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Journal articles on the topic 'Rock paintings in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 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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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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Robinson, David W., Kelly Brown, Moira McMenemy, et al. "Daturaquids at Pinwheel Cave, California, provide unambiguous confirmation of the ingestion of hallucinogens at a rock art site." Proceedings of the National Academy of Sciences 117, no. 49 (2020): 31026–37. http://dx.doi.org/10.1073/pnas.2014529117.

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While debates have raged over the relationship between trance and rock art, unambiguous evidence of the consumption of hallucinogens has not been reported from any rock art site in the world. A painting possibly representing the flowers ofDaturaon the ceiling of a Californian rock art site called Pinwheel Cave was discovered alongside fibrous quids in the same ceiling. Even though Native Californians are historically documented to have usedDaturato enter trance states, little evidence exists to associate it with rock art. A multianalytical approach to the rock art, the quids, and the archaeolo

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Józef Szykulski, Beata Miazga, and Jakub Wanot. "ROCK PAINTING WITHIN SOUTHERN PERU IN THE CONTEXT OF PHYSICOCHEMICAL ANALYSIS OF PIGMENTS." Rock Art Research 41, no. 1 (2024): 5–27. http://dx.doi.org/10.56801/rar.v41i1.276.

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The article pertains to rock paintings recorded during studies conducted in 2017 and 2019 by an international archaeological expedition at numerous sheltered sites in the Río Atico basin and Vilavilani region in the Río Caplina catchment area within southern Peru. During the research, archaeological sites with rock art were registered, the state of preservation of the paintings was documented, and it was determined what factors were causing their destruction/degradation. The form and thematic scope of the paintings were also determined while defining four styles/stylistic conventions (styles 1

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Zotkina, L. V., B. S. Bobomulloev, A. K. Solodeynikov, I. V. Abolonkova, S. V. Shnayder, and N. N. Sayfuloev. "New Data on the Rock Paintings of Eastern Pamir." Vestnik NSU. Series: History and Philology 21, no. 3 (2022): 60–72. http://dx.doi.org/10.25205/1818-7919-2022-21-3-60-72.

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Purpose. Until recently, it was thought that colonization of the highlands of Pamir by humans had started in the early Holocene. But some recent investigations, especially dating of well-stratified archeological sites such as Istyk cave, demonstrate that humans appeared in the region in the late Pleistocene period. One of the important pieces of evidence of humankind's presence in an area all around the world is the rock art. Despite that there are no direct comparisons to rock art of East Pamir, V. A. Ranov considered rock art sites of Shakhty, Kurteke and Nayzatash belonging to the Stone Age

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Devlet, Ekaterina G., D. Uranchimeg, B. Bayartur, Yuri M. Svoyskiy, and Ekaterina V. Romamenko. "GACHUURT ROCK ART PAINTINGS IN MONGOLIA: RECONSIDERATION." Journal of historical philological and cultural studies 2, no. 60 (2018): 101–15. http://dx.doi.org/10.18503/1992-0431-2018-2-60-101-115.

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May, Sally K., Iain G. Johnston, Paul S. C. Taçon, Inés Domingo Sanz, and Joakim Goldhahn. "Early Australian Anthropomorphs: Jabiluka's Dynamic Figure Rock Paintings." Cambridge Archaeological Journal 28, no. 1 (2017): 67–83. http://dx.doi.org/10.1017/s095977431700052x.

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Early depictions of anthropomorphs in rock art provide unique insights into life during the deep past. This includes human engagements with the environment, socio-cultural practices, gender and uses of material culture. In Australia, the Dynamic Figure rock paintings of Arnhem Land are recognized as the earliest style in the region where humans are explicitly depicted. Important questions, such as the nature and significance of body adornment in rock art and society, can be explored, given the detailed nature of the human figurative art and the sheer number of scenes depicted. In this paper, w

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Ma, Zhouyi. "Characteristics of Qinghai Traditional Painting Art-Literature Analysis." Highlights in Art and Design 7, no. 2 (2024): 57–61. http://dx.doi.org/10.54097/e7r5aq95.

