Relevant bibliographies by topics / Cave Paintings

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Cave Paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Cave Paintings"

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M.K. "Cave Paintings." Americas 42, no. 2 (October 1985): 248. http://dx.doi.org/10.1017/s0003161500051683.

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Bandara, Jayanthi. "A cultural and archeological study of kotiyagala (mailla) Cave paintings." International Journal of Research and Innovation in Social Science VII, no. IV (2023): 1142–53. http://dx.doi.org/10.47772/ijriss.2023.7495.

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Sri Lanka has a relatively large number of forest cave temples. Most of them have not attracted the attention of researchers and only a few of them have been researched. The reason is that most of these cave temples are located in forested areas away from human habitation. Reaching those places is also very difficult. But very valuable paintings are found in caves located in such places. Due to the lack of proper preservation, the paintings are facing the threat of destruction at a rapid rate. Kotiyagala Mailla Lenvihara is also a place where such precious paintings are hidden. Paintings from four regions are mainly represented here. Only the paintings on the left side remain of them. The main question of this research is to find out what are the socio-economic cultural political factors that influenced Kotiyagala painting. Research methods such as field study, interviews, and library study have been used to collect data mainly using empirical research methodology. The main objective of this research is to study the socioeconomic and cultural factors that influenced the Kotiyagala paintings and to which tradition the style and structural features of the Kotiyagala paintings show the most similarities. The sample of this research was Kotiyagala Mailla Lenvihara which was selected through random sampling.
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WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.

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The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."
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Valladas, H., N. Tisnérat-Laborde, H. Cachier, M. Arnold, F. Bernaldo de Quirós, V. Cabrera-Valdés, J. Clottes, et al. "Radiocarbon AMS Dates for Paleolithic Cave Paintings." Radiocarbon 43, no. 2B (2001): 977–86. http://dx.doi.org/10.1017/s0033822200041643.

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Advances in radiocarbon dating by accelerator mass spectrometry (AMS) have made it possible to date prehistoric cave paintings by sampling the pigment itself instead of relying on dates derived from miscellaneous prehistoric remains recovered in the vicinity of the paintings. The work at the Laboratoire des Sciences du Climat et de l'Environnement (LSCE) concentrated on prehistoric charcoal cave paintings from southern France and northern Spain. In most caves, pigment samples were collected from several paintings, and in some instances the sample size allowed for multiple independent measurements on the same figure, so that the coherence of the calculated dates could be tested. Before being dated, each specimen was subjected to a thermal treatment preceded by an acid and basic treatment of intensity commensurate with the sample size.Nine bison drawings from three caves in the Cantabrian region of Spain—two from Covaciella, three from Altamira, and four from El Castillo—were sampled and dated. The 27 dates fell between 13,000 and 14,500 BP, allowing us to attribute the drawings to the Magdalenian period. The 24 dates for 13 drawings in the Cosquer cave indicated two distinct periods of painting activity—one around 28,000 BP and the other around 19,000 BP. The Chauvet cave paintings turned out to be the oldest recorded to date, as five dates fell between 32,000 and 31,000 BP. After discussing the sample preparation protocol in more detail, we will discuss the ages obtained and compare them with other chronological data.
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Tripathi, Shubha, and Beena Jain. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.

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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta art is considered as the classical age of Indian painting. The artists of Ajanta did not follow the law of perspective and represented the figures in its entirety rather than appeared through a normal eye. Ajanta artists tried to depict the whole view through horizontal bands. In the paintings at Ajanta, the background was painted at the topmost band, the middle part of the painting below it and the foreground below the middle ground.
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Saiful, Andi Muhammad. "MEMAKNAI LUKISAN GUA UHALIE: PENDEKATAN STRUKTURALISME LÉVI STRAUSS." JURNAL WALENNAE 16, no. 1 (July 29, 2018): 39. http://dx.doi.org/10.24832/wln.v16i1.316.

