Journal articles: 'Rocks in art'

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Kitchenham, Paul. "Rock Art: “Tatooing” Rocks?" Time and Mind 2, no. 3 (January 2009): 347–48. http://dx.doi.org/10.2752/175169609x12464529903254.

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McDonagh, Sorcha. "Art on the Rocks." Science News 164, no. 10 (September 6, 2003): 147. http://dx.doi.org/10.2307/3982138.

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

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Horn, Christian, and Rich Potter. "Transforming the Rocks – Time and Rock Art in Bohuslän, Sweden." European Journal of Archaeology 21, no. 3 (August 11, 2017): 361–84. http://dx.doi.org/10.1017/eaa.2017.38.

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Human representations are one of the most important groups of depictions in rock art in southern Scandinavia. These humans have long been discussed as complete, stable, and temporally-fixed images. The results of a new survey challenge this view. Recording rock art with Reflectance Transformation Imaging (RTI) enabled us to discern a possible sequence of production of individual human representations, their bodily features, and associated objects. Figures from a rock art site in Finntorp (Tanum, Sweden) will be used as an example. Differences in the dimensions of the engraved lines, the chronology of the depicted objects, and the placement of body parts suggest that several individuals may have been involved in making human representations on the rocks, and that their appearance as complete figures is the result of repeated transformations. The results presented demonstrate that Scandinavian rock art is not stable in time. We suggest that rock art is best understood as the creation of communities over time, which enables them to engage with the past by transforming the rocks.

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Aas, Lars Reinholt. "The rock and the hunter. The significance of rocks and boulders in rock art production in the western Himalayas." Archaeological Dialogues 24, no. 2 (December 2017): 155–74. http://dx.doi.org/10.1017/s1380203817000204.

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AbstractThis paper is an addition to the recent advances in the field of rock art research and aims to accentuate the significance of rocks and boulders in the production of rock art. I argue that the rock itself must be recognized as an important element in rock art production even in cases where there are no discernible connections between the rock art images and the irregularities found in the rock surface. The paper concerns rock carvings from the Taru Thang site in Ladakh in northern India and builds on ethnography drawn from the Dardic-speaking people of the western Himalayas. I argue that the rocks must be understood as devices of communication between hunters and their supernatural allies, and that the images represent messages conveyed through the rock interface. In these acts of communication, the geological irregularities of the rock surface serve no purpose and have been avoided rather than included in the compositions.

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Gurgen, Gurcan. "Caves and cave art." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (September 24, 2019): 100–105. http://dx.doi.org/10.18844/prosoc.v6i4.4403.

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This paper aims to discuss the impact and importance of the karstic caves, which are effective on the emergence and development of cave art and the rocks that generate them. The origin of cave traces to 40 thousand years and the creation of many more works of art and the importance of the rocks to the present day is very important. In particular, carbonate rocks such as limestone and marble became important spaces and raw materials in terms of art history and development. Carbonate deposits placed in the large ocean bowls during geological periods have been elevated and altered land during orogenesis periods. The fact that the carbonate rocks are soluble due to environmental conditions has led to the formation of a large number of caves depending on the size and distribution of the masses forming them. These karstic caves, which constitute a significant part of the caves in the world, have been the habitat of old people for almost 1-1.5 million years. The caves have been very important shelters for life, which became difficult due to the cold climatic conditions during the glacial periods, which were effective during the last 2 million years (Pleistocene). Under the challenging conditions of the Paleolithic period, human societies have tried to survive on the one hand and, on the other hand, achieved their symbolic thinking skills with their developing brain capacities 100,000 years ago. In the following period, the human communities that continued to develop have left very important ruins, which dates back to 40-10 thousand years ago and are regarded as works of art. Structural features of the caves and the rocks forming them are of great importance in the emergence of these works, which are interesting in their techniques as well as their thought style. Karst caves are very suitable for processing in terms of scraping, embossing and various painting techniques depending on the mineral structure of limestone. Besides, since these caves are difficult to access and are prevented from external dangers and risks, they are of great importance for the emergence of this art and reaching to the present day. Keywords: Cave, Karstic rock, Cave art

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Surya Adinatha, Made Surya, and Ni Putu Tisna Andayani. "Music Creation Wajaprani | Tabuh Kreasi Wajaprani." GHURNITA: Jurnal Seni Karawitan 4, no. 2 (June 7, 2024): 219–26. http://dx.doi.org/10.59997/jurnalsenikarawitan.v4i2.3409.

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Coral rocks, as an iconic element of Bali's coast, have a central role in the island's art and culture. Music, musical arts and dance in Bali often use the character and unique shapes of coral rocks found along the coast to become inspiration for works of art. In Jembrana district, precisely in Pengeragoan village, there is Yeh Leh Beach, on this beach there are beautiful coral rocks which later became the inspiration for the creation of the creative percussion work entitled Wajaprani. The rock's sturdy character even when hit by waves is an inspiration for creating dynamic rhythms. with the character of the coral rocks on Yeh Leh Beach, the stylist thought it would be very suitable to use the medium of gamelan gong kebyar to implement the characters on the coral rocks.

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Schaafsma, Polly. "Religion on the Rocks: Hohokam Rock Art, Ritual Practice, and Social Transformation." KIVA 80, no. 3-4 (October 2015): 460–62. http://dx.doi.org/10.1080/00231940.2015.1128700.

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SOGNNES, K. J. "THESE ROCKS WERE MADE FOR WALKING: ROCK ART AT LEIRFALL, TRØNDELAG, NORWAY." Oxford Journal of Archaeology 30, no. 2 (April 14, 2011): 185–205. http://dx.doi.org/10.1111/j.1468-0092.2011.00364.x.

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Charles W. Helm, Andrew Carr, Hayley Cawthra, Paul D. Cowley, Jan De Vynck, Pieter-Jan Gräbe, Renée Rust, Willo Stear, and Alan Whitfield. "A PURPORTED PLEISTOCENE SAND SCULPTURE FROM SOUTH AFRICA." Rock Art Research 41, no. 1 (January 29, 2024): 58–73. http://dx.doi.org/10.56801/rar.v41i1.272.

