Դիմահայաց պատկերագրության դրսեվորումները Վանի թագավորության արվեստում

Հոդվածը նվիրված է Վանի թագավորության կերպարվեստում դիմահայաց պատկերների ուսումնասիրությանը: Հոդվածի շրջանակում քննության են ենթարկվում ուրարտական ժամանակաշրջանի բրոնզյա մի շարք թիթեղներ ու քանդակներ, որոնց գեղարվեստական հարդարանքում առկա մարդկային դիմահայաց պատկերներն իրենց ոճական առանձնահատկություններով և գեղարվեստական լուծումներով էապես տարբերվում են ուրարտական ավանդական կանոնիկ պատկերաձևերից: Վերլուծության արդյունքում հանգել ենք այն եզրակացության, որ նմանօրինակ սխեմատիկ պատկերատիպերն ամենայն հավանականությամբ ձևավորվել են հայկական լեռնաշխարհի ժայռապատկերային, ինչպես նաև ժողովրդական արվեստի ազդեցությամբ: The purpose of this article is to examine the frontal images of man in the art of the Kingdom of Van. The article analyzes the Urartian bronze plaques and sculptures, which different vastly from the traditional canonical forms and, as such, generate broad interest. In the schematic representations of humans, traces of graphic types of the previous periods are visible, as well as the stylistic peculiarities of the rock paintings of the Armenian Highlands and of the folk art of the Kingdom of Van. As a result of the study, we can arrive at a conclusion, that in Urartian art, the tradition of both frontal and profile representations existed concurrently.

On Elks and Places that Gather: Emplacing North Swedish Rock Paintings

This paper argues for the importance of empha- sizing emplacedness in studies of Fennoscandian rock art. Drawing on a discriminating analysis of three red ochre paintings from Neolithic northern Sweden, it is shown that stylistically comparable panels were created and used through divergent practices connected to their respective spatial con- text. This result raises questions about the episte- mological legitimacy of conceptualizing rock art sites as instantiations of one coherent phenome- non: a problem that is tackled by applying the Berg- sonian approach towards the relation between dif- ference and repetition. By putting forward the idea of particularity as constitutive for, rather than op- posed to, generality, it is argued that the semiotic flexibility of the elk motif can be seen as an reflec- tion of the force that simultaneously gathers and distinguishes the separate rock art sites across the region of Norrland.

Methodological Approach (In Situ and Laboratory) for the Characterisation of Late Prehistoric Rock Paintings—Penedo Gordo (NW Spain)

This paper draws on the study of the prehistoric art site of Penedo Gordo (NW Spain) resulting from a collaborative interdisciplinary research. One of its primary goals was to design and put into practice a multi-analytical protocol for characterising prehistoric rock paintings, combining in situ and laboratory analytical techniques. Thus, following the archaeological assessment of the site, the panels exhibiting red paintings were analysed by colour spectrophotometry and portable Raman spectroscopy. Analytical techniques were applied to a collection of samples exhumed from the excavation that simultaneously took place on site. These included three red accretions on different substrates (compact soil, white quartzite and grey quartzite) and stone fragments representative of the outcrop’s petrographic variability, aiming to determine their mineralogical composition, texture and study the stone-paint boundaries. Moreover, colouring materials exhumed from the excavation and collected in the immediate surroundings of the rock outcrop were analysed in order to scrutinise the provenience rock art’s raw materials. Laboratory analysis consisted of stereomicroscopy, X-ray diffraction, Fourier transform infrared spectroscopy and scanning electron microscopy. One of the major outcomes was the discovery of a drop of red pigment preserved in an archaeological layer associated with Late Neolithic/Copper Age material remains.

The Cultural Study of Tribes and Prehistoric Rock Paintings of Simdega District

This research paper will mainly consist of the unreported Neolithic site and rock art sites of Simdega district. In this paper there will be the detailed information about the rock paintings. The detailed study will be done of the various figures of the paintings. This paper will also describe the associated remains found along with the rock paintings. The research paper also consists of the developing phase of the rock art which can be seen in the tribal communities. Paper will also consist of the study of saddle quern, its various uses and how it is related to the tribal community. There will the content about the importance of the rock art in the tribal society. Various rituals are performed on the rock art site by the tribal people till today. This research paper will describe these rituals which are performed by the tribal people. The paper will consists of the study of correlation between the rock art and the various arts forms and cultures present in the tribal community.