Relevant bibliographies by topics / Art - Rock art - Painting

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Art - Rock art - Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Art - Rock art - Painting"

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Kasnowihardjo, Gunadi. "GAMBAR CADAS KALIMANTAN TIMUR: Satu Bukti Seni Lukis Kutai Purba." Berkala Arkeologi 28, no. 2 (2008): 13–22. http://dx.doi.org/10.30883/jba.v28i2.360.

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Art including painting is an element of culture. Therefore art also becomes an object of archaeological research. Rock art paintings found in prehistoric caves in Kutai Timur regency of East Kalimantan Province are categorized as art paintings of prehistoric era. In prehistoric archaeology, arts and religion were difficult to be separated. Rock art paintings should be analized by religion approach and arts approach as well.
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Tan, Noel Hidalgo, and Stephen Chia. "Current Research on the Rock Art at Gua Tambun, Perak, Malaysia." Bulletin of the Indo-Pacific Prehistory Association 31 (May 26, 2012): 93. http://dx.doi.org/10.7152/bippa.v31i0.9967.

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The rock art site of Gua Tambun in Perak, Malaysia was first reported by J. M. Matthews in 1959, following the discovery of the rock paintings by a British military officer. An estimate of more than 80 forms of animals, humans, geometric designs and many other indistinct and vague forms of paintings were reported to be found on the walls of the rock shelter. Since then, no further in-depth research of the rock art has been reported, while time and weather have eroded and faded the paintings even more. In early January 2009, the site was revisited by the authors to document and to study the rock art in detail. The rock art was documented using a combination of close-range, high-resolution digital photography and digital image analysis was used to reconstruct and recompose the faded images. Samples of the material used for painting the rock art were also collected for chemical analysis and dating. This paper presents the preliminary findings of the research, which include more than 500 forms of rock art found at the site.
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Brumm, Adam, Adhi Agus Oktaviana, Basran Burhan, et al. "Oldest cave art found in Sulawesi." Science Advances 7, no. 3 (2021): eabd4648. http://dx.doi.org/10.1126/sciadv.abd4648.

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Indonesia harbors some of the oldest known surviving cave art. Previously, the earliest dated rock art from this region was a figurative painting of a Sulawesi warty pig (Sus celebensis). This image from Leang Bulu’ Sipong 4 in the limestone karsts of Maros-Pangkep, South Sulawesi, was created at least 43,900 years ago (43.9 ka) based on Uranium-series dating. Here, we report the Uranium-series dating of two figurative cave paintings of Sulawesi warty pigs recently discovered in the same karst area. The oldest, with a minimum age of 45.5 ka, is from Leang Tedongnge. The second image, from Leang Balangajia 1, dates to at least 32 ka. To our knowledge, the animal painting from Leang Tedongnge is the earliest known representational work of art in the world. There is no reason to suppose, however, that this early rock art is a unique example in Island Southeast Asia or the wider region.
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Dhiman, Kiran. "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3555.

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Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively.Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric art. It provides the basis for entering into the changing aspects of the living arts of man.
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Robinson, David W., Kelly Brown, Moira McMenemy, et al. "Daturaquids at Pinwheel Cave, California, provide unambiguous confirmation of the ingestion of hallucinogens at a rock art site." Proceedings of the National Academy of Sciences 117, no. 49 (2020): 31026–37. http://dx.doi.org/10.1073/pnas.2014529117.

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While debates have raged over the relationship between trance and rock art, unambiguous evidence of the consumption of hallucinogens has not been reported from any rock art site in the world. A painting possibly representing the flowers ofDaturaon the ceiling of a Californian rock art site called Pinwheel Cave was discovered alongside fibrous quids in the same ceiling. Even though Native Californians are historically documented to have usedDaturato enter trance states, little evidence exists to associate it with rock art. A multianalytical approach to the rock art, the quids, and the archaeological context of this site was undertaken. Liquid chromatography−mass spectrometry (LC-MS) results found hallucinogenic alkaloids scopolamine and atropine in the quids, while scanning electron microscope analysis confirms most to beDatura wrightii. Three-dimensional (3D) analyses of the quids indicate the quids were likely masticated and thus consumed in the cave under the paintings. Archaeological evidence and chronological dating shows the site was well utilized as a temporary residence for a range of activities from Late Prehistory through Colonial Periods. This indicates thatDaturawas ingested in the cave and that the rock painting represents the plant itself, serving to codify communal rituals involving this powerful entheogen. These results confirm the use of hallucinogens at a rock art site while calling into question previous assumptions concerning trance and rock art imagery.
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Shao, Qing-Feng, Edwige Pons-Branchu, Qiu-Ping Zhu, Wei Wang, Hélène Valladas, and Michel Fontugne. "High precision U/Th dating of the rock paintings at Mt. Huashan, Guangxi, southern China." Quaternary Research 88, no. 1 (2017): 1–13. http://dx.doi.org/10.1017/qua.2017.24.