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A purported cemented sand sculpture found in Pleistocene aeolianite deposits on the Cape south coast of South Africa resembles a stingray (minus a tail) in outline. Symmetry is evident in the rock’s shape and the pattern of grooves on its surface. It is postulated that it may be a three-dimensional example of representational art of another species. Optically stimulated luminescence studies of rocks in the vicinity indicate that it dates to the Middle Stone Age, most probably during Marine Isotope Stage 5 (when high sea levels imply a nearby coastline). The correspondence in shape between the purported sand sculpture and the blue stingray (Dasyatis chrysonota) suggests that it may have been traced from a fresh specimen. Tracings on sand are postulated as a possible ‘stepping stone’ between abstract early palaeoart and representational rock art. Features of the rock suggest that the creation of a stingray sand sculpture may conceivably have been followed by symbolically wounding it and amputating its lethal end. Identification of further ammoglyphs will be important in refining the analysis of this newly identified form of early palaeoart.

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Rocchietti, Ana Maria. "TRES SITIOS RUPESTRES EN LA SIERRA DE COMECHINGONES, PROVINCIA DE CÓRDOBA / Three rock art sites in Comechingones Hill, Cordoba Province." Revista del Museo de Antropología 9, no. 1 (June 22, 2016): 21. http://dx.doi.org/10.31048/1852.4826.v9.n1.11257.

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Resumen Este artículo presenta tres sitios rupestres que considera “transversales” en su enigmático contenido pictográfico y propone su análisis con la perspectiva de que exigió una imaginación alucinada y que supuso una ideología dotada de una coherencia similar. Este arte se encuentra en la Sierra de Comechingones, Provincia de Córdoba. En las tres obras parece existir alienación en el lenguaje gráfico, un experimento en el despliegue de la pintura y una energía psíquica común. Las geoformas que las contienen posee un alto impacto visual y permiten inferir que arte y roca forman un conjunto sígnico inseparable. La roca –en tanto significante- precede al arte y realiza un “corte” en lo real de tal modo que predetermina la significación. Esto hace singular a cualquier sitio rupestre. Las rocas definieron Abstract This paper presents three rock art sites, considers it “transversal” in their enigmatic pictorial content, offers an analysis with the perspective that it demanded a hallucinated imagination and that was an ideology of a similar consistency. This art is located in the Sierra de Comechingones, Province of Cordoba. It seems to be alienation in graphic language, an experiment in painting and deployment of a common psychic energy. Geoforms containing them have a high visual impact; art and rock form a simbolic whole. The rock is a signifier and precedes the art; it performs a “cut” about real in such a way that it predetermines the significance. Therefore, any rock site is unique. Rocks defined the charm of the place of rock art before this existed.

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Favero-Longo, Sergio E., Enrica Matteucci, Daniele Castelli, Paola Iacomussi, Luca Martire, Maria Giuseppina Ruggiero, and Alessandro Segimiro. "An ecological investigation on lichens and other lithobionts colonizing rock art in Valle Camonica (UNESCO WHS n. 94) addresses preventive conservation strategies." Lichenologist 55, no. 5 (September 2023): 409–22. http://dx.doi.org/10.1017/s0024282923000452.

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AbstractEnvironmental control strategies are commonly practised to limit biodeterioration issues threatening indoor cultural heritage objects, while they are still poorly exploited for the conservation of outdoor stone heritage surfaces, including rock art. In this study, we evaluated the environmental factors driving the diversity and abundance of lithobiontic communities in the Rock Engravings National Park of Naquane (UNESCO WHS n. 94, Italy). The survey considered 23 rocks that had been cleaned in the last three (3YC) or twelve (12YC) years or more than 40 years ago (NRC). A cyanobacteria-dominated biofilm and lichens (37 taxa) were the most widespread and abundant lithobiontic components, prevailing on 3YC–12YC and NRC rocks, respectively. On the latter, a turnover of xerophytic and meso-hygrophytic lichen communities was observed. On 3YC–12YC rocks lichen colonization, if present, was limited to nitrophytic species, including common epiphytes from surrounding trees and a small number of meso-hygrophytic species, with a prevalence of asexual reproductive strategies. Multivariate analyses including environmental parameters (canonical correspondence analyses) indicated that tree cover and the presence of bare or vegetated ground upstream of the rocks, probably prolonging wetness and providing nutrients by water transport, are the factors mostly related to the microbial and lichen recolonization of 3YC–12YC surfaces. On this basis, an experiment on preventive conservation was conducted, consisting of a new cleaning of a strongly recolonized 3YC surface combined with the building of a small wall to protect part of the rock from prolonged water fluxes. The fluorimetric and colorimetric monitoring of the rock surface, carried out 40 months after this new cleaning intervention, displayed recolonization on the unprotected area only, indicating the potential of preventive conservation strategies in outdoor environments.

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Stopp, Annika, and Martin Feinendegen. "State of the Art der Verschleißprognose im maschinellen Tunnelbau." Geomechanics and Tunnelling 16, no. 5 (October 2023): 573–97. http://dx.doi.org/10.1002/geot.202300016.

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AbstractThe wear of cutting tools in mechanised tunnelling is closely linked to the abrasiveness of the present subsoil. Therefore, most of the models used for wear prediction take an abrasiveness index into account. The most common index used for hard rock is the Cerchar Abrasiveness Index (CAI); whereas such a standard does not yet exist for soil. Both the literature research and the results of calculation examples presented in the article show that significantly more practical models are currently available for wear prediction in hard rock. One reason for this is that far more wear‐relevant influencing factors have to be quantified for soft ground. Another reason is that the scientific studies concerning this topic only started in the course of mechanised tunnelling. Since especially the calculations carried out for low‐abrasive rocks differ widely among the different models for tool life, further research is needed also for wear prediction in hard rock

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Olivieri, Luca M. "Hanging Rocks and ‘Intoxicating Drinks’: The Rock Art Sequence of the Swat Valley." South Asian Studies 24, no. 1 (January 2008): 15–26. http://dx.doi.org/10.1080/02666030.2008.9628678.

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Xu, Lei, and Fengqiang Gong. "Experimental Study of Strain Rockburst considering Temperature Effect: Status-of-the-Art and Prospect." Shock and Vibration 2021 (November 10, 2021): 1–15. http://dx.doi.org/10.1155/2021/8767592.

