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Artículos de revistas sobre el tema "Petroglyps"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Zotkina, L. V. "On the Methodology of Studying Palimpsests in Rock Art: The Case of the Shalabolino Rock Art Site, Krasnoyarsk Territory". Archaeology, Ethnology & Anthropology of Eurasia 47, n.º 2 (26 de junio de 2019): 93–102. http://dx.doi.org/10.17746/1563-0110.2019.47.2.093-102.

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This paper addresses the main problems in assessing the stratigraphy of superimpositions in rock art. When a petroglyph is overlain by one or several others, this may provide important information not only about single images but also about entire stylistic traditions. Existing methods used for evaluating the relative chronology of the parts of petroglyphic palimpsests are discussed, and a new approach is proposed, combining high-resolution three-dimensional visualization at the macro-level with traceological analysis. We focus on the characteristics of the pecked surface in the area outside the palimpsest and that in the overlap zone. The comparison of these parts makes it possible to reveal the traceologically informative features in the palimpsest areas, indicating the sequence of superimposed petroglyphs. This approach is instantiated by the analysis of one of the palimpsests in the Shalabolino rock gallery, the Krasnoyarsk Territory. Images representing various stylistic traditions are found in complicated stratigraphic relations. The sequence of three main fi gures (bear, bull, and elk) in this multilayered composition has been reconstructed. The results of the analysis cannot be used as an argument for attributing these petroglyphs to vastly different chronological periods. Rather, they provide new information relevant to the debate around the age of the Angara and Minusinsk petroglyphic styles in the Minusinsk Basin.

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12

Turpin, Solveig A. "Hunting Camps and Hunting Magic: Petroglyphs of the Eldorado Divide, West Texas". North American Archaeologist 13, n.º 4 (abril de 1993): 295–316. http://dx.doi.org/10.2190/5vvy-umde-p9yw-2x68.

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Seven open bedrock petroglyph sites on the western Edwards Plateau share similarities that suggest that these locations were temporary hunting camps, used during the rainy season by people whose ranges centered around the major rivers that flow north, south, east, and west of the Eldorado Divide. All are remote from permanent water, but all contain natural bedrock cavities capable of holding casual water for at least a month in the cooler seasons. Burned rock features testify to domestic activities or processing of procured resources. Three categories of petroglyphs—meandering lines, discrete geometrics, and representational motifs, including animal tracks—have been abraded into flat expanses of exposed limestone bedrock at these sites. The association between animal tracks and casual water sources suggests that hunting magic was one reason that ritual art was produced at these otherwise obscure locations.

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13

Keyser, James D. "Cheval Bonnet: A Crow Calling Card in the Blackfeet Homeland". Ethnohistory 65, n.º 1 (1 de enero de 2018): 129–56. http://dx.doi.org/10.1215/00141801-4260683.

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Abstract Cheval Bonnet, a small petroglyph site located along Cut Bank Creek in northern Montana, contains coup-counting and horse-raiding narratives from the early 1800s. By careful comparison to known Crow-style rock art and robe art imagery, most of the petroglyphs at the site can be identified as Crow drawings, begging the question of why they are located here, so far from Crow country and in the heart of Historic Blackfeet tribal territory. Detailed ethnohistoric research shows that one aspect of Historic Plains Indian warfare was the leaving of such drawings as “calling cards” by war parties who entered enemy territory and wished to taunt their adversaries by illustrating deeds that they had executed against them. Understanding this site as such a calling card enables us to identify other similar ones elsewhere on the northern Plains.

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14

Whitley, David S. "Rock Art Dating and the Peopling of the Americas". Journal of Archaeology 2013 (23 de mayo de 2013): 1–15. http://dx.doi.org/10.1155/2013/713159.