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South Sulawesi is an area that has many prehistoric painting sites. Research on the meaning of the painting is still very limited. Therefore this paper attempts to examine the meaning contained the Uhalie Cave site by Lévi Strauss structuralism approach. The issues raised in this paper are how the meaning of Uhalie Cave paintings and why anoa and pigs became the object of paintings in the Uhalie Cave. The answer obtained from the issues will explain the behavior of a group of painters located in the village. The methods used in this study are collecting secondary data of Uhalie Cave Research, then doing analysis of painting classiffication, finding the pattern of painting in the cave, finding sintagmatic, paradigmatic, transformation, determining signified-signifer, and distinctive feature. The result of this study explain that the happines and grief manifestation of Uhalie Cave human in hunting.Sulawesi Selatan merupakan wilayah yang memiliki banyak situs lukisan prasejarah. Penelitian terhadap makna lukisan tersebut masih sangat terbatas, oleh karena itu karya tulis ini mencoba mengkaji makna yang terkandung pada situs Gua Uhalie dengan menggunakan pendekatan strukturalisme Lévi Strauss. Masalah yang diangkat dalam tulisan ini adalah bagaimana makna lukisan Gua Uhalie dan mengapa anoa dan babi menjadi objek lukis di Gua Uhalie. Jawaban yang didapatkan dari permasalahan tersebut akan menjelaskan tingkahlaku kelompok pelukis yang terletak di daerah pedalaman. Metode yang digunakan dalam penelitian ini mengumpulkan data sekunder hasil penelitian Gua Uhalie kemudian melakukan analisis klasifikasi lukisan, menemukan pola keletakannya, menetukan tanda-penanda (signified-signifer), sintagmatik, paradigmatik dan transformasi, serta menentukan ciri pembedanya (distictive feature). Hasil penelitian ini menjelaskan bahwa lukisan tersebut merupakan perwujudan suka duka manusia pendukung Gua Uhalie dalam melakukan perburuan.
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Menu, Michel. "Cave Paintings: Structure and Analysis." MRS Bulletin 21, no. 12 (December 1996): 48–53. http://dx.doi.org/10.1557/s0883769400032115.

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Prehistoric art is the oldest manifestation of the human desire to record the religion, myths, and spirituality of prehistoric people. The purpose of this article is by no means to propose an interpretation of this artistic expression but to carry out, within a multidisciplinary approach, research aimed at rediscovering the technical system by which the walls of the prehistoric caves were decorated.
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Konigsberg, Ira. "Cave Paintings and the Cinema." Wide Angle 18, no. 2 (1996): 7–33. http://dx.doi.org/10.1353/wan.1996.0007.

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Mandal, Barun. "Visual Rhetoric on Rock During Mesolithic Period at Chintakunta, Kadapa, Andhra Pradesh, India." International Journal of Language, Literature and Culture 2, no. 5 (2022): 1–7. http://dx.doi.org/10.22161/ijllc.2.5.1.

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Following the present to make a better future, there are areas to understand about human settlement in aforementioned, which provides the information about food, shelter, dress, culture, lifestyle, and the relation between human and animal. Moreover, the providers are available in contemporary times which carry the history like- cave paintings, rock paintings, sculptures from ancient civilizations, pots, etc. Human habitations in India had been evaluated by humans from nowhere to somewhere dated back to 10000 BC - 8000 BC, where communication was needed initially, and food, cloth, and language painting also have improved simultaneously. Ancient people depicted nonverbal communication through fighting scenes, hunting, riding, copulation, cultural practice, and genre life through ages like the palaeolithic, mesolithic, and neolithic periods. Evidence of the prehistoric cave and rock art still exist in India, like Bagh cave, Bhimvedka there are Chintakunta, Belum caves, Kethavaram and Bhogeswara in Andhra Pradesh. Apart from habitations, Color application, line, form, shapes, narrations of the paintings, and drawing are the most critical areas invented in a new way by the research scholar, archaeologists, and still, the educators are on the way to searching for new invent This paper explores the Art, aesthetics, culture, and technicality of these diverse approaches to this hidden treasure that can be beneficial in studying ancient rock art.
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Steelman, K. L., M. W. Rowe, V. N. Shirokov, and J. R. Southon. "Radiocarbon dates for pictographs in Ignatievskaya Cave, Russia: Holocene age for supposed Pleistocene fauna." Antiquity 76, no. 292 (June 2002): 341–48. http://dx.doi.org/10.1017/s0003598x00090426.

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Samples from three charcoal pictographs at Ignatievskaya Cave, in the southern Ural Mountains of Russia, have been radiocarbon dated. An advanced antiquity was expected, with some paintings thought to be more than 10,000 years old, as suggested by the imagery. One charcoal painting, for example, resembles a mammoth. The radiocarbon date of that motif, however, dates only to 7370±50 BP. If that motif actually represents a live mammoth, it places mammoth extinction in the Urals nearer to the present than is currently accepted. A charcoal pigment sample, a drawing of lines radiating from a central focus, has also been dated; its age was a few hundred years older than the ‘mammoth’: 7920±60 BP. A charcoal line has been dated with an age of 6030±110 BP. Although radiocarbon analysis was attempted on a red-pigmented painting of a woman, there was not enough organic material in the paint sample to obtain a viable date. Radiocarbon dates on pictographs in Ignatievskaya Cave obtained so far suggest that the paintings may be more recent than has been supposed.
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Dissertations / Theses on the topic "Cave Paintings"

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Cooney, Jessica Behrman. "The child in the cave : the contribution of non-adults to the creation of cave art and community in the Upper Palaeolithic." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708066.