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In deep mining and excavation of tunnels with high geothermal, the surrounding rock is not only subjected to high ground stress but also subjected to high temperature. Temperature will change mechanical characteristics and energy storage capacity of rocks, as well as increase the destructiveness and randomness of rockburst. To reveal the mechanism of high-temperature strain burst in deep rock, the rockburst tests from uniaxial compression to three-dimensional compression were reviewed, and the research results of the minimum principal stress rapid unloading, true-triaxial loading with one free face, and dynamic disturbance triggered pre-heated granite rockburst simulation tests were focused on. According to the occurrence state of country rock for deep high-temperature and stress state in the whole process during excavation, six development directions for high-temperature strain rockburst simulation tests were proposed: (1) constructing the damage constitutive models of high-temperature rocks according to linear energy dissipation law; (2) developing the true triaxial rockburst simulation testing system accomplishing the function of “real-time high temperature + unloading + dynamic disturbance”; (3) considering the true triaxial rockburst simulation test after microwave irradiation; (4) developing the real-time high-temperature rockburst simulation testing device for large-size specimens and internal unloading; (5) focusing on the energy actuating mechanism for deep high-temperature rock failure via rockburst simulation tests; and (6) implementing the three-dimensional rockburst simulation test on the basis of deep in situ coring.

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Chhatkuli, S., K. Kawamura, K. Manno, T. Satoh, and K. Tachibana. "AN APPROACH TO AUTOMATIC DETECTION AND HAZARD RISK ASSESSMENT OF LARGE PROTRUDING ROCKS IN DENSELY FORESTED HILLY REGION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B3 (June 9, 2016): 195–99. http://dx.doi.org/10.5194/isprs-archives-xli-b3-195-2016.

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Rock-fall along highways or railways presents one of the major threats to transportation and human safety. So far, the only feasible way to detect the locations of such protruding rocks located in the densely forested hilly region is by physically visiting the site and assessing the situation. Highways or railways are stretched to hundreds of kilometres; hence, this traditional approach of determining rock-fall risk zones is not practical to assess the safety throughout the highways or railways. In this research, we have utilized a state-of-the-art airborne LiDAR technology and derived a workflow to automatically detect protruding rocks in densely forested hilly regions and analysed the level of hazard risks they pose. Moreover, we also performed a 3D dynamic simulation of rock-fall to envisage the event. We validated that our proposed technique could automatically detect most of the large protruding rocks in the densely forested hilly region. Automatic extraction of protruding rocks and proper risk zoning could be used to identify the most crucial place that needs the proper protection measures. Hence, the proposed technique would provide an invaluable support for the management and planning of highways and railways safety, especially in the forested hilly region.

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Chhatkuli, S., K. Kawamura, K. Manno, T. Satoh, and K. Tachibana. "AN APPROACH TO AUTOMATIC DETECTION AND HAZARD RISK ASSESSMENT OF LARGE PROTRUDING ROCKS IN DENSELY FORESTED HILLY REGION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B3 (June 9, 2016): 195–99. http://dx.doi.org/10.5194/isprsarchives-xli-b3-195-2016.

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Rock-fall along highways or railways presents one of the major threats to transportation and human safety. So far, the only feasible way to detect the locations of such protruding rocks located in the densely forested hilly region is by physically visiting the site and assessing the situation. Highways or railways are stretched to hundreds of kilometres; hence, this traditional approach of determining rock-fall risk zones is not practical to assess the safety throughout the highways or railways. In this research, we have utilized a state-of-the-art airborne LiDAR technology and derived a workflow to automatically detect protruding rocks in densely forested hilly regions and analysed the level of hazard risks they pose. Moreover, we also performed a 3D dynamic simulation of rock-fall to envisage the event. We validated that our proposed technique could automatically detect most of the large protruding rocks in the densely forested hilly region. Automatic extraction of protruding rocks and proper risk zoning could be used to identify the most crucial place that needs the proper protection measures. Hence, the proposed technique would provide an invaluable support for the management and planning of highways and railways safety, especially in the forested hilly region.

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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 canoes, staged for special maritime events. The study shows that the visual proportions of the rock-art ships are similar to those of the prehistoric war canoe from Hjortspring, Denmark. It is argued that the praxis of pecking ships into the rocks could have served to manifest the agency of the maritime social world and, to some extent, to make this ideology more dominant.

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V., Tashak, and Antonova Yu. "NEW INVESTIGATIONS OF ROCK ART ON THE WEST OF THE TSAGAN-DABAN RIDGE (WESTERN TRANSBAIKALIA)." Teoriya i praktika arkheologicheskikh issledovaniy 35, no. 2 (June 2023): 114–29. http://dx.doi.org/10.14258/tpai(2023)35(2).-07.

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The western spurs of the Tsagan-Daban mountain range (Western Transbaikalia), fringing the right bank of the Selenga river valley from the mouth of the Khilka to the mouth of the small river Zhirimka, are poorly studied in archaeological terms. Only in the last decade, objects of ancient rock art have become known here, most of which are difficult to access — removed from the Selenga coast, and located high above the river level, which makes it difficult to find them. All currently discovered rock carvings in this area and the immediate vicinity are painted with ocher of various shades. Many of the rock paintings are poorly preserved and are visible on the reddish surface of syenite and granite rocks in the form of indistinguishable spots, which makes their simple visual examination impossible. To study such rock carvings, the method of digital processing of their photographs was used, which makes it possible to reveal the contours of ancient drawings. One of these objects is an archaeological site, called Kamennaya Baba, after the name of the rocky peak located nearby. More than half of the drawings of this locality are not visually distinguishable, and the general layout of the entire rock panel, without special research methods, cannot be traced. While studying the archaeological object, an opinion was proposed about the appearance of individual drawings on the surface of the rock at different times. This opinion is confirmed by various stylistic features of the drawings, as well as their varying degrees of preservation. The drawings found on the surface of the rock belong to the Selenga type of ancient images, among which anthropomorphic and ornithomorphic images form the basis.

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Hay, John. "Structure and Aesthetic Criteria in Chinese Rocks and Art." Res: Anthropology and Aesthetics 13 (March 1987): 5–22. http://dx.doi.org/10.1086/resv13n1ms20166761.