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The peopling of the Americas is both the oldest and most frequently researched question in American archaeology. Although rarely considered, early art has the potential to provide insight into questions that may be obscured by other kinds of evidence, particularly stone tools. What part did art play in the peopling of the Americas? This question is addressed starting with a reconsideration of rock varnish chronometrics as applied to Great Basin, eastern California, petroglyphs. This demonstrates, conservatively, that the petroglyph tradition began before 11,100 YBP, probably before 12,600 YBP, and potentially in the 14,000 years range. Comparison of these ages with evidence from other regions in the hemisphere demonstrates substantial artistic and stylistic variation in rock art by the Paleoindian period (circa 10,000–11,000 YBP). This suggests that, while art may have been part of the baggage of the first immigrants, regional cultural traditions had already been developed by the Terminal Pleistocene, if not earlier. The result is evidence for the development of regional cultural diversity in the Americas by Paleoindian times.

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15

Whitley, David S. y Ronald I. Dorn. "New Perspectives on the Clovis vs. Pre-Clovis Controversy". American Antiquity 58, n.º 4 (octubre de 1993): 626–47. http://dx.doi.org/10.2307/282199.

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We consider the Clovis vs. pre-Clovis debate from three perspectives: migration models; petroglyph and surface-artifact ages; and scientific method. First, we test the hypothesis that a Clovis migration can account for the temporal and spatial distribution of South American Paleoindian sites “accepted” by Clovis-first advocates. Using a Clovis-first model, site ages are underpredicted by approximately 1,500 years, suggesting that the Clovis hypothesis cannot be reconciled with accepted empirical data. Second, we present North American accelerator mass spectrometry (AMS) 14C minimum-limiting ages from petroglyphs and surface artifacts that demonstrate continued support for a pre-Clovis occupation of the dryland west, as well as a Beringian entry into the hemisphere. Third, the debate has been confounded by a widespread misstatement of the problem. Though Clovis occupation is a “solved” issue, the competing hypotheses are whether the first migration was Clovis or pre-Clovis; the presence of Clovis sites is simply a necessary prediction of both migration theories. The empirical implications of the Clovis-first hypothesis are virtually untested. Scientifically evaluating the first peopling controversy requires scrutinizing the empirical test implications and logical coherency of both competing hypotheses.

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16

Thorpe, Adam. "Petroglyphs". Hudson Review 55, n.º 4 (2003): 621. http://dx.doi.org/10.2307/3852550.

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17

Fox, W. F. "petroglyphs". Interdisciplinary Studies in Literature and Environment 6, n.º 2 (1 de julio de 1999): 211. http://dx.doi.org/10.1093/isle/6.2.211.

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18

Likhachev, Vadim A. "New findings of clusters of petroglyphes on Canozero (period 2017–2019)." Transaction Kola Science Centre 11, n.º 1-2020 (19 de octubre de 2020): 85–109. http://dx.doi.org/10.37614/2307-5252.2020.1.18.006.

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For the period 2017–2019 five new groups of petroglyphs and a significant number of previously unknown ones in already documented panels of petroglyphs were revealed on the rocky islands of the Kanozero Lake. The discovery of petroglyphs was facilitated by the use of photogrammetric techniques, as well as careful night photographing of rocks with petroglyphs. This publication presents findings of five new panels with more than 40 petroglyphs in total. These findings expand our ideas about the stylistic diversity of the Kanozero petroglyphs, about the range of heights above level of the lake on which stylistically close petroglyphs were made. In this work, new motifs and compositions of rock carvings are introduced, both having analogues and previously nottypical of Kanozero.

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19

Kovtun, I. V. "The Oglakhty-Tom Petroglyphs of the Lower Tom Rock Art Complex". Bulletin of Kemerovo State University 23, n.º 1 (10 de abril de 2021): 10–19. http://dx.doi.org/10.21603/2078-8975-2021-23-1-10-19.

