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Дисертації з теми "Prehistoric rock art"

Автор: Grafiati

Опубліковано: 3 червня 2025

Оновлено: 31 липня 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.

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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school ove

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12

Ray, Melissa Marie. "The shield bearing warriors of Bear Gulch a look at prehistoric warrior identity in rock art and places of power /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05112007-121422/.

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13

Ventura, Almeda Helena. "Els gravats rupestres prehistòrics d'estil Tazina del jaciment de Sluguilla Lawash (Sàhara Occidental)." Doctoral thesis, Universitat de Girona, 2020. http://hdl.handle.net/10803/668949.

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Sluguilla Lawash is the site with a higher concentration of open air prehistoric rock art of Western Sahara. It has 1143 engraved slabs with 2087 motifs, among which the 99% have an incised stroke, with a dark desert varnish and have been classified as Tazine style. Among the most abundant motifs are animal figures such as aurochs, rhinos, elephants, giraffes, antelopes, ostriches, warthogs or felids. To a lesser extent there are human representations, spirals, ovals, tribal marks of camels, boards for board games, masks and weapons such as axes, throwing sticks, bows and arrows. The chrono

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14

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<sup>nd</sup>-1<sup>st</sup> 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 a

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15

Käck, Jenny. "Samlingsboplatser? : En diskussion om människors möten i norr 7000 f Kr - Kr f med särskild utgångspunkt i data från Ställverksboplatsen vid Nämforsen." Doctoral thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18750.

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This thesis deals with meetings between peoples during prehistoric times in the northern part of Norrland, Sweden. Particular attention is paid to the possible occurrence of more temporary meetings between people in larger groups at aggregation camps during the period ca 7000 – 0 BC. The study has had the aim of increasing our understanding of how peoples’ meetings and contact networks may have been framed. Thirteen sites that previous research has interpreted to be aggregation camps within our field of study have been analysed and interpreted. These are: Jokkmokk, Purkijaur, Nelkerim, Porsi,

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16

Buhagar, Saad Abdulla. "L'art rupestre du Sud-Est Libyen (Région de KUFRA)." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00915778.

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À la lumière de l'analyse des animaux rencontrés sur les cinq sites d'art rupestre étudiés dans le Bassin de Kufra, nous pouvons proposer une classification en trois périodes : 1) une première phase bovidienne, observée à Bzima, Rebiana, Bir el-Awadel, ne concernent que des gravures. Le nombre de découvertes est peu important, et les figurations humaines demeurent rares. Dans cette première période, la chasse occupe une place importante. On y rencontre, à côté de bovins, représentés dans un style plutôt réaliste, plusieurs espèces d'antilopes, peut-être un éléphant et d'autres animaux non iden

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17

Dudognon, Carole. "Entre chasse et pastoralisme, l'art rupestre de la région d'Arica-Parinacota (Chili)." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20041/document.

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A l’extrême nord du Chili, dans la région d’Arica-Parinacota, ce travail de recherche, axé sur l’étude de trois abris ornés (Vilacaurani, Incani et Anocariri), vise à mettre en évidence les étapes de la transformation culturelle et socio-économiques des populations andines en lien avec le processus de la domestication animale. Entre 2800 et 3800 m dans le piémont andin, l’implantation humaine semble correspondre à l’écosystème de certaines espèces, telles que le guanaco et le taruca, abondamment chassées pendant les périodes les plus anciennes. Les plus importants témoignages, actuellement con

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18

Dudognon, Carole. "Entre chasse et pastoralisme, l'art rupestre de la région d'Arica-Parinacota (Chili)." Electronic Thesis or Diss., Toulouse 2, 2016. http://www.theses.fr/2016TOU20041.

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Анотація:

A l’extrême nord du Chili, dans la région d’Arica-Parinacota, ce travail de recherche, axé sur l’étude de trois abris ornés (Vilacaurani, Incani et Anocariri), vise à mettre en évidence les étapes de la transformation culturelle et socio-économiques des populations andines en lien avec le processus de la domestication animale. Entre 2800 et 3800 m dans le piémont andin, l’implantation humaine semble correspondre à l’écosystème de certaines espèces, telles que le guanaco et le taruca, abondamment chassées pendant les périodes les plus anciennes. Les plus importants témoignages, actuellement con

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19

Rubio, i. Mora Albert. "El yacimiento arqueológico de la cueva de El Ratón. Una cueva con pinturas en la sierra de San Francisco (Baja California Sur, México). El mural pintado." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/113766.

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En el planteamiento previo de este trabajo nos propusimos cinco objetivos que hemos desarrollado a lo largo del estudio y que se detallan a continuación. 1) Documentación del mural La documentación gráfica del mural ha consistido en la realización de un calco digital del mural en base al programa Photoshop y con la ayuda de la aplicación DStrech. A partir de la documentación gráfica hemos identificado 194 motivos en distintas categorías de figuras animales, humanas y elementos esquemáticos y abstractos distribuidos en cinco sectores de la cueva. Todos estos motivos están reproducidos a

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20

Duarte, Patrícia. "O ritual e os símbolos: a realização dos grafismos rupestres na região do município de Camalaú (PB)." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/4172.