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AbstractThe rock art and the associated natural scenery at 38 sites located in the Zuojiang River valley, in the southwest of Guangxi Zhuang Autonomous Region, southern China, were inscribed recently on UNESCO’s World Heritage List. The painted panel at the site of Mt. Huashan is probably the largest known rock art panel in the world, consisting of approximately 1900 identifiable figures and occupying an area of approximately 8000 m2. To determine a precise age on the rock art at Mt. Huashan, 56 secondary carbonate layers above and below the paintings were studied for their mineralogy, oxygen, and carbon isotopic compositions and dated by the 230Th/U method. The 230Th/U dating results demonstrate that ages of the rock paintings can be bracketed between 1856±16 and 1728±41yr BP corresponding to the middle to the end of the Eastern Han dynasty (AD 25 to 220). The results imply that the rock painting practices at Mt. Huashan probably lasted more than a century, and the Zuojiang rock art is younger than that at Baiyunwan and Cangyuan in Yunnan Province by 1 to 10 centuries.
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SMITH, BENJAMIN W., and JOHAN A. VAN SCHALKWYK. "THE WHITE CAMEL OF THE MAKGABENG." Journal of African History 43, no. 2 (2002): 235–54. http://dx.doi.org/10.1017/s002185370100799x.

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Research in the Northern Province of South Africa has revealed a most surprising new rock art find: a painting of a camel. This paper investigates how and why a camel came to be painted in the remote rock art of the Makgabeng hills. Analysis of archival material allows one to attribute the painting to a Northern Sotho artist who was active in the first decade of the twentieth century. The purpose of the painting is revealed in its context; it forms part of a collection of paintings which ridicule elements of ineptness in the ways of the new white intruders. We argue that this pointed humour helped the Makgabeng community to overcome some of the trauma of the displacement and violence which characterized the era of the first white settlement in northern South Africa.
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Mujabuddawat, Muhammad Al, and Godlief Arsthen Peseletehaha. "A Latest Discovery of Austronesian Rock Art in the North Peninsula of Buano Island, Maluku." Kapata Arkeologi 16, no. 1 (2021): 13–26. http://dx.doi.org/10.24832/kapata.v16i1.13-26.

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Gambar cadas merupakan salah satu tradisi yang tertua dan paling banyak tersebar di penjuru dunia. Gambar cadas menjadi bagian dari data penting dalam mempelajari masa lalu, karena gambar cadas kemungkinan mengandung makna pada pemikiran simbolik manusia yang membuatnya. Gambar cadas di Indonesia merupakan budaya yang berlangsung berkesinambungan sejak periode awal gelombang migrasi manusia di Kepulauan Indonesia sekitar puluhan ribu tahun hingga kedatangan penutur budaya Austronesia yang membuka periode Neolitik sekitar ribuan tahun lalu. Gambar cadas di Kawasan Kepulauan Maluku Bagian Tengah pada khususnya secara umum dikenali berciri Tradisi Gambar Austronesia atau lebih dikenal dengan sebutan APT (Austronesian Painting Tradition). Penelitian ini melaporkan temuan baru gambar cadas di di Situs Tanjung Bintang, Pulau Pua, Pesisir Utara Pulau Buano. Penelitian ini menerapkan metode kualitatif dan analitis dalam mendeskripsikan objek motif gambar cadas berdasarkan kajian literatur terkait referensi-referensi yang merujuk pada kajian gambar cadas di Maluku. Penelitian ini mengenali bahwa gambar cadas di Situs Tanjung Bintang berciri Tradisi Gambar Austronesia. Kajian ini merupakan yang pertama kali melaporkan keberadaan Situs Tanjung Bintang, gambar cadas di Pesisir Utara Pulau Buano, Kepulauan Maluku.
 Rock art is one of the oldest and most widespread traditions around the world. Rock art is part of essential data in studying the past because rock art has the potential to tell us something of the symbolic concerns of the people that created it. Rock art in Indonesia is a culture that has been ongoing since the early period of the wave of human migration in the Indonesian Archipelago for about tens of thousands of years until the arrival of the Austronesian speaker’s culture who opened the Neolithic period around thousands of years ago. Rock art in the Central Maluku Islands Region in particular, is generally recognized as characterized by the Austronesian Painting Tradition. This research reports new rock art findings at Tanjung Bintang Site, Pua Island, North Coast of Buano Island. This research applies qualitative and analytical methods in describing the object of rock art motifs based on a literature review related to references that refer to the study of rock art in Maluku. This research recognizes that the Tanjung Bintang Site is characterized by the Austronesian Painting Tradition. This study is the first record of the Tanjung Bintang Site rock art in the North Coast of Buano Island, Maluku.
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Palkina, Iryna. "The Album “Guernica” by the “KAT” band: a Musical Representation of a Painting by Pablo Picasso." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 71–82. http://dx.doi.org/10.31318/2522-4190.2022.133.257316.

