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Literatura académica sobre el tema "Petroglyps"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Petroglyps"

Millerstrom, S. y P. V. Kirch. "Petroglyphs of Kahikinui, Maui, Hawaiian Islands: Rock Images within a Polynesian Settlement Landscape". Proceedings of the Prehistoric Society 70 (2004): 107–27. http://dx.doi.org/10.1017/s0079497x00001134.

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We report on the recording and analysis of 17 petroglyph or pictograph sites, containing a total of 168 glyphic units, carried out as part of a large scale survey of the ancient district (moku) of Kahikinui, on south-eastern Maui Island, Hawaiian Islands. In contrast with previous studies which have tended to view Hawaiian petroglyphs as divorced from their larger archaeological context, we analyse and interpret this corpus in terms of a landscape-level settlement analysis. The Kahikinui petroglyphs exhibit a regular and limited range of motifs, with certain styles of anthropomorphs and zoomorphs (especially dogs) dominating; petroglyphs dating to the early post-European contact period are characterised by Roman lettering reflecting early missionary efforts at literacy. Petroglyphs are strongly associated either with an early historic-period trail, or with rockshelters and cliff faces where there is evidence for freshwater springs or seeps. In the arid environment of Kahikinui, freshwater was a precious resource, and the petroglyphs may have served as territorial markers, or signs of individual ownership or rights of access. Excavations at three rockshelter sites with petroglyphs provide indirect evidence for dating these petroglyphs to the late prehistoric era (16th to 18th centuries AD). Comparisons with petroglyph sites on other islands in the Hawaiian archipelago indicate the existence of distinct regional variations.

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Simek, Jan F., Beau Duke Carroll, Julie Reed, Alan Cressler, Tom Belt, Wayna Adams y Mary White. "The Red Bird River Shelter (15CY52) Revisited: The Archaeology of the Cherokee Syllabary and of Sequoyah in Kentucky". American Antiquity 84, n.º 2 (12 de marzo de 2019): 302–16. http://dx.doi.org/10.1017/aaq.2018.89.

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This article reanalyzes petroglyphs from the Red Bird River Shelter (15CY52), a small sandstone shelter in Kentucky. In 2009–2013, it was claimed that some of the carvings at the site represented the earliest known examples of Cherokee Syllabary writing, dating to the first two decades of the nineteenth century. It was also suggested that Sequoyah, the Cherokee artist and intellectual who invented the Cherokee Syllabary in the early nineteenth century, had made these petroglyph versions during a visit to see his white paternal family living in Kentucky. Our reanalysis categorically contests this interpretation. We do not see Cherokee Syllabary writing at Red Bird River Shelter. We do not believe that historical evidence supports the notion that Sequoyah had white relatives in Kentucky whom he visited there at the time required for him to have authored those petroglyphs. We also believe that this account misrepresents Sequoyah's Cherokee identity by tying him to white relatives for whom there is no historical warrant. We argue that the Red Bird River Shelter is a significant precontact petroglyph site with several panels of line-and-groove petroglyphs overlain by numerous examples of modern graffiti, but there is no Sequoyan Syllabary inscription there.

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Simek, Jan F., Beau Duke Carroll, Julie Reed, Alan Cressler, Tom Belt, Wayna Adams y Mary White. "There Is No Cherokee Syllabary at Red Bird River Shelter (15CY52): Reply to Tankersley and Weeks". American Antiquity 85, n.º 2 (abril de 2020): 388–91. http://dx.doi.org/10.1017/aaq.2020.5.

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Despite new arguments by Tankersley and Weeks that we misinterpreted petroglyph engravings and ignored site formation processes at the Red Bird River Shelter in Kentucky (15CY52), we remain convinced that there is no evidence for Cherokee Syllabary writing at the site. The petroglyphs are clearly not symbols present in any version of the Cherokee Syllabary. There is no empirical evidence for any site formation processes that have altered the shelter or its petroglyphs in the ways they suggest. There is still no evidence that Sequoyah ever spent any time in the vicinity of Red Bird River Shelter.

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Park, Jun Cheol. "Bangudae Petroglyphs production experiment and study of overlapping pictures". Yeongnam Archaeological Society, n.º 87 (30 de mayo de 2020): 5–34. http://dx.doi.org/10.47417/yar.2020.87.5.