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Анотація:

Made available in DSpace on 2015-04-17T15:01:40Z (GMT). No. of bitstreams: 1 parte1.pdf: 2323797 bytes, checksum: 3b93658d0b238fa4ae886f0038b8109c (MD5) Previous issue date: 2011-10-01<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work aims to infer the relationship between the realm of myth with the production of rock graphics, ie, whether the production of these graphics are rituals linked to a mythic structure whatever, being able to express a sacred dimension. Through authors such as Eliade (1991, 1983, 2007, 2008 a, 2008 b), Leroi-Gourhan (2007), Levi-

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21

Cataldi, Maddalena. "Découvrir, comprendre et interpréter des gravures pariétales : une histoire de la science archéologique à travers l’histoire de l’étude scientifique du Mont Bégo (1868-1947)." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0130.

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La Vallée des Merveilles dans le Parc National du Mercantour (Alpes-Maritimes, France) conserve aujourd’hui 40 000 gravures protohistoriques environ. Il s’agit d’incisions sur les rochers des vallées autour du Mont Bégo, datées entre le Chalcolithique et l’Âge du Bronze (3300-1800 av. J.-C.). Connues depuis le XVIe siècle, ces gravures réapparaissent autour des années 1860, dans le cadre d’un savoir récemment institué, la préhistoire. Notre recherche examine comment elles ont été caractérisées en tant qu’objet scientifique ainsi que le processus qui a conduit à leur patrimonialisation en tant

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22

Huy, Julien d'. "Nouvelles perspectives sur l'histoire de l'Afrique : mythologies, arts rupestres et génétique." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H100.

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Dans ce travail, je chercherai à montrer l'intérêt d'une approche phylomémétique des mythes dans la perspective d’une reconstruction du peuplement de l’Afrique et du globe sur la très longue durée. Après une présentation historique de cette approche méthodologique, je soutiendrai que les mythes forment une classe, distincte et largement indépendante, de réplicateurs culturels dont le comportement et la fidélité peuvent rivaliser avec ceux des gènes et des langues, et montrerai qu'il est possible d’appliquer des outils informatiques utilisés en biologie à des familles de mythes ou de traditions

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23

Blundell, Geoffrey. "The politics of public rock art: a comparative critique of rock art sites open to the public in South Africa and the United states of America." Thesis, 2016. http://hdl.handle.net/10539/20863.

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A dissertation submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts. Johannesburg, 1996<br>South African and American public rock art sites are in a predicament. In both countries, there is a lack of an adequate, theoretically informed but practically implementable, conceptual approach to presenting these sites. This lack leads to the reproduction of stereotypes of rock art and the indigenous people who made it. This thesis suggests a way of rectifying the present situation. It is argued that

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24

McDonald, Josephine. "Dreamtime superhighway : an analysis of Sydney basin rock art and prehistoric information exchange." Phd thesis, 1994. http://hdl.handle.net/1885/7511.

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The research examines prehistoric rock art which occurs in the Sydney region in coastal south-eastern Australia. The rock art is located in two distinct contexts provided by the sandstone bedrock which defines this region. Engravings, or petroglyph, sites occur in open locations. In rockshelter locations the art consists of drawings, stencils, paintings and engravings. The principal aim of this thesis is to define a model for cultural interaction which can describe a prehistoric art system. The basis for this proposed model is information exchange theory. By perceiving art and ‘style’ from a

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25

Chiumia, Chrissy Chimodzi. "Historical amnesia: a study into the causes of the disconnection between communities and their rock art sites at Chongoni Rock Art World Heritage Site." Thesis, 2013. http://hdl.handle.net/10539/12320.

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This study examines the history by which the local communities became separated from their ancestral heritage at Chongoni World Heritage Site in Malawi and then uses this knowledge to improve the management and conservation of rock art sites in the area. It demonstrates how various forces of the distant and immediate past came into play and systematically disconnected the Chewa communities around Chongoni area from their ancestral rock shelters once used by scores of generations for many important functions such as rock painting, rainmaking ceremonies and boys and girls initiation ritual

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26

Pinto, Lourenco Casamiro. "A site-specific approach to interpreting rock art and interaction in the southern region of the Eastern Cape Province, South Africa : the case of Xoro Gwai rock shelter." Thesis, 2012. http://hdl.handle.net/10539/10984.

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MSc., Faculty of Science, University of Witwatersrand, 2011<br>Studies of San rock art in southern Africa have appealed to researchers for specificities of individual rock art sites in order to counter the prevailing practice of conceptualising San rock art as a homogenous entity. This research attempts to analyse social interaction through looking at diverse ethnographies and how such ethnographies can reveal information regarding one rock art site. Individual rock art sites like Xoro Gwai can start to unravel the nuanced, diverse and complex nature of San religious beliefs and rites and

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27

Katsetse, Elijah Dumisani. "A conservation model for rock art in South Africa: a management perspective." Thesis, 2015. http://hdl.handle.net/10539/20414.