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Relevance of the study. Rock art has a syncretic origin and gravitates towards multi-level synthesis throughout the history of its development. Incorporating elements from other art forms is an essential characteristic of rock music. The trends in the interaction of art forms in the field of rock culture are considered on the example of the concept album “Guernica” by the “KAT” band, dedicated to the cognominal painting by Pablo Picasso. The main source of analysis is the audio recording of the album. The “Guernica” album is a vivid example of an artistic dialogue that takes place on the literary, musical and visual planes.
 The scientific novelty of the study. The concept album “Guernica” by the Ukrainian hardcore band “KAT”, dedicated to the painting of the same name by Pablo Picasso, for the first time became the object of musicological analysis and is considered as an example of synthesizing trends in the field of rock art.
 The main objective of the study is to determine the levels of artistic interactions between the concept album “Guernica” by the “KAT” band and the original painting by Pablo Picasso.
 The methodology is based on the contextual method (to consider rock art as a synthetic phenomenon) as well as methods of holistic (to describe the album), comparative and intermedial analysis (to identify the levels of artistic interaction between a piece of music and the original painting).
 Results of the study. The concept album “Guernica” by the hardcore band named “KAT” is not just a dedication to the cognominal painting by Pablo Picasso. Аrtistic dialogue between works of art takes place in the visual (album cover), literary (direct descriptions of the elements of the picture, the technique of seeing events from different angles borrowed from visual art, reportage style of texts) and musical plane (recitative intonations, fast drumbeats, extreme vocal techniques); on the descriptive (direct references to the elements of the picture) and emotional and figurative levels. The album is a vivid example of intermediality in the field of rock art.
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Baker, Suzanne M., and Ruth Ann Armitage. "Cueva La Conga: First Karst Cave Archaeology in Nicaragua." Latin American Antiquity 24, no. 3 (2013): 309–29. http://dx.doi.org/10.7183/1045-6635.24.3.309.

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Cueva la Conga, recorded in June 2006, is the first limestone cave in Nicaragua reported to contain prehistoric rock paintings, culturally modified natural formations called speleothems, and artifacts. Located in northcentral Nicaragua in the Department of Jinotega, Cueva la Conga is the farthest south on the Mesoamerican periphery that a cave of this type has been reported, and it extends our knowledge of ritual cave use, including cave painting and speleothem modification, to include Nicaragua. Radiocarbon analysis of charcoal in five samples of the paint, the first such dating of Nicaraguan rock art, yielded calibrated dates from cal A.D. 680—905 to cal A.D. 1403—1640. The baseline data provided by Cueva la Conga are of great importance for regional rock art analysis and for our growing understanding of regional and Nicaraguan prehistory. More archaeological survey and excavations in the area will be key in establishing a firm cultural context for the rock art and ritual cave use found at Cueva la Conga.
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Dissertations / Theses on the topic "Art - Rock art - Painting"

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Garlake, Peter Storr. "Rock art in Zimbabwe." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29499/.

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This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.
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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2010.<br>Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.
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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.

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Jalandoni, Andrea. "The Archaeological Investigation of Rock Art in the Philippines." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/378158.