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The present research featured the cultural and chronological context of the Oglakhty-Tom petroglyphs found in the lower valley of the Tom river. The author compiled a complete list of geometric petroglyphs of South Siberia, as well as a series of representational parallels that can help to date geometric zoomorph characters carved by the Bronze Age peoples of West Siberia. The author also illustrated some representational parallels for geometric petroglyphs from the early Andronian period found in the Vasyugan complex and the Lugavskoye burial mound in the Middle Yenisei. The paper introduces some results of carbon dating for these petroglyphs. The author detected some new archaeologic and petroglyphic complexes in the Lower Tom that go back to the epoch between Early Andronian time and the Bronze Age. He established the connection between the geometric petroglyphs and the Early Andronian complex in the Lower Tom, while the Minor Tuva-Altai petroglyphs proved to be as old as the Early Seyma-Turbino period. The paper contains palimpsests and ritual assemblages that prove that Oglakhty-Tom and Late Angara petroglyphs once co-existed. The author believes that the geometric petroglyphs and the realistic Late Angara petroglyphs date back to the same Early Andronian communities. The research also traces back various sources of these art traditions.

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20

SADLER, LYNN VEACH. "Pipestone Petroglyphs". Anthropology and Humanism 34, n.º 1 (5 de mayo de 2009): 113. http://dx.doi.org/10.1111/j.1548-1409.2009.01030.x.

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21

Konstantinov, N. A., E. A. Konstantinova y A. U. Urbushev. "Petroglyphs of Mount Dyalbak, Eastern Altai". Archaeology, Ethnology & Anthropology of Eurasia 48, n.º 3 (4 de octubre de 2020): 59–69. http://dx.doi.org/10.17746/1563-0110.2020.48.3.059-069.

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This study focuses on a petroglyph site of Mount Dyalbak in the northeastern part of Balyktuyul village, in the Ulagansky District, Altai Republic. Images are engraved mostly on horizontal planes of the Devonian limestone of which the mountain slope is composed. We give a detailed description of the documentation methods. Photography was carried out under the oblique natural light, though certain areas of the planes were photographed using fl ash. Engravings were copied mostly on a tablet computer. On the basis of visual observations, the condition of planes with petroglyphs is described, conclusions regarding the principal threats are given, and measures aimed at the preservation of the site are proposed. Rocks and planes with engravings are described in detail. Most images date to the Early Middle Ages. Their motifs and characters have numerous parallels in Central Asian art. There are scenes of hunting, armed fi ghting, and separate pictures of bows and quivers, relating to the cult of weapons and militarism. Two depicted warriors are holding spears with banners. Images of animals include those of mountain goats, reindeer, and boars. Some motifs are unusual: yurts and a pair of Siberian stags, male and female, related to the fertility cult. Some images, such as that of a chariot, date to the Late Bronze Age, while others, like those engraved on a separate small stone, are recent.

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22

Schaafsma, Polly. "Sandals as Icons: Representations in Ancestral Pueblo Rock Art and Effigies in Stone and Wood". Arts 5, n.º 4 (7 de octubre de 2016): 7. http://dx.doi.org/10.3390/arts5040007.

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Dating the late 1000s to the mid-1200s CE, petroglyphs of sandal images are among others that distinguish ancient Pueblo rock art in the San Juan and Little Colorado River drainages on the Colorado Plateau from Ancestral Pueblo rock art elsewhere across the Southwest. The sandal “track” also has counterparts as effigies in stone and wood often found in ceremonial contexts in Pueblo sites. These representations reflect the sandal styles of the times, both plain in contour and the jog-toed variety, the latter characterized by a projection where the little toe is positioned. These representations are both plain and patterned, as are their material sandal counterparts. Their significance as symbolic icons is their dominant aspect, and a ritual meaning is implicit. As a component of a symbol system that was radically altered after 1300 CE, however, there is no ethnographic information that provides clues as to the sandal icon’s meaning. While there is no significant pattern of its associations with other symbolic content in the petroglyph panels, in some western San Juan sites cases a relationship to the hunt can be inferred. It is suggested that the track itself could refer to a deity, a mythological hero, or the carver ’s social identity. In conclusion, however, no clear meaning of the images themselves is forthcoming, and further research beckons.

