Change and Continuity in the Prehistoric Rock Art of East Siberia

2021 ◽  
Author(s):  
Irina A. Ponomareva

The book offers a detailed study of large corpus of rock art which is little known to an international audience. The book covers not only a huge region of East Siberia but also a period spanning from Late Paleolithic to the Iron Age, providing detailed accounts of the regional archaeology and rock art through the perspective of ethnicity, identity, and symbolism.

Author(s):  
С. С. Мургабаев ◽  
Л. Д. Малдыбекова

Статья посвящена новому памятнику наскального искусства хребта Каратау, открытому в урочище Карасуйир. Приводится краткое описание памятника, публикуются наиболее важные изображения. Сюжеты и стилистические особенности основной чaсти петроглифов памятника Карасуйир связаны с эпохой бронзы, остaльные рисунки отнесены к эпохе рaннего железа и, возможно, к эпохе камня. Для некоторых из них предложена предварительная интерпретация. The article is devoted to a new rock art site of the Karatau Range, discovered in the Karasuyir Area. A brief description of the site is provided, and the most important images are published. Subjects and stylistic features of the main part of Karasuyir petroglyphs are associated with the Bronze Age, and other engravings are related to the early Iron Age and, perhaps, to the Stone Age. A preliminary interpretation is proposed for some of them.


Author(s):  
José Ignacio Royo Guillén ◽  
Francisco José Navarro Cabeza ◽  
Serafín Benedí Monge

Los estudios sobre grabados rupestres al aire libre de cronología postpaleolítica, adolecen de importantes carencias que, en el valle medio del Ebro, se han visto superadas con la llegada del tercer milenio. Con la presentación de este trabajo se pretende dar a conocer un nuevo núcleo de grabados rupestres, localizado en el extremo suroeste de la provincia de Zaragoza, en las gargantas calcáreas del río Mesa. Entre los nuevos enclaves rupestres, destacan los abrigos con grabados protohistóricos, pero muy especialmente los de cronología medieval andalusí y los de iconografía cristiana entre los siglos XIV y XVIII, con perduraciones hasta mediados del siglo XIX y algunas escenas relacionadas con la primera Guerra Carlista en Aragón. La distribución de los hallazgos, su tipología e iconografía y los restos arqueológicos asociados, permiten documentar una importante ocupación del territorio desde la Iª Edad del Hierro y la sacralización del paisaje a través del arte rupestre, con pervivencias que se perpetúan a lo largo de la Edad Media y Moderna, destacando como novedad la presencia de un importante conjunto de inscripciones epigráficas islámicas que deben situarse entre los siglos XI y XII. AbstractThe studies on open-air rock engravings in post-Paleolithic chronology suffer from important deficiencies, which in the middle valley of the Ebro, have been overcome with the arrival of the third millennium.With the presentation of this work, the aim is to make known a new nucleus of rock engravings, located in the extreme southwest of the province of Zaragoza, in the limestone gorges of the River Mesa. Among the new rock engravings, the shelters with protohistoric engravings stand out, but especially those with a medieval Andalusian chronology and those with Christian iconography between the 14th and 18th centuries, which lasted until the middle of the 19th century and some scenes related to the first Carlist War in Aragon. The distribution of the findings, their typology and iconography and the associated archaeological remains, allow us to document an important occupation of the territory since the First Iron Age and the sacralization of the landscape through rock art, with survivals that are perpetuated throughout the Middle and Modern Ages, highlighting as a novelty the presence of an important set of Islamic epigraphic inscriptions that must be located between the 11th and 12th centuries.


Author(s):  
Joakim Goldhahn

This chapter offers a long-term perspective on rock art in northern Europe. It first provides an overview of research on the rock art traditions of northern Europe before discussing the societies and cultures that created such traditions. It then considers examples of rock art made by hunter-gatherer societies in northern Europe, focusing on the first rock art boom related to Neolithization. It also examines the second rock art boom, which was associated with social and religious changes within farming communities that took place around 1600–1400 bc. The chapter concludes by analysing the breakdown of long-distance networks in the transition from the Bronze Age to the Iron Age and its consequences for the making of rock art within the southern traditions, as well as the use of rock art sites during the Pre-Roman Iron Age, Roman Iron Age, and Migration Period.


