Relevant bibliographies by topics / Rock paintings in art

Contents

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

Academic literature on the topic 'Rock paintings in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Rock paintings in art"

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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 roc
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Van den Berg, Dirk. "Narrative temporalities in a Bushman rock painting site." Acta Academica: Critical views on society, culture and politics 35, no. 1 (2003): 31–65. https://doi.org/10.38140/aa.v35i1.779.

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Proposing narrative readings of Bushman rock painting in terms of historical timeframes and narrative temporalities, this investigation of the consequences of musealisation at the Tandjesberg rock art site examines certain discursive functions of museum metaphors as emplotment schemes in historiography. In particular, the quasi-neutral use of the “panel” category for defining rock paintings in archaeology is critiqued. The final additions to the Tandjesberg rock paintings and possible connections with the politics of millennarian resistance receive special attention. Though the approach is ess
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Цэрэндагва, Ядмаа, Ричард Кортум та Баатар Жаргалсайхан. "Бөөрөгтийн хадны зураг: Монгол Алтайн эртний урлагийн өвөрмөц дурсгал". Mongolian Journal of Anthropology, Archaeology and Ethnology 13, № 2 (2024): 40–52. https://doi.org/10.22353/mjaae.2024130204.

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This article examines the rock paintings scattered across the basin of the Buurugt River, located on the border between the Buyant and Tolbo Sums in Bayan-Olgii Province. The Buurugt rock painting monument is a distinctive site due to its unique geographical location and the diversity of its rock art. Drawing on the variety of rock art monuments along the Buurugt River, this article explores their features, distinctive characteristics, their role within Mongolian rock art, and the challenges associated with their preservation and protection. Historically, the rock art monuments of the Buurugt
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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,
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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 a
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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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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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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
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Shchebrova, Svetlana. "Images of Masculinity in the Rock Art and Decorative and Applied Art of the Ancient Altai." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2022): 70–78. http://dx.doi.org/10.32340/2414-9101-2022-3-70-78.

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The paper analyses a content of pre-historic rock carving dated by the 2nd and 1st millennium before Christ located at Mountain Altai, in relation with a subjects of images (an animal, a human, the Universe). Various elements of semiosphere of the regional rock paintings are considered, graphic means of representation of masculinity significs and positioning of manhood ideals in petroglyphs of Altai ancient nomads are described. The relation between typical position of sign compositions, which are identical to rock paintings, on a historical costume complex,weapons, properties of habitants of
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Dissertations / Theses on the topic "Rock paintings in art"

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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 r
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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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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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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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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 exten
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Batiashvili, Magda. "Colour of the past. First Archaeometric investigations of Caucasian rock art paintings in Georgia." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31075.

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Abstract: This research presents the first archaeometric investigation on Damirgaya and Trialeti Rock art sites and the Neolithic settlement Khramis Didi Gora, South Caucasus, Georgia. The aim is to characterize rocks and pigments, to assess painting technology, including the possible identification of organic binders and the compatibility of inorganic pigments with those locally available. In order to build up our awareness and solve scientific curiosity, the research questions are cleared up through the comparison with adjacent archaeological sites, from Armenia, Azerbaijan and Anatolia, whe
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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 ove
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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 extan
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Lishiko, Billiard Berbbingtone. "The politics of production of archaeological knowledge :a case study of the later stone age rock art paintings of Kasam, Northern Zambia." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa.
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Steyn, Ruan. "Portable X-ray fluorescence and nuclear microscopy techniques applied to the characterisation of southern African rock art paintings." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86541.

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Thesis (MSc)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: Non-destructive portable X-ray Fluorescence (pXRF) and Particle Induced X-ray Emission (PIXE) were used to measure the elemental concentration of rock art fragment paintings. For pXRF the Amptek Silicon Drift Detector (SDD) and Niton XL3t spectrometers were used to perform the measurements. These two spectrometers use different spectrum analysis methods. The Peak Deconvolution (PD) analysis method is used for the Amptek SDD and an Inverse Overlap Matrix (IOM) method is used for the Niton XL3t spectrometer. The pXRF method
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Books on the topic "Rock paintings in art"

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Parkington, John. Cederberg rock paintings. Living Landscape Project, 2003.

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Mathpal, Yashodhar. Rock art in Kerala. Indira Gandhi National Centre for the Arts, 1998.

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Kumar, Giriraj. Rock art of India. Sharada Publishing House, 2015.

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Jumabay, Bayakmet. Reverberations from rock art. Ili People Pub. Press, 2009.

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Pandey, S. K. Indian rock art. Aryan Books International, 1993.

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Sambalpur University. P.G. Dept. of History., ed. Rock art in Orissa. Aryan Books International, 2001.

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Godden, Elaine. Rock paintings of Aboriginal Australia. New Holland, 2001.

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Penny, Charteris, and South African Archaeological Society, eds. Selected Southern African rock art. South African Archaeological Society, Transl-vaal Branch, 1999.