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E., Miklashevich. "New Rock Art Site at the Riverside Cliff s in the Oglakhty Mountains (Khakasia)." Teoriya i praktika arkheologicheskikh issledovaniy 34, no. 3 (September 2022): 40–54. http://dx.doi.org/10.14258/tpai(2022)34(3).-03.

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The article presents the results of investigation of the rock art site discovered in 2014 on riverside rocks in the Oglakhty mountain range (Republic of Khakasia, left bank of the Yenisei River). One of the largest rock art complexes of the Minusinsk Basin is located in these mountains; the best known in archaeology are the tremendous concentrations of petroglyphs which were located on coastal cliff s before they were fl ooded by the reservoir of the Krasnoyarsk hydroelectric power station. Most of them are irretrievably lost, but some are still preserved and becoming relatively accessible in periods of lower water level. In the process of searching for and redocumenting the petroglyphs at the locations already known (Oglakhty I and II according to Ya. A. Sher’s inventory) new decorated panels have been revealed, and not only in the fl ooded levels, but also on inaccessible rocks above the highest water level. Th is new location is situated upstream from the known ones, within the southernmost section of the riverside cliff s. Several years of regular inspections of this section from a boat at various water levels and with binoculars made it possible to fi nd and document 24 panels, containing about 50 complete and partially preserved fi gures of wild animals (elk, red deer, roe deer, aurochs, arkhar, horse and others). Several stylistic groups of images are distinguished; almost all of them have analogies at known sites, which allows us to confi dently attribute them as a whole to the earliest phase of Minusinsk Basin rock art which undoubtedly predates the Bronze Age, although the specifi c period of its existence has not yet been determined.

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Hendrickx, Stan, John Coleman Darnell, and Maria Carmela Gatto. "The earliest representations of royal power in Egypt: the rock drawings of Nag el-Hamdulab (Aswan)." Antiquity 86, no. 334 (December 2012): 1068–83. http://dx.doi.org/10.1017/s0003598x00048250.

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The vivid engravings on vertical rocks at the desert site of Nag el-Hamdulab west of the Nile comprise a rock art gallery of exceptional historical significance. The authors show that the images of boats with attendant prisoners, animals and the earliest representation of a pharaoh offer a window on Dynasty 0, and depict the moment that the religious procession of pre-Dynastic Egypt became the triumphant tour of a tax-collecting monarch.

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Steward, Donald I. "CING 31. Williamson Art Gallery and Museum, Birkenhead." Geological Curator 4, no. 8 (June 1987): 521. http://dx.doi.org/10.55468/gc855.

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Geological public service: no display; access to reserve collections; no specialist curator; no identification service; not a NSGSD record centre. Geological collections: c. 1,000 specimens; rocks, minerals and fossils; good condition; easy to locate, basic catalogue available; major strength in minerals. July 1986....

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Taeubner, Alena A., and Vladimir P. Samodurov. "Quantitative petrography: approaches and applications." Journal of the Belarusian State University. Geography and Geology, no. 2 (December 28, 2021): 91–101. http://dx.doi.org/10.33581/2521-6740-2021-2-91-101.

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Quantitative petrography is a scientific and industrial direction of geology, which made huge progress due to developments and inventions in information technology and optics in the last decade. This article is introducing the modern and scientific directions of quantitative petrography and describes their current state of art as well as methodical approaches and their application. The research objects of quantitative macropetrography are hand specimens, borehole cores and polished tiles, and of micropetrography are thin and polished sections of rocks samples, splitted rock surfaces and immersion preparations. The goal of the research is to develop and present new methodological approaches of digital microscopy for the analysis of ores, rocks and minerals, as well as to investigate the morphological image analysis capabilities for the transforming from the classical description methods to quantitative petrography.

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Anderson, J. "Rocks, Art, and Sex: The "Culture Wars" Come to Russia?" Journal of Church and State 55, no. 2 (October 17, 2012): 307–34. http://dx.doi.org/10.1093/jcs/css085.

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Taylor, Michael A. "CING 92. Newport Museum and Art Gallery. Gwent." Geological Curator 5, no. 3 (July 1989): 110. http://dx.doi.org/10.55468/gc619.

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Geological public service: permanent display; access to reserve collection by appointment to students and researchers; part-time specialist curator; identification service; not a NSGSD record centre. Geological collections: c.1000-5000 specimens; 90% local fossils with some local rocks and minerals; condition of 90% of collection good; unsystematically stored in drawers and cardboard boxes; mostly registered. 1987....

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Steward, Donald I. "CING 48. Gray Art Gallery and Museum, Hartlepool." Geological Curator 5, no. 1 (March 1988): 23. http://dx.doi.org/10.55468/gc557.

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Geological public service: permanent display; access to reserve collection by written request; curator has geological background but no permanent post; identification service; not a NSGSD record centre. Geological collections: less than 500 specimens; local coverage of rocks, minerals and fossils; condition indifferent; systematically stored, less than half registered; major geological matters referred to the Cleveland County geologist. July 1986....

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Frenelus, Wadslin, Hui Peng, and Jingyu Zhang. "Evaluation methods for groundwater inflows into rock tunnels: a state-of-the-art review." International Journal of Hydrology 5, no. 4 (July 13, 2021): 152–68. http://dx.doi.org/10.15406/ijh.2021.05.00277.

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Groundwater inflow into tunnels is always a salient topic in Hydrology, Hydraulic Engineering, Hydrogeology, Rock Engineering and allied sciences. In fact, tunnels particularly built below the groundwater table, often face groundwater inflows during their excavation, and even sometimes after they are put into operation. These inflows, habitually regarded as unpredictable geological hazards, cause instabilities in the surrounding rocks of tunnels, and lead to considerable damages such as injuries, loss of lives, and huge-scaled economic expenses. It is argued that groundwater conditions are of decisive significance for the design and running of tunnels. Therefore, accurate prediction or evaluation of groundwater inflows into tunnels is of paramount importance. Such prediction, although it is still challenging, has been broached by many researchers with diverse methods. However, a state-of-the-art review of these methods has not yet been presented. This paper reviews the assessment methods of groundwater inflows into tunnels built in rocky media. The results mainly include analytical, semi-analytical, empirical, semi-empirical, numerical, machine learning, and other methods used in the field. This was made possible by selecting and analysing relevant scientific articles published by various worldwide Journals. In addition, some recommendations and future trends are pointed out. This paper can provide useful references in understanding groundwater inflows prediction in different points of view and their limits in terms of applicability and accuracy.