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Mauran, Guilhem. "Rock paintings and microorganisms: a new insight on Escoural cave." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/20606.

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European cave art is of tremendous importance to understand the cultural traditions of the Upper Palaeolithic (35 000 – 10 000 BP) populations. Indeed, Prehistoric communities performed numerous cave paintings all over Western Europe. Understanding these artworks should provide a better knowledge of these early cultural aspects. Although numerous studies have been carried out to analyse the materials used by those communities, nothing has been done on the techniques’ palette of Escoural Cave’s representations. The present work aims at providing the very first data about the techniques and materials used by the Prehistoric to perform the cave paintings of Escoural (Alentejo, Portugal), and the microorganisms possibly endangering this unique parietal art. In situ observations coupled with an extensive micro-sampling and micro-destructive analyses allowed to characterize the coloured material and the way they were applied on the walls of the cave. Both red and black pigments present major composition’s disparities among the different paintings and drawings, supporting a more complex occupations’ chronology than what was earlier thought. The Palaeolithic paintings have suffered deterioration from environmental conditions and include chemical, mechanical and aesthetic alterations, possibly as a result of fungal activity. The standard techniques for biological assessments used in these contexts provided important insights on the diversity of the microbial population, though they have accuracy limitations. To understand the extent and viability of the existing microbiota, DNA quantification and biomarkers analyses, such as desidrogenase activity were performed and correlated with ergosterol amounts; RESUMO: A Arte Rupestre Europeia é de grande importância para compreender as tradições culturais da população do Paleolítico Superior (35 000 - 10 000 BP). De fato, as comunidades Pré-históricas realizaram inúmeras pinturas rupestres em toda a Europa Ocidental, sendo crucial compreender estas obras de forma a proporcionar um melhor conhecimento destes ancestrais aspectos culturais. Embora vários estudos tenham sido realizados para analisar os materiais utilizados por estas comunidades, nada foi efetuado sobre a técnica de execução das representações presentes na Gruta do Escoural. O presente trabalho visa fornecer os primeiros dados sobre as técnicas e materiais utilizados na Pré-História para executar as pinturas rupestres de Escoural (Alentejo, Portugal) bem como caracterização dos microorganismos possivelmente associados aos danos deste bem único. Observações in situ, juntamente com uma extensa micro-amostragem e análises micro-destrutivas permitiu caracterizar os pigmentos utilizados e a forma como eles foram aplicados nas paredes da caverna. Tanto os pigmentos vermelhos como os pretos apresentam composição distinta nas diversas pinturas e desenhos aí representados, apoiando a presença de diferentes ocupações contrariamente ao que se pensava até então. As pinturas Paleolíticas têm sofrido deterioração, devido às condições ambientais, nomeadamente alterações químicas, mecânicas e, possivelmente como resultado da atividade fúngica. As técnicas usualmente utilizadas para a avaliação de contaminação biológica fornecem informação importante sobre a diversidade da população microbiana, embora apresentem algumas limitações. Para entender a extensão e a viabilidade da microbiota existente, a quantificação de DNA e análise de biomarcadores como actividade de desidrogenases foram realizadas e correlacionadas com o conteúdo em ergosterol.
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Yen, Chih-hung. "Bhaiṣajyaguru at Dunhuang." London : University of London, 1997. http://catalog.hathitrust.org/api/volumes/oclc/68914537.html.

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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.

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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.
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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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Tonner, Philip. "The dwelling perspective : Heidegger, archaeology, and the Palaeolithic origins of human mortality." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1970f1dc-201d-4f49-adc0-9ffdd4010127.