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Qinghai’s traditional painting art, influenced by its diverse ethnic cultures and religious practices, is a unique fusion of Tibetan, Han, and Mongolian elements. Originating from ancient rock art, Qinghai painting has evolved into a complex system characterized by realism, symbolic representation, and vibrant colors. Tibetan Buddhism plays a significant role in shaping the themes and styles of Qinghai’s art, particularly in Thangka and mural paintings. These art forms, rich in religious symbolism, are not only visual representations of spiritual teachings but also educational tools that pass

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Querejazu Lewis, Roy. "Eloy Linares's movable art with rupestral tradition. A synopsis." Boletín APAR 2, no. 7 (2011): 195. https://doi.org/10.70748/ba.7.2011.369.

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distinguished: rock paintings, petroglyphs, geoglyphs and arte mobiliar con tradición rupestre, or 'movable art with rupestral tradition' (a term approved by the IVth International Symposium of American Rock Art). All these types of art abound in southern Peru.

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Brumm, Adam, Adhi Agus Oktaviana, Basran Burhan, et al. "Oldest cave art found in Sulawesi." Science Advances 7, no. 3 (2021): eabd4648. http://dx.doi.org/10.1126/sciadv.abd4648.

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Indonesia harbors some of the oldest known surviving cave art. Previously, the earliest dated rock art from this region was a figurative painting of a Sulawesi warty pig (Sus celebensis). This image from Leang Bulu’ Sipong 4 in the limestone karsts of Maros-Pangkep, South Sulawesi, was created at least 43,900 years ago (43.9 ka) based on Uranium-series dating. Here, we report the Uranium-series dating of two figurative cave paintings of Sulawesi warty pigs recently discovered in the same karst area. The oldest, with a minimum age of 45.5 ka, is from Leang Tedongnge. The second image, from Lean

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Keenan, Jeremy. "The theft of Saharan rock-art." Antiquity 74, no. 284 (2000): 287–88. http://dx.doi.org/10.1017/s0003598x00059287.

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'The Greatest Museum of Prehistoric Art in the whole World'. Such was the description Henri Lhote gave to the rock paintings of the Tassili-n- Ajjer , the massif (a designated World Heritage Site) that lies to the northeast of Ahaggar in the Algerian Central Sahara. His expedition spent 16 months in the Tassili in 1956-7 making 'discovery after discovery' and copying 'hundreds upon hundreds of painted walls'. Lhote's work is now recognized for its denigration of almost all and sundry. He likened the local people, the Tuareg, who made many of his 'discoveries', to wolves and living by the laws

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Singh, Divya. "Major rock paintings of Bhanpura region and its artistic heritage." International Journal of Research -GRANTHAALAYAH 5, no. 11 (2017): 295–306. http://dx.doi.org/10.29121/granthaalayah.v5.i11.2017.2356.

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Summary: - Shail paintings means rock paintings, caves, river drains walls, roofs and open rocks. Shailachitra is the art in which evidence of human emergence is found which shows the thinking of artistic development and intense power of human at that time.Apart from rock paintings, in various periods of human history, songs, music, dance and other genres may have made humans their medium of artistic expression, but expressions made in other mediums other than rock paintings could not be preserved in the pats of time. Thus, Shailachitra is the oldest available art of man. सारांश:-शैलचित्

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SMITH, BENJAMIN W., and JOHAN A. VAN SCHALKWYK. "THE WHITE CAMEL OF THE MAKGABENG." Journal of African History 43, no. 2 (2002): 235–54. http://dx.doi.org/10.1017/s002185370100799x.

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Research in the Northern Province of South Africa has revealed a most surprising new rock art find: a painting of a camel. This paper investigates how and why a camel came to be painted in the remote rock art of the Makgabeng hills. Analysis of archival material allows one to attribute the painting to a Northern Sotho artist who was active in the first decade of the twentieth century. The purpose of the painting is revealed in its context; it forms part of a collection of paintings which ridicule elements of ineptness in the ways of the new white intruders. We argue that this pointed humour he

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Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.

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Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and

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David, Bruno. "An AMS date for north Queensland rock art." Rock Art Research 9, no. 2 (1992): 139——141. https://doi.org/10.5281/zenodo.6553722.