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Petlovanyi, M., K. Sai, and O. Stoliarska. "Problems of waste rock formation during mining of Western Donbass coal reserves: state-of-the-art and solutions." Collection of Research Papers of the National Mining University 71 (December 2022): 79–90. http://dx.doi.org/10.33271/crpnmu/71.079.

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Purpose. The research purpose is to analyze and generalize the problems of waste rock accumulation, as well as to determine the directions for their possible solution in order to improve the ecological-economic conditions for mining coal reserves in the Western Donbass. Methods. A comprehensive scientific-methodological approach is used, which consists in studying regional accounts on the state of the environment, data from the register of waste disposal sites in the Dnipropetrovsk Oblast, peculiarities of placement of dumps according to the Google Earth program and collected mine data. To study the feasibility of processing dumps, a SWOT-analysis is used, as well as the analysis of existing technologies for processing the rock mass from waste dumps, based on foreign and domestic experience. Findings. Nine rock dumps have been identified, formed as a result of the functioning of the Western Donbass coal mines, where almost 130 million tons of waste rocks have been accumulated on an area of about 190 hectares. It is noted that the reclamation of disturbed lands as the main means of rock utilization is insufficient. Based on a thorough analysis of the SWOT-analysis results, a strategic direction for processing has been determined – the use of rock mass as a raw material for construction (materials and roads) with accompanying extraction of coal, aluminum and iron. The existing technologies for the processing of waste rocks have been systematized. It has been determined that the largest scaling of waste dump processing in the Western Donbass mines can be achieved with a combination of mechanical-chemical methods, among which gravity and magnetic beneficiation methods, mechanical grinding and chemical leaching are priority. Originality. The mechanisms for handling coal waste from coal mines in the Western Donbass have been determined to solve ecological-economic problems associated with their accumulation. Practical implications. The research results reveal possible ways of solving the problems of waste rock accumulation in the Western Donbass mines, which makes ecological and economic sense.

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Lapshina, Z. S. "ARCHEOLOGY OF THE LOWER AMUR RIVER: TO THE STUDY OF THE SUKPAI ARTISTIC STYLE AMONG THE PETROGLYPHS OF THE AMUR AND USSURI." History: facts and symbols, no. 2 (June 9, 2022): 46–55. http://dx.doi.org/10.24888/2410-4205-2022-31-2-47-55.

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Among the hundreds of archaeological sites in the lower reaches of the Amur basin, a special place belongs to the stones and rocks with ancient drawings. The rock art of the Lower Amur region has been studied since the sixties of the nineteenth century. Among the discoverers and researchers are the names of local historians and scientists. Systematic academic scientific research of petroglyphs monuments was carried out only 100 years later, in the sixties of the twentieth century, by Soviet archaeologists. The research source base (topography, description, tracing, scientific interpretation and publication of materials) was prepared by a team of employees of the Far Eastern Archaeological Expedition of the Institute of Archeology and Ethnography of the Siberian Branch of the USSR Academy of Sciences under the leadership of A. P. Okladnikov. Pisanitsa on the Sukpai River in the Ussuri River basin is one of the new sites of rock art in the region, it was discovered in the 1980s by archaeologist V. I. Dyakov, an employee of the Institute of History, Archeology and Ethnography of the Peoples of the Far East of the Far Eastern Branch of the Russian Academy of Sciences. The article offers the experience of studying the stylistic diversity of the Lower Amur rock art monuments, namely, the drawings of the Sukpai petroglyph, which predetermines its relevance. The novelty of the study is due to the fact that the article highlights the signs of the Sukpai artistic style, the extent of its distribution among the petroglyphs of the region and adjacent territories. To write the work, a wide range of research methods was used, including the method of analyzing scientific literature, the sources were scientific papers on the topic of the study. The result of the research: a) the distinctive features of the style of plots on the rock of the Sukpai River are highlighted; b) similar images were traced on the stones and rocks of the Sikachi-Alyan-Malyshevo site; c) substantiation of the identification of the Sukpai artistic style among the petroglyphs of the Lower Amur; d) the similarity of the drawings of the sukpai style with the plots of the shamanic thematic direction of the rock art monuments of the adjacent territories of Eastern Siberia, Yakutia, the Upper and Middle Amur Region, and Transbaikalia was traced.

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Barnett, T. F. "Patterns on the rocks: report on recent work to survey rock art sites in the Wadi al-Hayat, Fezzan." Libyan Studies 36 (2005): 121–34. http://dx.doi.org/10.1017/s0263718900005562.

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AbstractThis article reports on survey work carried out in December and January 2004/5 to identify and record rock engravings in the Wadi al-Hayat (previously called the Wadi al-Ajal). This work builds on previous surveys carried out under the aegis of the Fezzan Archaeological Project (FAP) (Barnett 2002; Barnett and Roberts 2003; Mattingly et al. 2003).During this season, systematic survey identified over 300 engraved panels which included all stylistic ‘phases’ known to be present in the wadi (Barnett in Mattingly et al. 2003). When these engravings are incorporated into the spatial distribution model derived from previous field seasons, the preliminary patterns this model describes are no longer wholly applicable. Instead, a more complex and subtle spatial distribution is indicated, in which there appears to be the interplay of several separate relationships between die engravings and die cultural landscape. To avoid misleading interpretation, detailed analysis of die rock art and integration with cultural and environmental data will be attempted only once a full dataset has been gathered on completion of the fieldwork. In the meantime, this paper describes what has been achieved this season. It presents a broad overview of the patterns of rock art distribution as they appear so far with an incomplete dataset and points die way to future fieldwork.One of the key additional aims of the fieldwork this season was to develop an appropriate recording ʿtoolkitʾ. This included piloting state-of-the-art digital technology to establish its accessibility and value in this environment. Working in collaboration with a team from the University of Bristol, die project applied surface laser scanning to capture 3-dimensional digital data from 14 separate engraved panels. This is die first time this technique has been used to record rock art in North Africa and this provided an unprecedented opportunity to explore its potential for future heritage applications.