Antiquity ◽  
2010 ◽  
Vol 84 (324) ◽  
pp. 335-350 ◽  
Author(s):  
Paul S.C. Taçon ◽  
Nicole Boivin ◽  
Jamie Hampson ◽  
James Blinkhorn ◽  
Ravi Korisettar ◽  
...  

The authors have surveyed the little known paintings of the Kurnool area in central south India, bringing to light the varied work of artists active from the Palaeolithic to the present day. By classifying the images and observing their local superposition and global parallels, they present us with an evolving trend – from the realistic drawings of large deer by hunter-gatherers, through the symbolic humans of the Iron Age to the hand-prints of more recent pilgrims and garish life-size modern ‘scarecrows’. Here are the foundations for one of the world's longest sequences of rock art.


2013 ◽  
Vol 16 (4) ◽  
pp. 685-703 ◽  
Author(s):  
Peter Skoglund

This paper discusses the chronology of the Järrestad rock-art site in south-east Sweden. Drawing on recent developments in ship chronology, it argues that images were produced from the very beginning of the Scandinavian Bronze Age, c. 1700 BC, to the earliest Iron Age, c. 200 BC. The images are not randomly spread, however, but cluster in two phases: c. 1700–1100 BC and c. 900–200 BC, each with its different characteristics. It is argued that the later phase should be viewed against the background of central and western European Hallstatt cultures which affected not only the iconography of the Järrestad panel but also the organization of the surrounding cultural landscape.


Antiquity ◽  
2002 ◽  
Vol 76 (291) ◽  
pp. 50-56 ◽  
Author(s):  
John Barnatt ◽  
Bill Bevan ◽  
Mark Edmonds

Six seasons of excavation, survey and test pitting in the Peak District National Park, England, were conducted by the Park Authority and the Department of Archaeology & Prehistory, University of Sheffield, on a moorland rich in features surviving from Prehistoric use and occupation of the area. Investigated features include a Neolithic rubble-built enclosure bank, Bronze to Iron Age cairnfields and settlements and cup-and-ring rock art. From this work a long-term landscape narrative of the area is being produced.


2007 ◽  
Vol 417 (1) ◽  
pp. 1256-1260 ◽  
Author(s):  
V. V. Pitul’ko ◽  
E. Yu. Pavlova ◽  
S. A. Kuz’mina ◽  
P. A. Nikol’skii ◽  
A. E. Basilyan ◽  
...  

2021 ◽  
pp. 1-28
Author(s):  
Youssef Bokbot ◽  
Corisande Fenwick ◽  
David J. Mattingly ◽  
Nichole Sheldrick ◽  
Martin Sterry

Abstract The article presents important results from the Middle Draa Project (MDP) in southern Morocco related to two mid-1st millennium CE hilltop settlements (hillforts) that were associated with significant rock art assemblages. The combination of detailed survey and radiocarbon dating of these remarkable sites provides a unique window on the Saharan world in which the pecked engravings, predominantly of horses, were produced. As the horse imagery featured on the walls of buildings within the settlement, the radiocarbon dating around the mid-1st millennium CE can also be applied in this instance to the rock art. The rarity of rock art of this period within habitation sites is also discussed and it is argued that its occurrence at both these locations indicates that they had some special social or sacred significance for their occupants. While it is commonplace for rock art of this era, featuring horses and camels, to be attributed by modern scholars to mobile pastoralists, a further argument of the paper is that the desert societies were in a period of transformation at this time, with the development of oases. The association of the rock art imagery with sedentary settlements, where grain was certainly being processed and stored, is thus an additional new element of contextual information for the widespread Saharan images of horses and horse and riders.


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