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Journal articles on the topic 'Prehistoric rock art'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

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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2

Abd-EI-Moniem, Hamdi Abbas Ahmed. "Rock art as a source of the history of prehistory (An account to promote the understanding of prehistoric rock art)." Abgadiyat 4, no. 1 (2009): 11–35. http://dx.doi.org/10.1163/2213860909x00019.

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Abstract Some may believe that the history of mankind begins with the appearance of writing only a few several thousands of years ago (cf. 4000-3000 BCE). Our history, however, extends beyond that date millions of years. The history of mankind, indeed, is deeply rooted in the remote past which is called 'prehistory'. With the lacking of any form of writing, this 'prehistoric' period can be examined directly solely by recourse to the study of archaeological remains. The purpose of this account is to introduce rock art to the readers and show the significant role of this sort of archaeological m

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3

Srisuchat, Amara. "Rock art in Thailand: A legacy." Sarawak Museum Journal LXXI, no. 92 (2013): 81–104. http://dx.doi.org/10.61507/smj22-2013-rt19-04.

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This paper discusses some significant points on rock art of the prehistoric period in Thailand beginning with how local folk tales influence local people’s perception of rock art which differs from that proposed by scholars, followed by archaeological visits to rock art sites, artworks on the rock walls of the prehistoric artists, the past information from rock art and the present condition of rock art sites and the challenges of preservation. Though non-scientific learning of local people on rock art prior to academic inventory rock art sites of archaeologists, the results of the archaeologic

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4

Finlay, Finola, and Robert Harris. "Rock Art at Derreennaclogh, Co Cork." Journal of the Skibbereen and District Historical Society Vol 13, 2017 (August 2, 2017): 171–84. https://doi.org/10.5281/zenodo.1135150.

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Description and discussion of prehistoric rock art discovered in 2012 at Derreennaclogh, Co Cork, Ireland. Two panels, one very worn and one recently exposed, are covered with classic cup-and-ring markings and some less-usual carvings. There is a detailed discussion of recording techniques, including the use of CAD technology to produce a drawing of the surface of one panel.

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Barker, G. W. W. "ULVS XVI: Prehistoric Rock Carvings in the Tripolitanian Pre-desert." Libyan Studies 17 (1986): 69–86. http://dx.doi.org/10.1017/s0263718900007068.

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AbstractThis paper discusses three groups of rock art in their local, Tripolitanian, context and in terms of their wider relationship with the known corpus of Saharan prehistoric art. The rock carvings at Maia Dib, Udei el Chel/Caf el-Metchia and el-Tolga are described and some preliminary thoughts advanced as to their date and significance. Some suggestions are also made regarding the possible relationship between these carvings and the climatic and environmental changes which characterised the Sahara in later prehistory.

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6

Vyner, Blaise. "British Prehistoric Rock Art. By StanBeckensall." Archaeological Journal 158, no. 1 (2001): 385. http://dx.doi.org/10.1080/00665983.2001.11079017.

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7

Bradley, Richard. "Rock Art and the Perception of Landscape." Cambridge Archaeological Journal 1, no. 1 (1991): 77–101. http://dx.doi.org/10.1017/s0959774300000263.

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Studies of the prehistoric landscape are best suited to the analysis of sedentary communities with enclosed resources. Studies of prehistoric art show different limitations, especially an excessive subjectivity. This paper attempts to bring these areas of research together by considering the changing content of rock art in relation to topography, the movement of people in the cultural landscape, and the operation of specialized kinds of monument. The characteristic designs found in the open air are analyzed in terms of their organization and visual impact, and the results of this pilot study a

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Valdez-Tullett, Joana, and Sofia Figueiredo Persson. "Digital Rock Art: beyond 'pretty pictures'." F1000Research 12 (May 22, 2023): 523. http://dx.doi.org/10.12688/f1000research.127249.1.

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The term ‘Rock Art’ is loosely used in this article to refer to prehistoric carvings and paintings. Rock art research has changed profoundly in the last two decades. Partly, this is due to the introduction of more ‘scientific’ methodologies such as digital recording, to overcome the subjective nature of analogue documentation methods. Digital recording offers not only ‘pretty pictures’ but more immediate and quantifiable datasets and methods of analysis. As a result, new research implementing complex, multi-scalar and inter-relational analyses, which do not focus solely on the motifs or the la

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9

Hasan, Achmad Sopandi. "Understanding the rock art of Kalimantan." Sarawak Museum Journal LXXI, no. 92 (2013): 105–22. http://dx.doi.org/10.61507/smj22-2013-p0v1-05.

