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Добірка наукової літератури з теми "Prehistoric rock art"

Автор: Grafiati

Опубліковано: 3 червня 2025

Оновлено: 31 липня 2025

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Статті в журналах з теми "Prehistoric rock art"

Kasnowihardjo, Gunadi. "GAMBAR CADAS KALIMANTAN TIMUR: Satu Bukti Seni Lukis Kutai Purba." Berkala Arkeologi 28, no. 2 (2008): 13–22. http://dx.doi.org/10.30883/jba.v28i2.360.

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Art including painting is an element of culture. Therefore art also becomes an object of archaeological research. Rock art paintings found in prehistoric caves in Kutai Timur regency of East Kalimantan Province are categorized as art paintings of prehistoric era. In prehistoric archaeology, arts and religion were difficult to be separated. Rock art paintings should be analized by religion approach and arts approach as well.

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Abd-EI-Moniem, Hamdi Abbas Ahmed. "Rock art as a source of the history of prehistory (An account to promote the understanding of prehistoric rock art)." Abgadiyat 4, no. 1 (2009): 11–35. http://dx.doi.org/10.1163/2213860909x00019.

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Abstract Some may believe that the history of mankind begins with the appearance of writing only a few several thousands of years ago (cf. 4000-3000 BCE). Our history, however, extends beyond that date millions of years. The history of mankind, indeed, is deeply rooted in the remote past which is called 'prehistory'. With the lacking of any form of writing, this 'prehistoric' period can be examined directly solely by recourse to the study of archaeological remains. The purpose of this account is to introduce rock art to the readers and show the significant role of this sort of archaeological m

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Srisuchat, Amara. "Rock art in Thailand: A legacy." Sarawak Museum Journal LXXI, no. 92 (2013): 81–104. http://dx.doi.org/10.61507/smj22-2013-rt19-04.

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This paper discusses some significant points on rock art of the prehistoric period in Thailand beginning with how local folk tales influence local people’s perception of rock art which differs from that proposed by scholars, followed by archaeological visits to rock art sites, artworks on the rock walls of the prehistoric artists, the past information from rock art and the present condition of rock art sites and the challenges of preservation. Though non-scientific learning of local people on rock art prior to academic inventory rock art sites of archaeologists, the results of the archaeologic

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Finlay, Finola, and Robert Harris. "Rock Art at Derreennaclogh, Co Cork." Journal of the Skibbereen and District Historical Society Vol 13, 2017 (August 2, 2017): 171–84. https://doi.org/10.5281/zenodo.1135150.

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Description and discussion of prehistoric rock art discovered in 2012 at Derreennaclogh, Co Cork, Ireland. Two panels, one very worn and one recently exposed, are covered with classic cup-and-ring markings and some less-usual carvings. There is a detailed discussion of recording techniques, including the use of CAD technology to produce a drawing of the surface of one panel.

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Barker, G. W. W. "ULVS XVI: Prehistoric Rock Carvings in the Tripolitanian Pre-desert." Libyan Studies 17 (1986): 69–86. http://dx.doi.org/10.1017/s0263718900007068.

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AbstractThis paper discusses three groups of rock art in their local, Tripolitanian, context and in terms of their wider relationship with the known corpus of Saharan prehistoric art. The rock carvings at Maia Dib, Udei el Chel/Caf el-Metchia and el-Tolga are described and some preliminary thoughts advanced as to their date and significance. Some suggestions are also made regarding the possible relationship between these carvings and the climatic and environmental changes which characterised the Sahara in later prehistory.

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Vyner, Blaise. "British Prehistoric Rock Art. By StanBeckensall." Archaeological Journal 158, no. 1 (2001): 385. http://dx.doi.org/10.1080/00665983.2001.11079017.

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Bradley, Richard. "Rock Art and the Perception of Landscape." Cambridge Archaeological Journal 1, no. 1 (1991): 77–101. http://dx.doi.org/10.1017/s0959774300000263.

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Studies of the prehistoric landscape are best suited to the analysis of sedentary communities with enclosed resources. Studies of prehistoric art show different limitations, especially an excessive subjectivity. This paper attempts to bring these areas of research together by considering the changing content of rock art in relation to topography, the movement of people in the cultural landscape, and the operation of specialized kinds of monument. The characteristic designs found in the open air are analyzed in terms of their organization and visual impact, and the results of this pilot study a

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Valdez-Tullett, Joana, and Sofia Figueiredo Persson. "Digital Rock Art: beyond 'pretty pictures'." F1000Research 12 (May 22, 2023): 523. http://dx.doi.org/10.12688/f1000research.127249.1.