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Austronesians are a genetically-related people, recognized by the similarities in their languages, and with a shared past evidenced by material culture. Research into the origin and migration route of Austronesians has progressed through the disciplines of Linguistics, Archaeology, and Genetics. Out of Taiwan is currently the dominant theory with strong evidence from the three disciplines involved. Consequentially, the Philippines is the first stop of the migrating Austronesians, and therefore the closest link to the homeland in Taiwan linguistically, archaeologically, and genetically. The archaeological approach to understand the Austronesian diaspora has been tracing material culture like nephrite and ceramics. However, rock art as a traceable material culture has been underutilized, especially in places like the Philippines where the rock art is relatively unknown and lacks research. The two rock art styles that have been identified in Borneo, East Timor, and Southwest Pacific and have been linked to Austronesians are the Austronesian Painting Tradition (APT) and the Austronesian Engraving Style (AES). The aim of this research has been to test the validity of APT and AES in the Philippines. An inventory of rock art of the Philippines was needed to enable descriptions and comparisons with the region. This was achieved through low-cost 3D modelling using Structure-from- Motion (SfM) photogrammetry. However, the physical and socio-economic environment in the Philippines makes rock art research a difficult undertaking. One of the challenges of studying Philippine rock art was the geological condition obfuscating the rock art at some of the sites. Remote sensing techniques were used during this research to address the issue. Specifically, an innovative method of combining SfM and GIS (Geographic Information Systems) algorithms was developed so that obscure engraved rock art was made clearly visible. Being able to properly identify the rock art allowed for a more accurate inventory, thereby increasing the reliability of the interpretations. There are 22 verified rock art sites in the Philippines and seven areas with alleged sites. Of the verified sites, four have engravings, 16 have black figures, and two have predominantly orange figures. Four of the sites (three engraving and one painting site) were completely recorded with 3D models which resulted in spatially-linked databases of the three engraving sites. All other sites were described from past publications, museum reports, and empirical observations. By compiling the rock art in an inventory and comparing the inventory to the prescribed qualities of APT and AES, it is evident that APT and AES are not descriptive of Philippine rock art. Furthermore, primary sources of Taiwanese rock art reveal that it is highly unlikely APT originated in Taiwan since there is no known painted rock art on the island. Although the Taiwanese engraved rock art matches the description of AES and could therefore originate in Taiwan, it is inconclusive because the description of AES is too generic. A systematic quantitative literature review of the rock art of Southeast Asia and Micronesia was compiled to ascertain the amount of research conducted and to compare the inventory of the Philippines with the rock art of the region. For example, parallels in anthropomorphic depictions are found within the Philippines and between the Philippines and the region. Aside from determining similarities, conspicuous absences in motifs and styles were also noted, such as hand stencils and painted boats. An example of the unique aspect of Philippine rock art is the textured vulva-forms of Alab because they are not similar to the few other examples of engraved vulva-forms in Southeast Asia. In addition, a summary of Micronesian rock art is provided which might be the first for the region. Micronesian rock art potentially has information of an Austronesian style of rock art. The first colonizers of Micronesia were Austronesians and they remained the sole inhabitants for millennia on some islands until European contact in the 16th century, making the rock art found in Micronesia very likely Austronesian. Cost-effective techniques were emphasized throughout the research, not just as an efficient way to conduct this particular research but also to encourage the continuity of the research into Philippine rock art. Beyond the Philippines, the methods are relevant to any rock art research on a limited budget, which is typical of most rock art projects. It should be noted that the methods employed, while low-cost, were still state-of-the-art for rock art recording. With a baseline of the current conditions of the rock art sites, a longitudinal study can be organised for the quantitative monitoring of change. In addition to answering archaeological questions, the inventory can be used to develop conservation plans and influence government policies.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Hum, Lang & Soc Sc<br>Arts, Education and Law<br>Full Text
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Leuta, Tsepang Cecillia. "Evaluating the rate of rock art deterioration in the uKhahlamba-Drakensberg Park, KwaZulu-Natal." Diss., Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-02232010-121907/.

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Solomon, Anne Catherine. "Rock art incorporated : an archaeological and interdisciplinary study of certain human figures in San art." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21817.

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Bibliography: p. 206-228.<br>Understanding a widespread motif in San rock art - a human figure depicted in frontal perspective with distinctive bodily characteristics - is the aim of this study. A concentration of these figures in north eastern Zimbabwe was first described by researchers in the 1930s and subsequently, when one researcher, Elizabeth Goodall, described them as 'mythic women'. Markedly similar figures in the South African art have received little attention. On the basis of fieldwork in the KwaZulu-Natal Drakensberg, the south western Cape (South Africa) and Zimbabwe, and an extensive literature survey, a spectrum of these figures is described. In order to further understanding of the motif, existing interpretive methods and the traditions which inform them are examined, with a view to outlining a number of areas in need of attention. It is argued that analysis of rock art remains dependent on a range of dualistic notions which may be linked to retained structuralist ideas. It is suggested that the dominant model in rock art research, in which the rock art is seen as essentially shamanistic, perpetuates distinctions between mind and body, myth and ritual, and sacred and profane, while in its search for general truths concerning the rock art, and its central focus on iconography, the model retains traces of linguistic structuralism. It is proposed that the 'mythic woman' motif, with its gendered and sexual characteristics, is not well accounted for by reference to southern San ritual and religious practice alone. Drawing on contemporary theories concerning temporality and embodiment, it is argued that the motif is better understood in relation to recurrent themes of death and regeneration in San mythology and oral narratives, with shamanistic practice enacting related themes. The motif may be seen as representing San history in terms of culturally specific temporal schemes arising from San experience of the world. The 'ethnographic method', by means of which San accounts are used to illuminate features of the art, is reassessed and extended. Hermeneutic theories are drawn upon in order to address questions regarding the way in which ethnographies and art may be mutually illuminating, and to account for the inevitability of multiple interpretations arising from the situated process of reading or viewing. Prominent themes, images and devices in San myth and oral narrative are discussed in an attempt to move beyond a narrowly iconography-centred approach and in order to account for devices and stylistic features of San arts which are evident in both verbal and visual media. Implications of the research for investigating an archaeology of gender, and the writing of San history, are discussed.
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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.

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Cosser, Marijke. "Images of a changing frontier worldview in Eastern Cape art from Bushman rock art to 1875." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002196.