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The archaeological approach of Bangudae petroglyphs the bottom of the overlapping picture is a whale picture. When the whales were mainly hunted, it was possible to estimate the possibility that the Earthenware Bowl with Raised Pattern group produced whale paintings of petroglyphs. It was observed that Bangudae petroglyphs were artificially represented by lines (Section IIB), which was a long trace, similar to the cutting technique that began in the Neolithic era. The manufacturing technique appeared in various ways in one picture, and many facets were produced by pecking. The petroglyph manufacturing experiment is presumed to have had a drafting phase to draw a precise picture, and it was produced by different techniques (split and drawn) depending on the part. The manufacturing technique was usually a method similar to the indirect peeling of stone making.

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Gortner, Willis A. "Evidence for a Prehistoric Petroglyph Trail Map in the Sierra Nevada". North American Archaeologist 9, n.º 2 (octubre de 1988): 147–54. http://dx.doi.org/10.2190/5gdu-1c21-5t63-1vdf.

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A single petroglyph site in the North-Central Sierra Nevada in the upper watershed of the North Fork of the American River has a unique glyph with meandering and connecting wavy lines that are now proposed as trail maps. A tracing of this glyph was made from a photograph, and this was then placed with the same compass alignment on a topographic map showing all petrographic sites along the North Fork watershed. The ability to superimpose and accurately orient the glyph tracing over a map of these petroglyph sites, and the presence of petroglyphs on seventy-seven individual rock outcroppings mostly within 50 m of the presumed trails, support the trail map interpretation of this rock carving. It is suggested that a hunt shaman may have incised this glyph for ritualistic use.

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Simek, Jan F., Jay D. Franklin y Sarah C. Sherwood. "The Context of Early Southeastern Prehistoric Cave Art: A Report on the Archaeology of 3rd Unnamed Cave". American Antiquity 63, n.º 4 (octubre de 1998): 663–77. http://dx.doi.org/10.2307/2694114.

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In the deep recesses of “3rd Unnamed Cave,” a karst cavern in Tennessee, evidence for an ancient association between dark zone cave art and chert mining has recently been documented. The art comprises petroglyphs on the ceiling of a chamber more than 1 km from the cave entrance. On the floor below the art, natural sediments were excavated prehistorically to obtain high-quality chert nodules. Radiocarbon age determinations place the mining during the Terminal Archaic period. Studies in lithic technology, geoarchaeology, and petroglyph description are presented.

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Demattè, Paola. "Beyond Shamanism: Landscape and Self-Expression in the Petroglyphs of Inner Mongolia and Ningxia (China)". Cambridge Archaeological Journal 14, n.º 1 (abril de 2004): 5–23. http://dx.doi.org/10.1017/s0959774304000010.

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Petroglyph sites in the Yinshan and Helanshan ranges were documented during a recent survey. Archaeological remains indicate that these areas have for millennia been both militarized borders and osmotic trading zones connecting the pastoral people of northern Asia and the Chinese world. Petroglyphs form a significant part of the material and symbolic culture of this transitional zone from the Neolithic down to the later dynastic phases (nineteenth century). By using newly-gathered data, this article moves away from interpretations which see rock art as a wholly shamanistic phenomenon, introducing territory and iconography as key elements for the understanding of local geographies, cultural interactions, and the agencies of identity. The location of the sites indicates that petroglyphs were next to travel routes and may have served as territory markers and meeting places. In addition, the scattering of marked rocks in key locations suggests that petroglyphs were markers of identity essential for a people who were engaged in a dialectic contention with the expanding agricultural world. The sense of identity can be perceived also in the subject matter (wild and domesticated animals, hunting and herding scenes, faces) which seems to emphasize respect for, or even enjoyment of, pastoral and nomadic life.

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Hubbard, Timothy L. y Susan E. Ruppel. "The (Dynamic) Mind in the Cave". Empirical Studies of the Arts 35, n.º 1 (24 de julio de 2016): 67–92. http://dx.doi.org/10.1177/0276237416638487.