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This interdisciplinary thesis is about dwelling, both as a method in archaeology and as a mode of existence. My thesis has two principal aims. Firstly, to explore the 'dwelling perspective' as this has been outlined in recent archaeological theory. This will involve discussion of phenomenological philosophy and the figure of Martin Heidegger. The term 'dwelling' is a technical one originating in Heidegger's philosophy of being. Phenomenology has been making inroads into archaeological theory as a consequence of the interpretive turn of the 1980s. The theoretical commitment of this thesis is that phenomenological inquiry is a useful project in archaeological research. Reflexive archaeological research in the present might articulate and confirm certain phenomenological dimensions of present experience so as to inform and enhance our understanding of the past. Secondly, I discuss the notion of dwelling in the existential sense as a mode of existence in terms that might allow us to deploy this concept in Palaeolithic archaeology, with specific reference to mortuary practice and "art". I propose two case studies in order to explore this. Firstly, mortuary practice and existential awareness of death will be explored with reference to the site of the Sima de los Huesos. Secondly, Heidegger's notion of artistic production as a world-opening event will be explored in relation to Upper Palaeolithic art in caves. The focus on mortuary practice and art is not arbitrary: both are central planks of Heidegger's account of dwelling and both are linked by 'heterotopic' space. Heidegger presented a novel account of human existence as 'Dasein'. Dasein is being-in-the-world and being-in-the-world is unified by what Heidegger called 'care' (Sorge). Heidegger's account of Dasein remains anthropocentric: I argue that we should move away from Heidegger's own anthropocentric view of being-in-the-world, dwelling or care toward a phenomenological archaeology that goes 'beyond the human'. I argue that care or dwelling is evidenced by the archaeological record of human becoming and that our ancestors 'cared for' or 'dwelled with' their dead. Care is evidenced by appropriating the world and by looking after compatriots within the world, and I argue that such an existential state had been reached before the advent of the Upper Palaeolithic. I argue that Upper Palaeolithic "art" opened up a hunter-gatherer world that enabled others, including animal others, and objects, to become meaningful to groups of Daseins, and so to become part of particular "dwelling places". Heidegger remains the key theorist of dwelling but his anthropocentrism should be abandoned. Suitably revised, Heidegger's account of dwelling will provoke us to look at Palaeolithic archaeology from a fresh perspective.
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Olofsson, Max. "Painting in the twenty-tens;where to now? : (You can’t touch this!)." Thesis, Kungl. Konsthögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-212.

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The essay is a manifesto-like personal take on painting, and a redefinition of painting in the digital age. Careless usage of the term ”painting” has led to a diluted descriptive function and a waning categorizing capacity; almost anything can be called painting, which in turn puts actual painting in an awkward position – where it, apart from being itself, could be almost anything. The term “painthing” is introduced to distinguish painting from works that beside its two-dimensional visual information also makes a point of its specific materiality. It brings up cave paintings and links to video-games, suggesting that video-games have gone through the reversed evolution of the history of painting – from abstraction to representation. It speaks of the problems of documentation – the translation of visual information (or re-flattening of a flat surface) – and the cultural equalization of information and images on the internet through the common denominator the pixel. It also describes “information painting”, which in short is digital painting where there is no physical object to be translated to a documentation of itself, but rather a painting that is original in its documentation form (its digital form), painting that strives to be nothing but the utopia of an image – the untouchable/unreachable visual information.
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Goodall, Rosemary A. "Non-destructive techniques for the analysis of pigments from an archaeological site." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/36948/1/36948_Goodall_1997.pdf.

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The detennination of trade routes and social interactions has previously been undertaken using cultural records and archaeological trends. In many regions this infonnation is sparse or inconclusive. By provenancing materials such as the pigments used by Aboriginal artists the movement of materials in the past can be directly investigated. This study is an attempt to characterise and provenance the excavated pigments from Fem Cave, Chillagoe, Southeast Cape York Peninsula. Two techniques, Fourier transform infrared -photoacoustic spectroscopy and proton induced X-ray and gamma-ray emission spectroscopy, have been used to examine the mineralogy and elemental composition of earth pigments. Both these techniques are suited to the examination of solid samples, requiring only very small samples (
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Greenwald, Diana Seave. "Painting by numbers : case studies in the economic history of nineteenth-century landscape and rural genre painting." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:3e1941c3-3c7e-48ee-9c62-2d2fa9c2c3fc.