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The Kalimantan prehistoric karst is a beautiful hilly natural landscape with a potential for archaeological heritage in the form of exotic rock art. The trail of prehistoric civilisation located in Marang and Betung Karihun comprised of hand paintings, human figures, and animal figures drawn in red paint and charcoal. This paper reports the discovery of rockart of Kalimantan. The result is a very creative art with ancient motifs, the transformation of ideas onto cave walls, and the production of unique design that captures the essence of rock art. This paper will also look at current issues an

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10

Charlton, Thomas H. "Art on the rocks: Contemporary and prehistoric indigenous rock art in Australia." Reviews in Anthropology 27, no. 2 (1998): 123–39. http://dx.doi.org/10.1080/00988157.1998.9978194.

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11

Bahn, Paul G. "Ways of Looking at Prehistoric Rock Art." Diogenes 49, no. 193 (2002): 88–93. http://dx.doi.org/10.1177/039219210204919309.

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12

Waddington, Clive. "Prehistoric Rock Art in Northumberland. By StanBeckensall." Archaeological Journal 159, no. 1 (2002): 316–17. http://dx.doi.org/10.1080/00665983.2002.11020528.

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13

Watson, Aaron. "Prehistoric Rock Art of Cumbria. By StanleyBeckensall." Archaeological Journal 160, no. 1 (2003): 287. http://dx.doi.org/10.1080/00665983.2003.11078180.

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14

Dehuri, Rajendra, and Sachin Kumar Tiwary. "Some Preliminary observations on Ambapani rock art site, Chhatarpur district, Madhya Pradesh, India." Boletín APAR 5, no. 19-20 (2014): 893–99. https://doi.org/10.70748/ba.19-20.2014.286.

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Rock art reveals great potentialities for progressive historical cultural studies from the prehistoric times to present times. In the present work, it has been attempted to make a systematic study of Ambapani rock art based on the fi eld exploration, scientifi c documentation and analysis of artefacts. All these details are especially helpful to understand the extent to which it has decided the archaeological and historical framework of the region. Ambapani is a rich rock art site in the Kisangarh region of Chhatarpur district, located on a mountain cliff near Patori village. The fi gures pain

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del Hoyo-Meléndez, J. M., J. L. Lerma, E. López-Montalvo, and V. Villaverde. "Documenting the light sensitivity of Spanish Levantine rock art paintings." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3 (August 11, 2015): 53–59. http://dx.doi.org/10.5194/isprsannals-ii-5-w3-53-2015.

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A case study to evaluate the use of microfading spectrometry (MFS) for the study of colored systems found in prehistoric rock art paintings was conducted in the Cova Remígia rock-shelter, Castellón (Spain). This rock shelter is part of the rock art sites of the Mediterranean basin on the Iberian Peninsula included in UNESCO’s World Heritage List. Some of the paintings belonging to this group are exposed to environmental factors including natural daylight, wind and rain, depending on the time of the day and the season of the year. Therefore, their preservation is a major concern to stakeholders

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16

Janik, Liliana, Corinne Roughley, and Katarzyna Szczȩsna. "Skiing on the Rocks: the Experiential Art of Fisher-gatherer-hunters in Prehistoric Northern Russia." Cambridge Archaeological Journal 17, no. 3 (2007): 297–310. http://dx.doi.org/10.1017/s0959774307000388.

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The interpretation of images in relation to their particular setting on rock surfaces has been highlighted in recent studies into the location of depictions in the natural landscape and shamanistic beliefs and practices. The significance of the approach in this article, however, lies in studying the morphology of the rock surface as an integral part of the visual imagery of the rock art, notably how the physical dimensions of the rock surface were used in recreating the physical landscape familiar to the prehistoric artists. We use experiential and cognitive approaches to visual perception to

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Jennings, Richard P., Ceri Shipton, Abdulaziz Al-Omari, et al. "Rock art landscapes beside the Jubbah palaeolake, Saudi Arabia." Antiquity 87, no. 337 (2013): 666–83. http://dx.doi.org/10.1017/s0003598x00049383.