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Until recently, the dating of pre-Historic rock paintings relied exclusively on indirect determinations by their association with archaeological materials of known antiquity. Because of the fragility of ancient rock art, it had generally not been possible to extract organic matter from rock paintings because of the large amounts of carbon required for conventional carbon dating techniques. The advances in carbon dating, especially via Accelerator MassSpectrometry (AMS), which occurred during the 1980s, enabled the dating of very small amounts of carbon. This has afforded archaeologis

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Zerboni, Andrea, Federica Villa, Ying-Li Wu, et al. "The Sustainability of Rock Art: Preservation and Research." Sustainability 14, no. 10 (2022): 6305. http://dx.doi.org/10.3390/su14106305.

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Rock art is a widespread cultural heritage, representing an immovable element of the material culture created on natural rocky supports. Paintings and petroglyphs can be found within caves and rock shelters or in open-air contexts and for that reason they are not isolated from the processes acting at the Earth surface. Consequently, rock art represents a sort of ecosystem because it is part of the complex and multidirectional interplay between the host rock, pigments, environmental parameters, and microbial communities. Such complexity results in several processes affecting rock art; some of t

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Sebastián López, María, Antonio Uriarte González, Jorge Angás Pajas, and Manuel Martínez-Bea. "Documentación sistémica del arte rupestre mediante el análisis espectral del escaneado 3D de las estaciones pintadas en Aragón, El caso concreto del abrigo de La Vacada (Castellote, Teruel) y el covacho del Plano del Pulido (Caspe, Zaragoza). España." Virtual Archaeology Review 1, no. 1 (2010): 123. http://dx.doi.org/10.4995/var.2010.5132.

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<p>The work that follows is a sample of the tool of 3D laser scanner for the systematic study of rock art. Getting a three-dimensional modeling of the panels that are located in the cave paintings and analyzing variable intensity emitted by the scanner (green or red depending on instrument used). This analysis allows us pigment spots (cave paintings), with alterations of the panel. What allows us to obtain, as is the case, greater sharpness of the compositional elements that have the rock station and detecting non-visible figures at present due to deterioration. Assuming therefore a meth

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Dr. Odpurev Gankhuyag and Mgr Nanzad Ankhbayar. "Characteristics of the Rock Paintings of Paaluu and Ikh Durulj." International Journal of Education and Humanities 17, no. 1 (2024): 176–79. http://dx.doi.org/10.54097/hvc7r513.

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The region of Central Asia, especially the lands of Mongolia today, is rich with parietal art including rock paintings. Research regarding these rock paintings has been carried out to a certain extent from the second half of the 20th century, mainly from the point of view of archeology. In the study of rock paintings in Mongolia, Altai, Baga Oigor, and Tsagaan Gol rock paintings have been widely studied and exhibited on the international stage by international archaeological research teams, which can be considered to be a major contribution to the study of rock paintings of the western region.

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Pandey, Anjali, and Garima Mishra. "COLOR SCHEME IN ROCK PAINTINGS OF CHHATARPUR." ShodhKosh: Journal of Visual and Performing Arts 1, no. 1 (2020): 31–35. http://dx.doi.org/10.29121/shodhkosh.v1.i1.2020.9.

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English: Man's innate expression towards art is manifested by rock paintings. For early humans there were rock shelters. On prehistoric shelter sites, humans marked paintings as their natural expression. Paintings made in rock were called rock paintings. Known prehistoric paintings were discovered by Mercilona di Setuala in a cave called Altamira, located in northern Spain, from accidental exploration in 1879. Rock paintings have been discovered in many places in India [1].  Hindi: कला के प्रति मानव की सहज अभिव्यक्ति शैल चित्रों से प्रकट होती है प् प्रारंभिक मानव के लिए शैलाश्रय आव

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Tran, Ngoc Cao Boi. "RESEARCH ON THE ORIGINAL IDENTITIES OF SOME TRADITIONAL PAINTINGS AND ROCK ENGRAVINGS OF AUSTRALIAN ABORIGINAL COMMUNITIES." Science and Technology Development Journal 13, no. 3 (2010): 43–57. http://dx.doi.org/10.32508/stdj.v13i3.2160.

