Early Australian Anthropomorphs: Jabiluka's Dynamic Figure Rock Paintings

2017 ◽  
Vol 28 (1) ◽  
pp. 67-83 ◽  
Author(s):  
Sally K. May ◽  
Iain G. Johnston ◽  
Paul S.C. Taçon ◽  
Inés Domingo Sanz ◽  
Joakim Goldhahn

Early depictions of anthropomorphs in rock art provide unique insights into life during the deep past. This includes human engagements with the environment, socio-cultural practices, gender and uses of material culture. In Australia, the Dynamic Figure rock paintings of Arnhem Land are recognized as the earliest style in the region where humans are explicitly depicted. Important questions, such as the nature and significance of body adornment in rock art and society, can be explored, given the detailed nature of the human figurative art and the sheer number of scenes depicted. In this paper, we make a case for Dynamic Figure rock art having some of the earliest and most extensive depictions of complex anthropomorph scenes found anywhere in the world.

2017 ◽  
Vol 88 (1) ◽  
pp. 1-13 ◽  
Author(s):  
Qing-Feng Shao ◽  
Edwige Pons-Branchu ◽  
Qiu-Ping Zhu ◽  
Wei Wang ◽  
Hélène Valladas ◽  
...  

AbstractThe rock art and the associated natural scenery at 38 sites located in the Zuojiang River valley, in the southwest of Guangxi Zhuang Autonomous Region, southern China, were inscribed recently on UNESCO’s World Heritage List. The painted panel at the site of Mt. Huashan is probably the largest known rock art panel in the world, consisting of approximately 1900 identifiable figures and occupying an area of approximately 8000 m2. To determine a precise age on the rock art at Mt. Huashan, 56 secondary carbonate layers above and below the paintings were studied for their mineralogy, oxygen, and carbon isotopic compositions and dated by the 230Th/U method. The 230Th/U dating results demonstrate that ages of the rock paintings can be bracketed between 1856±16 and 1728±41yr BP corresponding to the middle to the end of the Eastern Han dynasty (AD 25 to 220). The results imply that the rock painting practices at Mt. Huashan probably lasted more than a century, and the Zuojiang rock art is younger than that at Baiyunwan and Cangyuan in Yunnan Province by 1 to 10 centuries.


Author(s):  
Kristina Bross

Chapter 3 analyzes English claims to a central role in a global network of indigenous and English people connected by faith around the world, claims made manifest in Of the Conversion of Five Thousand Nine Hundred Indians on the Island of Formosa, a 1650 publication by Baptist minister Henry Jessey, printed by radical bookseller Hannah Allen. It reports on Dutch missions in Taiwan, comparing them with evangelism efforts in New England. The coda considers the experiences of an Algonquian woman who is unnamed in Jessey’s tract but is identified as a basket maker, speculating on the meaning she may have encoded in her basket designs. Though we cannot “read” them directly, the fact that she made them, coupled with the provocative arguments offered by recent scholars about Native material culture in the colonial period, enables us to reconsider the print archive in which she appears.


Author(s):  
David Fearn

The introduction sets the following discussions in their scholarly context, with particular attention to other contemporary approaches to lyric both within Classics and in comparative literature and critical theory, as well as to art-historical approaches. Literary approaches to lyric deixis are brought together with art-historical and other literary approaches to visuality, subjectivity, and ecphrasis. Pindar’s immersion in a world of material culture and attention to the world as perceived visually fosters a special poetic creativity. The upshot is a poetics of referentiality, according to which Pindar’s consumers are invited to consider the distance between their own situatedness and the worlds being creatively referred to, through the complex mediation of poetic voices. The sensibilities, attitudes, and experiences being constructed also contribute to a new understanding of the importance of lyric as a culturally valuable resource in fifth-century Greece.


Cave art is a subject of perennial interest among archaeologists. Until recently it was assumed that it was largely restricted to southern France and northern Iberia, although in recent years new discoveries have demonstrated that it originally had a much wider distribution. The discovery in 2003 of the UK's first examples of cave art, in two caves at Creswell Crags on the Derbyshire/Nottinghamshire border, was the most surprising illustration of this. The discoverers (the editors of the book) brought together in 2004 a number of Palaeolithic archaeologists and rock art specialists from across the world to study the Creswell art and debate its significance, and its similarities and contrasts with contemporary Late Pleistocene ("Ice Age") art on the Continent. This comprehensively illustrated book presents the Creswell art itself, the archaeology of the caves and the region, and the wider context of the Upper Palaeolithic era in Britain, as well as a number of up-to-date studies of Palaeolithic cave art in Spain, Portugal, France, and Italy which serve to contextualize the British examples.


2021 ◽  
pp. 1-21
Author(s):  
Carolyn E. Boyd ◽  
Ashley Busby

Archaic period hunter-gatherers of the Lower Pecos Canyonlands of southwest Texas and Coahuila, Mexico, created complex rock art murals containing elaborately painted anthropomorphic and zoomorphic figures. These figures are frequently portrayed with dots or lines emanating out of or into their open mouths. In this article, we discuss patterns in shape, color, and arrangement of this pictographic element and propose that artists used this graphic device to denote speech, breath, and the soul. They communicated meaning through the image-making process, alternating brushstroke direction to indicate inhalation versus exhalation or using different paint application techniques to reflect measured versus forceful speech. The choices made by artists in the production of the imagery reflect their cosmology and the framework of ideas and beliefs through which they interpreted and interacted with the world. Bridging the iconographic data with ethnohistoric and ethnographic texts from Mesoamerica, we suggest that speech and breath expressed in the rock art of the Lower Pecos was tied to concepts of the soul, creation, and human origins.