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Four experiments examined whether reported looming of cave paintings and petroglyphs was due to representational momentum. Participants viewed a target photograph of a cave painting or petroglyph, and then a probe photograph of the same cave painting or petroglyph was presented. The viewpoint in the probe was closer, the same as, or farther than the viewpoint in the target. Participants judged if the probe viewpoint was (a) the same as or different from the target viewpoint or (b) closer, the same distance as, or farther than the target viewpoint. Experiments 1, 2, 3A, and 3B presented photographs of objects and entities, and Experiments 4A and 4B presented photographs of handprints and stencils. In all experiments, responses were not consistent with representational momentum, but were consistent with boundary extension. It is suggested perception of looming arises with continued inspection and reflects a mismatch between previously perceived (displaced) and currently perceived information.

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Tankersley, Kenneth Barnett y William Rex Weeks. "Red Bird and Sequoyah: A Reply to Simek et al." American Antiquity 85, n.º 2 (abril de 2020): 383–87. http://dx.doi.org/10.1017/aaq.2020.4.

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Red Bird was a Cherokee murdered at the Red Bird River Petroglyph site (15Cy51) and buried at the Red Bird River Rockshelter (15Cy52) during the late eighteenth century, where he left an important record of traditional petroglyphs. His legacy is key to understanding the origins of Sequoyah's Cherokee Syllabary and its relationship to rock art. Personal testimonies of Red Bird's descendants are supported by primary documents and archaeological evidence, including the letters of Sequoyah's maternal uncle, John Watts, and prototypes of Cherokee Syllabary characters engraved at 15Cy52 in 1808, when members of Sequoyah's matrilineal family resided nearby.

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Kolnegari, Mahmood, Mohammad Naserifard, Mandana Hazrati y Matan Shelomi. "Squatting (squatter) mantis man: A prehistoric praying mantis petroglyph in Iran". Journal of Orthoptera Research 29, n.º 1 (13 de marzo de 2020): 41–44. http://dx.doi.org/10.3897/jor.29.39400.

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

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Tesis sobre el tema "Petroglyps"

Evans, Michael, Richard W. Stoffle y Sandra Pinel. "Petroglyph National Monument: Rapid Ethnographic Assessment Project". Bureau of Applied Research in Anthropology, University of Arizona, 1993. http://hdl.handle.net/10150/272097.

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The Petroglyph National Monument Rapid Ethnographic Assessment Project had two primary goals. One was the identification of those American Indian Tribes, Pueblos, and Spanish heritage groups who wanted to participate in a long -term consultation process with the National Park Service about the management of the new Petroglyph National Monument located outside of Albuquerque, New Mexico. The second goal was to document the cultural resource concerns of the Native Americans and the Spanish heritage people, so that protection of these cultural resources could be incorporated into the General Management Plan that the National Park Service is developing for the Petroglyph National Monument.

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Evans, Michael J. y Richard W. Stoffle. "Petroglyph National Monument Rapid Ethnographic Assessment Project". Bureau of Applied Research in Anthropology, University of Arizona, 1992. http://hdl.handle.net/10150/296657.

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The Petroglyph National Monument Rapid Ethnographic Assessment Project had two primary goals. One was the identification of those American Indian Tribes, Pueblos, and Spanish heritage groups who wanted to participate in a long -term consultation process with the National Park Service about the management of the new Petroglyph National Monument located outside of Albuquerque, New Mexico. The second goal was to document the cultural resource concerns of the Native Americans and the Spanish heritage people, so that protection of these cultural resources could be put into the General Management Plan the National Park Service (NPS) is developing for the Petroglyph National Monument.

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Judd, Anthony Michael. "Petroglyphs of the Eastern Desert of Egypt". Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504505.

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Hambelton, Karla Lucille. "Scratched Petroglyphs in the Bennett Hills, Idaho". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/329.

