONCLUSIONS ABOUT ROCK ART IN A GENDERED SOCIAL CONTEXT

CHAPTER 14 Engendering North European Rock Art

ROCK ART IN NORTHERN EUROPE

SEX

FROM SEX TO GENDER

FROM SEX AND GENDER TO SEX AND COSMOLOGY

COSMOLOGIES AND GENDER SYSTEMS

CONCLUSION

ACKNOWLEDGMENTS

PART V: Form, Style, and Aesthetics in Rock Art

CHAPTER 15 Understanding Pleistocene Rock Art

THE PROBLEM OF UNDERSTANDING IN PLEISTOCENE ART STUDIES

PHILOSOPHICAL HERMENEUTICS: AN INTRODUCTION

UNDERSTANDING PLEISTOCENE ROCK ART: AN HERMENEUTICS OF MEANING

SOME CONCLUDING THOUGHTS

CHAPTER 16 Rock “Art” and Art

ROCK ART AESTHETICS

OBJECTIONS: HISTORY OF ART AND ROCK “ART”

REPLIES: ART TODAY AND ROCK ART

CONCLUDING COMMENTS

ACKNOWLEDGMENTS

CHAPTER 17 Recursive and Iterative Processes in Australian Rock Art

ROCK ART, ANCESTORS, AND THE PRESENT

THE PAST IN THE PRESENT: ITERATIVE AND RECURSIVE PRACTICE

CONCLUDING REFLECTIONS

CHAPTER 18 A Theoretical Approach to Style in Levantine Rock Art

WHAT IS LEVANTINE ROCK ART?

A THEORETICAL APPROACH TO STYLE

EXPLORING STYLES IN LEVANTINE ROCK ART

CONCLUSIONS

PART VI: Contextualizing Rock Art

CHAPTER 19 Rock Art in Situ

STYLE

CONTEXT AND ROCK ART

CONTEXTUAL ANALYSIS

THE CONTEXT OF MEANING

CONTEXTUAL ANALYSIS IN VARIABLE CONTEXTS

EXAMPLES FROM THE BLACK HILLS

CONCLUSION

CHAPTER 20 Symbolic Discontinuities

INSCRIBED LANDSCAPES

ROCK ART STUDIES

PLACE

PEOPLE IN THE PLACE THROUGH TIME

SYMBOLIC DISCONTINUITIES

CHAPTER 21 Parietal Art and Archaeological Context

THE VOLP CAVES

THE ART AND LIFE OF THE MAGDALENIANS AT TUC D’AUDOUBERT

INTERPRETATIVE DIRECTIONS

CHAPTER 22 Rock Art, Inherited Landscapes, and Human Populations in Southern Patagonia

STUDY AREA AND BACKGROUND

PALI AIKE VOLCANIC FIELD (PAVF)

THE CORDILLERA

SUPRA-REGIONAL PATTERNS

GENERAL DISCUSSION

CONCLUSIONS

ACKNOWLEDGMENTS

PART VII: The Mediating Role of Rock Art

CHAPTER 23 When Worlds Collide Quietly

DISCIPLINES OF THE PAST

DEFINING CONTACT ROCK ART

ROCK ART IN WATARRKA NATIONAL PARK, CENTRAL AUSTRALIA

CHARACTERIZING THE ROCK ART ASSEMBLAGE

INTERPRETING THE WATARRKA ASSEMBLAGE

DRAWING FROM A DISTANCE

THE ART OF ENCOUNTER

CONCLUSION

CHAPTER 24 Picturing Change and Changing Pictures

PICTURING CHANGE AND PAINTING HISTORY

WHAT IS CONTACT PERIOD ROCK ART?

WOLLEMI NATIONAL PARK AND THE GREATER SYDNEY REGION, NEW SOUTH WALES

CENTRAL AUSTRALIA

PILBARA, WESTERN AUSTRALIA

WESTERN ARNHEM LAND, NORTHERN TERRITORY

CONCLUSION

ACKNOWLEDGMENTS

PART VIII: Rock Art, Identity, and Indigeneity

CHAPTER 25 Rock Art, Identity, and Indigeneity

INTERPRETING ORAL TRADITIONS

SHARED UNDERSTANDINGS

ROCK ART AND LAND RIGHTS

CONCLUSIONS

CHAPTER 26 Shamanism in Indigenous Context

SHAMANISM AND ROCK ART STUDIES: PHENOMENOLOGY VERSUS HISTORY

HOW DO WE IDENTIFY SHAMANISM IN ROCK ART IN SIBERIA?