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23

Francis, Julie E., Lawrence L. Loendorf y Ronald I. Dorn. "AMS Radiocarbon and Cation-Ratio Dating of Rock Art in the Bighorn Basin of Wyoming and Montana". American Antiquity 58, n.º 4 (octubre de 1993): 711–37. http://dx.doi.org/10.2307/282204.

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Samples of organic matter and rock varnish from seven rock-art sites in the Bighorn Basin of Wyoming and Montana were collected for dating purposes. Petroglyphs sampled include Dinwoody-style figures, shield-bearing warriors, and other well-known Plains rock-art motifs. Accelerator mass spectrometry (AMS) dating of 10 petroglyphs yielded dates from the Early Archaic to the Protohistoric periods. A strong numerical relation between varnish leaching and time was found for petroglyphs older than 1,000 years, permitting the derivation of a cation-leaching curve (CLC) and calibrated cation-ratio (CR) ages for 15 different petroglyphs. No clear numerical relation between varnish leaching and time was found for petroglyphs less than 1,000 years old, possibly due to historical damage or past environmental conditions. As a result, calibrated CR ages could not be derived for six petroglyphs, and they are considered to be only younger than 1,000 years. Although further research is needed to establish whether one CLC can be used for all petroglyphs in the region, these studies constitute the first numerical chronology for rock art in the Bighorn area. Results indicate the occurrence of spatially discrete, but temporally concurrent styles in the Bighorn Basin during the last 800-900 years.

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24

Kolpakov, E. M. "ПЕТРОГЛИФЫ КАНОЗЕРА 2020: НОВЫЕ ФИГУРЫ И ТИПОЛОГИЯ". Izvestiya of Samara Scientific Center of the Russian Academy of Sciences. History Sciences 2, n.º 4 (2020): 135–42. http://dx.doi.org/10.37313/2658-4816-2020-2-4-135-142.

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The article presents the most interesting discoveries of rock images from the complex of Canosero petroglyphs on the Kola Peninsula, found in recent years. The author traces their typological connections with the Chalmn-Warre and Zalavruga complexes.

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25

Komissarov, S. A. y Yu A. Azarenko. "Petroglyphs of Taiwan". Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 25 (2019): 409–14. http://dx.doi.org/10.17746/2658-6193.2019.25.409-414.

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26

Christenson, Andrew L. y James L. Swauger. "Petroglyphs of Ohio". American Indian Quarterly 13, n.º 2 (1989): 203. http://dx.doi.org/10.2307/1184068.

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Bednarik, Robert G. "Petroglyphs of Victoria". Proceedings of the Royal Society of Victoria 132, n.º 1 (2020): 7. http://dx.doi.org/10.1071/rs20001.

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Victorian rock art in its Australian context is considered, focusing on petroglyphs and the natural markings mistaken for rock art. Nearly all known Victorian petroglyphs occur in limestone caves, with only three minor sites currently reported to be above ground. These occurrences are described briefly, and an explanation of their distribution in the context of Tasmanian and mainland rock art suites is attempted.

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Oynazarov, Xolyor. "PETROGLYPHS OF GADOYTOPMASSOY". JOURNAL OF LOOK TO THE PAST 15, n.º 2 (15 de agosto de 2019): 98–107. http://dx.doi.org/10.26739/2181-9599-2019-15-12.

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The scientific significance of Gadoytopmassoy paintings is that they provide the scientific basis for the emergence and development of early art in Uzbekistan. It serves as scientific sources on the mythological and religious worldview and imagination of the ancient population

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29

Macholdt, Dorothea S., Abdullah M. Al-Amri, Husam T. Tuffaha, Klaus Peter Jochum y Meinrat O. Andreae. "Growth of desert varnish on petroglyphs from Jubbah and Shuwaymis, Ha’il region, Saudi Arabia". Holocene 28, n.º 9 (12 de junio de 2018): 1495–511. http://dx.doi.org/10.1177/0959683618777075.