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A discussion of the concept of worldview shows that how an artist conceives the world in his images is governed by his worldview - an amalgam of the worldview of the group of which he is a part modified by his own ideas, beliefs, attitudes, perceptions and upbringing. The author proposes that studying an artist's work can reveal his, and hence his group's, worldview and thus the attitudes prevalent when the work was produced. A brief historical sketch of the Eastern Cape to 1834 introduces the various settlers in the area. Though no known examples of Black, Boer or Khoi pictorial art are extant, both the Bushmen and the British left such records. A short analysis of rock art shows how the worldview of the Bushman is inherent in their images which reflect man's world as seen with the "inner" eye of the spirit. In white settler art, the author submits that spatial relationships changed in response to a growing confidence as the "savage" land was "civilised" and that the position, pose and size of figures - and the inclusion or exclusion of certain groups - reflect socio-political changes. The two foremost nineteenth-century Eastern Cape artists, Thomas Baines and Frederick I'Ons, succeeded in capturing the atmosphere of Frontier life but are shown to interpret their surroundings through the rose-tinted spectacles of British Romanticism. They also reveal individuality in approach - Baines preferring expansive views while I'Ons's landscapes tend to be "closed-in", strictly following the coulisse scheme of Picturesque painting. Perhaps, the author postulates, such differences result from the very different environments, i.e. Norfolk and London, in which the two grew up. I'Ons is shown typically to use generalised landscapes as backdrops for his foreground figures, while comparing Baines's scenes with modern photographs shows that he adjusted the spacial elements of the topography as well as the temporal sequence of events to suit aesthetic considerations. Lithographed reports of his work contain even further adjustments. The author concludes that the use of Africana art as historical records must be treated with great caution.
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Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.

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Kachlíková, Barbora. "Malířův rok." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-241031.

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I have been working on my Master degree work at art residenci in Gedok art centrum in Stuutgart,Germany. Thecollection of work is consist of approximately 15-20 works.Medium is painting, technique oil on canvas. The serie of paintings has different kind of measures, from 80x90cm to 200 x 200cm.
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Books on the topic "Art - Rock art - Painting"

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Fisher, Diana. The art of rock painting. Walter Foster Pub., 2011.

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Fisher, Diana. The art of rock painting. Walter Foster Pub., 2011.

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The art of rock painting. Walter Foster Pub., 2011.

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Cosson, M. J. Rock Art Rebel. Stone Arch Books, 2006.

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San rock art. Jacana Media, 2011.

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Arizona's rock art: Guide to rock art sites. Outskirts Press, Inc., 2008.

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Malotki, Ekkehart. The rock art of Arizona: Art for life's sake. Kiva Pub., 2007.

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Prehistoric rock art. Children's Press, 1992.

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Smith, Benjamin. Zambia's ancient rock art: The paintings of Kasama. National Heritage Conservation Commission, 1997.

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editor, Malla Bansi Lal, and Indira Gandhi National Centre for the Arts, eds. Rock art studies. Indira Gandhi National Centre for the Arts and Aryan Books International, 2014.

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Book chapters on the topic "Art - Rock art - Painting"

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Edwards, Howell G. M., Peter Vandenabeele, and Philippe Colomban. "Cave Paintings and Rock Art." In Raman Spectroscopy in Cultural Heritage Preservation. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14379-3_8.

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Pesce, Laura. "Rock Paintings: Primordial Graffiti." In Close Encounters of Art and Physics. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22730-2_1.

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Davidson, Iain. "Variation in Early Paintings and Engravings." In A Companion to Rock Art. John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch4.

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Steelman, Karen L., and Marvin W. Rowe. "Radiocarbon Dating of Rock Paintings: Incorporating Pictographs into the Archaeological Record." In A Companion to Rock Art. John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch32.

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Blundell, Valda, and Donny Woolagoodja. "Rock Art, Aboriginal Culture, and Identity: The Wanjina Paintings of Northwest Australia." In A Companion to Rock Art. John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch27.

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Besigye, Jackline Nyiracyiza, Sarah Musalizi, and Raymond Asiimwe. "Challenges in preparing a serial transnational nomination for geometric rock art sites in the Lake Victoria region of Kenya, Tanzania and Uganda." In Managing Transnational UNESCO World Heritage sites in Africa. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-80910-2_2.

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AbstractLake Victoria’s proposed rock art nomination represents an extensive collection of rock paintings. These include large geometric finger-painted shapes that bear an exceptional testimony to a cultural tradition that started over four millennia ago in connection with fertility and potency among the Pygmy hunter-gatherers, whose spirits are still in contact with generations living around the sites today (Namono, 2010a). For instance, the entrance to the Nyero 2 site in Uganda is shaped like a cervix (Figure 1) and it is indeed possible that at that time this area was used for fertility rituals.
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Barreda-Usó, Gemma, M. Antonia Zalbidea Muñoz, and Julia Osca Pons. "Calcium Hydroxide Nanoparticles Testing for the Consolidation of Prehistoric Paintings in Cova Remígia (Castelló, Spain)." In Global Perspectives for the Conservation and Management of Open-Air Rock Art Sites. Routledge, 2022. http://dx.doi.org/10.4324/9780429355349-16.

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Karberg, Tim. "Rock Art." In Handbook of Ancient Nubia, edited by Dietrich Raue. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110420388-043.