ARE PHENOMENOLOGICAL AND HISTORICAL PERSPECTIVES INCOMPATIBLE?

UNIVERSALS IN CONTEXT

CONCLUSIONS

ACKNOWLEDGMENT

CHAPTER 27 Rock Art, Aboriginal Culture, and Identity

ROCK ART, COSMOLOGY, AND THE WANJINA-WUNGGURR CULTURAL LANDSCAPE

GWION GWION

ROCK ART AND ABORIGINAL IDENTITIES

WUNGGURR CONCEPTION SITES

WURNAN

THE RITUAL RE-PAINTING OF ROCK ART

ROCK ART AS THE BASIS FOR CONTEMPORARY WORKS OF ART

ROCK ART, ABORIGINAL HERITAGE, AND NATIVE TITLE

CONCLUSIONS

PART IX: Rock Art Management and Interpretation

CHAPTER 28 Rock Art and the UNESCO World Heritage List

FOR THE FUTURE, LESSONS ALREADY LEARNT

ROCK ART IN THE FRAMEWORK OF A WORLD HERITAGE THEMATIC PROGRAMME

RECOMMENDATIONS FOR GOOD PRACTICE

CONCLUSION

CHAPTER 29 Safeguarding a Fragile Legacy

OVERVIEW OF UDP ROCK ART MANAGEMENT SINCE THE 1960S

INSTITUTIONAL RESPONSIBILITIES

INVENTORIES, PLANNING, IMPLEMENTATION, AND INDIGENOUS VOICES

WORLD HERITAGE, TOURISM, AND PUBLIC INTERPRETATION

DISCUSSION

CONCLUSION

ACKNOWLEDGMENTS

CHAPTER 30 Managing Rock Art Sites

WHAT IS CULTURAL HERITAGE MANAGEMENT?

SITE SIGNIFICANCE

SIGNIFICANCE AND MANAGEMENT

DIFFERENT MANAGEMENT APPROACHES

MAIN ELEMENTS OF MANAGEMENT

CASE STUDIES

FINAL COMMENTS

CHAPTER 31 From Discovery to Commoditization

THE GRANTING OF NATIVE TITLE AND THE MANAGEMENT OF ROCK ART AND CULTURAL HERITAGE

BUT IT’S TOO COMPLEX TO BE ABORIGINAL ART?

WHAT IS SPECIAL ABOUT THE CANNING STOCK ROUTE ART?

MARTU VIEWS ON ROCK ART

RECORDING, DATING, AND ANALYSIS OF THE ROCK ART

MANAGEMENT ISSUES ON THE CANNING STOCK ROUTE

KNOWN GENERAL IMPACTS ON THE CANNING STOCK ROUTE

DOCUMENTED IMPACTS ON TANGIBLE AND INTANGIBLE CULTURAL HERITAGE

INDIGENOUS PROTECTED AREAS, CONSERVATION VALUES, AND RANGERS ON COUNTRY

TOWARD SUSTAINABLE FUTURE VISITATION TO CANNING STOCK ROUTE ROCK ART LOCALES

PART X: Dating Rock Art: Technological Advances and Applications

CHAPTER 32 Radiocarbon Dating of Rock Paintings

PAINT ON A ROCK CANVAS

RADIOCARBON DATING

DATING ROCK ART

OUR WORK USING PLASMA OXIDATION

CONCLUSIONS AND FUTURE WORK

ACKNOWLEDGMENTS

CHAPTER 33 Twelve Years of Research in Chauvet Cave

PRINCIPLES AND METHODS

TOPOGRAPHIC SURVEY AND SPELEOLOGICAL EXPLORATIONS

PARIETAL ART RESEARCH

THE NATURAL ENVIRONMENT

PALEOCLIMATIC AND PALEOENVIRONMENTAL CONTEXTS

BIOGEOCHEMICAL STUDIES OF ANIMAL DIETS

STUDY OF THE ARCHAEOLOGICAL CONTEXT

DATING AND CHRONOLOGICAL CHARACTERIZATION

PALEONTOGICAL AND ARCHAEOZOOLOGICAL STUDY

PRINCIPAL SCIENTIFIC RESULTS

CONCLUSION

ACKNOWLEDGMENTS

CHAPTER 34 In Suspect Terrain

ROCK SURFACES AND ROCK ENGRAVINGS

ROCK VARNISH DATING APPROACHES

SQUABBLES OR ISSUES OF FACT?