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This study examines rock art sites containing scratched petroglyphs in the Bennett Hills, Idaho. Despite their research potential, scratched petroglyphs have received little attention in rock art research or literature. This study contributes valuable data to scratched rock art research and the corpus of rock art research in general. Two samples of ten scratched petroglyph sites were examined and recorded for a total of twenty petroglyph sites. Using formal and contextual research methods, multiple attributes of scratched petroglyphs are identified and analyzed. The formal qualities of scratched petroglyphs are examined to define the extent and to characterize the motif assemblage. Formal qualities were also studied to test hypotheses concerning the relationship between scratched and pecked petroglyph styles and associations between scratched petroglyphs and other archaeological phenomena. The contexts of scratched petroglyphs are studied on site and landscape scales to identify correlations with other archaeological phenomena and environments. The formal analyses revealed that there are more scratched petroglyphs in the Bennett Hills than records and literature currently indicate. Few site records document the presence of scratched petroglyphs, although as a result of this analysis it appears to be ubiquitous in the Bennett Hills. It is possible that scratched petroglyphs are under recorded in other locales as well, and that further investigations may identify a greater frequency of scratched petroglyphs throughout the Great Basin. Proper identification of scratched petroglyphs may alter how these properties are evaluated and in turn how they are managed. The Bennett Hills encompass a limited and unique assemblage of scratched petroglyph motifs that are dissimilar to petroglyphs manufactured using other techniques. This is significant in that it helps support the idea that scratched petroglyphs are distinct. Rather than just an alternative method to pecking, scratched petroglyphs serve a unique function that is different from and independent of pecked petroglyphs. Contextual analyses indicated that scratched petroglyphs are located in patterned and significant associations with artifacts, features, environments, and landscapes. The contextual analysis suggested that scratched rock art was produced in a public context in close proximity to subsistence related activities, perhaps in association with resource gathering events. There are various hypotheses that deal with the interaction between scratched and pecked petroglyph styles. Scratched petroglyphs occur both independent of and in association with other pecked petroglyph styles, although scratched petroglyphs do not commonly occur with any one pecked motif. When scratched and pecked petroglyph styles overlap scratched petroglyphs are always later than and superimposed over earlier pecked petroglyphs. Data was collected to test three hypotheses concerning the intention of association between scratched and pecked petroglyphs. It does not appear that scratched petroglyphs serve to obliterate earlier pecked petroglyphs or function as a sketch that would be pecked later. There is evidence that some scratched petroglyphs enhance earlier pecked petroglyphs however, this hypothesis cannot sufficiently describe the range of patterns and associations found in the Bennett Hills scratched petroglyph assemblage. Hypotheses suggesting associations between scratched rock art and other archaeological phenomena were also examined. The association between scratched petroglyphs and scratched stones is deserving of further research. It may also be too soon to dismiss the association between scratched petroglyphs and quartz. The examination of scratched petroglyphs in the Bennett Hills provides a unique insight into the minds of the makers of these petroglyphs, contributing valuable data our knowledge of the prehistoric peoples of the Bennett Hills and surrounding areas.

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James, Heidi. "The rock engravings of several portions of the farm Doornkloof 393 JQ along the Magaliesberg Range /". Pretoria : [s.n.], 2000. http://upetd.up.ac.za/thesis/available/etd-05052005-1110000/.

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Woody, Alanah J. "How to do things with petroglyphs : the rock art of Nevada". Thesis, University of Southampton, 2000. https://eprints.soton.ac.uk/43793/.

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The focus of this thesis is the rock art of Nevada, a state in the western United States. While the previously dominant models of rock art interpretation (hunting-magic and shamanism) have produced significant bodies of research, I argue that both are based on faulty Anthropological theory and produce theorisations which are one dimensional because of the focus on rock art imagery at the expense of site contexts. Because meaning is not derived from the images themselves, but is rather derived from the social contexts of use and production, it is these which must be reconstructed and which will elucidate the imagery. Therefore, it is necessary to examine the details of rock art site contexts, rather than simply select a model and apply it to the site regardless of fit. In short, rock art must be approached as archaeology, albeit informed by ethnography when possible. In this thesis I examine in detail the official rock art site records for the state of Nevada and identify patterns in the contexts and distributions and examine variation and similarities throughout the state. Based on these, I suggest alternative analyses of Nevada's rock art and discuss the role that it may have played in the colonization of the Americas; the symbolic construction of social and ethnic identities; the identification of ritual spaces in pre-history; and the significance of rock art to modern Native Americans.

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O'Sullivan, Rebecca. "Landscape and connections : petroglyphs of the Altai in the 2nd and 1st Millennium BCE". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:0171a563-274b-4b02-9577-4c31dfe9f388.