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The authors have undertaken a systematic survey of rock art along the Jubbah palaeolake in northern Saudi Arabia and interpret the results using GIS. They conclude that the overwhelming majority of prehistoric rock art sites overlook contemporary early Holocene palaeolakes, and that the distribution of later Thamudic rock art offers insights into human mobility patterns at Jubbah in the first millennium BC.

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18

Rifkin, Riaan F. "Engraved art and acoustic resonance: exploring ritual and sound in north-western South Africa." Antiquity 83, no. 321 (2009): 585–601. http://dx.doi.org/10.1017/s0003598x00098859.

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At a hill-top site in the Korrannaberg, where there is a water source and a sandy arena embraced by a rocky ridge, the author persuasively evokes a lively prehistoric ritual centre, with rock gongs, reverberating echoes, dancing and trance.

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19

Alberto, Marretta. "Age of the Heroes: a brief overview of Valcamonica rock-art during the Iron Age (I millennium BC)." Adoranten 2013 (May 1, 2013): 75–88. https://doi.org/10.5281/zenodo.1456556.

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The paper discusses the rock-art of Iron Age in Valcamonica taking into consideration the latest acquisitions but also some long lasting research problems. It aims to be a 'quick and dirt' introduction to the complexities of the most represented period in Valcamonica rock-art.

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20

Barfield, Lawrence, and Christopher Chippindale. "Meaning in the Later Prehistoric Rock-Engravings of Mont Bégo, Alpes-Maritimes, France." Proceedings of the Prehistoric Society 63 (1997): 103–28. http://dx.doi.org/10.1017/s0079497x00002395.

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The later prehistoric rock-engravings of Mont Bégo, in the Maritime Alps on the French–Italian border, provide a rare possibility of grasping the meaning of a group in prehistoric art. Two elements in their limited repertoire of forms are daggers and halberds, which also occur as physical objects or as images in the contemporary sites of adjacent north Italy; their contexts show they are, in that area, associated with the status of adult males in society. That same interpretation is applied to the Mont Bégo figures, and this is found congruent with other motifs — especially ploughs and cattle

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21

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

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22

Mishra, Nitesh Kumar, Anshu Mala Tirkey, and Baleswar Kumar Besra. "The Cultural Study of Tribes and Prehistoric Rock Paintings of Simdega District." Journal of Ravishankar University (PART-A) 26, no. 1 (2021): 39–48. http://dx.doi.org/10.52228/jrua.2020-26-1-7.

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This research paper will mainly consist of the unreported Neolithic site and rock art sites of Simdega district. In this paper there will be the detailed information about the rock paintings. The detailed study will be done of the various figures of the paintings. This paper will also describe the associated remains found along with the rock paintings. The research paper also consists of the developing phase of the rock art which can be seen in the tribal communities. Paper will also consist of the study of saddle quern, its various uses and how it is related to the tribal community. There wil

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23

Nyland, Astrid J., and Heidrun Stebergløkken. "Changing perceptions of rock art: storying prehistoric worlds." World Archaeology 52, no. 3 (2020): 503–20. http://dx.doi.org/10.1080/00438243.2021.1899042.

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24

Brunet, Jacques. "CONSERVATION OF PREHISTORIC ROCK ART IN FRANCE:SOME EXAMPLES." AICCM Bulletin 14, no. 1-2 (1988): 25–48. http://dx.doi.org/10.1179/bac.1988.14.1-2.005.

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25

Simek, Jan F., Alan Cressler, and Nicholas P. Herrmann. "PREHISTORIC ROCK ART FROM PAINTED BLUFF AND THE LANDSCAPE OF NORTH ALABAMA ROCK ART." Southeastern Archaeology 32, no. 2 (2013): 218–34. http://dx.doi.org/10.1179/sea.2013.32.2.004.

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26

Kolnegari, Mahmood, Mohammad Naserifard, Mandana Hazrati, and Matan Shelomi. "Squatting (squatter) mantis man: A prehistoric praying mantis petroglyph in Iran." Journal of Orthoptera Research 29, no. (1) (2020): 41–44. https://doi.org/10.3897/jor.29.39400.