AFTERMATHS AND OUTCOMES

PART XI: Rock Art in the Digital Age

CHAPTER 35 Digital Enhancement of Deteriorated and Superimposed Pigment Art

THE ROLE OF DIGITAL TECHNOLOGY IN ROCK ART RESEARCH

METHODS OF ENHANCEMENT

CASE STUDY 1: RECOVERING PIGMENT ART IN TORRES STRAIT, NORTHEASTERN AUSTRALIA

CASE STUDY 2: SUPERIMPOSITIONS IN JAWOYN COUNTRY, NORTHERN AUSTRALIA

DISCUSSION

CONCLUSION

ACKNOWLEDGMENTS

CHAPTER 36 Robust and Scientifically Reliable Rock Art Documentation from Digital Photographs

ADOPTION OF ROBUST DIGITAL IMAGING BY ROCK ART PRACTITIONERS

REFLECTANCE CAPTURE

ALGORITHMIC RENDERING

PHOTOGRAMMETRY

CONCLUSIONS

CHAPTER 37 Engaging a New Digital Citizenry

THE EMERGENCE OF SINGULARITY THINKING

AN ARCHAEOLOGICAL APPROACH TO SINGULARITY (AND SINGLE-MINDED) THINKING

HERALDING THE DIGITAL DARK AGE

MULTIGENERATIONAL MEMORIES IN THE NEW MILLENNIUM

BORN ARCHIVAL MEDIA

DIGITAL SURROGATES OF HIDDEN HERITAGE

SHIFTING PRIORITIES AND THE PROTECTION OF DIGITAL HERITAGE

A PLATFORM FOR INDIGENOUS DIGITAL HERITAGE

CONCLUSIONS: WE ARE THE SINGULARITY

Supplemental Images

Index

The Blackwell Companions to Anthropology offer a series of comprehensive syntheses of the traditional subdisciplines, primary subjects, and geographic areas of inquiry for the field. Taken together, the series represents both a contemporary survey of anthropology and a cutting-edge guide to the emerging research and intellectual trends in the field as a whole.

 1. A Companion to Linguistic Anthropology, edited by Alessandro Duranti

 2. A Companion to the Anthropology of Politics, edited by David Nugent and Joan Vincent

 3. A Companion to the Anthropology of American Indians, edited by Thomas Biolsi

 4. A Companion to Psychological Anthropology, edited by Conerly Casey and Robert B. Edgerton

 5. A Companion to the Anthropology of Japan, edited by Jennifer Robertson

 6. A Companion to Latin American Anthropology, edited by Deborah Poole

 7. A Companion to Biological Anthropology, edited by Clark Larsen (hardback only)

 8. A Companion to the Anthropology of India, edited by Isabelle Clark-Decès

 9. A Companion to Medical Anthropology, edited by Merrill Singer and Pamela I. Erickson

10. A Companion to Cognitive Anthropology, edited by David B, Kronenfeld, Giovanni Bennardo, Victor de Munck, and Michael D. Fischer

11. A Companion to Cultural Resource Management, edited by Thomas King

12. A Companion to the Anthropology of Education, edited by Bradley A.U. Levinson and Mica Pollack

13. A Companion to the Anthropology of the Body and Embodiment, edited by Frances E. Mascia-Lees

14. A Companion to Paleopathology, edited by Anne L. Grauer

15. A Companion to Folklore, edited by Regina F. Bendix and Galit Hasan-Rokem

16. A Companion to Forensic Anthropology, edited by Dennis Dirkmaat

17. A Companion to the Anthropology of Europe, edited by Ullrich Kockel, Máiréad Nic Craith, and Jonas Frykman

18. A Companion to Rock Art, edited by Jo McDonald and Peter Veth

Forthcoming

A Companion to Paleoanthropology, edited by David Begun

A Companion to Chinese Archaeology, edited by Anne Underhill

A Companion to Border Studies, edited by Thomas M. Wilson and Hastings Donnan

This edition first published 2012

© 2012 Blackwell Publishing Ltd

Blackwell Publishing was acquired by John Wiley and Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell.

