Like previous series entries, this volume covers rock art research and management all over the world over a 5-year period, in this case 2015-19. Contributions once again show the wide variety of approaches that have been taken in different parts of the world and reflect the expansion and diversification of perspectives and research questions.
This is the fifth volume in the series Rock Art Studies: News of the World. Like the previous editions, it covers rock art research and management across the globe over a five-year period, in this case the years 2010 to 2014 inclusive.
This is the third in the five-yearly series of surveys of what is happening in rock art studies around the world. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa, and the New World. During the period in question, 1999 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and a new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the conservation of sites. With the global increase of tourism, the management of rock art sites that are accessible to the public is a theme of ever-growing importance.
High above the noise and traffic of metropolitan Phoenix, Native American rock art offers mute testimony that another civilization once thrived in the Arizona desert. In the city's South Mountains, prehispanic peoples pecked thousands of images into the mountains' boulders and outcroppings—images that today's hikers can encounter with every bend in the trail. Todd Bostwick, an archaeologist who has studied the Hohokam for more than twenty years, and Peter Krocek, a professional photographer with a passion for archaeology, have combed the South Mountains to locate nearly all of the ancient petroglyphs found in the canyons and ridges. Their years of learning the landscape and investigating the ancient designs have resulted in a book that explores this wealth of prehistoric rock art within its natural and cultural contexts, revealing what these carvings might mean, how they got there, and when they were made. Landscape of the Spirits is the first book to cover these ancient images and is one of the most comprehensive treatments of a rock art location ever published. It conveys the range of different rock art elements and compositions found in the South Mountains—animals, humans, and geometric shapes, as well as celestial and calendrical markings at key sites—through accurate descriptions, drawings, and photographs. Interpretations of the petroglyphs are based on Native American ethnographic accounts and consider the most recent theories concerning shamanism and archaeoastronomy. Written in a simple and accessible style, Landscape of the Spirits is an indispensable volume for anyone exploring the South Mountains, and for rock art enthusiasts everywhere who wish to broaden their understanding of the prehistoric world. It is both an authoritative overview of these ancient wonders and an unprecedented benchmark in southwestern rock art research at a single geographic location.
This is the third in the five-yearly series of surveys of what is happening in rock art studies around the world. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa, and the New World. During the period in question, 1999 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and a new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the conservation of sites. With the global increase of tourism, the management of rock art sites that are accessible to the public is a theme of ever-growing importance.
This unique full-color field guide is essential for anyone who seeks to understand why shamans in the Far West created rock art and what they sought to depict. Whitley is on the cutting edge of dating and interpreting the images as well as describing the
Archaeology of Prehistoric Art, Volume 1 Atlantic Rock Art is a rock art tradition which includes emblematic motifs such as cup-marks, cup-and-rings and lines, known to several countries on the Atlantic seaboard. Design and Connectivity springs from an inter-regional study of this tradition, based on an original and innovative methodology applied to an empirical dataset. The project builds on Richard Bradley's work, investigating differences and similarities in Atlantic Art over study areas in five countries: Scotland, England, Ireland, Spain and Portugal. It applies a multi-scalar methodology developed under the principles of Relational Ontology and Assemblage Theory, providing a dynamic perspective on the empirical data. A thorough categorical scheme was scrutinised using a Presence/Absence Matrix, spatial analysis (fieldwork and GIS) and the development of Social Network Analysis (SNA) to relate and explore the relationships and connectivity between study areas. Concepts of developmental psychology support the idea of intentional teaching and cultural transmission.
Rock art has long been considered an archaeological artifact reflecting activities from the past, yet it is also a phenomenon with present-day meaning and relevance to both indigenous and non-indigenous communities. Relating to Rock Art in the Contemporary World challenges traditional ways of thinking about this highly recognizable form of visual heritage and provides insight into its contemporary significance. One of the most visually striking forms of material culture embedded in landscapes, rock art is ascribed different meanings by diverse groups of people including indigenous peoples, governments, tourism offices, and the general public, all of whom relate to images and sites in unique ways. In this volume, leading scholars from around the globe shift the discourse from a primarily archaeological basis to one that examines the myriad ways that symbolism, meaning, and significance in rock art are being renegotiated in various geographical and cultural settings, from Australia to the British Isles. They also consider how people manage the complex meanings, emotions, and cultural and political practices tied to rock art sites and how these factors impact processes relating to identity construction and reaffirmation today. Richly illustrated and geographically diverse, Relating to Rock Art in the Contemporary World connects archaeology, anthropology, and heritage studies. The book will appeal to students and scholars of archaeology, anthropology, heritage, heritage management, identity studies, art history, indigenous studies, and visual theory, as well as professionals and amateurs who have vested or avocational interests in rock art. Contributors: Agustín Acevedo, Manuel Bea, Jutinach Bowonsachoti, Gemma Boyle, John J. Bradley, Noelene Cole, Inés Domingo, Kurt E. Dongoske, Davida Eisenberg-Degen, Dánae Fiore, Ursula K. Frederick, Kelley Hays-Gilpin, Catherine Namono, George H. Nash, John Norder, Marianna Ocampo, Joshua Schmidt, Duangpond Singhaseni, Benjamin W. Smith, Atthasit Sukkham, Noel Hidalgo Tan, Watinee Tanompolkrang, Luke Taylor, Dagmara Zawadzka
Rock art is a global phenomenon with an enormous variation in shapes and figures and the research interest is wide and inclusive. The volume aims to explain differences observed in rock art through time and space, synchronically or diachronically. Differences can for example be in form, content, space (macro and micro), where explanations might relate to a large variety of factors such as political, societal, beliefs and rituals. Issues connected with authenticity and presentation where efforts and choices taken to preserve and present rock art are indeed many sided and complex are discussed. The wide-range papers in this volume are by scholars from across the globe with different perspectives on differences in Rock Art. This volume will be of interest to students, archaeologists and researchers from related disciplines.
Ontologies of Rock Art is the first publication to explore a wide range of ontological approaches to rock art interpretation, constituting the basis for groundbreaking studies on Indigenous knowledges, relational metaphysics, and rock imageries. The book contributes to the growing body of research on the ontology of images by focusing on five main topics: ontology as a theoretical framework; the development of new concepts and methods for an ontological approach to rock art; the examination of the relationships between ontology, images, and Indigenous knowledges; the development of relational models for the analysis of rock images; and the impact of ontological approaches on different rock art traditions across the world. Generating new avenues of research in ontological theory, political ontology, and rock art research, this collection will be relevant to archaeologists, anthropologists, and philosophers. In the context of an increasing interest in Indigenous ontologies, the volume will also be of interest to scholars in Indigenous studies. Chapter 14 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at https://www.taylorfrancis.com/books/edit/10.4324/9780429321863/ontologies-rock-art-oscar-moro-abad%C3%ADa-martin-porr?context=ubx&refId=3766b051-4754-4339-925c-2a262a505074