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A 14-cm motif of a six-legged creature with raptorial forearms was discovered in the Teymareh rock art site in central Iran (Markazi Province) during a 2017 and 2018 survey of petroglyphs or prehistoric stone engravings. In order to identify it, entomologists and archaeologists compared the motif to local insects and to similar motifs and geometric rock art from around the world. The inspected motif resembles a well-known "squatter man" motif based on aurora phenomena and found all over the world, combined with a praying mantid (Mantodea), probably a local species of Empusa. The petroglyph pro

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27

Jiaxin, Zhang. "Austronesian Culture of Wanshan in Taiwan: An Ethno-Rock Art Research." Boletín APAR 9, no. 27 (2022): 1321–35. https://doi.org/10.70748/ba.27.2022.170.

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The research paper is focused on the rock art and its Ethno-rock art evidence in the region of Wanshan of Taiwan. This paper is based on the ethnological materials, archaeological site and Austronesian culture trait enhancements to corroborate the interpretation of Wanshan Rock Art. Wanshan Rock Art site is the only rock art site found in Taiwan. It is located in the southwest of the Central Mountain Range in Taiwan. It is a traditional hunting area for the Rukai people. The remains of cultural relics and physical images unearthed near the site of Wanshan Rock Art site are consistent with the

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28

Gay, M., M. Alfeld, M. Menu, et al. "Palaeolithic paint palettes used at La Garma Cave (Cantabria, Spain) investigated by means of combined in situ and synchrotron X-ray analytical methods." Journal of Analytical Atomic Spectrometry 30, no. 3 (2015): 767–76. http://dx.doi.org/10.1039/c4ja00396a.

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29

Magne, Martin P. R., and Michael A. Klassen. "A Multivariate Study of Rock Art Anthropomorphs at Writing-on-Stone, Southern Alberta." American Antiquity 56, no. 3 (1991): 389–418. http://dx.doi.org/10.2307/280892.

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The rock art of Writing-On-Stone has been the focus of detailed interpretation relying on concepts of group migration. Indeed, results of previous research at Writing-On-Stone have been pivotal in reconstructions of northwestern Plains group distributions. It is apparent that many anthropomorphic petroglyphs and pictographs contain elements and co-associations that allow chronological ordering from prehistoric through protohistoric and historic times. Cluster analyses described in this paper offer a more objective means of assessing changes in anthropomorph depictions through time, leading to

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Kolnegari, Mahmood, Mohammad Naserifard, Mandana Hazrati, and Matan Shelomi. "Squatting (squatter) mantis man: A prehistoric praying mantis petroglyph in Iran." Journal of Orthoptera Research 29, no. 1 (2020): 41–44. http://dx.doi.org/10.3897/jor.29.39400.

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A 14-cm motif of a six-legged creature with raptorial forearms was discovered in the Teymareh rock art site in central Iran (Markazi Province) during a 2017 and 2018 survey of petroglyphs or prehistoric stone engravings. In order to identify it, entomologists and archaeologists compared the motif to local insects and to similar motifs and geometric rock art from around the world. The inspected motif resembles a well-known ”squatter man” motif based on aurora phenomena and found all over the world, combined with a praying mantid (Mantodea), probably a local species of Empusa. The petroglyph pro

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31

Sugiyanto, Bambang. "PENEMUAN ROCK ART BARU DI KAWASAN KARST DESA REJOSARI, KECAMATAN MANTEWE, KABUPATEN TANAH BUMBU, PROVINSI KALIMANTAN SELATAN." Kindai Etam : Jurnal Penelitian Arkeologi 6, no. 2 (2020): 73–82. http://dx.doi.org/10.24832/ke.v6i2.71.

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>Kawasan karst di Desa Rejosari, Kecamatan Mantewe, Kabupaten Tanah Bumbu, Provinsi Kalimantan Selatan, merupakan bagian dari gugusan karst Mantewe yang membentang luas. Penelitian arkeologi prasejarah pada kawasan karst ini sudah dimulai sejak tahun 2008, di wilayah Desa Mantewe, Desa Bulurejo, Desa Dukuhrejo, dan Desa Rejosari. Potensi budaya prasejarah yang ada pada kawasan karst Mantewe, sangat bagus, seperti situs Gua Sugung (Desa Mantewe), Gua Payung (Desa Bulurejo), dan Gua Bangkai (Desa Dukuhrejo), serta gambar cadas dengan warna hitam pada beberapa gua dan ceruk terutama pada kawas

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32

Thackeray, J. F. "On concepts expressed in southern African rock art." Antiquity 64, no. 242 (1990): 139–44. http://dx.doi.org/10.1017/s0003598x00077395.

