scholarly journals La plástica rupestre y el diseño en el antiguo Perú: el rastro de dos petroglifos de Palpa en la iconografía de Paracas y Nasca

2020 ◽  
pp. 84-97
Author(s):  
Manuel Munive Maco
Keyword(s):  
Rock Art ◽  
Evolutionary Sequence ◽  
Cave Paintings ◽  
Exceptional Value

El inmenso acervo iconográfico contenido en los innumerables paisajes rupestres del Perú estimula la intuición de que muchos de aquellos diseños pintados y grabados en la roca –figurativos y abstractos–, deben tener versiones equivalentes en la alfarería, el tejido, el metal, el hueso o la madera. Sin embargo, no abundan en el Perú las expresiones plásticas rupestres que hayan sido trasvasadas a soportes distintos de la roca. Y esa misma infrecuencia otorga un valor excepcional a los pictogramas, petrograbados y geoglifos que sí pueden identificarse como parte de la secuencia evolutiva formal de un diseño plasmado en un bordado o una vasija. En este trabajo analizaremos dos petrograbados antropomorfos pertenecientes al paisaje rupestre de Chichictara (Palpa, Ica), que podrían ser antecedentes de dos motivos iconográficos de Paracas y Nasca.Palabras clave: plástica rupestre andina, paisaje rupestre, petrograbados de Chichictara, diseños Paracas AbstractThe immense iconographic heritage in Peru’s innumerable cave landscapes stimulates the intuition that many of those designs painted and engraved on the rock –figurative and abstract– must have equivalent versions in pottery, fabric, metal, bone, or wood. However, there are not many cave paintings in Peru that have been transferred to supports other than the rock. Furthermore, that same infrequency gives an exceptional value to pictograms, petroglyphs, and geoglyphs that can be identified as part of the proper evolutionary sequence of a design embodied in embroidery or a vessel. In this work, we will analyze two anthropomorphic petroglyphs belonging to the rocky landscape of Chichictara (Palpa, Ica) that could be antecedents of two iconographic motifs of Paracas and Nasca. Keywords: Andean rock art, rock landscape, petrogravings of Chichictara, Paracas designs

scholarly journals Oldest cave art found in Sulawesi

2021 ◽  
Vol 7 (3) ◽  
pp. eabd4648
Author(s):  
Adam Brumm ◽  
Adhi Agus Oktaviana ◽  
Basran Burhan ◽  
Budianto Hakim ◽  
Rustan Lebe ◽  
...  
Keyword(s):  
Rock Art ◽  
Karst Area ◽  
Uranium Series ◽  
Island Southeast Asia ◽  
South Sulawesi ◽  
Figurative Painting ◽  
Uranium Series Dating ◽  
Cave Paintings ◽  
Minimum Age ◽  
Cave Art

Indonesia harbors some of the oldest known surviving cave art. Previously, the earliest dated rock art from this region was a figurative painting of a Sulawesi warty pig (Sus celebensis). This image from Leang Bulu’ Sipong 4 in the limestone karsts of Maros-Pangkep, South Sulawesi, was created at least 43,900 years ago (43.9 ka) based on Uranium-series dating. Here, we report the Uranium-series dating of two figurative cave paintings of Sulawesi warty pigs recently discovered in the same karst area. The oldest, with a minimum age of 45.5 ka, is from Leang Tedongnge. The second image, from Leang Balangajia 1, dates to at least 32 ka. To our knowledge, the animal painting from Leang Tedongnge is the earliest known representational work of art in the world. There is no reason to suppose, however, that this early rock art is a unique example in Island Southeast Asia or the wider region.

scholarly journals Documentación sistémica del arte rupestre mediante el análisis espectral del escaneado 3D de las estaciones pintadas en Aragón, El caso concreto del abrigo de La Vacada (Castellote, Teruel) y el covacho del Plano del Pulido (Caspe, Zaragoza). España.