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The term ‘Rock Art’ is loosely used in this article to refer to prehistoric carvings and paintings. Rock art research has changed profoundly in the last two decades. Partly, this is due to the introduction of more ‘scientific’ methodologies such as digital recording, to overcome the subjective nature of analogue documentation methods. Digital recording offers not only ‘pretty pictures’ but more immediate and quantifiable datasets and methods of analysis. As a result, new research implementing complex, multi-scalar and inter-relational analyses, which do not focus solely on the motifs or the la

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Hasan, Achmad Sopandi. "Understanding the rock art of Kalimantan." Sarawak Museum Journal LXXI, no. 92 (2013): 105–22. http://dx.doi.org/10.61507/smj22-2013-p0v1-05.

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The Kalimantan prehistoric karst is a beautiful hilly natural landscape with a potential for archaeological heritage in the form of exotic rock art. The trail of prehistoric civilisation located in Marang and Betung Karihun comprised of hand paintings, human figures, and animal figures drawn in red paint and charcoal. This paper reports the discovery of rockart of Kalimantan. The result is a very creative art with ancient motifs, the transformation of ideas onto cave walls, and the production of unique design that captures the essence of rock art. This paper will also look at current issues an

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

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Дисертації з теми "Prehistoric rock art"

Searight, Susan. "The prehistoric rock art of Morocco." Thesis, Bournemouth University, 2001. http://eprints.bournemouth.ac.uk/381/.

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This study aims to examine all aspects of Moroccan rock art and place it in an archaeological and environmental context. Almost 300 sites are now known but few have been studied fully. This work is the first overall analysis to be attempted. Data on climatic changes during the Holocene period, together with archaeological and faunal reports, provided the necessary background to the rock art. The distribution of engraved and painted sites in Morocco is very uneven. Animals were the most frequent themes, but a review of all the sites revealed great site and subject diversity. Four main types of

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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2010.<br>Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.

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Freedman, Davina Gwyneth. "Prehistoric rock-art in Scotland : one tradition or many?" Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553149.

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The primary aim of this thesis is to explore the contribution that aspects of identity can add to our understanding of societies in the Late Neolithic and Early Bronze Age Scotland through the carvings they produced. Through a consideration of the history of rock-art research it is established that the identities of the makers of the art have been largely neglected, except as figures in a simple evolutionary schema where they function as exemplars of 'primitives'. Subsequent developments in the field have broadened the debate by focusing on context. Others have considered other aspects of huma

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Sharpe, Kate. "Motifs, monuments and mountains : prehistoric rock art in the Cumbrian landscape." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/1362/.

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This thesis presents a comprehensive review and analysis of the prehistoric rock carvings in the county of Cumbria in NW England. It builds upon Beckensall's Prehistoric Rock Art in Cumbria (2002), focussing on a substantial study area with diverse topography, and seeking to understand the rock art in relation to the natural landscape and known archaeology, and in the context of rock art traditions in neighbouring regions. Systematic evaluation of the database resulted in the exclusion of several panels of `rock art', which were determined to be of geological origin. Additional panels were sou

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Ponomareva, Irina A. "Change and Continuity in the Prehistoric Rock Art of East Siberia." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/392023.

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Four centuries of rock art exploration and research in Siberia resulted in considerable achievements in documentation, cultural and chronological attributions of style and traditions and learning about ancient ritual practices related to rock art. However, the range of interpretational frameworks has remained rather limited, and the active role rock art played in prehistoric ethno-cultural processes has been overlooked. Rock art motifs and styles have been by default considered as mere markers of ethno-cultural groupings and migrations. This thesis continues a long-established Soviet/Russian t

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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.

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Searight, Susan. "The prehistoric rock art of Morocco : a study of its extension, environment and meaning /." Oxford : Archaeopress, 2004. http://catalogue.bnf.fr/ark:/12148/cb39907143d.

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Khan, M. "The prehistoric rock art of Northern Saudi Arabia : A synthetic approach to the study of the rock art from Wadi Damm, Northwest of Tabuk." Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234146.

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Guagnin, Maria. "From savanna to desert : animal engravings in the changing prehistoric environment of the Wadi al-Hayat, Libyan Sahara." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/7814.