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Library of Congress Cataloging-in-Publication Data

A companion to rock art / edited by Jo McDonald and Peter Veth.

pages cm

 Includes bibliographical references and index.

 ISBN 978-1-4443-3424-1 (hardback)

 1. Petroglyphs–Handbooks, manuals, etc. 2. Rock paintings–Handbooks, manuals, etc. I. McDonald, Jo (Josephine), editor of compilation. II. Veth, Peter Marius, editor of compilation.

 GN799.P4C525 2012

 709.01'13–dc23

2012015860

A catalogue record for this book is available from the British Library.

Jacket image: Bighorn Sheep figure at the Three Rivers Petroglyph Site. Albuquerque, New Mexico. © Kevin Schafer / Alamy.

Jacket design by Richard Boxall Design Associates.

List of Plates

Plate 1 

San rock paintings of antelope-headed therianthropes 

Plate 2 

Rock art panel at the White Shaman site, Lower Pecos Canyonlands 

Plate 3 

Antlered anthropomorph at the Halo Shelter, Lower Pecos Canyonlands 

Plate 4 

Canoes from southwest Torres Strait 

Plate 5 

Hidden painted spirals from the Tomba della scacchiera, Sardinia 

Plate 6 

Hand stencils on a wall of Fetra-Hé cave, Lifou Island, New Caledonia 

Plate 7 

Rock art from Katavani Kunta Valley, Andhra Pradesh, India 

Plate 8 

Great Mackerel Rock-Shelter 

Plate 9 

Rock art from Backa in Brastad parish in Bohuslän, Sweden 

Plate 10 

Cattle painting from the Ennedi Highlands, Chad 

Plate 11 

Painted ceiling of a rock-shelter at Injaluk Hill, Western Arnhem Land, Australia 

Plate 12 

A Wanjina painting referring to a mythical chase across country 

Plate 13 

Geographic distribution of Levantine rock art and main motifs of the Levantine repertoire 

Plate 14 

The clay bison in Tuc d’Audoubert Cave, Ariège, France 

Plate 15 

Lineal traces in rock and mobile art found at Pali Aike and

Morros

sites in southern Patagonia 

Plate 16 

Stencils, painting, and charcoal drawing at Watarrka National Park, Central Australia 

Plate 17 

Charcoal drawings re-outlined in white at Wollemi National Park, near Sydney, Australia 

Plate 18 

Cruise ship from the Djulirri main gallery, Wellington Range, Arnhem Land, Australia 

Plate 19 

Grave stone slab discovered by Vladimir Kubarev at Karakol in Altai 

Plate 20 

Drum of a Khakass shaman 

Plate 21 

Namarali

at Karndirrim rock-shelter repainted by Donny Woolagoodja 

Plate 22 

Large painted panel at Game Pass Shelter 1, uKhahlamba-Drakensberg Park 

Plate 23 

Complex in-filled anthropomorphic figures, central Canning Stock Route 

Plate 24 

Karen Steelman sampling pigment rock art in the Australian Western Desert 

Plate 25    

Chauvet Cave: end chamber, right wall 

Plate 26 

Varnish microlamination thin-sections 

Plate 27 

Computer enhancement of a canoe with sail, from the island of Dauan in the Torres Strait 

Plate 28 

Photomosaic and interpretative drawing of C2 panel,

Nawarla Gabarnmung

shelter, Jawoyn Country, northern Australia 

Plate 29 

Three-dimensional surface data derived photogrammetrically of rock art surface in the Black Hills, Wyoming 

Plate 30 

Laetoli footprints: digital data provided by photogrammetry 

List of Figures

Figure 1.1 

“Stand Up for the Burrup”: roll call at the SAA Conference 2011 

Figure 2.1 

A Tukano shaman’s drawing of a

yajé

vision 

Figure 2.2 

San rock painting of an elongated shaman 

Figure 2.3 

A San trance, or curing, dance 

Figure 3.1 

The Lower Pecos Canyonlands of southwest Texas and northern Mexico 

Figure 3.2 

White Shaman Shelter: an antlered anthropomorph 

Figure 3.3 

Cedar Springs: a small red deer 

Figure 3.4 

Panther Cave: impaled deer and impaled dots 

Figure 3.5 

Black Cave: a large anthropomorphic figure 

Figure 3.6 

Huichol yarn painting by Chavelo Gonzalez 

Figure 4.1 

African and east Mediterranean sites 

Figure 4.2 

Map of sites in the east and west Mediterranean regions 

Figure 4.3 

Continuing iconicity through the sequence at Parpalló 

Figure 5.1 

Group VIII at New Zalavruga rock art site on the River Vyg, Russia 

Figure 5.2 

A panel from Preminghana petroglyph site, northwest Tasmania 

Figure 5.3 

A panel inside a lava tube cave at Kalaoa (Hawaii Island) 