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Industrialization altered the socioeconomic landscapes of France and the United States in the nineteenth century; meanwhile, the content and style of art produced in both countries also changed. In particular, landscape and rural genre painting became more prominent. Scholars have argued that the socioeconomic changes caused the artistic ones. This thesis, 'Painting by Numbers: Case Studies in the Economic History of Nineteenth-Century Landscape and Rural Genre Painting', uses methods from the social sciences to conduct case studies that examine these causal links. In addressing this topic, this project engages with the work of T.J. Clark, Alan Wallach and other founding social historians of art. With the creation of two databases containing information about 410,000 artworks exhibited in nineteenth-century France and the U.S., this thesis applies statistical methods to a much larger sample of artistic data. Exploiting this data source provides a socioeconomic history of the average experience of participants in the art world rather than detailed examinations of the experiences of a handful of still-famous artists, which have been more typical of the field. The first two chapters of the thesis provide an introduction, literature review, and description of the French dataset. Chapters 3 and 4 address research questions in the history and historiography of images of nature in nineteenth-century French art. Chapter 3 employs econometrics to examine systematic relationships exist between the quantities of images of nature exhibited in nineteenth-century France and the pace of industrialization. Statistically, the element of modernization that most affected the output of images of nature in the artistic data examined was the founding of artists' colonies near new rail lines connecting Paris to the countryside. Chapter 4 analyzes the artist Jean François Millet's letters, excerpts of which scholars used to form assump- tions about how artists' anti-urban attitudes inspired their depictions of nature. The chapter demonstrates that Millet was an active user of industrial modes of transport who often traveled to Paris. Chapter 5 introduces the American dataset, and the remaining chapters present three case studies about art in the U.S. during the nineteenth century. Chapter 6 examines the much-cited inventory The Art Treasures in America, showing it overstates the amount of European art in American collections during the nineteenth century. Chapter 7 analyzes how art collectors' socioeconomic backgrounds influenced their acquisitions; it demonstrates that socioeconomic markers are generally poor predictors of collecting patterns. Chapter 8 investigates the relationship between the growth of the railroad in the U.S. and landscape painting. Mapping the frequency of depiction of natural sites alongside the growth of railroads shows that visual culture is often a byproduct of rail lines built for other purposes rather than a catalyst for building new lines. My thesis refines current understanding of how socioeconomic change affected art in the nineteenth century in two ways. First: it shows sample bias can compromise existing socioeconomic histories of art, and the use of data can help combat this bias. Second: it provides examples of how industrialization most affected artistic output by removing structural constraints on the geographic movement of artists, collectors and artworks themselves. More broadly, this project demonstrates that scholars can use digital tools in conjunction with economic methods to document and analyze phenomena in the art history that would be neglected in purely qualitative analyses.
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Heber, Ashley Dawn. "Resting cake face." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1623.

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My most recent series of paintings places specific focus on the societal struggles young women face with an emphasis on the need to constantly be viewed as attractive. I am interested in cultural taboos of women's sexuality, and body image anxiety. Layered imagery of anonymous groups of young women paired with grotesque representations of food mimic the internet bombardment so inescapable for young women today. Painted stereotypes of beauty further show the imbalance of male / female gender roles and holographic glitter as well as day glow color push the drama further. In spending time with my drawings and paintings the viewer will, ideally, begin to question the cultural expectations for women, and contemplate possibilities for change.
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Books on the topic "Cave Paintings"

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Chanchani, Vishaka. Cave art: The first paintings. New Delhi: Tulika Publishers, 2013.

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Paulsen, Gary. Paintings from the cave: Three novellas. New York: Wendy Lamb Books, 2011.

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M, Ramachandran, Kumar Dinesh photographer, and Lalit Kala Akademi, eds. The mystery of Bagh cave paintings. New Delhi: Lalit Kala Akademi, 2008.

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Vincent W. J. van Gerven Oei. Allegory of the cave painting. Milan: Mousse Publishing, 2015.

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Dolotov, I︠U︡ A. Kulʹtovye peshchery Srednego Dona. Moskva: Russkoe obshchestvo spelestologicheskikh issledovaniĭ, 2004.

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Clottes, Jean. Cave art. London: Phaidon Press, 2008.

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Eka, Permana Cecep. Gambar tangan gua-gua prasejarah: Maros-Pangkap, Sulawesi Selatan. Jagakarsa, Jakarta: Wedatama Widya Sastra, 2014.

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Capek, Michael. Murals: Cave, cathedral, to street. Minneapolis, Minn: Lerner Publications Co., 1996.

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Indira Gandhi National Centre for the Arts, ed. Ajanta: Handbook of the paintings, 1 : narrative wall-paintings. New Delhi: Indira Gandhi National Centre for the Arts, 2013.

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Dubowski, Mark. Discovery in the cave. New York: Random House, 2010.

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Book chapters on the topic "Cave Paintings"

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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, 155–68. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14379-3_8.