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A thesis submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, South Africa in fulfilment of the requirements for the degree of Master of Science. October 2015.<br>A call for a more systematic approach to site protection and management has long been made for rock art conservation in South Africa. This study heeds the call as it aims to develop a conservation model for rock art in South Africa from a management perspective. Site protection and management principles that have been successfully implemented in Australia and America have seldom been implemented

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28

George, Leanne. "Painting postures: body symbolism in San rock art of the North Eastern Cape, South Africa." Thesis, 2013. http://hdl.handle.net/10539/12687.

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A dissertation submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in fulfillment of the requirements for the degree of Master of Science Johannesburg, January 2013<br>Certain postures and gestures of the human body recur in fine-line San rock art. Students of southern African rock art are introduced to a number of classic postures and features of human figures during the trance dance. The movement and posture of the human body is significant during the ritual trance dance, yet the reasons for painting certain postures over and over again have not been di

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29

Lander, Faye E. "An investigation into the painted sheep imagery of the northern Ukhahlamba-Drakensberg, Kwazulu-Natal, Southern Africa." Thesis, 2014. http://hdl.handle.net/10539/15146.

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A dissertation submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Science. Johannesburg, 2014.<br>This thesis presents data collected during the 2012 and 2013 recording of painted sheep imagery from five painted rock shelters in the northern Drakensberg, KwaZulu-Natal, South Africa. Through studying the micro- and macro-context of these paintings, I try to understand their presence in the rock art here. Paintings of sheep are believed to have been made by San hunter-gatherers and thought to be relati

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30

Louw, Christian Arno. "Interpreting superimposition in the rock art of the Makgabeng of South Africa’s Limpopo Province." Thesis, 2016. http://hdl.handle.net/10539/21735.

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M.Sc. Rock Art Studies (by research) in the Rock Art Research Institute, School of Geography, Archaeology and Environmental Studies (GAES), Faculty of Science University of the Witwatersrand. Johannesburg, 2016.<br>Northern Sotho, Khoekhoe, and San rock art occur together in many shelters across South Africa’s Limpopo province. In some cases, specimens of the rock art of these traditions can be seen to be painted directly over one another. By studying such occurrences on the Makgabeng plateau, this project assesses whether the superimposition of rock art among different painting traditions ca

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31

Skinner, Andrew. "The changer of ways: rock art and frontier ideologies on the Strandberg, Northern Cape, South Africa." Thesis, 2017. http://hdl.handle.net/10539/23511.

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University of the Witwatersrand Submitted in fulfilment of the degree of Master of Science (Archaeology) by research. Rock Art Research Institute; School of Geography, Archaeology, and Environmental Studies. Johannesburg, 2017.<br>Southern Africa’s Orange River has been a frontier-zone for centuries, acting as a socially formative and often volatile expression of its surrounds. Communities of the region have competed, compounded, and admixed for as long as competing influences have obliged it, contributing over hundreds of years to a background milieu of generally-coherent beliefs and pr

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32

Rampete, Obakeng Veronica. "Heritage management: comparing implementation between South Africa and Mexico." Thesis, 2015. http://hdl.handle.net/10539/19290.

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A dissertation submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in fulfilment of requirements for the degree of Master of Science. Johannesburg, 2015.<br>Heritage management has been a growing phenomenon throughout the world. This growth is due to the increasing necessity to protect the world’s cultural heritage. Heritage management has been closely linked with community participation as well as laws and policies that protect the heritage. Furthermore, site use is also of importance to discover how the heritage is presented, protected and managed. These

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33

Meredith, Wilson. "Picturing Pacific Prehistory: The rock-art of Vanuatu in a western Pacific context." Phd thesis, 2002. http://hdl.handle.net/1885/9161.

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This thesis examines similarities and differences between rock-art sites in Vanuatu and the broader western Pacific region, and situates the results within the framework of Pacific prehistory. Prior to this thesis, regional models of rock-art in the western Pacific were founded on corresponding distributions of non-motif variables, such as technical classes (painting or engraving), topographic location (boulders, caves etc), and local geology. One of the outcomes of these previous studies was the identification of a region-wide distinction between engraved and painted rock-art, referred to in

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34

Romero, Adriana Antunes. "Deuses esquecidos: Entre o outrora e o agora." Master's thesis, 2020. http://hdl.handle.net/10362/112986.

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Анотація:

Este documento descreve o desenvolvimento do filme “Deuses Esquecidos” e tem por principal cenário os sítios de arte rupestre do Vale do Côa. O argumento, seguindo a sugestão simbólica de John Steinbeck no romance “A um Deus Desconhecido”, propõe uma renovação do valor de culto do Vale do Côa através da sobreposição de imagens e significados. Esta renovação não é só feita dentro do filme: o próprio objecto fílmico pode ser visto como uma gravura ou, pelo menos, como sombra efémera que percorre as linhas sulcadas pelo homem pré-histórico. O filme foi realizado ao abrigo de um protocolo firmado

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