Figure 5.4 

Selected cave paintings, Chasm Island (Burrabarra), northern Australia 

Figure 5.5 

Cygnet Repu of Mabuyag Island, Torres Strait, painting a

kaigas

Figure 6.1 

Arrangement of aggregation signals around a range system, based on Jilakurru 

Figure 7.1 

Tibes: aerial view, site plan, and petroglyphs 

Figure 7.2 

Caguana: Plaza A west side, site plan, and petroglyph sequence 

Figure 7.3 

Viví: site plan and Central Mountains 

Figure 7.4 

Jácana: site plan, north wall, and petroglyph comparisons with Caguana 

Figure 7.5 

Petroglyph sequence at Jácana by wall location 

Figure 7.6 

Viví petroglyph sequence, Enclosure A 

Figure 8.1 

Key megalithic art sites of Europe 

Figure 8.2 

Shee-Twohig’s motif classification 

Figure 8.3 

The two decorated faces and upper ridge of the Pattern Stone 

Figure 8.4 

The merging of two styles at Nether Largie North in the Kilmartin Valley 

Figure 9.1 

Early Hunting tradition scene 

Figure 9.2 

Non-metric multidimensional scaling and discriminant analysis 

Figure 9.3 

Animals and pecked hand from the Legend Rock outline pecked animal tradition 

Figure 9.4 

Non-metric multidimensional scaling 

Figure 10.1 

Photograph of petroglyph site on the mainland of New Caledonia by M. Leenhardt 

Figure 10.2 

Spirals and concentric circles from site WPT003 of Katiramona 

Figure 10.3 

Diversity of enveloped crosses from New Caledonia 

Figure 10.4 

Diversity of anthropomorphic petroglyph motifs 

Figure 10.5 

Alignments of cupules of site EPE009 of Tabé (Tchamba) 