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Petroglyphs, engraved throughout the Holocene into rock varnish coatings on sandstone, were investigated in the Ha’il region of northwestern Saudi Arabia, at Jabal Yatib, Jubbah, and Shuwaymis. The rock art has been created by removing the black varnish coating and thereby exposing the light sandstone underneath. With time, the varnish, a natural manganese (Mn)-rich coating, grows back. To study the rate of regrowth, we made 234 measurements by portable X-ray fluorescence (pXRF) on intact varnish and engraved petroglyphs. Since many petroglyphs can be assigned to a specific time period, a relationship between their ages and the Mn surface densities (DMn) of the regrown material could be derived. This relationship was improved by normalizing the DMn in the petroglyphs with the DMn of adjacent intact varnish. In turn, we used this relationship to assign a chronologic context to petroglyphs of unknown ages. Following the removal of the varnish by the artist and prior to the beginning of Mn oxyhydroxide regrowth, a thin Fe-rich film forms on the underlying rock. This initial Fe oxyhydroxide deposit may act as catalyst for subsequent fast Mn oxidation. After a few decades of relatively rapid growth, the regrowth of the Mn-rich varnish slows down to about 0.017 µg cm–2 a–1 Mn, corresponding to about 0.012% a–1 Mn of the intact varnish density, or about 1.2 nm a–1, presumably due to a change of the catalytic process. Our results suggest that petroglyphs were engraved almost continuously since the pre-Neolithic period, and that rock varnish growth seems to proceed roughly linear, without detectable influences of the regional Holocene climatic changes.

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30

Pope, Gregory A. "Weathering of petroglyphs: direct assessment and implications for dating methods". Antiquity 74, n.º 286 (diciembre de 2000): 833–43. http://dx.doi.org/10.1017/s0003598x00060488.

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Petroglyphs weather at varying rates, compared tothe unengraved host rock into which they are carved. Most petroglyphs are significantly harder or significantly softer than surrounding rock, depending on the nature of weathering. Variability and intensity of weathering probably introduces error into radiocarbon, rock varnis and micreoerosion dating methods.

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31

Schaafama, Polly. "The Petroglyphs and Pictographs of Missouri:The Petroglyphs and Pictographs of Missouri." American Anthropologist 103, n.º 4 (diciembre de 2001): 1182–83. http://dx.doi.org/10.1525/aa.2001.103.4.1182.

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32

Goyibnazarovich, Oynazarov Holiyor. "Studying Stone Paintings: Tepakiyasoy Petroglifs". American Journal of Social Science and Education Innovations 02, n.º 10 (29 de octubre de 2020): 217–22. http://dx.doi.org/10.37547/tajssei/volume02issue10-36.

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By studying the Tepakiyasay petroglyphs, it is possible to enrich the scientific understanding and conclusions about the emergence and development of the first works of art in the territory of Uzbekistan. These stone paintings serve as an important source for studying the mythological and religious worldviews and imaginations of the ancient people who lived there.

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33

M. I., Zilberman. "ABOUT AMUR PETROGLYPHS «MOOSE»". Human Research of Inner Asia 4 (2017): 3–20. http://dx.doi.org/10.18101/2305-753x-2017-4-3-20.

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34

INSALL, DAVID. "The Petroglyphs of Shenah". Arabian Archaeology and Epigraphy 10, n.º 2 (noviembre de 1999): 225–45. http://dx.doi.org/10.1111/j.1600-0471.1999.tb00143.x.

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35

Matochkin, E. P. "Petroglyphs of Komdosh-Bom". Archaeology, Ethnology and Anthropology of Eurasia 30, n.º 1 (julio de 2007): 125–35. http://dx.doi.org/10.1134/s1563011007020107.