2020 ◽  
Vol 32 (1) ◽  
pp. 90-114
Author(s):  
Nicole Vilkner

AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.


2021 ◽  
Vol 21 (1) ◽  
pp. 28-52
Author(s):  
Sam Harper ◽  
Ian Waina ◽  
Ambrose Chalarimeri ◽  
Sven Ouzman ◽  
Martin Porr ◽  
...  

This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in human burials in this region. This ‘cache' is located in close proximity to rockshelters with rich, superimposed Aboriginal rock art compositions. However, the cache shelter has no visible art, despite available wall space. The site shows the utilisation of metal objects as new raw materials that use traditional techniques to manufacture a ground edge metal axe and to sharpen metal rods into spears. We contextualise these objects and their hypothesised owner(s) within narratives of invasion/contact and the ensuing pastoral history of this region. Assemblage theory affords us an appropriate theoretical lens through which to bring people, places, objects, and time into conversation.


2021 ◽  
Vol 31 (2) ◽  
pp. 247-263
Author(s):  
Jonathan J. Dubois

This paper introduces a new art style, Singa Transitional, found painted onto a mountainside near the modern town of Singa in the north of Huánuco, Peru. This style was discovered during a recent regional survey of rock art in the Huánuco region that resulted in the documentation of paintings at more than 20 sites, the identification of their chronological contexts and an analysis of the resulting data for trends in changing social practices over nine millennia. I explore how the style emerged from both regional artistic trends in the medium and broader patterns evident in Andean material culture from multiple media at the time of its creation. I argue that the presence of Singa Transitional demonstrates that local peoples were engaged in broader social trends unfolding during the transition between the Early Horizon (800–200 bc) and the Early Intermediate Period (ad 0–800) in Peru. I propose that rock art placed in prominent places was considered saywa, a type of landscape feature that marked boundaries in and movement through landscapes. Singa Transitional saywas served to advertise the connection between local Andean people and their land and was a medium through which social changes were contested in the Andes.


2021 ◽  
Vol 4 (2) ◽  
Author(s):  
Jacqueline Eng ◽  
Mark Aldenderfer

Anthropological research in the high-elevation regions of northwestern Nepal offers insights into the populationhistory of the Himalayan arc through a multi- and interdisciplinary approach that includes not only archaeologicaldata and historic and ethnographic accounts but also genomic, isotopic, and bioarchaeologicaldata, as well as innovative use of thermal niche modeling for paleoclimate reconstruction. Together these linesof evidence have allowed us to address project questions about human settlement into the region, including(1) sources of population movements into high-elevation environments of the Himalayan arc and (2) bioculturaladaptations to high-mountain environments. In this paper we compare research at several communalmortuary sites, each with a rich assemblage of material culture and human burials: Mebrak (400 B.C.–A.D. 50),Kyang (400–175 B.C.), and Samdzong (A.D. 450–650), as well as intriguing insights from finds in the earlier (ca.1250–450 B.C.) sites of Lubrak, Chokhopani, and Rhirhi. Our genomic findings demonstrate population originsfrom the Tibetan plateau, despite South Asian material culture recovered in early sites. Bioarchaeological findingsof low frequencies of non-specific stress and trauma indicate successful biocultural adaptation to highaltitudeconditions of hypoxia, cold, and low resource availability, potentially through buffering from exchangenetworks and local cultural practices, alongside high-altitude selected alleles. An integrative, multidisciplinaryapproach thus offers significantly greater opportunities for developing a more nuanced understanding of thepast processes of migration, settlement, and biocultural adaptation in the region. La investigación antropológica de las alturas del noroeste de Nepal nos proporciona conocimientos de la historiade la población del arco Himalaya a través de un enfoque multidisciplinario e interdisciplinario que incluyeno solamente datos arqueológicos y relatos históricos y etnográficos, sino también datos genómicos, isotópicos,y bioarqueológicos, tanto como uso innovador del modelado del nicho térmico para la reconstrucción paleoclimática.En conjunto, estas líneas de evidencia nos han permitido abordar temas sobre el asentamiento humanade la región, como: (1) los orígenes del movimiento hacia ambientes en las alturas del arco del Himalaya;y (2) las adaptaciones bioculturales necesarias para vivir en las alturas. En este artículo comparamos las investigacionesde varios mortuorios comunales que ofrecen conjuntos abundantes de entierros humanos y artefactosrelacionados: Mebrak (400 a.C.–d.C. 50), Kyang (400–175 a.C.), and Samdzong (d.C. 450–650), así como loshallazgos intrigantes de sitios anteriores (ca. 1250–450 a.C.) de Lubrak, Chokhopani, y Rhirhi. Nuestros datosgenómicos sugieren orígenes de le población del altiplano tibetano, a pesar del material que deriva del sur de Asia que se ha recuperado de los sitios mas tempranos. Los hallazgos bioarqueológicos demuestran niveles bajosde estrés y trauma inespecífico, y sugieren éxito en adaptación biocultural, a pesar de las condiciones de hipoxia,frio, y los recursos escasos en este ambiente. Es posible que alelos seleccionados a las alturas, junto con sistemasde intercambio y las costumbres locales contribuyeron al éxito de la adaptación. Por lo tanto, un enfoque multidisciplinarioque integra todas las evidencias ofrece una comprensión mas detallada de los procesos de migración,asentamiento, y adaptación biocultural de la región.


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