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Different from many other communities, Australian aboriginal communities had lived separately from the rest of the world without any contact with great civilizations for tens of thousands of years before English men’s invasion of Australian continent. Hence, their socio-economic development standards was backward, which can be clearly seen in their economic activities, material culture, mental culture, social institutions, mode of life, etc. However, in the course of history, Australian aborigines created a grandiose cultural heritage of originality with unique identities of their own in parti

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Baker, Suzanne M., and Ruth Ann Armitage. "Cueva La Conga: First Karst Cave Archaeology in Nicaragua." Latin American Antiquity 24, no. 3 (2013): 309–29. http://dx.doi.org/10.7183/1045-6635.24.3.309.

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Cueva la Conga, recorded in June 2006, is the first limestone cave in Nicaragua reported to contain prehistoric rock paintings, culturally modified natural formations called speleothems, and artifacts. Located in northcentral Nicaragua in the Department of Jinotega, Cueva la Conga is the farthest south on the Mesoamerican periphery that a cave of this type has been reported, and it extends our knowledge of ritual cave use, including cave painting and speleothem modification, to include Nicaragua. Radiocarbon analysis of charcoal in five samples of the paint, the first such dating of Nicaraguan

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Blundell, Geoffrey. "African Rock Art: Paintings and Engravings on Stone." African Arts 35, no. 1 (2002): 10–11. http://dx.doi.org/10.1162/afar.2002.35.1.10.

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Posnansky, Merrick, and Mary Leakey. "Africa's Vanishing Art: The Rock Paintings of Tanzania." African Arts 18, no. 4 (1985): 92. http://dx.doi.org/10.2307/3336271.

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Kiran, Dhiman (Research scholar). "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–3. https://doi.org/10.5281/zenodo.888703.

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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

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MONTANARI, ALESSANDRO, GAIA PIGNOCCHI, GIANLUCA MAINIERO, and MAURIZIO MAINIERO. "THE PINK ROCKS OF CARLO CRIVELLI (CIRCA 1489)." Earth Sciences History 43, no. 2 (2024): 303–26. http://dx.doi.org/10.17704/1944-6187-43.2.303.

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ABSTRACT Until the 1800s, art historians considered the Venetian artist Carlo Crivelli (circa 1435–1495) to be a secondary if not a minor painter. This lack of recognition stems essentially from the dissemination of his paintings in churches and convents throughout the provincial region of Marche (central-eastern Italy), where Crivelli spent the most productive period of his life from 1468 until his death in 1495. As a consequence of this limited accessibility, his paintings could not be seen by mainstream art dealers and historians such as the scrupulous Giorgio Vasari (1511–1574). More than

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Төрбат, Цагаан, Очирхуяг Нэргүй та Бямбадорж Лхагвадорж. "Монгол Алтайд илэрсэн “Сэлэнгийн хэлбэрийн” зосон зургийн дурсгал (Говь-Алтай аймаг, Тонхил сум)". Mongolian Journal Anthropology, Archaeology and Ethnology 12, № 1 (2023): 47–53. http://dx.doi.org/10.22353/mjaae.2023120104.

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A group of ochre paintings traditionally classified as “Selenge type” has been discovered on a small rocky promontory at Choilon ford situated in the Dund Khuld river valley in the southern slopes of the Altai mountain range, within the Tonkhil soum of Gobi-Altai province. These ochre paintings can be categorized into two distinct groups. The initial group, characterized by a pair of triangles, is associated with a particular culture for which the exact dating remains uncertain. Conversely, the second group, featuring a pair of lines, depictions of animals, humans, and a square frame, correspo

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Zotkina, L. V. "A Russian-French Research and Practice Workshop “Rock Art: Methods and Techniques of Documenting” (Shalabolino Site, 6–12 July 2018)." Archaeology and Ethnography 18, no. 3 (2019): 172–77. http://dx.doi.org/10.25205/1818-7919-2019-18-3-172-177.