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

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Godden, Elaine. Rock paintings of Aboriginal Australia. Reed, 1997.

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Book chapters on the topic "Rock paintings in art"

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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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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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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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Alves, Lara Bacelar, and Mário Reis. "Schematic Art Paintings in Northern Portugal." In The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-8.

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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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Hampson, Jamie, and Sam Challis. "Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation." In Deep-Time Images in the Age of Globalization. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_19.

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AbstractBoth on and off the rocks, it is clear that many pictographs and petroglyphs are powerful cultural and social ‘tools’ as well as sacred beings. Indeed, in certain regions of many countries, cultural and socio-political identity is shaped, manipulated, and presented through rock paintings and engravings. In this chapter, we focus on re-contextualised and appropriated Indigenous heritage and rock art motifs, in commercial settings, in sports team mascots, and as integral components of political and national symbols—there are illuminating similarities (as well as differences) that span th
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Carroll, Michael. "Rocks & Balls: Classical/Naturalistic Paintings." In The Beauty of Space Art. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49359-2_9.

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Troncoso Meléndez, Andrés. "Rock Art, Modes of Existence, and Cosmopolitics: A View from the Southern Andes." In Deep-Time Images in the Age of Globalization. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_4.

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AbstractThe ontological turn has opened multiples avenues of inquiry in archaeology and rock art research. Goals of this theoretical approach include unfolding and describing other worlds, understanding the differences between modern worldviews and past ontologies, and defining the ontologies materialized in rock images. This paper discusses the relationship(s) between rock art and ontology with reference to the idea of cosmopolitics and the political role of other-than-humans in social life. We suggest that rock art is grounded on historical modes of existence or, in other words, that rock im
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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 ri
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Conference papers on the topic "Rock paintings in art"

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Anna-Maria, Raita-Hakola, Rahkonen Samuli, and Pölönen Ilkka. "Revealing Hidden Art: Authenticating And Unveiling Neolithic Rock Paintings Through Advanced Hyperspectral Imaging Techniques." In IGARSS 2024 - 2024 IEEE International Geoscience and Remote Sensing Symposium. IEEE, 2024. http://dx.doi.org/10.1109/igarss53475.2024.10640641.

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Benni, Rashmi, Shraddha D. Jain, Vaishnavi V. Rao, and Nikhil A. Yaligar. "Modern Techniques for Ancient Art: Deep Learning in Rock Art Motif Classification." In 2024 Asian Conference on Intelligent Technologies (ACOIT). IEEE, 2024. https://doi.org/10.1109/acoit62457.2024.10940026.

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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 review
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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
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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
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Pozo Antonio, Jose Santiago, Teresa Rivas, Pablo Barreiro, Vera Caetano, Fernando Carrera, and Lara Bacelar Alves. "In situ characterization of prehistoric rock paintings: the Côa Valley (Portugal)." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2023.095.

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Pozo Antonio, Jose Santiago, Teresa Rivas, Pablo Barreiro, Vera Caetano, Fernando Carrera, and Lara Bacelar Alves. "In situ characterization of prehistoric rock paintings: the Côa Valley (Portugal)." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/10.21014/tc4-arc-2023.095.

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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
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Vimala, Dr S. M. "HARAPPA ARCHITECTURE – HUB OF ART AND CULTURE." In Transforming Knowledge: A Multidisciplinary Research on Integrative Learning Across Disciplines. The Bhopal School of Social Sciences, 2025. https://doi.org/10.51767/ic250301.

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India is a multicultural subcontinent resulting from a history of migrations of diverse peoples and establishment of new communities. The newcomers, often arriving as invaders, carrying their cultural baggage with them, were gradually absorbed into Indian culture. Art generally means sculpture and painting and often includes architecture, but human artefacts may embrace a wider category of material remains that includes the decorative and minor arts such as jewellery, pottery, metal, wooden utensils and even toys. The artefacts of the earliest inhabitants of India, the Stone Age societies, go
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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 m
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Reports on the topic "Rock paintings in art"

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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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Gorin, Clément, Stephan Heblich, and Yanos Zylberberg. State of the Art: Economic Development Through the Lens of Paintings. National Bureau of Economic Research, 2025. https://doi.org/10.3386/w33976.

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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, 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, 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 vis
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Шестопалова (Бондар), Катерина Миколаївна. The Phenomenology of Peak Shift Principle. Tipogr. “Advance”, 2017. http://dx.doi.org/10.31812/123456789/5941.

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Article is considered the modelling of research: 1) the procedure of evaluation of the paintings by the powerful artists of Ukraine to viewer; 2) explore results from positions of the theory of structural analysis logic of art . In the simulation study, was used the analysis of approaches to understanding the phenomenon priming in the works of A. Agafonov, L. Dorfman, A. Koyfman, M. Lucas, M. Falikman, T. Gulan, F. Kasof; research on neuroesthetics by P.O. Folgerø, V. Ramachandran, S. Zeki.
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations
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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
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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
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