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Traditional stylistic classifications have not provided conclusive dates for the rock art of the Sahara, and the imagery can therefore not be placed securely in its cultural or environmental context. This thesis proposes a new methodology in which content and patina of the engravings are used to establish a chronological sequence, against the background of changing palaeoenvironmental conditions. This framework can then be used to explore aspects of the relationship between the rock art and the changing Holocene landscape. The engravings of the Wadi al‐Hayat, which were recently recorded by th

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Enlander, Rebecca Aroon. "Prehistoric rock art and the cultural landscapes of the north of Ireland : a contextual and interpretive study." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601474.

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This thesis presents a comprehensive review of the rock art in the north of Ireland (in the counties of Antrim, Armagh, Cavan, Donegal, Fermanagh, Londonderry, Louth, Meath. Monaghan, Tyrone). Research in this substantial geographic area sought to understand the ways in which rock art responded to the natural landscape and other archaeological remains. Through field survey, a number of new panels were identified, both in areas of known rock art, and in areas were the presence of rock art was likely (in areas of known prehistoric significance and topographically distinct part of the survey area

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Книги з теми "Prehistoric rock art"

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

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author, Singh Jagpal (Archaeologist), ed. Prehistoric art of India. Research India Press, 2012.

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

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Mathpal, Yasodhar. Rock art in Kumaon Himalaya. Indira Gandhi National Centre for the Arts, 1995.

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Garnayak, Dibishada B. Prehistoric art in Odisha. Aayu Publications, 2018.

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Bahn, Paul G. Prehistoric rock art: Polemics and progress. Cambridge University Press, 2010.

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Nash, George, and Sara Garcês. The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900.

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Society of Antiquaries of Scotland, ed. Prehistoric rock art: Polemics and progress. Cambridge University Press, 2010.

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1956-, Heyd Thomas, and Clegg John 1935-, eds. Aesthetics and rock art. Ashgate, 2005.

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D, Mazel Aron, Nash George, and Waddington Clive, eds. Art as metaphor: The prehistoric rock-art of Britain. Archaeopress, 2007.

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Частини книг з теми "Prehistoric rock art"

Sauvet, Georges, Cesar González Sainz, José Luis Sanchidrián, and Valentín Villaverde. "Europe: Prehistoric Rock Art." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_1278.

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Sauvet, Georges, Cesar González Sainz, José Luis Sanchidrián, and Valentín Villaverde. "Europe: Prehistoric Rock Art." In Encyclopedia of Global Archaeology. Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_1278.

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Hays-Gilpin, Kelley. "Gender and Prehistoric Rock Art." In A Companion to Gender Prehistory. John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118294291.ch6.

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Coimbra, Fernando. "Iron Age Rock Art." In The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-15.

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Garcês, Sara, Dionysios Danelatos, Rita Ferreira Anastácio, and George Nash. "GIS Applications in Rock Art." In The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-16.

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Santos, André Tomás. "Looking through Rock Art Eyes." In The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-3.

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Giraldo, Hipólito Collado, José Julio García Arranz, and Sara Garcês. "The Guadiana Valley Rock Art Complex." In The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-11.

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

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Garcês, Sara. "The Tagus River Rock Art (Central Portugal)." In The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-10.

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Cardoso, Daniela. "Atlantic Rock Art of the Northwest Portugal." In The Prehistoric Rock Art of Portugal. Routledge, 2023. http://dx.doi.org/10.4324/9780429321900-13.

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Тези доповідей конференцій з теми "Prehistoric rock art"

Katsangelou, Smaro, Parker Wilmoth, DimitrisA Pados, and Emmanouil Vermisso. "Latent Petroglyphs: Pattern Extraction From Prehistoric Rock Art Through Generative Workflows for a Design Project in Greece." In CAADRIA 2024: Accelerated Design. CAADRIA, 2024. http://dx.doi.org/10.52842/conf.caadria.2024.1.149.

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Bryan, Paul. "RECORDING PREHISTORIC ROCK-ART : A THREE DIMENSIONAL APPROACH." In Electronic Visualisation and the Arts (EVA 2009). BCS Learning & Development, 2009. http://dx.doi.org/10.14236/ewic/eva2009.3.

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Schaich, Martin. "3D-PIT0TI: 3D acquisition, processing and presentation of prehistoric European rock-art." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744814.

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Seglins, Valdis, and Agnese Kukela. "THE PLOCHATA DOLMEN NEAR ZLATOSEL, BULGARIA." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s04.05.