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Prehistoric rock art in southern Africa has been studied — with remarkable success — in the light of ethnographic data obtained from modern ‘San’ or ‘Bushmen’. Yet examples of rock paintings reflect conceptual associations similar if not identical to those identified among Bantu-speakers. It is recommended that the art be studied in the light of linguistic as well as ethnographic data without adopting a ‘San-centric’ stance.

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33

Seibert, Elke. "KLEES KLEINE EXPERIMENTIER MASCHINE UND PRÄHISTORISCHE MALEREIEN IM MUSEUM OF MODERN ART (1937) IN NEW YORK." Zwitscher - Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee - Studien, no. 2 (September 11, 2016): 44–54. https://doi.org/10.5281/zenodo.4043513.

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This essay is going to substantiate Seibert´s hypothesis that the MoMA-exhibition <em>Prehistoric Rock Pictures from Europe and Africa</em> curated by Alfred H. Barr in 1937, which showed 150 copies of prehistoric rock paintings, colored and partly in original size, legitimized new artistic forms to represent the past. In a visionary way, Barr complemented the exhibition concept by a separate section comprising artefacts by European avant-gardists, such as Paul Klee, and the surrealists André Masson, Joan Miró and Jean Arp. This made a visual conversation availabl

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34

Janik, Liliana. "Prehistoric art as a part of the neurophysiological capacities of seeing. Examples from prehistoric rock art and portable art." World Archaeology 52, no. 2 (2020): 223–41. http://dx.doi.org/10.1080/00438243.2020.1858952.

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35

Saputra, Hendra, Syahrun Syahrun, and Salniwati Salniwati. "DISTRIBUTION OF PREHISTORIC CAVES AND ROCK SHELTERS IN PADALERE UTAMA VILLAGE." SANGIA JOURNAL OF ARCHAEOLOGY RESEARCH 7, no. 1 (2023): 24–42. https://doi.org/10.33772/sangia.v7i1.2179.

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The issues addressed in this research are: (1) What prehistoric caves and rock shelters are present in Padalere Utama Village, Wiwirano District, North Konawe Regency? (2) What are the characteristics of the prehistoric caves and rock shelters in Padalere Utama Village, Wiwirano District, North Konawe Regency? This study employs inductive reasoning, where specific observations are generalized into broader conclusions. Data collection techniques used in this research include library research, field data (observation), and interviews. Additionally, data analysis techniques applied are morphologi

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36

Janik, Liliana. "Seeing visual narrative. New methodologies in the study of prehistoric visual depictions." Archaeological Dialogues 21, no. 1 (2014): 103–26. http://dx.doi.org/10.1017/s1380203814000129.

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AbstractThe aim of this paper is to establish how visual narratives can be used in the social context of storytelling, enabling the remembrance of events and those who participated in them in prehistory around the White Sea in the northernmost part of Europe. One of the largest complexes of fisher-gatherer-hunter art is located here, dating from the Neolithic and the Early Bronze Age (ca 6000–4000 B.P.). A number of methodological strands are brought together to aid in the interpretation of the art, combining Western art-historical and non-Western visual traditions that challenge our modern wa

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ZHAILYBAYEV, Daulet. "FLYING DEER AND SUN GODS (PREHISTORIC SOCIETIES IN CENTRAL ASIAN ROCK ART)." Eurasian Research Journal 4, no. 4 (2022): 81–93. http://dx.doi.org/10.53277/2519-2442-2022.4-06.

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Nash, George. "Prehistoric Rock Art: Polemics and Progress. By PaulG. Bahn." Archaeological Journal 168, no. 1 (2011): 409–10. http://dx.doi.org/10.1080/00665983.2011.11020843.