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Curry, Patrick. "Painting I." In Art and Enchantment. Routledge, 2023. http://dx.doi.org/10.4324/9781003353225-3.

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Curry, Patrick. "Painting II." In Art and Enchantment. Routledge, 2023. http://dx.doi.org/10.4324/9781003353225-4.

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Conference papers on the topic "Art - Rock art - Painting"

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Carrión-Ruiz, Berta, Silvia Blanco-Pons, and Jose Luis Lerma. "DIGITAL IMAGE ANALYSIS OF THE VISIBLE REGION THROUGH SIMULATION OF ROCK ART PAINTINGS." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3560.

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Non-destructive rock art recording techniques are getting special attention in the last years, opening new research lines in order to improve the level of documentation and understanding of our rich legacy. This paper applies the principal component analysis (PCA) technique in images that include wavelengths between 400-700 nm (visible range). Our approach is focused on determining the difference provided by the image processing of the visible region through four spectral images versus an image that encompasses the entire visible spectrum. The images were taken by means of optical filters that take specific wavelengths and exclude parts of the spectrum. Simulation of rock art is prepared in laboratory. For this purpose, three different pigments were made simulating the material composition of rock art paintings. The advantages of studying the visible spectrum in separate images are analysed. In addition, PCA is applied to each of the images to reduce redundant data. Finally, PCA is applied to the image that contains the entire visible spectrum and is compared with previous results. Through the results of the four visible spectral images one can begin to draw conclusions about constituent painting materials without using decorrelation techniques.
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Blanco, Silvia, Berta Carrión, and José Luis Lerma. "REVIEW OF AUGMENTED REALITY AND VIRTUAL REALITY TECHNIQUES IN ROCK ART." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3561.

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The usage of augmented reality (AR) and virtual reality (VR) technologies began to grow when smartphones appeared. Until then, the number of portable devices capable of incorporating these technologies was reduced. Video games are the main field where these technologies are applied, but in other fields such as in archaeology, these technologies can offer many advantages. Ruins reconstruction, ancient life simulation, highly detailed 3D models visualisation of valuable objects from the past or even user free movement in missing places are just some examples found in literature.This paper reviews the latest visualisation technologies and their applicability to the rock art field. The main purpose is to disseminate rock art paintings through AR and VR applications. After the image-based three-dimensional (3D) modelling is obtained, an interactive visit to a shelter for displaying rock art paintings is presented. This is one of examples developed in this paper that pretends to apply the revised AR and VR techniques. In addition, an example of AR is developed that can be easily adapted to further applications displaying rock art paintings.
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Русакова, И. Д., and И. В. Ковтун. "PAINTINGS OF THE TUTALSKAYA ROCK ART SITE ON THE RIVER TOM." In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.159-173.

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Статья посвящена находкам ранее не известных изображений на Тутальской писанице. Памятник известен с начала ХХ в., его исследованию посвящен целый ряд публикаций, однако совершенствующиеся методы выявления и документирования древних изображений позволяют находить новые рисунки и на известных плоскостях. В 2017 2018 гг. было проведено новое документирование плоскости 1 Тутальской писаницы. Ключевым результатом этой работы является выявление серии крашеных наскальных рисунков и определение последовательности нанесения изображений на скальную поверхность. Рассматриваются также вопросы хронологии и культурной принадлежности крашеных изображений и связанного с ними массива петроглифов плоскости. Эти рисунки отнесены к крохалёвскому культурному комплексу и датированы последней четвертью III тыс. до н. э. The paper is devoted to the discovery of previously unknown images at Tutalskaya rock art site. This rock art site is known since the beginning of the XX century. A number of publications were devoted to the study of it. New methods of detection and documentation of the ancient images allow finding some new drawings at the known surfaces. A new documenting of panel 1 of Tutalskaya rock art site in 2017 2018 conducted. The main result of this work is the identification of a series of paintings and establishing the sequence of rendering images on the rock surface. The issues of chronological and cultural attribution of these paintings as well as the associated petroglyphs on the panel are considered. All these images are attributed to the Krokhalevskaya culture which is dated to the last quarter of the 3rd millennium BC.
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Blanco Pons, Silvia, and José Luis Lerma. "DIFUSIÓN DEL ARTE RUPESTRE A TRAVÉS DE APLICACIONES MÓVILES DE REALIDAD AUMENTADA: UN ENFOQUE PRÁCTICO." In 1st Congress in Geomatics Engineering. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6598.