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Bulgaria is extremely rich in prehistoric and historic monuments. Among Bulgaria�s outstanding monuments there are not only the well-known Varna Necropolis and Provadia-Solnitsata ancient salt mining and urban center, but also numerous other megalithic prehistoric monuments. Until now, they have been identified and recognized mainly as alone - standing objects. Current paper focuses on the study carried out in the vicinity of Zlatosel village on the prehistoric site of the Plochata Dolmen. The study indicates that this large area consists of a complex of ancient buildings� ruins and fragments

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Sassen, Kenneth. "Rainbows in The Indian Rock Art of Desert Western America." In Light and Color in the Open Air. Optica Publishing Group, 1990. http://dx.doi.org/10.1364/lcoa.1990.the2.

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Scattered throughout the Great Basin and the drainages of the upper Colorado and Rio Grande Rivers is a legacy of prehistoric and historic (i.e., post-Spanish contact) Indian rock art that represents a several-thousand year old tradition of creating culturally meaningful images on stone. Depending on the nature of the stone surface, and also on the intent of the "artist", the images were either pecked, scratched or abraded into the stone, or painted on suitably smooth and protected cliff walls. The terms petroglyph and pictograph are respectively applied to these two basic techniques. Petrogly

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Petrognani, S. "NEW APPROACH IN AN EMBLEMATIC SITE: THE PALEOLITHIC CAVE OF LA MOUTHE (DORDOGNE, FRANCE)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.24.

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Our project for the cave of La Mouthe incorporates a current dynamic of rereading rock art sites, and developing new problems of analysis. The knowledge acquired since the 1990s on archaeological data, with the discovery of major sites for prehistoric art, as well as methodological, with advances in radiocarbon dating, microanalyses of materials and context, or 3D digitization, have profoundly renewed our perception of prehistoric art. In the face of these new data, the re-reading of previously studied sites brings many new data, and a valuable re-reading of the graphic contexts of Paleolithic

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Helskog, K. "ПОЧЕМУ ТАК МАЛО ПТИЦ?" У Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.349-360.

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WHY SO FEW BIRDS This paper consideres the petroglyphs of birds in the inner part of the Alta fjord in northern Norway. During the time 5000 to BC/AD, when the petroglyphs were made, the focus was on water birds, although extremely few in relation to the total number of figures. No bird figures appear to have been made later than 2700 BC. The lack of birds among the late rock art in Alta does not mean that they no longer had a place within human animal relationships, beliefs and rituals, myths, narratives and subsistence, but only that they no longer were depicted in rock art. Ethno-historic i

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Maximiliano Castilejo, Alfredo, and Camilo Barcia García. "VIABILIDAD Y OPERATIVA EN LA DIGITALIZACIÓN DE CASOS RUPESTRES PREHISTÓRICO DEL “ARTE SUREÑO”: RECETAS DIGITALES DESDE TÉCNICAS SFM Y PLATAFORMAS OPEN SOURCE." In 1st Congress in Geomatics Engineering. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cigeo2017.2017.6658.

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We present a case study on digitalization of Southern Rock Art (“Arte Sureño”) in a prehistoric rock shelter from Los Barrios, Cádiz (southern Iberian Peninsula); there we use SfM techniques to obtain some digital products for both analytic and divulgation goals. This way, we highlight some opportunities that low-cost devices (e.g. no-professional digital camera) and open software have introduced in archaeology today. We made it to converge in a working process to register and manage rock art expressions and their immediate surroundings (i.e. natural stone blocks, walls, niches…). From this ac

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

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Звіти організацій з теми "Prehistoric rock art"

Wieting, Celeste, Sara Rathburn, and John Kemper. Evaluation of gully erosion for archaeological preservation in Wupatki National Monument. National Park Service, 2024. http://dx.doi.org/10.36967/2302447.

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Wupatki National Monument contains an abundance of prehistoric and historic archaeological sites that are vulnerable to gully erosion from heavy sporadic rainstorms. Increased erosional risks are predicted as more extreme weather causes frequent or intense rainfall, flooding, and gullying. At Wupatki National Monument, gullies generally form on hillslopes within volcanic-derived cinders that are ubiquitous across the landscape and are unconsolidated, non-cohesive, highly mobile, and permeable. Lithological differences between volcanic cinders and underlying sedimentary rocks, and surface runof

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