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Tobias, Michael Charles, and Jane Gray Morrison. "Cave Paintings of the Mind." In On the Nature of Ecological Paradox, 293–300. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64526-7_32.

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Armas Wilson, Diana de. "Cave Paintings: Cervantes, Turbans, and Heresy." In Stavans Unbound, edited by Bridget Kevane, 32–41. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781644690079-007.

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Powell, Jonathan. "Cave Paintings That Recorded the Night Sky." In Astronomers' Universe, 9–16. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-31688-4_2.

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Ogura, D., T. Hase, Y. Nakata, A. Mikayama, S. Hokoi, H. Takabayashi, K. Okada, B. Su, and P. Xue. "Influence of Environmental Factors on Deterioration of Mural Paintings in Mogao Cave 285, Dunhuang." In Case Studies in Building Rehabilitation, 105–59. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49202-1_6.

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Kumar, Veepin, Jayanta Mukherjee, and Shyamal Kumar Das Mandal. "Restoration of Digital Images of Old Degraded Cave Paintings via Patch Size Adaptive Source-Constrained Inpainting." In Heritage Preservation, 87–109. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7221-5_5.

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Gooch, Jan W. "Cave Painting." In Encyclopedic Dictionary of Polymers, 126. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_2068.

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Liu, Tao. "Verification on the Name and Reconstruction on the Theme of the Wall Paintings and Statue in Kumtura Kuqun Qu Cave 12." In Silk Road Research Series, 177–203. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7602-7_9.

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Schmidt, Birgit Angelika. "Fragmentary Works of Art from the Simsim Grottoes – Methods of Analysing Detached Wall Paintings from Cave Number 40 under Special Consideration of Resting Soot Deposits." In Archaeology and Conservation along the Silk Road, 83–94. Wien: Böhlau Verlag, 2018. http://dx.doi.org/10.7767/9783205200468.83.

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Labrusse, Rémi. "“… And Those Who Expect to Return to the Source Will Find Fog”: Resonances of Prehistory in Modern Art." In Deep-Time Images in the Age of Globalization, 193–204. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_13.

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AbstractSince the authentication of Paleolithic cave paintings at the beginning of the twentieth century, modern artists have approached deep-time remnants (including images, tools, and traces of all sorts) in three main ways: they have either represented them, imitated them, or made them resonate conceptually and emotionally in their own artwork. In general, these attitudes—representation (or contextualization), imitation (or reenactment), and resonance (or meditation)—are at the core of modern ‘primitivism’. They have shaped the different ways of dealing with aesthetically-distant artworks and the quest for supposedly authentic origins in them. Within this ‘primitivist’ framework, I argue in this chapter that modern artists have a specific kind of relation with ‘prehistoric art’, one that privileges time rather than space. I suggest that what has attracted them is the “dark abyss of time” and, in particular, the shocking contrast between the sheer materiality of ‘prehistoric art’ (see, for instance, the freshness of a number of rock images) and the immesurable temporal lapse that separates these images from us. To be more precise, I will show how, at least in modern art, the ‘quest for the origins’ (so popular in the field of archaeology) has somewhat been substituted by a fascination for the unaccountability of time. In this context, I argue that modern and contemporary artists did not only react to new discoveries and interpretations in the archeological field but, moreover, they have actively contributed to promoting a relationship to prehistory that is more conceptual than factual and, therefore, producing a globalized concept of ‘prehistoric art’ that has been with us for many decades.
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Conference papers on the topic "Cave Paintings"

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Zoido, Jesús, Daniel Vazquez, Antonio Álvarez, Eusebio Bernabeu, Ángel García, Juán A. Herraez, and Marian del Egido. "Chromatic perception of non-invasive lighting of cave paintings." In SPIE Optical Engineering + Applications, edited by R. John Koshel and G. Groot Gregory. SPIE, 2009. http://dx.doi.org/10.1117/12.826503.

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Mäki-Reinikka, Kasperi. "Cave Paintings for the AI: Art in the Age of Singularity." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.13.

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Aisha, M. A., and W. O. Maznah. "Effect of ultraviolet radiation on the growth of microorganisms developing on cave wall paintings." In 1ST INTERNATIONAL CONFERENCE ON RADIATIONS AND APPLICATIONS (ICRA-2017). Author(s), 2018. http://dx.doi.org/10.1063/1.5048178.