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Rock art of the Mediterranean Basin of the Iberian Peninsula was declared World Heritage Site by UNESCO, it has an outstanding cultural value hence its dissemination is essential. Over the years, rock art paintings have been deteriorated and even some have disappeared. Consequently, it is quite difficult to recognise them in situ without experts. At this point, non-invasive and novel techniques can offer great potential, on the one hand, avoiding direct contact with the surface promoting its conservation, and on the other hand, through dissemination and analysis of these elements. One of the most promising techniques is Augmented Reality (AR). By means of AR applications, the visitor can see any kind of virtual content related to cultural heritage, through its mobile or tablet screen. Thus, any virtual content that is considered of interest can be added, offering in this way additional information that complements the real element. In this study, two approaches are presented for the rock art dissemination of the Cova dels Cavalls. The first is based on a marker recognition, which launches the application that displays an image of the motif and a descriptive text about it. In the second proposal, the camera device recognises the real image of the painting and the virtual information is overlapped. The study aims at evaluating the use of these AR techniques applied to rock art dissemination and shows the methodology for its development.http://dx.doi.org/10.4995/CIGeo2017.2017.6598
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Saw, Chaw Yeh, and Hsiao Mei Goh. "The Rock Art in Kinta Valley, West Malaysia: A synthesis Lukisan Gua di Lembah Kinta, Semenanjung Malaysia: Satu sintesis." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-10.

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This paper presents a synthesis of the new rock art mapping project in the Kinta Valley of West Malaysia. Through our collaboration with Kinta Valley Watch, we have successfully located more than 30 new rock art sites between 2019 and June 2021. The rock art is represented by both red and black paintings, with a wide variety of motifs including anthropomorph, zoomorph, botanic, watercraft, weapon, animal rider, handprint, geometric shape, line art, and other abstract design. This discovery is instrumental to the contemporary rock art research in Malaysia and demonstrated a collective effort in rock art research through long-term collaboration with the local stakeholders. Kertas kerja ini merupakan satu sintesis hasil daripada projek pemetaan lukisan gua di Lembah Kinta, Semenanjung Malaysia. Melalui kolaborasi dengan organisasi tempatan iaitu Kinta Valley Watch, kami telah mengenalpasti lebih daripada 30 lokasi lukisan gua antara tahun 2019 dan 2021. Antara bentuk lukisan gua yang dijumpai termasuklah antropomor ik ( igura manusia), zoomor ik ( igura haiwan), tumbuh-tumbuhan, perahu, senjata, penunggang haiwan, gambar tangan, geometrik, seni garisan dan simbol abstrak. Jumpaan ini amat berharga untuk kajian lukisan gua di Malaysia dan memaparkan satu usaha bersama demi kajian lukisan gua melalui kolaborasi jangka panjang dengan komuniti tempatan.
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Cabrelles, Miriam, and José Luis Lerma. "DOCUMENTACIÓN 3D DE LA COVA DELS CAVALLS Y DE SU ENTORNO (TÍRIG, CASTELLÓN)." In 1st Congress in Geomatics Engineering. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6627.

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Archaeological cultural heritage is a precious resource that should be transmitted to future generations. The 3D digital representation of monuments and sites has proven to be a reliable method for this aim. This article shows the geomatics workflow undertaken for the complex rock art documentation of the Cova dels Cavalls (Tírig, Castellón). The paintings are part of the Rock art of the Mediterranean Basin of the Iberian Peninsula declared a UNESCO’s World Heritage Site in 1998. The various stages are reviewed, from the acquisition phase up to the delivery of part of the derived metric products, such as 3D models and photorealistic models.http://dx.doi.org/10.4995/CIGeo2017.2017.6627
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Carrión-Ruiz, Berta, and José Luis Lerma. "ANÁLISIS DE COMPONENTES PRINCIPALES DE IMÁGENES MULTIESPECTRALES EN EL ÁMBITO DEL ARTE RUPESTRE." In 1st Congress in Geomatics Engineering. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6597.

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This paper tackles principal component analysis (PCA) in images that include wavelengths between 380-1000 nm. Our approach is focussed on taking advantage of the potencial of ultraviolet and infrarred images, in combination with the visible ones, to improve documentation process and rock art analysis. In this way, we want to improve the discrimination between pigment and support rock, and analyse the spectral behaviour of rock art paintings in the ultraviolet and infrared regions. Three images were used, one image from the ultraviolet (UV) region, one from the visible region (VIS) and another one from the near infrared region (NIR). Optical filters coupled to the camera optics were used to take the images. These filters capture specific wavelengths excluding radiation that we are not interested in registering. Finally, PCA is applied to the acquired images. The results obtained demonstrate the PCA usefulness with imagery in this field and also it is possible to extract some conclusions about the correspondent paint pigments.http://dx.doi.org/10.4995/CIGeo2017.2017.6597
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Zhang, Yuanming. "Aesthetic Analysis on Line Art in Chinese Painting Art." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.133.

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Ishibashi, Ken. "Digital scratch art painting interface." In International Workshop on Advanced Image Technology, edited by Phooi Yee Lau, Kazuya Hayase, Qian Kemao, et al. SPIE, 2019. http://dx.doi.org/10.1117/12.2521491.

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Huang, Yiyuan, and Alain Lioret. "Cerebral interaction and painting." In SIGGRAPH Asia 2013 Art Gallery. ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542260.

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Reports on the topic "Art - Rock art - Painting"

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Rajnovich, G. Reading rock art: interpreting the Indian rock paintings of the Canadian Shield. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2002. http://dx.doi.org/10.4095/216231.