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Sumantri, Dirga Imam Gozali, Dicky A. S. Soeria Atmadja, and Pindi Setiawan. "Sangkulirang Mangkalihat: The Earliest Prehistoric Rock-Art in the World." Proceedings of the ICA 1 (May 16, 2018): 1–5. http://dx.doi.org/10.5194/ica-proc-1-108-2018.

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Borneo island, a part of Sundaland &amp;ndash; a great mainland in South East Asia thousands of years ago &amp;ndash; is the largest island in Indonesian Archipelago. In the middle-eastern of East Borneo, lies a peninsula karst region named Sangkulirang Mangkalihat. The region’s biodiversity contains many species of flora and fauna which are part of karst ecosystem.<br> Surprisingly, thousands prehistoric rock art paintings and engraving were found here, spread over 48 inland caves in seven different karst mountain areas. The rock arts are painted on the ceiling, wall, and hollow

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40

Sope, Amaluddin, and Mahirta Mahirta. "ARCHAEOLOGICAL POTENTIAL: ROCK ART IN THE PREHISTORIC CAVE COMPLEX OF LIANG KABORI, SOUTHEAST SULAWESI." SANGIA JOURNAL OF ARCHAEOLOGY RESEARCH 7, no. 1 (2023): 1–23. https://doi.org/10.33772/sangia.v7i1.2178.

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The prehistoric cave art found in the Liang Kabori Prehistoric Cave Complex is significant and warrants attention to its potential. Since its initial discovery in the 1970s up to the present, data on its rock art—ranging from pigment colors to motif variations—has continued to expand with the discovery of new sites. This research employs a descriptive exploratory method. Data collection began with a literature review and field data gathering through survey techniques. The results reveal the richness of rock art found at each site, including variations in color, types of images, and quantity. T

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Dehuri, Rajendra, and Sachin Kr Tiwary, Ph.D. "Rock art of Bijawar Sub-division: study in light of Putlikadanta and Pournkadanta rock art site, Chhatarpur District, Madhya Pradesh, India." Boletín APAR 6, no. 21 (2014): 957–63. https://doi.org/10.70748/ba.21.2014.279.

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Putlikadanta and Pournka-dantaisa rich rock art site in the Bijawar region of Chhatarpur district, located on a mountain cliff near Deora village. The fi gures painted on the shelters are ranging from Prehistoric to Historical period. A brief discussion of this art heritage will provide a rich tradition of ancient human activities in this area.

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42

Barnatt, John, Bill Bevan, and Mark Edmonds. "Gardom's Edge: a landscape through time." Antiquity 76, no. 291 (2002): 50–56. http://dx.doi.org/10.1017/s0003598x00089791.

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Six seasons of excavation, survey and test pitting in the Peak District National Park, England, were conducted by the Park Authority and the Department of Archaeology & Prehistory, University of Sheffield, on a moorland rich in features surviving from Prehistoric use and occupation of the area. Investigated features include a Neolithic rubble-built enclosure bank, Bronze to Iron Age cairnfields and settlements and cup-and-ring rock art. From this work a long-term landscape narrative of the area is being produced.

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García-Moreno, Alejandro, Miriam Cubas, Iain Davidson, et al. "El Niño Cave (Aýna, Albacete, Spain): Late Middle Palaeolithic, Rock Art, and Neolithic Occupations from Inland Iberia." Proceedings of the Prehistoric Society 87 (October 20, 2021): 73–81. http://dx.doi.org/10.1017/ppr.2021.14.

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El Niño cave, located on the south-eastern border of the Spanish Meseta, hosts a discontinuous sequence including Middle Palaeolithic and Neolithic levels, along with Upper Palaeolithic and Levantine style paintings. It is a key site for understanding human occupations of inland Iberia during the Palaeolithic and early prehistory. This paper summarises the main results of a multidisciplinary project aimed at defining the prehistoric human occupations at the site.

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Gortner, Willis A. "Bear Paw Petroglyphs and the Prehistoric Martis Complex." North American Archaeologist 15, no. 1 (1994): 69–76. http://dx.doi.org/10.2190/ccku-c0d5-x36f-ev80.