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Ogura, Daisuke, Yuki Nakata, Shuichi Hokoi, Hiromi Takabayashi, Ken Okada, Bomin Su, and P. Xue. "Influence of light environment on deterioration of mural paintings in Mogao Cave 285, Dunhuang." In THERMOPHYSICS 2019: 24th International Meeting of Thermophysics and 20th Conference REFRA. AIP Publishing, 2019. http://dx.doi.org/10.1063/1.5132732.

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Schmidt, Alexander, Prathmesh Madhu, Andreas Maier, Vincent Christlein, and Ronak Kosti. "ARIN: Adaptive Resampling and Instance Normalization for Robust Blind Inpainting of Dunhuang Cave Paintings." In 2022 Eleventh International Conference on Image Processing Theory, Tools and Applications (IPTA). IEEE, 2022. http://dx.doi.org/10.1109/ipta54936.2022.9784144.

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LC, RAY, Sijia Liu, Latisha Besariani Hendra, and Kexue Fu. "TIME ENOUGH: Generative AI Visions of Climate Change as Cave Paintings of the Future." In C&C '24: Creativity and Cognition. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3635636.3672190.

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Meister, C. "POSSIBLE OR NOT: PARIETAL IN THE SWABIAN JURA?" In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.18-19.

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The Swabian Alb is known for its caves, in which figural ivory carvings and flutes from the Aurignacian period were found. Parietal art, on the other hand, as known from sites in France, Spain, Romania or Russia, has not been discovered in this region so far. In fact, up to now, there are no documented caves with Pleistocene wall paintings in Germany. Nevertheless, the presence of ochre traces on mobile artefacts indicates the purposeful application of pigments by humans during the Pleistocene in the region, for example stone pebbles or possible wall fragments from Magdalenian occupations bear series of dots (Conard, Floss, 1998). The paint is, however, fixed to portable objects and not to the cave walls. Not at least for these reasons, the question arises how the lack of parietal art in this region can be explained. If we assume from the known finds in Hohle Fels and Geienklsterle, which demonstrate that ochre was known and accessible to humans at least during the Aurignacian and the Gravettian (Conard, Malina, 2019), a lack of raw material as an explanation for the absence of caves with wall paintings in this region can be excluded. Moreover, at that time humans were able to reproduce the environment in the form of highly realistic images of the Ice Age fauna (Conard, Kind, 2017). A large number of ivory carvings from this period are, if one considers the degree of realism, comparable with the paintings in Chauvet, Altamira or Kapova Cave. Other aspects must therefore be taken into account when determining the reasons for the absence of parietal art. On the one hand, it is possible that the limestone rocks of the Swabian Jura are not suitable for a permanent preservation of ochrebased colors. Most of them are active caves, which are still strongly influenced by geological processes, but above all by water and karst. In addition, it is possible that the knowledge of the existence of caves which goes with long periods of use by people from all times may have destroyed existing paintings. However, one would expect to find some remains or at least residues of paint, if existing images were demolished by the permanent use of the caves. Ultimately, and although it cannot be ruled out that people during the Upper Palaeolithic in southern Germany have expressed themselves artistically in other forms, we must assume that there is a research gap. So far, a systematic research and analysis of the cave walls has not yet been carried out in the Swabian Jura. Today, the use of new technologies can be utilized to confirm or deny the current state of research. At the moment we aim to systematically examine the cave walls in the archaeological sites of the World Heritage Site Caves and Ice Age Art in the Swabian Jura. We consider them an excellent test cluster for the Paleolithic of this region. Three-dimensional recordings of the caves have already been produced. In the next steps we will test these recordings of the known caves with different filters and light conditions for parietal art, but at the same time continue to look for new and up to now unknown caves in the region. Conard, N. J., Floss, H. (1999). Ein bemalter Stein vom Hohle Fels bei Schelklingen und die Frage nach palolithischer Hhlenkunst in Mitteleuropa. Archologisches Korrespondenzblatt, 29 (3), 307316. Conard, N. J., Kind, C.-J. (2017). Als der Mensch die Kunst erfand: Eiszeithhlen auf der Schwbischen Alb. Darmstadt: Theiss Verlag. Conard, N. J., Malina, M. (2019). Weiterfhrende Ausgrabungen im Hohle Fels und neue Einblicke in die Nutzung von Ocker im Jungpalolitikum. Archologische Ausgrabungen in Baden-Wrttemberg 2018, 5659.
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Rocha Pires, Catarina, Leslie Carlyle, Kate Seymour, and Susana França de Sá. "A NEW PIGMENTED WAX-RESIN FORMULATION FOR INFILLING AND REINTEGRATING LOSSES IN PAINTINGS: TESTING ITS WORKABILITY IN TWO CASE STUDIES." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13476.