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Steward, Donald I. "CING 54. Leicestershire Museum and Art Gallery, Leicester." Geological Curator 5, no. 1 (March 1988): 23. http://dx.doi.org/10.55468/gc562.

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Geological public service: permanent display, two galleries; access to reserve collection by appointment; five geological staff; identification service; NSGSD record centre for Leicestershire. Geological collections: c.85,000 specimens; good local and general coverage of rocks, minerals and fossils, also maps, manuscripts, personalia and photographs; condition 90% good; systematically stored and most of collection registered; major strengths in Precambrian fossils and Jurassic vertebrates; type, figured and cited material. July 1986....

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Wadley, Lyn, Wim Biemond, Ghilraen Laue, Chrissie Sievers, Carolyn Thorp, and Michiel de Kock. "Woodstock Rocks: From Acheulean to Iron Age in the Waterberg, Limpopo Province, South Africa." Southern African Field Archaeology 18 (January 1, 2023): 1–26. http://dx.doi.org/10.36615/safa.18.2788.2023.

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The cliff terrace site, Woodstock Rocks, was exploited occasionally by hominins from the Earlier Stone Age to the Iron Age. A small excavation uncovered an Acheulean quartzite workshop with many flakes, but lacking large cutting tools and without organic preservation. Below the workshop site, a ferricrete river terrace cements Acheulean lithics that include large cutting tools, giant flakes and heavy-duty scrapers. A palaeomagnetic study reveals reversed polarity, implying that the ferricrete formation likely took place during the Matuyama Chron and that the lithic assemblage is older than 780 000 years. The cliff face was painted expansively, but both the Bushman and Iron Age farmer art is faded. There are some rare images including a wild dog, a bird and a possible genet. The southern edge of the cliff terrace has Middle and Later Stone Age lithics on the surface and talus slope, as well as grindstones, and ceramics that include Bambata sherds from six vessels. The proximity to the Mokolo River and sources of rocks for knapping, as well as smooth rock walls for painting ensured repeated Woodstock Rocks visits (not necessarily occupation) for generations of Homo sapiens visitors, as well as earlier hominins.

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Steward, Donald I. "CING 34. Towneley Hall Art Gallery and Museums, Burnley." Geological Curator 4, no. 8 (June 1987): 521. http://dx.doi.org/10.55468/gc854.

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Geological public service: no display (as yet), a display of local geology of the Burnley area is being proposed for the Natural History Centre; access to reserve collections; no specialist curator; identification service; not a NSGSD record centre. Geological collections: 1,000-5,000 specimens; rocks, minerals and fossils; condition mainly reasonable; systematically stored and whole collection registered. August 1986....

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Tynyna, Serhii, and Ihor Chobotko. "NALYTICAL STUDIES CONCERNING RESISTANCE OF STRESSED ROCKS TO DISINTEGRATION." JOURNAL of Donetsk mining institute, no. 2 (2020): 83–88. http://dx.doi.org/10.31474/1999-981x-2020-2-83-88.

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Purpose. State-of-the art review concerning the effect of stress-strain state of the rock upon its resistance to mechanical breaking is represented. Methods. It is highlighted that while calculating efficient breaking modes of complex stressed rock and parameters of rock-breaking machine organs, it is required to consider the degree of natural stress of the near-face rock under breaking. Results. Necessity to take into account the rock stress degree has been substantiated as the index of breaking strength of stress-free rock samples differs considerably from the one obtained with the consideration of stress state of the natural rock mass. The simple strock in terms of rheology (i.e. linear-elastic one) has been analyzed. Scientific novelty. In this context, it is taken into consideration that simultaneous availability of all the components of stress tensor due to natural and external forces does not make the rock to be plastic. It means that the rock is within the frameworks of elastic deformations. In this context, potential deformation energy accumulated within the rock volume unit is specified as the basis to determine the reduced stress in terms of which the ultimate elastic state of that volume takes place. Practical importance The amount of cone feed to the bottomhole of stressed rocks is limited by the value of the safe penetration rate, depending on the degree of rock tension.

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Whitley, David S., Ronald I. Dorn, Joseph M. Simon, Robert Rechtman, and Tamara K. Whitley. "Sally's Rockshelter and the Archaeology of the Vision Quest." Cambridge Archaeological Journal 9, no. 2 (October 1999): 221–47. http://dx.doi.org/10.1017/s0959774300015390.

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Quartz, the most common mineral on earth, is almost universally associated with shamans. Why this ritual association occurred worldwide has remained unexplained scientifically, at least in part because western scientific thinking assumes that religious beliefs and practices are epiphenomenal and not worthy of study. This association is archaeologi-cally evident at Sally's Rocksheiter, a small rock engraving-vision quest site in the Mojave Desert, where quartz rocks were placed as offerings in cracks around the rock art panel. SEM and electron microprobe foreign materials analyses of Mojave rock engravings show that the association between quartz and rock art was common: almost 65 per cent contained remnants of quartz hammerstones, used to peck the motifs. A combination of ethnohistory and physical sciences explains why quartz, shamans and vision questing were so strongly associated: triboluminescence causes quartz to glow when struck or abraded, which was believed a visible manifestation of supernatural power. Recognition that this belief and behavioural association were based on quartz's physical properties aids our ability to identify the antiquity of the vision quest in the far west, suggesting that Mojave Desert shamanism is the oldest continuously practiced religious tradition so far identified in the world.

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Knell, Simon. "Lost & Found: 196. Victor Foulihoux - Dealer in French rocks." Geological Curator 5, no. 1 (March 1988): 29. http://dx.doi.org/10.55468/gc598.