2010 ◽  
Vol 1 (1) ◽  
pp. 123
Author(s):  
María Sebastián López ◽  
Antonio Uriarte González ◽  
Jorge Angás Pajas ◽  
Manuel Martínez-Bea
Keyword(s):  
Systematic Study ◽  
Rock Art ◽  
Three Dimensional ◽  
Laser Scanner ◽  
Variable Intensity ◽  
Three Dimensional Modeling ◽  
Dimensional Modeling ◽  
Cave Paintings ◽  
Compositional Elements

<p>The work that follows is a sample of the tool of 3D laser scanner for the systematic study of rock art. Getting a three-dimensional modeling of the panels that are located in the cave paintings and analyzing variable intensity emitted by the scanner (green or red depending on instrument used). This analysis allows us pigment spots (cave paintings), with alterations of the panel. What allows us to obtain, as is the case, greater sharpness of the compositional elements that have the rock station and detecting non-visible figures at present due to deterioration. Assuming therefore a method of systemic documentation of rock art and promoting the recovery of lost art today.</p>

scholarly journals DIAGNÓSTICO DO ESTADO DE CONSERVAÇAO DOS SÍTIOS COM GRAFISMOS RUPESTRES NO PARQUE NACIONAL DO CATIMBAU - PERNAMBUCO

2020 ◽  
Vol 34 (3) ◽  
pp. 139
Author(s):  
Daniela Cisneiros
Keyword(s):  
National Park ◽  
Rock Art ◽  
The State ◽  
Archaeological Sites ◽  
Art Conservation ◽  
Cave Paintings ◽  
Physical And Chemical ◽  
Art Techniques

No presente trabalho são apresentados os resultados das pesquisas sobre o estado de conservação dos grafismos rupestres dos sítios arqueológicos do Parque Nacional do Catimbau em Pernambuco. Essa pesquisa foi realizada a partir do levantamento macroscópico dos fatores e agentes de degradação e alteração atuante sobre os painéis rupestres dos 55 sítios do Parque. A partir da compreensão que a conservação de pinturas e gravuras rupestres só pode ser entendida de maneira interdependente, ou seja apenas a partir do conhecimento do objeto (grafismos rupestres - técnicas e propriedades) e do ambiente (suporte e agentes de interação), foram construídos protocolos para identificar a evolução dos agentes que se constituem danosos ao patrimônio rupestre nessa área. Foram considerados nessa primeira parte do projeto, os indicadores de alteração, os aspectos externos do suporte: pátinas, crostas, depósitos superficiais (sais, microorganismos, excrementos, manchas, ninho de insetos); a perda, rupturas ou fissura do suporte (escamação, fratura, desagregação, desplacamento); as intervenções antrópicas (grafite, pichações, incisões, queimadas intencionais). Nesta síntese preliminar das patologias que atingem os painéis rupestres, observou-se que os indicadores de degradação são os de origem físico-químicas oriundos da formação da rocha e estão ligadas à formação do suporte e ao entorno ambiental. Os agentes antrópicos indiretos como desmatamento e caça atuam para o agravamento da situação.DIAGNOSIS OF THE STATE OF CONSERVATION OF SITES WITH RUPESTRIC GRAPHISMS IN THE NATIONAL PARK OF CATIMBAU - PERNAMBUCOABSTRACTThis work presents the results of research on the state of conservation of rock art from the archaeological sites of the National Park of Catimbau in Pernambuco. This research was carried out from the macroscopic survey of the factors and agents of degradation and alteration acting on the rock art of the 55 sites in the Park. Based on the understanding that the conservation of cave paintings and engravings can only be understood in an interdependent manner, that is, only through knowledge of the object (rock art - techniques and properties) and the environment (support and interaction agents), they were built protocols to identify the evolution of agents that are harmful to the rock heritage in this area. In this first part of the project, the indicators of change, the external aspects of the support were considered: patinas, crusts, surface deposits (salts, microorganisms, excrement, stains, insect nests); the loss, ruptures or fissure of the support (scaling, fracture, disintegration, debonding); anthropic interventions (graphite, graffiti, incisions, intentional fires). In this preliminary synthesis of the pathologies that affect the rupestrian panels, it was observed that the degradation indicators are those of physical and chemical origin from the formation of the rock and are linked to the formation of the support and the environmental environment. Indirect anthropic agents such as deforestation and hunting act to worsen the situation.Keywords: Catimbau National Park, Rock art, Conservation. 