Figure 10.6 

Bird and turtle motifs of Fetra-Hé cave 

Figure 10.7 

Traditional Kanak wooden door lintel 

Figure 11.1 

Distribution of known regions containing rock art within India 

Figure 11.2 

Rock bruisings and cupules on Hiregudda 

Figure 11.3 

Cupules associated with deep grooves on Hiregudda 

Figure 12.1 

Sexed, ambiguous, and ambivalent figures, Northern Arizona 

Figure 12.2 

Rock painting of a female apparently using a digging stick 

Figure 13.1 

Pilbara locality map showing Dampier Archipelago and other art provinces 

Figure 13.2 

Woodstock/Abydos: male and female figures 

Figure 13.3 

Murujuga: characteristic grouped figures 

Figure 13.4 

Open engraving assemblage from Ku-ring-Gai Chase 

Figure 13.5 

Vertical engravings on Cowan and Berowra Creeks 

Figure 13.6 

Sydney Basin engravings: examples of men and women in association 

Figure 14.1 

Rock art traditions in northern Europe 

Figure 14.2 

Rock art chronology of boat images in southern Scandinavia 

Figure 14.3 

Depiction of engendered human rock art motifs from Alta, Vingen, and Bardal 

Figure 14.4 

Depiction of engendered human rock art motifs from Bohuslän, Sweden 

Figure 14.5 

Related ritual specialists from the Scandinavian Bronze Age 

Figure 14.6 

Rock art motifs from Jerpin Pudas 3, Vyg in northwest Russia 

Figure 14.7 

Rock art from Ole Pedersen in Alta 

Figure 16.1 

Chauvet Cave, France 

Figure 16.2 

Cattle engraving from the Ennedi Highlands, Chad 

Figure 16.3 

Cattle engraving from the Ennedi Highlands, Chad

Figure 17.1 

A Bradshaw figure over hand stencils on an island off the Kimberley coast 

Figure 17.2 

A Mimi or trickster spirit at Ubirr Rock, Kakadu National Park 

Figure 17.3 

Krill Krill ceremony at Turkey Creek, Kimberley region 

Figure 18.1 

Cova Remigia and Cingle Mola Remigia rock-shelters 

Figure 18.2 

Regional sequence of Levantine human figures 

Figure 18.3 

Spatial relations among Levantine motifs 

Figure 18.4 

Changes in themes according to the regional stylistic sequence of human figures 

Figure 19.1 

Black Rock Style I panel showing running humans driving deer or elk 

Figure 19.2 

Black Rock Style II panel with typical complex abstract design 

Figure 19.3 

Abraded vulvas and bison track typical of Black Rock Style III 

Figure 19.4 

Black Rock Style IV incised figures of warriors 

Figure 20.1 

Locality map for Quebrada de Humahuaca 

Figure 20.2 

View of Upper Rift Valley with outcrops 

Figure 20.3 

Pintoscayoc 1 rock-shelter 

Figure 20.4 

Rock art sequence pre-annexation times 

Figure 20.5 

Rock art sequence during annexation times 

Figure 21.1 

Location of the three geological networks of Tuc d’Audoubert Cave 

Figure 21.2 

Tracing of two bison drawn with fingers, Tuc d’Audoubert Cave 

Figure 21.3 

Tracing of an engraved panel, Tuc d’Audoubert Cave 

Figure 21.4 

Salle des Talons

, Tuc d’Audoubert Cave 

Figure 22.1 

Southern Patagonia: location of areas and localities 

Figure 22.2 

Series of parallel traces at Potrok Aike (Pali Aike) 

Figure 22.3 

Dots and parallel traces at Ultima Esperanza (Chile) 

Figure 22.4 

Principal component analysis of types of motifs by region 

Figure 22.5 

Principal component analysis of grouped motifs by region 

Figure 23.1 

Location map of Central Australia and Watarrka (Kings Canyon) National Park 

Figure 23.2 

Reproduction of drawings from the upper plateau of the George Gill Range 

Figure 23.3 

Reproduction of non-figurative graphics from Watarrka National Park 

Figure 23.4 

Example of drawings evident in George Gill Range 

Figure 23.5 

Drawings from the upper plateau of the George Gill Range 

Figure 24.1 

Map of Australia with main field locations indicated 

Figure 24.2 

Engraved camel, Central Australia 

Figure 24.3 

Examples of introduced subject matter in Pilbara rock art 

Figure 24.4 

Pilbara engraved ship 

Figure 26.1 

Engraved images of shamans playing the drum 

Figure 26.2 

Human standing on deer in motion, Kalbak-Tash, Altai 

Figure 26.3 

Aspects of shamanic iconography identified in prehistoric rock art 

Figure 26.4 

Crack in the rock surface with petroglyphs, Ilinskaya, Krasnoyarsk County 

Figure 26.5    

The Ilinskya rock art complex which has many cupules 

Figure 27.1 

The Wanjina Namarali at Karndirrim 

Figure 29.1 

Evidence of people camping below paintings at Fergies Cave 

Figure 29.2 

Front cover of the Natal Parks Board (1995) pamphlet about rock art 

Figure 30.1 

The cyclical and iterative management process 

Figure 31.1 

The Canning Stock Route 

Figure 31.2 

Historic and recent graffiti in the Durba Hills (Jilakurru) 

Figure 31.3 

Martu Ranger AS (Arthur Samson) illustrating pigment art on the Canning Stock Route 

Figure 32.1 

A polished section of a rock painting showing accretion and paint layers 

Figure 32.2 

Schematic of an accelerator mass spectrometry (AMS) instrument 

Figure 32.3 

Early plasma oxidation studies on paint samples 

Figure 33.1 

Map of Chauvet Cave 

Figure 33.2 

Group of hand-dots, Chauvet Cave 

Figure 33.3 

Panneau du Mégacéros

, Chauvet Cave 

Figure 33.4 

The various stages of the creation of the

Panneau des Chevaux

, Chauvet Cave 

Figure 33.5 

Panneau des Chevaux

, Chauvet Cave 

Figure 33.6 

Chauvet-type signs 

Figure 33.7 

Cave bear bones,

Salle Hillaire

, Chauvet Cave 

Figure 34.1 

Human figure rock engravings from the Coso Range, California 

Figure 34.2 

Holocene and Late Pleistocene VML calibration as defined by Tanzhuo Liu 

Figure 35.1 

The Torres Strait islands, located between mainland Australia and Papua New Guinea 