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A new pigmented wax-resin formulation introduced and tested for its suitability as a material to infill and reintegrate losses in paintings. This formulation contains Cosmoloid H80 microcrystalline wax and Regalrez® 1126 hydrogenated hydrocarbon resin, in a ratio of 1.5:1 (wax:resin, parts by weight), and is mixed with dry pigments and/or inert fillers (such as chalk, kaolin, or aluminium hydroxide). After extensive research on the properties and the stability of various formulations, the most successful one was applied on two canvas paintings with very diverse characteristics: a 17th century oil painting, and a 21st century acrylic painting. In this paper, the different application methods used are described step-by-step. These consisted of using the new formulations not only solely as infilling materials (by adding inert fillers to the wax-resin mixture), but also as materials capable of infilling and reintegrating a loss in one single step (by adding pigments to the wax-resin mixture). The possibility of imprinting and carving texture, as well as of sculpting the infills to recreate brushstrokes, was also tested and verified and is described in detail here.
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Zorić, Vojkan, and Vesna Petrović. "DETERMINATION OF FORGERY PAINTINGS IN THE WATERCOLOR TECHNIQUE - CASE STUDY." In SECURITY HORIZONS. Faculty of Security- Skopje, 2022. http://dx.doi.org/10.20544/icp.3.7.22.p03.

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Taking into account the previously published material on the work with dubious paintings made with oil on canvas technique, the paper presents a way to determine the originality of an artistic painting made with the watercolor technique. Determining the authenticity of a work of art is a very complex process, especially with the watercolor technique, due to the small amount of paint, as well as the non-existence of the canvas in the base. In the absence of a certificate of authenticity or description in museum inventory or catalogs, art historians cannot determine the originality of a suspicious work of art without conducting a forensic analysis. For this purpose, forensic scientists and forensic experts use the following laboratory methods: X-rays that detect the presence of a sketch or image below the surface), spectroscopic analysis of materials by infrared rays (FT-IR, highlights changes in asymmetric vibrations of material molecules), stereomicroscopic analysis of painted surfaces luminescent source and/or polarizing additive), physical analysis of color layers by a directed beam of light directly or through different filters, analysis using ultraviolet (UV) rays, as well as analysis by Raman spectroscopy (IR spectroscopy that highlights vibrations that are symmetrical to the center of symmetry of molecules). The paper presents a real case study of the forgery of the artistic painting of the English sculptor Henry Moore, made using watercolor and graffiti techniques, from 1937. Keywords: Art painting, Forensics, Laboratory analysis, forgery, aquarelle technique
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Jin, Xin. "Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5027psugw.

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Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.
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Reports on the topic "Cave Paintings"

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Iliev, Mihail, Milena Mitova, Ralitsa Ilieva, Veneta Groudeva, and Petar Grozdanov. Bacterial Isolates from Rock Paintings of Magura Cave and Sensitivity to Different Biocides. "Prof. Marin Drinov" Publishing House of Bulgarian Academy of Sciences, May 2018. http://dx.doi.org/10.7546/crabs.2018.05.08.

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Варданян, Марина Володимирівна, Ірина Анатоліївна Дирда, and Маргарита Вікторівна Кірєєва. Cultural memory of Chornobyl in literature and fine arts (in case of a picturebook “The Flowers beside the Fourth Reactor” by K. Mikhalitsyna and paintings by M. Prymachenko). Atlantis, May 2022. http://dx.doi.org/10.31812/123456789/7059.

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From the category “cultural memory”, the paper compares the works of different arts – a picturebook Kvity bilia chetvertoho (The Flowers beside the Fourth Reactor) by K. Mikhalitsyna and paintings of a representative of naive art, an artist M. Prymachenko. The paper explores the interaction of various arts based on Chornobyl’s issue within the comparative interpretation. The Flowers beside the Fourth Reactor by K. Mikhalitsyna narrates the life of M. Prymachenko and refers to her paintings devoted to Chornobyl. From the reception of fine arts, the writer’s picturebook raises verbilised and visualised issues of generations, memory, and nature conservation.
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Fenton, Virginia. Cubist painting related to the culture from which it came and its validity today in the high school curriculum. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.657.

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Steidel, Yaeko. Group painting as a means of self-expression and communication for mentally retarded persons: three case histories (volumes I and II). Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.848.

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