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This paper is an overview of an international research and practice workshop "Rock Art: Methods and Techniques of Documenting" which took place in July of 2018 at Shalabolino site as part of work of the Minusinsk Rock Art Research Expedition of IAET SB RAS. We estimate effectiveness of the proposed format of a scientific event and also describe modern approaches to documenting and analyzing rock art (engravings and paintings) at open air sites.

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Geissler, Marie. "Indigenous Agency in Australian Bark Painting." Arts 11, no. 5 (2022): 84. http://dx.doi.org/10.3390/arts11050084.

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In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with the world. Within the context of recent art and anthropological scholarship, the paiFntings are understood as artefacts of Indigenous ‘agency’. They ar

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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 (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

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Weeks, Rex. "Mide Rock-paintings: Archaeology by Formal and Informed Methods." Cambridge Archaeological Journal 22, no. 2 (2012): 187–207. http://dx.doi.org/10.1017/s0959774312000236.

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Rock-art research offers to archaeology a problem-oriented approach. A case study is presented on the interpretation of rock-art from informed ethnographic and formal archaeological perspectives regarding the origins of the Midewiwin, or ‘Grand Medicine Society’. The evidence is twofold. First, some of the rock-paintings that are found over a wide range of the southern Canadian Shield appear to be representative of the Midewiwin. Second, the most probable age estimation of those rock-paintings indicates that the antiquity of Midewiwin is greater than generally presumed by the key anthropologic

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Martín-Ramos, Pablo, José Antonio Cuchí-Oterino, and Manuel Bea-Martínez. "Portable X-ray Fluorescence Analysis of Levantine and Schematic Art Pigments from the River Vero Shelters (Huesca, NE Spain)." Heritage 6, no. 4 (2023): 3789–800. http://dx.doi.org/10.3390/heritage6040201.

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The River Vero canyon (Huesca, Spain) contains an exceptional archaeological legacy with more than sixty rock shelters with cave paintings and forms part of the World Heritage ‘Rock Art of the Mediterranean Basin on the Iberian Peninsula’. This study presents the results of the in situ and non-destructive multi-elemental composition analysis of the pigments used in eight of the main shelters through portable X-ray fluorescence spectroscopy (pXRF). Specifically, the cave paintings of the rock shelters of Chimiachas, Muriecho, and Arpán (Levantine Art); and Mallata, Barfaluy, Quizans, Lecina Sup

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Bushozi, Pastory. "Challenges and Prospects for the Rock Art of Mumba Rock-shelter." Journal of Humanities and Social Sciences 11, no. 1 (2022): 62–80. http://dx.doi.org/10.56279/jhss.v11i1.5.

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The Mumba rock-shelter and its surrounding landscape are places where evidences for the evolution of human cognitive behaviour and other cultural practices have been uncovered. Deep and stratified archaeological deposits recorded at Mumba have shown unique distinctive technological and behavioural traits with possible connections between Middle Stone Age (MSA), Later Stone Age (LSA), Neolithic, and Iron Age cultures. Archaeological records were found associated with symbolic-revealing objects such as ochre pigments, beads, and stone rubber stained with red ochre, which express the cognitive ab

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Mguni, Siyakha. "King's monuments: identifying ‘formlings’ in southern African San rock paintings." Antiquity 80, no. 309 (2006): 583–98. http://dx.doi.org/10.1017/s0003598x00094059.

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The author demonstrates that the complex images of rock art known as formlings depict or evoke the equally complex architecture of ant-hills. Presented in cutaway and full of metaphorical references, they go beyond the image into the imagination.

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Said Mwitondi, Musa. "Kasoma Rock Art Shelters: A Reflection on Local Awareness and Conservation Challenges." Utafiti 11, no. 1-2 (2015): 17–32. http://dx.doi.org/10.1163/26836408-0110102003.

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This paper stems from an archaeological excavation of two rock art shelters, namely, Nyamang’ora and Nyankingi in Kasoma Village, Musoma Rural District in Mara Region in 2012. Apart from revealing the shelters to be home for Later Stone Age hunter-foragers, the study also noted challenges in relation to how locals perceive cultural heritage assets in their area as well as conservation obstacles, resulting from both natural causes and anthropogenic factors. Through field observations and local interviews, it became clear that the majority of people do not understand the significance of the rock

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Gertsen, Alexander G. ,., Anton A. Dushenko, and Vladimir L. Ruev. "A Rock Art Panel near the Village of Krasnyi Mak in the Crimea." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 5–21. http://dx.doi.org/10.37279/2413-189x.2021.26.5-21.