Figure 35.2 

Dauan, Torres Strait: grayscale conversion of a face/mask 

Figure 35.3 

Example of layers from Panel C2,

Nawarla Gabarnmung

shelter, Jawoyn Country, northern Australia 

Figure 35.4 

Harris matrix of the Panel C2 motifs,

Nawarla Gabarnmung

shelter 

Figure 36.1 

Reflectance transformation image (RTI) of Paleolithic goat petroglyph, Côa Valley, Portugal 

Figure 36.2 

Enhanced images of the Sennedjem Lintel 

Figure 36.3 

Image and non-photorealistic rendering of the Legend Rock Wyoming State Park archaeological site 

Figure 36.4 

Sixty images stitched into a virtual stereo pair 

Figure 37.1 

Human achievements in the context of the Long Now 

List of Tables

Table 7.1 

Ceremonial enclosure characteristics at Tibes, Caguana, Viví, and Jácana, Puerto Rica 

Table 9.1 

Discriminant analysis predictions of group members for North American Plains petroglyph traditions 

Table 9.2 

Attribute descriptions for Siberian rock art statistical analyses 

Table 13.1 

Comparison of broad motif classes from Port Hedland with two Pilbara rock art provinces and Murujuga 

Table 13.2 

Marujuga: proportions of the different classes of anthropomorphic figures 

Table 13.3 

Gender information encoded in Murujuga anthropomorphic depictions 

Table 13.4 

Sydney Basin: comparison of broad themes in the engraved and pigment art assemblages 

Table 13.5 

Sydney Basin: gender information in anthropomorphs from engraved and pigment sites 

Table 13.6    

Sydney Basin: sites at which women motifs are present 

Table 14.1 

Selected Bronze Age rock art areas showing the relationship between different types of rock art imagery 

Table 14.2 

Human engravings from 263 rock sites in northern Bohuslän 

Table 19.1 

Summary of petroglyph styles in the Black Hills, South Dakota and Wyoming 

Table 20.1 

Chronology and rock art characteristics of sites in Quebrada de Humahuaca 

Table 22.1 

Relative abundance of motifs by region in southern Patagonia 

Table 28.1 

Rock art sites on the World Heritage List (as of May 2011) 

Table 28.2 

Rock art sites on the tentative World Heritage List (as of May 2011)

Table 29.1 

Management criteria by which points were allocated in the RAND management plan for uKhahlamba-Drakensberg rock art 

Table 33.1 

List of the

14

C results obtained for the Chauvet Cave 

Table 37.1 

Media through the millennia 

Notes on Contributors

Michael Ashley oversees the technological development activities at the Center for Digital Archaeology (CoDA) at the University of California at Berkeley, formulating the vision and long-term strategies, and developing technical partnerships and international alliances. He is a digital conservation architect with more than 16 years of experience in cultural heritage informatics management and education. He received his PhD at the University of California at Berkeley, where he co-founded several initiatives, including the award-winning Open Knowledge and the Public Interest (OKAPI), and the Media Vault Program. As an archaeological photographer, he was Media Team leader for the Çatalhöyük Project for seven years, and has worked on heritage preservation projects worldwide.

Robert Bégouën is Curator of the Volp Caves in Ariège, France. Three cave sites (Enlène, Les Trois Frères, and Le Tuc d’Audoubert) are managed by the Association Louis Bégouën, which assures the protection of the property. Since 1976, Robert Bégouën has dedicated himself to the study of these major European upper Paleolithic cave sites. He has made numerous discoveries, including Le Tuc d’Audoubert. He is interested in rock art, but also in all the archaeological remains and vestiges (e.g., the tracks and imprints) which help to reconstitute the activities of the prehistoric people in these cave environments.

James Blinkhorn is a DPhil student in Archaeological Science at the School of Archaeology, University of Oxford. He has studied Indian archaeology and rock art since 2002, receiving his BA and MPhil from the Faculty of Anthropology and Archaeology, University of Cambridge. His fieldwork experience includes devising and implementing survey strategies for identifying and recording rock art in Andhra Pradesh and Madhya Pradesh, India. His broader interests include the emergence of symbolic behavior and modern human dispersals.