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36

Bednarik, Robert G. "Equine petroglyphs in Europe". Journal of Archaeological Science: Reports 13 (junio de 2017): 222–28. http://dx.doi.org/10.1016/j.jasrep.2017.03.059.

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37

Seidl, Markus, Ewald Wieser y Craig Alexander. "Automated classification of petroglyphs". Digital Applications in Archaeology and Cultural Heritage 2, n.º 2-3 (2015): 196–212. http://dx.doi.org/10.1016/j.daach.2015.03.001.

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38

Falcón, Nelson. "Solar eclipse represented in the petroglyphs of Vigirima (Venezuela)". Virtual Archaeology Review 4, n.º 8 (20 de noviembre de 2015): 155. http://dx.doi.org/10.4995/var.2013.4357.

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<p>The Vigirima archaeological complex is characterised by the abundant presence of lithic sites whose age is unknown. The land registry of the petroglyphs, the revision of the techniques and styles used in its execution and the classification of the symbols in terms of the figurative characteristics has been done.<br />Using archaeo-astronomic techniques some petroglyphs considered to contain astronomical content have been analysed and it was concluded that they corresponded to the total eclipse of the sun, which took place in 577 AC. Following that, the construction of a cultural model showing the possible significance of the petroglyphs as archetypal expressions of the socio-cultural structure of the ethnic groups who created them, was proposed.</p>

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39

Komissarov, Sergei A. y Dmitry V. Cheremisin. "Petroglyphs that Have Become Extinct: Rock-Art of Makau". Oriental Studies 19, n.º 4 (2020): 116–23. http://dx.doi.org/10.25205/1818-7919-2020-19-4-116-123.

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The article represents petroglyphs of Macau (Aomen). This site with engravings was lost and gone forever (because of industrial pollution), but we have some copies and descriptions of it. Though it was quiet restricted in dimensions, but contained not only interlacement of lines and geometric figures, but also images of two big boats as well, with quiet developed construction: with upper deck, long bowsprit and, possibly, with portable mast. The same ships but engraved more clearly one can see in petroglyphs of Zhuhai at the site with rock-art closest to Macau. These ships seem to have some additional details such as side ports, helm and anchor. These observations confirm a high level in shipbuilding and navigation among peoples of Wu and Yue kingdoms known to us due to historical records. For petroglyphs of Eastern and Southern China we have another figurative line in order to compare with, i. e. engravings on bronze implements and, first of all, bronze drums. The war-boats engraved on drums have some similarities in construction with boats engraved on rocky surface. Due to these resemblance petroglyphs of Macau (and Zhuhai) could be attributed to Dongson-Dian civilization because bronze drums served as indicator for this super unity. On the basis of this resemblance we can previously date petroglyphs of Macau with the last ages BC or the first ages AD. The creators of rock-art galleries in the region of Zhujiang River estuary were very probably connected with migration of one of the Boyue tribes.

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40

Kudinova, Maria A. "An Overview of Rock Art Sites in Gansu Province, China". Oriental Studies 20, n.º 4 (2021): 23–36. http://dx.doi.org/10.25205/1818-7919-2021-20-4-23-36.

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The paper presents a brief overview of rock art sites known to date on the territory of Gansu Province in north-western China. Petroglyphs have been discovered in all parts of the province, most of them concentrate in the north-western and central parts of the region. Over the past decades, a significant number of rock art sites has been found in the eastern and south-eastern parts of Gansu, but many materials from this territory have not yet been published or were published in hard-to-get local periodicals, quite often without any illustrations. The purpose of this article is to fill the lacuna in the rock art studies of this part of China through the generalization of all available data on Gansu petroglyphs and listing the rock art sites known to date. Petroglyphs of Gansu can be generally attributed to the northern province of Chinese rock art. The techniques used to produce images include percussion (pecking), abrasion (scratching or rubbing) and engraving, no painted images have been discovered so far. At the same time, pronounced differences between rock art sites in different parts of the province can be observed: the sites in the north-western and central parts of the region have obvious similarities with the rock art traditions of Xinjiang, Qinghai, Tibet and (to a lesser degree) Inner Mongolia, while the petroglyphs of eastern and south-eastern parts of Gansu are close to the rock art of Ningxia, Inner Mongolia and partly to the petroglyphs of Jucishan in Henan Province.