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7033.

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Taylor Tynes, Taylor Tynes. Fresco Painting at the University of South Carolina: Medium of the Past, Art of Today. Experiment, 2016. http://dx.doi.org/10.18258/6800.

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Wilt, Julia. A Location Analysis of Vandalism to the Rock Art of the Columbia River Gorge National Scenic Area. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.6545.

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Hofmann, Peter, Robert Marschallinger, Michael Unterwurzacher, and Fritz Zobl. Designation of marble provenance: State-of-the-art rock fabric characterization in thin sections by object based image analysis. Cogeo@oeaw-giscience, 2011. http://dx.doi.org/10.5242/iamg.2011.0284.

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Huang, Haohang, Erol Tutumluer, Jiayi Luo, Kelin Ding, Issam Qamhia, and John Hart. 3D Image Analysis Using Deep Learning for Size and Shape Characterization of Stockpile Riprap Aggregates—Phase 2. Illinois Center for Transportation, 2022. http://dx.doi.org/10.36501/0197-9191/22-017.

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Riprap rock and aggregates are extensively used in structural, transportation, geotechnical, and hydraulic engineering applications. Field determination of morphological properties of aggregates such as size and shape can greatly facilitate the quality assurance/quality control (QA/QC) process for proper aggregate material selection and engineering use. Many aggregate imaging approaches have been developed to characterize the size and morphology of individual aggregates by computer vision. However, 3D field characterization of aggregate particle morphology is challenging both during the quarry production process and at construction sites, particularly for aggregates in stockpile form. This research study presents a 3D reconstruction-segmentation-completion approach based on deep learning techniques by combining three developed research components: field 3D reconstruction procedures, 3D stockpile instance segmentation, and 3D shape completion. The approach was designed to reconstruct aggregate stockpiles from multi-view images, segment the stockpile into individual instances, and predict the unseen side of each instance (particle) based on the partial visible shapes. Based on the dataset constructed from individual aggregate models, a state-of-the-art 3D instance segmentation network and a 3D shape completion network were implemented and trained, respectively. The application of the integrated approach was demonstrated on re-engineered stockpiles and field stockpiles. The validation of results using ground-truth measurements showed satisfactory algorithm performance in capturing and predicting the unseen sides of aggregates. The algorithms are integrated into a software application with a user-friendly graphical user interface. Based on the findings of this study, this stockpile aggregate analysis approach is envisioned to provide efficient field evaluation of aggregate stockpiles by offering convenient and reliable solutions for on-site QA/QC tasks of riprap rock and aggregate stockpiles.
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Guidati, Gianfranco, and Domenico Giardini. Joint synthesis “Geothermal Energy” of the NRP “Energy”. Swiss National Science Foundation (SNSF), 2020. http://dx.doi.org/10.46446/publication_nrp70_nrp71.2020.4.en.

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Near-to-surface geothermal energy with heat pumps is state of the art and is already widespread in Switzerland. In the future energy system, medium-deep to deep geothermal energy (1 to 6 kilometres) will, in addition, play an important role. To the forefront is the supply of heat for buildings and industrial processes. This form of geothermal energy utilisation requires a highly permeable underground area that allows a fluid – usually water – to absorb the naturally existing rock heat and then transport it to the surface. Sedimentary rocks are usually permeable by nature, whereas for granites and gneisses permeability must be artificially induced by injecting water. The heat gained in this way increases in line with the drilling depth: at a depth of 1 kilometre, the underground temperature is approximately 40°C, while at a depth of 3 kilometres it is around 100°C. To drive a steam turbine for the production of electricity, temperatures of over 100°C are required. As this requires greater depths of 3 to 6 kilometres, the risk of seismicity induced by the drilling also increases. Underground zones are also suitable for storing heat and gases, such as hydrogen or methane, and for the definitive storage of CO2. For this purpose, such zones need to fulfil similar requirements to those applicable to heat generation. In addition, however, a dense top layer is required above the reservoir so that the gas cannot escape. The joint project “Hydropower and geo-energy” of the NRP “Energy” focused on the question of where suitable ground layers can be found in Switzerland that optimally meet the requirements for the various uses. A second research priority concerned measures to reduce seismicity induced by deep drilling and the resulting damage to buildings. Models and simulations were also developed which contribute to a better understanding of the underground processes involved in the development and use of geothermal resources. In summary, the research results show that there are good conditions in Switzerland for the use of medium-deep geothermal energy (1 to 3 kilometres) – both for the building stock and for industrial processes. There are also grounds for optimism concerning the seasonal storage of heat and gases. In contrast, the potential for the definitive storage of CO2 in relevant quantities is rather limited. With respect to electricity production using deep geothermal energy (&gt; 3 kilometres), the extent to which there is potential to exploit the underground economically is still not absolutely certain. In this regard, industrially operated demonstration plants are urgently needed in order to boost acceptance among the population and investors.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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