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Since there are a very few monuments of the Stone and Bronze Age art found in the Crimea, the discovery of a new object of the kind is an important event for local archaeology. This paper addresses a recently discovered site, the complex of rock paintings located in the south-western area of the Crimean foothills, on the western slope of the mountain of Kyzyk-Kulak-Kaia, which is a part of the Second (Inner) Range of the Crimean Mountains, south of the village of Krasnyi Mak, Bakhchisarai District. The rock paintings appeared in a grotto in rock on the western precipice of the mountain. The su

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Zotkina, L. V., A. L. Zaika, A. P. Zabiyako, V. Y. Matveev, E. M. Levacheva, and D. P. Volkov. "New Data on Paintings of the Nukzha Rock Art Site (Amur Region)." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 448–52. http://dx.doi.org/10.17746/2658-6193.2021.27.0448-0452.

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The rock art site of Nukzha is located in northern Amur Region at the mouth of the Onyoni River. It was studied in the mid 1970s by A.P. Okladnikov and A.I. Mazin. As in the other rock art sites of the region, the Nukzha paintings were made by red mineral pigment. For a long time this location was inaccessible after construction of the Baikal-Amur railway. However, in the early 2000s, the studies of the Nukzha rock art site resumed. The project of additional branch of the railway required further research at the Nukzha site. During the field works of 2021, a new indexing was proposed, and deta

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Dayet, Laure, Francesco d’Errico, Marcos García Diez, and João Zilhão. "Critical evaluation of in situ analyses for the characterisation of red pigments in rock paintings: A case study from El Castillo, Spain." PLOS ONE 17, no. 1 (2022): e0262143. http://dx.doi.org/10.1371/journal.pone.0262143.

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Paint technology, namely paint preparation and application procedures, is an important aspect of painting traditions. With the expansion of archaeometric studies and in situ non-destructive analytical methods, a renewal of technological studies is being observed in rock art. In situ analyses have several limitations that are widely discussed in the literature, however. It is not yet clear whether they provide accurate information on paint technology, except under certain conditions. Here, we evaluated digital microscopic and pXRF in situ analyses for the characterisation of a large set of red

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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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Shubha, Tripathi, and Beena Jain Dr. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 135–40. https://doi.org/10.5281/zenodo.3585110.

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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

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Matusovskiy, Andrey А. "A cave with rock paintings in Cerro Ací (Colombia, Vaupes) as the dwelling of the Master of animals and object of ancient rock art." Etnograficheskoe obozrenie, no. 2 (August 26, 2024): 112–32. http://dx.doi.org/10.31857/s0869541524020068.

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The article examines rock paintings in a cave in Cerro Aci, a sacred place of indigenous peoples living in the Cananari river basin, a left tributary of the Apaporis (Colombia, Vaupes department). Residents of the nearby multi-ethnic community, where taiwano, cabiyari and tatuyo live together but taiwano predominate, consider the cave in Cerro Aci to be the first maloka – a communal dwelling, the home of the Master of animals, one of the key characters in the traditional religion of the autochthonous population of the Vaupes region. Research interest in this object of ancient rock art is due t

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Taçon, Paul S. C. "Australia's rock art heritage: Past knowledge for a richer future." Sarawak Museum Journal LXXI, no. 92 (2013): 49–80. http://dx.doi.org/10.61507/smj22-2013-77i8-03.

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What is Australian rock art, why is it important and what is the problem? Australia has one of the most outstanding and diverse rock art records in the world. Rock art consists of paintings, drawings stencils, engravings (petroglyphs), bas-relief and figures made with the wax of native bees. It is found in caves and rock shelters, on rock platforms and boulders. These are special, often spectacular places that reflect ancient experience, identity, history, spirituality and relationships to land. From inner Sydney in New South Wales to the Pilbara of Western Australia, from Tasmania to the Top

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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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