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This thesis presents a holistic study of connections in the Altai Mountains of the eastern Eurasian Steppe, as shown by rock-art. Currently divided by four countries, pecked images (petroglyphs) and painted images from the 2^nd-1^st millennium BCE have been subjected to very separate research traditions, exacerbated by language barriers. This thesis focusses on the entire Altai Mountain range as a study area, integrating research published in Chinese and Russian, with supplementary literature in Kazakh and Mongolian consulted. To demonstrate the potential for connectivity and, consequently, movement, a map of accessibility was generated, showing that there are various optimal routes for movement throughout the Altai. The locations of rock-art sites relative to these routes indicate that movement was a key feature contributing to the creation of rock-art. Examining topographic features in the vicinity of rock-art sites of three regions (Mongolia, Russia, PRC) highlighted an association between watercourses and sites, whilst studying the micro-landscape within panels found that the creators of rock-art were not representing the tangible spatial relationship of figures to the landscape. More broadly, similarities between motifs at rock-art sites, as well as on portable art, demonstrate that the people making them, regardless of whether they were aware of it or not, were part of a wider understanding of how to depict subjects. Evidence of this understanding can be found even in regions with very different cultural backgrounds to the Steppe, such as the Chinese Central Plains, demonstrating that groups outside of the Steppe were aware of and using this way of representing. By combining analysis of motifs with that of the landscape, this thesis demonstrates that rock-art as a practice was inherently linked with to the landscape, whereas content and style are more indicative of a wide-ranging belief system amongst Steppe pastoralists, which was expressed aesthetically.

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Konoske, Ashley Anderson. "The archaeology and rock art of Rock Creek, northwestern Nevada /". abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1436190.

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Thesis (M.A.)--University of Nevada, Reno, 2006.
"May, 2006." Includes bibliographical references (leaves 241-257). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2006]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

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Pendegraft, Signa Winona. "Ground stone and pecked rock rock art on the Pah Rah Uplands, Washoe County, Nevada /". abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447618.

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Golden, Paula. "Seasons". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1983.

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A sense of place and time has been the unconscious focus of my adult life. While living in Hawaii I often searched for ancient rock carving sites. These art forms have the ability to convey the mystery, magic and history of previous times. I use human figures, beads and various textiles with similarities to these petroglyphs as a powerful metaphor for my search to find a place that is home

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Libros sobre el tema "Petroglyps"

name, No. Helleristningsfeltene p Austre my, Stavanger kommune, Rogaland: Dokumentasjon, sikring og tilrettelegging av feltene I til VI-5. Stavanger: Arkeologisk museum i Stavanger, 1999.

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Summers, Kathy. Petroglyphs. San Diego, Calif: KidHaven Press, 2005.

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Bentley, Mary. Gabriola: Petroglyph island. 2^a ed. Victoria, B.C: Sono Nis Press, 1998.

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Lamb, Susan. Petroglyph National Monument. Tucson, Ariz: Southwest Parks and Monuments Association, 1993.

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James, Cowan. Petroglyphs: Prose poems. Rose Bay, NSW: Brandl & Schlesinger, 1996.

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Newcombe, C. F. Petroglyphs in British Columbia. [Victoria, B.C.?: s.n.], 1997.

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Melnikova, L. V. Shishkinskai︠a︡ pisanit︠s︡a: Shishkinskiye petroglyphs. Irkutsk: Institut zemnoĭ kory SO RAN, 2011.

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Lacasse, Louise-Solanges. Louise-Solanges Lacasse: Petroglyphs. [Saint-Lambert, Québec]: L.-S. Lacasse, 1995.

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The secret of Petroglyph Cave. Honolulu, Hawaii: Bess Press, 1995.

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Petroglyphs: Ancient language/sacred art. Santa Fe, N.M: Clear Light Publishers, 1998.

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Capítulos de libros sobre el tema "Petroglyps"

Sundstrom, Linea. "Petroglyphs". En Encyclopedia of Geoarchaeology, 652–60. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-1-4020-4409-0_144.

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Troncoso, Andrés. "Andean Petroglyphs". En Encyclopedia of Global Archaeology, 1–10. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-51726-1_2560-1.