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41

Kim, Jaeyoun. "Comparison of Siberian Bronze Age Petroglyphs and the Cheonjeon-ri Petroglyphs of Korea". Jungbu Archaeological Society 20, n.º 1 (30 de abril de 2021): 67–90. http://dx.doi.org/10.46760/jbgogo.2021.20.1.67.

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42

Kazim-Zada, Aydin Kazim. "INFORMATIVE FEATURES OF ROCK PICTURES OF VARIOUS COUNTRIES". EurasianUnionScientists 1, n.º 7(76) (20 de agosto de 2020): 47–51. http://dx.doi.org/10.31618/esu.2413-9335.2020.1.76.896.

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The article provides examples of petroglyphs of Russia, Central and Central Asia, Gobustan of the Republic of Azerbaijan and other countries. The informative features of rock paintings are identified and investigated. The structure of the information retrieval system is given. A number of symmetrical rock paintings are considered. The graphs of the distribution density of images of Gobustan deer are presented. The process of recognition and identification of petroglyphs takes place on the basis of informative features.

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43

Ribbens, Eric. "Opuntia fragilis at Jeffers Petroglyphs". Cactus and Succulent Journal 85, n.º 3 (mayo de 2013): 116–18. http://dx.doi.org/10.2985/0007-9367-85.3.116.

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44

Keyser, James D. "Shield petroglyphs at Alcatraz Rock". Plains Anthropologist 64, n.º 252 (21 de septiembre de 2018): 414–25. http://dx.doi.org/10.1080/00320447.2018.1503445.

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45

Fecher, Franziska. "Patolli Petroglyphs in Northeast Honduras". Latin American Antiquity 30, n.º 03 (28 de agosto de 2019): 624–29. http://dx.doi.org/10.1017/laq.2019.52.

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Patolli petroglyphs were recently identified at two archaeological sites in northeast Honduras. Patolli is a Mesoamerican game of chance described in ethnohistoric sources and documented in archaeological contexts in many parts of Mesoamerica. Thus, it has been characterized as an important element of Mesoamerican culture. The existence of patolli boards at Plan Grande, on the island of Guanaja, and at Sawacito in northeast Honduras shows that the practice of the game extended farther to the east than earlier presumed and indicates long-distance interaction. Given the considerable number of five patolli petroglyphs at Plan Grande, I characterize the site as an important center.

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46

McCluskey, Stephen C. "Book Review: Petroglyphs of Ohio". Journal for the History of Astronomy 16, n.º 9 (febrero de 1985): S158. http://dx.doi.org/10.1177/002182868501600909.

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47

Bednarik, Robert G. "PETROGLYPHS IN ITALIAN ALPS DATED". Acta Archaeologica 72, n.º 2 (18 de julio de 2008): 109–14. http://dx.doi.org/10.1111/j.0065-001x.2001.aar720204.x.

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48

Woolston, F. P. y P. J. Trezise. "Petroglyphs of Cape York Peninsula". Mankind 7, n.º 2 (10 de febrero de 2009): 120–27. http://dx.doi.org/10.1111/j.1835-9310.1969.tb00394.x.

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49

Qahhar, Tahir y William Dirks. "The Writing on the Petroglyph". World Literature Today 70, n.º 3 (1996): 642. http://dx.doi.org/10.2307/40042110.

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50

Molodin, V. I. y D. V. Cheremisin. "Petroglyphs of the Ukok Plateau". Archaeology, Ethnology and Anthropology of Eurasia 32, n.º 1 (diciembre de 2007): 91–101. http://dx.doi.org/10.1134/s1563011007040081.

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