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Simon Knell (Keeper of Natural Sciences, Borough Museum and Art Gallery, Oswald Road, Scunthorpe, South Humberside DN15 7BD) writes: 'Bishops Stortford Local History Society Museum have a collection of French rocks from the 'Department du Puy-de-Dome' supplied, at an unknown date, by the mineral dealer Victor Fouilhoux. The material consists of 200 small rock specimens approximately 40mm x 60mm X 40mm in size. Each carries a white paper number tag printed in blue ink with a rectangular border (10mm x 7mm). The accompanying catalogue printed in French is divided into four sections: 1. 'Terrains primordiaux' (numbers 1-47) 2. 'Terrains sedimentaires' (48-92) 3. 'Terrains volcaniques' (93-192) 4. 'Terrains modernes' (193-200) The catalogue entries have been designed so that they can be...

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Teichmüller, Marlies. "Organic petrology of source rocks, history and state of the art." Organic Geochemistry 10, no. 1-3 (January 1986): 581–99. http://dx.doi.org/10.1016/0146-6380(86)90055-0.

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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 (October 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 combine an appreciation of artistic endeavour of rock art with an enhanced understanding of the human capacity for creating such images. The results of this approach to rock art contribute to a better understanding of the creative and cognitive aspects of prehistoric fisher-gatherer-hunter art. A detailed example is discussed showing how the physical landscape was re-created in the morphology of the rock surface by using the motion of skiing to illustrate one of the visual narratives at the site of Zalavruga in northern Russia.

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Rafifar, Jalal. "Some indications of shamanism in Arasbaran rock carvings." Documenta Praehistorica 34 (December 31, 2007): 203–13. http://dx.doi.org/10.4312/dp.34.15.

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Four seasons (1998–2002) of ethnological and archaeological researches in the northern part of the Iranian Azerbaijan have revealed hundreds of carved and scratched drawings and figures on rocks and in subterranean rock-shelters. An anthropological study reveals remarkable information about the situation and the limits of the cultural domains, the cultural relations and the process of cultural diffusion in the prehistory at the intersection of Anatolia, Caucasus, Zagros and the central plateau of Iran. The human and animals figures and signs are contextualized and ichnographically interpreted. The animal symbolism is discussed in the contexts of ancient Iran and Caucasus art and tradition.

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Zhul’nikov, Aleksandr M., Igor V. Askeyev, Dilyara N. Shaymuratova, and Sergey P. Monakhov. "Images of Fish in the Rock Art of the Ancient Population of Northern Europe." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 1, no. 47 (March 29, 2024): 27–46. http://dx.doi.org/10.24852/pa2024.1.47.27.46.

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The article presents the results of the analysis of the study of the image of fish in the rock art of ancient hunters and fishermen of Northern Europe (final VI – III BC). During the study, 134 fish figures were studied on 6 rock paintings and in 17 clusters of petroglyphs of Fennoscandia. The small proportion of fish figures in relation to the total number of images on the rocks of the region, with a high proportion of fishing in the primitive economy, established by bone remains at Neo-Eneolithic sites, suggests a mythological basis for the images under consideration. Spatial differences in the appearance of fish figures in Northern Europe make it possible to distinguish two areas (western and eastern), radically different in the style of the ichthyomorph image. The rock art mainly reflects representatives of the largest fish species that lived in the region: catfish, sturgeon, halibut, pike, salmon, whitefish. In the bone remains at the sites located near the clusters of rock carvings, other types of fish are usually dominant: zander, cod. In the compositions of fishing, as in other hunting scenes carved on the petroglyphs of Fennoscandia, only active methods of its extraction are presented, although there is numerous archaeological evidence of the use by the inhabitants of the region for catching fish and other animals of various types of traps.

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Andraş, Andrei, and Florin Dumitru Popescu. "Romanian Carbonate Rocks Cuttability Assessment Using Linear Cutting Tester." Mining Revue 27, no. 4 (December 1, 2021): 50–56. http://dx.doi.org/10.2478/minrv-2021-0034.

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Abstract The paper presents the state-of-the-art on the microwave assisted mechanical rock cutting by presenting actual findings and tendencies in the field in international literature, and the activities performed during the intermediate stage and the results obtained by the team from the University of Petroşani as partner within the ERAMIN-ERANET-MIWACUT research project.

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Schneemann, Carolee. "Aphrodite Speaks: on the Recent Performance Art of Carolee Schneemann." New Theatre Quarterly 16, no. 2 (May 2000): 155–62. http://dx.doi.org/10.1017/s0266464x00013671.

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The work of Carolee Schneemann, who celebrated her sixtieth birthday last year, has from the first challenged suppressive sexual and other taboos, and placed her own body as an artist into a fluent relationship with her art. She both pioneered and in her new work continues to energize forms of what we now call performance art. The retrospective of her works from 1963 to 1996, recently seen at the New Museum of Contemporary Art, New York, affirmed her recognition as a major artist – yet threatened also to ‘fix’ her art, which remains very much ‘in progress’. The exhibition included the installation Mortal Coils (1993–94), in which a slide projection system is combined with motorized ropes, flour, and sand to explore taboos of death and loss; Up to and Including Her Limits (1979), a video installation depicting the actions which produced surrounding wall drawings; and Video Rocks (1989), in which a hundred hand-sculptured rocks merge into a wall of seven monitors on which feet walk back and forth over virtual rocks. Vulva's Morphia (1995), a colour grid of photographs with text and motorized components, was exhibited at the Pompidou Centre in 1995, and her multi-media installation Known/Unknown – Plague Column (1996), was seen in New York and Montreal in 1996. Schneemann's published books include Parts of a Body: House Book (1972); Cézanne, She Was a Great Painter (1976); ABC: We Print Anything – in the Cards (1977); Video Burn (1992); and More Than Meat Joy: Performance Works and Selected Writings (1997). Her Body Politics: Notes and Essays of Carolee Schneemann is forthcoming from MIT Press, and a selection of her letters from Johns Hopkins University Press. Alison Oddey, Professor of Drama at Loughborough University, interviewed Carolee Schneemann on 29 August 1997 in her Manhattan loft in New York, and what follows is an edited version of that interview, which focuses on her more recent performative work.

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Menuhin, Eva. "Connections: Time, Landscape, and the Art of Andy Goldsworthy." Architectural Design 93, no. 5 (August 30, 2023): 60–69. http://dx.doi.org/10.1002/ad.2975.