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Troncoso, Andrés. "Andean Petroglyphs". En Encyclopedia of Global Archaeology, 329–38. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2560.

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Sheng, Su. "Huashan Mountain Petroglyphs". En Encyclopedia of Global Archaeology, 1–3. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_1270-2.

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Sheng, Su. "Huashan Mountain Petroglyphs". En Encyclopedia of Global Archaeology, 3509–11. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_1270.

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Mulvaney, Ken. "Dampier Archipelago Petroglyphs". En Encyclopedia of Global Archaeology, 2025–29. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_2151.

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Sheng, Su. "Huashan Mountain Petroglyphs". En Encyclopedia of Global Archaeology, 5310–12. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_1270.

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Mulvaney, Ken. "Dampier Archipelago Petroglyphs". En Encyclopedia of Global Archaeology, 3105–9. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2151.

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Cliver, Blaine. "Documenting Petroglyphs on Easter Island". En Easter Island, 37–52. Boston, MA: Springer US, 2003. http://dx.doi.org/10.1007/978-1-4615-0183-1_4.

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Zheleznyakov, Boris, Samat Sapatayev y Julien Biver. "Tamgaly (Kazakhstan), Petroglyphs within the Landscape". En Encyclopedia of Global Archaeology, 1–6. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-51726-1_2832-1.

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Actas de conferencias sobre el tema "Petroglyps"

Borodovskiy, Andrew. "PETROGLYPHS OF SALDYAR". En 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s9.034.

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Varyonov, A. "Animal style in petroglyphs of Western Tibet". En Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.135-138.

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Kolpakov, Eugen y Vladimir Shumkin. "Economic activities refected in the petroglyphs of Scandinavia". En SUBSISTENCE STRATEGIES IN THE STONE AGE, DIRECT AND INDIRECT EVIDENCE OF FISHING AND GATHERING. Institute for the History of Material Culture Russian Academy of Science, 2018. http://dx.doi.org/10.31600/978-5-907053-00-7-2018-260-264.

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Tashbaeva, Kadicha. "SUBJECT LINES IN THE PETROGLYPHS OF SAIMALY-TASH". En ANCIENT AND MEDIEVAL CULTURES OF CENTRAL ASIA (THE FORMATION, DEVELOPMENT AND INTERACTION OF URBANIZED AND CATTLE-BREEDING SOCIETIES). Institute for the History of Material Culture of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-09-5-119-121.

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Seidl, Markus y Christian Breiteneder. "Automated petroglyph image segmentation with interactive classifier fusion". En the Eighth Indian Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2425333.2425399.

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Zaika, A. "Okunev masks among petroglyphs of the Shalobolinskaya pisanitsa". En Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.66-69.

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Tashbaeva, K. "The solar cult represented in petroglyphs of Saymaly-Tash". En Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.133-135.

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Zaika, A. y X. Bo. "ANTHROPOMORPHIC IMAGES OF NORTH CHINA (BASED ON HELANSHAN PETROGLYPHS)". En Ancient cultures of Mongolia, Southern Siberia and Northern China: Transactions of the XIth International Conference (September 8–11, 2021, Abakan). Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-19-4.317-322.

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Iderkhangai, T. y D. Tsend. "MONGOLIAN EMPIRE PERIOD SPECIFIC DESCRIPTION IN THE PETROGLYPHS OF KHAVTSGAIT". En Ancient cultures of Mongolia, Southern Siberia and Northern China: Transactions of the XIth International Conference (September 8–11, 2021, Abakan). Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-19-4.296-305.

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Deufemia, V., L. Paolino y H. de Lumley. "Petroglyph Recognition Using Self-Organizing Maps and Fuzzy Visual Language Parsing". En 2012 IEEE 24th International Conference on Tools with Artificial Intelligence (ICTAI 2012). IEEE, 2012. http://dx.doi.org/10.1109/ictai.2012.119.

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Informes sobre el tema "Petroglyps"

Hambelton, Karla. Scratched Petroglyphs in the Bennett Hills, Idaho. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.329.

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Erosion assessment at the Petroglyph National Monument area, Albuquerque, New Mexico. US Geological Survey, 1995. http://dx.doi.org/10.3133/wri944205.

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