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People of the Martis Complex occupied lands adjoining the north-central Sierra Nevada from approximately 2000 B.C. to 500 A.D. They left their rock art on 100 or more rock outcroppings. The appearance of glyphs clearly resembling a bear paw or bear track at several dozen petroglyph sites suggested that this symbol in the north-central Sierra Nevada might be unique to the Martis people. A review of the occurrence of bear paw glyphs at ninety nine recorded sites in Nevada and 265 petroglyph sites in California showed that none of these glyphs appeared at the 293 sites more than 90 km from Martis

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JOHNSTON, SUSAN A. "THE RELATIONSHIP BETWEEN PREHISTORIC IRISH ROCK ART and IRISH PASSAGE TOMB ART." Oxford Journal of Archaeology 12, no. 3 (1993): 257–79. http://dx.doi.org/10.1111/j.1468-0092.1993.tb00332.x.

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Watchman, Alan. "Perspectives and potentials for absolute dating prehistoric rock paintings." Antiquity 67, no. 254 (1993): 58–65. http://dx.doi.org/10.1017/s0003598x00045051.

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Absolute dating of prehistoric rock paintings is an exciting archaeological pursuit. Sophisticated sample collection, handling and pretreatment methods and new analytical equipment and techniques are minimizing contamination and permitting identification of trace amounts of organic substances in prehistoric paints. Radiocarbon dating using Accelerator Mass Spectrometry (AMS) is producing dates for minute residues of blood, charcoal and plant fibres, either accidentally or deliberately incorporated in paintings. Carbon-bearing laminations, such as oxalate-crusts and silica skins, which have acc

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Lewis-Williams, J. D. "Agency, art and altered consciousness: a motif in French (Quercy) Upper Palaeolithic parietal art." Antiquity 71, no. 274 (1997): 810–30. http://dx.doi.org/10.1017/s0003598x00085756.

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Is the meaning of prehistoric art beyond recovery — especially the meaning of early art in deep caves, a remote and strange location which itself suggests some out-of-the-ordinary purpose? David Lewis-Williams has been extending his explorations of meaning in later southern African rock-art to the famous enigma of the European Palaeolithic, here in the particulars of a single distinctive motif.

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Boyd, Carolyn E., Francisco Marcos Marín, Christopher Goodmaster, Angel Johnson, Amanda Castaneda, and Benjamin Dwyer. "Digital Documentation and the Archaeology of the Lower Pecos Canyonlands." Virtual Archaeology Review 3, no. 5 (2012): 98. http://dx.doi.org/10.4995/var.2012.4535.

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<p>The Lower Pecos Canyonlands of southwest Texas and northern Mexico house some of the most complex and compositionally intricate prehistoric rock art in the world. Because of the unique nature and the incomparable richness of this cultural legacy, it is imperative to create a permanent visual, auditory and textual archive for present and future generations and to promote preservation of this resource through education. SHUMLA’s Lower Pecos Rock Art Recording and Preservation Project is meeting this need through digital documentation of rock art sites, creation of a digital library to a

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Darvill, Timothy, and Geoffrey Wainwright. "A Cup-marked Stone from Dan-y-garn, Mynachlog-Ddu, Pembrokeshire, and the Prehistoric Rock-art from Wales." Proceedings of the Prehistoric Society 69 (2003): 253–64. http://dx.doi.org/10.1017/s0079497x0000133x.

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A small panel of mobiliary rock art containing two cup-mark motifs discovered in north Pembrokeshire in August 2002 is described and compared with other finds of rock art from Wales. Although the sites with passage-grave style rock art in north Wales are well-known, the more widespread yet less impressive cup-mark dominated panels found mainly around the upland fringes of the country have received relatively little attention. A provisional corpus of 33 rock-art sites comprising more than 37 panels is provided.

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Ling, Johan. "War Canoes or Social Units? Human Representation in Rock-Art Ships." European Journal of Archaeology 15, no. 3 (2012): 465–85. http://dx.doi.org/10.1179/1461957112y.0000000013.

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Scandinavian rock art may in general be regarded as idealized depictions of a social world, not a direct description of concrete social matters. Even so, rock art does convey important social information that calls for more thorough comment. This study concerns almost 1700 ship depictions from western Sweden that include human representations. The average ship is depicted with a crew of six to thirteen individuals and these craft may have represented prevailing ideals about the crewing of ships. The large ship images with numerous crews in clearly defined positions may be depictions of war can

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