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AbstractThe oeuvre of artist Andy Goldsworthy utilises ‘found’ natural objects like leaves, rocks, ice and sticks to create captivating, often ephemeral interventions into the natural landscape that remind us of the power of natural beauty and the continuously changing seasons. Architectural writer Eva Menuhin discusses some of the traits in his work, which has recently become more monolithic yet is still concerned with movement, natural materiality and time, as seen in his work in progress ‘Hanging Stones’.

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Janoušek, V., B. Bonin, W. J. Collins, F. Farina, and P. Bowden. "About this title - Post-Archean Granitic Rocks: Petrogenetic Processes and Tectonic Environments." Geological Society, London, Special Publications 491, no. 1 (2020): NP. http://dx.doi.org/10.1144/sp491.

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Granites (sensu lato) represent the dominant rock-type forming the upper–middle continental crust but their origin remains a matter of long-standing controversy. The granites may result from fractionation of mantle-derived basaltic magmas, or partial melting of different crustal protoliths at contrasting P–T conditions, either water-fluxed or fluid-absent. Consequently, many different mechanisms have been proposed to explain the compositional variability of granites ranging from whole igneous suites down to mineral scale. This book presents an overview of the state of the art, and envisages future avenues towards a better understanding of granite petrogenesis. The volume focuses on the following topics: compositional variability of granitic rocks generated in contrasting geodynamic settings during the Proterozoic to Phanerozoic Periods;main permissible mechanisms producing subduction-related granites;crustal anatexis of different protoliths and the role of water in granite petrogenesis; andnew theoretical and analytical tools available for modelling whole-rock geochemistry in order to decipher the sources and evolution of granitic suites.

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Krmíček, L., and N. V. Chalapathi Rao. "About this title - Lamprophyres, Lamproites and Related Rocks: Tracers to Supercontinent Cycles and Metallogenesis." Geological Society, London, Special Publications 513, no. 1 (2022): NP. http://dx.doi.org/10.1144/sp513.

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Paleoproterozoic to Cenozoic lamprophyres, lamproites and related rock types (e.g., orangeites, kimberlites) are volatile-rich mafic magmatic rocks with a unique potential for the investigation of processes affecting mantle reservoirs. They originated from primary mantle-derived melts that intruded both cratons and off-craton regions, which were parts of former supercontinents – Columbia, Rodinia and Gondwana–Pangea. Well-known for hosting economic minerals and elements such as diamonds, base metals, gold and platinum-group elements, they are also significant for our understanding of deep-mantle processes, such as mantle metasomatism and mantle plume–lithosphere interactions, as well as large-scale geodynamic processes, such as subduction-related tectonics, and supercontinent amalgamation and break-up.This book aims to provide a timely overview of the state-of-the-art and recent advances as achieved by various research groups around the world. Mineralogical, geochemical, geochronological and isotope analyses are used to decipher the complex petrogenesis and metallogenesis of these extraordinary rocks, and unravel a complete history of tectonic events related to individual supercontinent cycles.

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de Harde, Laura. "Elizabeth Goodall and Walter Battiss: Inspired by the Art on the Rocks." de arte 56, no. 2-3 (September 2, 2021): 75–102. http://dx.doi.org/10.1080/00043389.2021.2017118.

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Zhou, Xiaoping, Xiaokang Pan, and Filippo Berto. "A state‐of‐the‐art review on creep damage mechanics of rocks." Fatigue & Fracture of Engineering Materials & Structures 45, no. 3 (January 3, 2022): 627–52. http://dx.doi.org/10.1111/ffe.13625.

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Singh, Divya. "Major rock paintings of Bhanpura region and its artistic heritage." International Journal of Research -GRANTHAALAYAH 5, no. 11 (November 30, 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:-शैलचित्रों से तात्पर्य है शैलाश्रयों, गुफाओं, नदी नालों की दीवारों, छतों तथा खुली चट्टानों परपुरा मानव द्वारा किये गये चित्रण को शैल चित्र कहते हैं। शैलचित्र वह कला है जिसमें मानव के अभ्युदय होने के प्रमाण मिलते है जो उस समय के मानव के कलात्मक विकास और तीव्र इच्द्दा शक्ति की सोच को दर्शाता है। शैलचित्रों के अतिरिक्त मानव इतिहास के विभिन्न कालखण्डों में गीत, संगीत, नृत्य व अन्य विधाओं को भी मानव ने अपनी कलात्मक अभिव्यक्ति का माध्यम बनाया होगा, परन्तु शैलचित्रों के अतिरिक्त अन्य माध्यम में की गयी अभिव्यक्ति काल के थपेड़ों में सुरक्षित नहीं रह सकीं। अतः शैलचित्र मानव की सर्वाधिक प्राचीन उपलब्ध कलाकृतियाँ हैं।

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Lapshina, Zoya. "Archaeology of the Lower Amur. Rock Art: Symbolism of Signs in a Coupled Mask among Petroglyphs of Sikachi-Alyan — Malyshevo." Бюллетень Калмыцкого научного центра Российской академии наук 1, no. 21 (August 1, 2022): 66–80. http://dx.doi.org/10.22162/2587-6503-2022-1-21-66-80.

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The article deals with the Stone Age rock art of the Lower Amur. Petroglyphs are manifested aspects of a complete view of the worldarticulated in mythology and transformed into artistic images on stones and rocks. The study focuses on coupled masks of the Lower Amur petroglyphs as elements of an ancient world model. Goals.The article attempts an insight into symbolic essentials of the coupled mask on stone no. 57 of the Sikachi-Alyan-Malyshevo petroglyphs. The research employs an approach to describe rock art through the iconographic method to depict masks. Тhe study of signs inherent to masks appeals to B. Rybakov’s theory of double (coupled) rozhanitsy and fertility spirits, analyzes writings by a number of ethnographers and archaeologists, such as A. Anisimov, A. Zolotarev, A. Popov, A. Lipsky, A. Okladnikov, and E. Okladnikova. Results.The signs in coupled masks semantically depict an artistic image of the mythological celestial pair of rozhanitsy that favorthe birth of everything. Sedentary fishermen of the Amur created a model of the universe consisting of the heavenly and earthly spheres. One such partis depicted on stone no. 57. The drawings had been created as attributes of rituals associated with the cult of fertility.

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Journal articles on the topic 'Rocks in art'

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