scholarly journals AS PINTURAS RUPESTRES DA TRADIÇÃO NORDESTE NA REGIÃO DO SERIDÓ, RN, NO CONTEXTO DA ARTE RUPESTRE BRASILEIRA

2021 ◽  
Vol 35 (3) ◽  
pp. 18
Author(s):  
Anne-Marie Pessis ◽  
Gabriela Martin
Keyword(s):  
National Park ◽  
Rock Art ◽  
The State ◽  
Abstract Thought ◽  
Technical Culture ◽  
Cave Paintings ◽  
Rock Paintings ◽  
Ceremonial Life

Este artigo é uma reflexão sobre as pinturas rupestres da tradição Nordeste na região arqueológica do Seridó, que precisam ainda de estudos pormenorizados do seu vasto acervo arqueológico. Se pode afirmar que, paralelamente às pinturas do Parque Nacional Serra da Capivara, no estado do Piauí, os conjuntos rupestres do Seridó representam o maior acervo gráfico do nordeste do Brasil. Esta afirmativa não está apenas baseada na quantia dos sítios e dos registros, mas na riqueza imagética que os mesmos representam. Retratam as numerosas atividades da vida cotidiana e cerimonial dos povos que as fizeram, além da manifestação da cultural material, imaterial e técnica do pensamento abstrato indígena na pré-história brasileira. THE RUPESTRAL PAINTINGS OF THE NORTHEAST TRADITION IN THE SERIDÓ REGION, RN, IN THE CONTEXT OF BRAZILIAN RUPESTRY ART ABSTRACTThis article is a reflection on the cave paintings of the Northeast tradition in the archaeological region of Seridó, which still need detailed studies of their vast archaeological collection. It can be said that, in parallel to the paintings in the Serra da Capivara National Park in the state of Piauí, the rock paintings ensembles of Seridó represent the largest graphic heritage in the northeast of Brazil. This statement is not just based on the number of sites and records, but on the wealth of images that they represent. They portray the numerous activities of the daily and ceremonial life of the peoples who did them, as well as the manifestation of the material, immaterial and technical culture of indigenous abstract thought in Brazilian prehistory.Keyword: Rock Art; Seridó; Northeast tradition.

The Use and Reuse of Rock Art Designs in Contemporary Jewellery and Wearable Art

2017 ◽  
Author(s):  
Lynette Russell ◽  
Myles Russell-Cook
Keyword(s):  
Popular Culture ◽  
Case Studies ◽  
Rock Art ◽  
Analytical Framework ◽  
Culturally Sensitive ◽  
Wearable Art ◽  
Cave Paintings

This chapter considers the role of rock art imagery in jewellery and popular culture materials. Our goal is to address the motivations of contemporary jewellery artists as they engage with cave paintings, petroglyphs, and other rock art. Several jewellers were interviewed and their work analysed. There is a range of responses to producing rock art–inspired jewellery from straightforward appropriation to culturally sensitive interpretation and translation. This research highlights the importance of understanding the context and content of jewellery artists’ responses to rock art as well as their motives. Using four case studies, the authors interrogate authenticity, appropriation, and ethical engagement. The responses led to the development of an analytical framework and an exploration of issues of appropriation.

scholarly journals BIOTURBAÇÃO POR CUPINS (BLATTODEA, ISOPTERA) EM PAINÉIS COM REGISTROS RUPESTRES NA REGIÃO ARQUEOLÓGICA DE CAIAPÔNIA, BRASIL CENTRAL

2020 ◽  
Vol 35 (1) ◽  
pp. 53
Author(s):  
Fabyanne Rosa ◽  
Wilian Vaz-Silva
Keyword(s):  
Cultural Heritage ◽  
Rock Art ◽  
The State ◽  
Archaeological Sites ◽  
Future Studies ◽  
Cave Paintings ◽  
Conservation Actions

A região de Palestina de Goiás, localizada no Sudoeste do Estado de Goiás, abrange cerca de 42 sítios arqueológicos registrados, sendo 28 com pinturas rupestres. Esse patrimônio cultural vem sofrendo degradação por vários fatores, e um deles é a bioturbação por cupins. Diante da importância de levantar dados que subsidiem ações de proteção e preservação da arte rupestre nessa região, o objetivo deste trabalho foi identificar a presença de cupins e suas ações nos sítios arqueológicos com pinturas. A Bioturbação por cupins foi confirmada nos seis sítios e representam uma ameaça para as pinturas rupestres. Nasutitermes foi o gênero mais frequente (59%). Os resultados subsidiam futuros estudos de monitoramento e ações de conservação em sítios arqueológicos com este tipo de ameaça.BIOTURBATION BY TERMITES (BLATTODEA, ISOPTERA) IN ROCK-ART SITES IN THE ARCHAEOLOGICAL REGION OF CAIAPÔNIA, CENTRAL BRAZILABSTRACTThe Palestine region of Goiás, located in the southwest of the state of Goiás, has about 42 registered archaeological sites, 28 of them with cave paintings. This cultural heritage has been degraded by several factors, and one of them is the presence of termites. Given the importance of protection and preservation of rock art in this region, a study was proposed to identify the presence of termites and their actions in archaeological sites with paintings. Of the 42 sites, six were visited. Termite Bioturbation was confirmed at the six sites, posing a threat to cave paintings. Nasutitermes was the most frequent genera (59%). The results support future studies of monitoring and conservation actions in archaeological sites with this type of threat. Keywords: Caiaponia; Bioturbation; Termites

Khandut revisited: Monuments, shrines, and newly discovered rock art in Wakhan District

Afghanistan ◽  
2018 ◽  
Vol 1 (2) ◽  
pp. 282-301
Author(s):  
John Mock
Keyword(s):  
Central Asia ◽  
Rock Art ◽  
Field Work ◽  
Present Condition ◽  
Current Article

In 1972, a brief article titled “Khandud, Village de la Vallée du Wakhan” appeared in Afghanistan 25. The subsequent decades of conflict precluded any follow-up research in Wakhan. The current article, based on field work from 2004 to 2016, examines the present condition of the sites described in 1972, offers a revised analysis of their significance, and introduces newly discovered rock art that connects Wakhan with the Saka culture of Central Asia and illustrates indigenous traditions of the Pamir-Hindukush ethnolinguistic region.

‘In search of lost time’, ‘friendship and archaeology’: a personal reminiscence of Ludovic Mann, Joseph Harrison Maxwell and George Applebey – my father

2020 ◽  
Vol 42 (Supplement) ◽  
pp. 7-22
Author(s):  
George Applebey
Keyword(s):  
Twentieth Century ◽  
Rock Art ◽  
Personal Reminiscence ◽  
Lost Time

In this paper, I will reflect on my personal memories of Ludovic Mann, friend and mentor to my late father George Applebey, whose archaeological career is also a focus of the paper. They both worked together on Mann's most famous excavations at Knappers Farm, and the nearby painting of the Cochno Stone rock-art panel. However, these are only two examples of their long-term collaboration and friendship, and this paper will explore the broader context within which they worked. This will include consideration of other collaborators, such as J Harrison Maxwell, part of the ‘Ludovic Group’ in the first half of the twentieth century. The important role that all three men played in the development of Scottish archaeology is noted. The paper concludes with developments following Mann's death in 1955 including George Applebey's emergence as a noted amateur archaeologist in his own right, and the fate of the Mann and Applebey collections.

From generalities to specifics in San rock art

2008 ◽  
Vol 104 (11/12) ◽  
Author(s):  
J.D. Lewis-Williams ◽  
D.G. Pearce
Keyword(s):  
Rock Art
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