relative dating
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AMERTA ◽  
2021 ◽  
Vol 39 (2) ◽  
pp. 129-146
Author(s):  
Ashar Murdihastomo, S.S. ◽  
Sukawati Susetyo

Abstract. Reinterpretation of The Relative Date of The Four Stone Sculptures Collection of The National Museum of Indonesia. The results of research on the art style of the Kāḍiri period statues in 2020 show that four statues have been identified as requiring renewal. The information in question is related to the relative dating of the statue. The information written on the museum's information label for the four statues comes from the XI-XII centuries AD. However, when examined based on the art style of the statues, the four have younger characteristics. Therefore, the question arises, what are the characteristics of the sculptures from the four statues in the collection of the National Museum of Indonesia, and when is the relative date indicated by the art style of the statues? This study aimed to determine the art style of the four statues from the collection of the Indonesian National Museum and provide new information on the chronology of the time of the statues. This study uses a qualitative approach based on the descriptive-explanative principle in conducting the analysis using the principles of iconography and ancient sculpture art styles. The results obtained indicate that the four statues have two sculpture characters, namely the Majapahit era and the late Majapahit period, with a relative date range of the XIV-XV centuries AD.   Abstrak. Hasil penelitian tentang gaya seni arca masa Kāḍiri tahun 2020 memperlihatkan ada empat arca yang teridentifikasi memerlukan pembaruan. Informasi yang dimaksud terkait dengan pertanggalan relatif arca. Keterangan yang tertulis pada label informasi museum keempat arca tersebut berasal dari abad XI--XII Masehi.  Namun, apabila dikaji berdasarkan gaya seni arcanya, keempatnya memiliki ciri yang lebih muda. Oleh karena itu, muncul pertanyaan apakah ciri seni arca dari empat arca koleksi Museum Nasional Indonesia tersebut dan kapan pertanggalan relatif yang ditunjukkan oleh gaya seni arca itu? Tujuan penelitian ini adalah untuk mengetahui gaya seni arca keempat arca koleksi Museum Nasional Indonesia dan memberikan informasi baru terhadap kronologi waktu arca tersebut. Kajian ini menggunakan pendekatan kualitatif yang didasarkan pada prinsip deksriptif-eksplanatif. Dalam melakukan analisis menggunakan prinsip ikonografi dan gaya seni arca kuno. Hasil yang diperoleh menunjukkan bahwa keempat arca tersebut memiliki dua karakter seni arca, yaitu masa Majapahit dan masa akhir Majapahit dengan kisaran pertanggalan relatif abad XIV-XV Masehi.


2021 ◽  
Vol 14 (1) ◽  
Author(s):  
Justyna Orłowska ◽  
Grzegorz Osipowicz

AbstractLate Glacial and Early Holocene bone and antler artifacts are recovered from all over the Polish Lowland. Elements of projectile weaponry, in the form of various points made of osseous raw materials, were an important part of hunter-gatherer equipment of that time. We present the results of AMS dating of a unique collection of thirteen artifacts that had previously been chrono-culturally attributed by means of relative dating using typological approaches only. The results obtained are considered alongside current knowledge and typological arrangements for these types of tools in Europe. We also attempt to determine the interpretative potential of the technological studies to which the discussed osseous points were subjected in terms of possibly identifying processing techniques that can be specific to the given periods of the Stone Age. Suggestions made in this respect are verified through the radiocarbon dating results.


2021 ◽  
Author(s):  
Bruno David ◽  
Jean-Jacques Delannoy ◽  
Robert Gunn ◽  
Liam Brady ◽  
Fiona Petchey ◽  
...  

Western Arnhem Land in northern Australia has the rare distinction, both at national and global scales, of containing a vast landscape of many thousands of rockshelters richly decorated with art, some of which was probably made tens of thousands of years ago, others as recently as a few decades ago. Yet the challenge remains as to how to date this art, how to find out how old it is. While relative dating methods have been commonly applied, in particular patterns of superimposition and changing faunal themes supposedly signalling changing environmental conditions, we still lack a clear understanding of the age of almost all the region’s art styles or conventions.Other chapters in this volume report direct dates for Arnhem Land art using radiocarbon determinations on beeswax figures with the likelihood that the ‘art event’, the time when a beeswax figure was made, is at most a few years different from the ‘carbon event’, the time of the last biological capture of atmospheric carbon, which is the actual date measured by radiocarbon. But many, in fact most, sites have no beeswax figures or other ways directly to date the art. Sometimes, as again reported in this volume, there is some indication of date when a radiocarbon determination is obtained on, for instance, charcoal in an archaeological deposit that can be related to the art. Often that route is also blocked: many a painted surface without beeswax figures is in no close relation to a deposit that might so be dated. What can be done then? Here we present results of investigations at a small rockshelter in Jawoyn Country, in the centralwestern part of the Arnhem Land plateau. Since its art cannot be directly dated, we follow a different path. In the first instance, we aim to understand the history, and antiquity, of the decorated rock surfaces, since the exposed surfaces of the boulder have undergone repeated transformations over a long time. Determining when now-decorated rock surfaces were formed can give us maximum possible ages for the art, since we can date when the surface first was available. Taken with related archaeological evidence from deposits, such as ochre fragments with signs of use, we can arrive at some indications for the age of the art, or at least how the range of possible dates is constrained. This approach is akin to that used at other sites in Jawoyn Country (see Chapters 11 and 15)


Fragmentology ◽  
10.24446/v4ub ◽  
2021 ◽  
Vol 4 ◽  
Author(s):  
Jean-Philippe Échard ◽  
Laura Albiero

This article identifies ten fragments, used as reinforcements in the sounding boxes of three instruments made by Antonio Stradivari (Cremona, c.1648-1737), which are now kept at the Ashmolean Museum in Oxford (the ‘Cipriani Potter’ violin, 1683, and the ‘Hill’ guitar, 1688), and at the musée de la Musique in Paris (the ‘Vuillaume’ guitar). The fragments appear to come from a single book of hours, made in Italy no later than the mid-fifteenth century. This identification allows the documentation of the use of parchment fragments in the making process of Stradivari. The authors discuss what the common origin of parchment fragments found in three distinct instruments implies for the authenticity and relative dating of their making. Finally, this study sheds light on the potential of documenting reused parchment fragments, which are widely present in many string musical instruments produced in the sixteenth to eighteenth centuries.


2021 ◽  
Vol 40 ◽  
pp. 103169
Author(s):  
Francesca Di Turo ◽  
Alessia Artesani ◽  
Lea Pasquale ◽  
Doriana Debellis ◽  
Arianna Traviglia
Keyword(s):  

2021 ◽  
Vol 288 (1959) ◽  
Author(s):  
G. P. Fournier ◽  
K. R. Moore ◽  
L. T. Rangel ◽  
J. G. Payette ◽  
L. Momper ◽  
...  

The record of the coevolution of oxygenic phototrophs and the environment is preserved in three forms: genomes of modern organisms, diverse geochemical signals of surface oxidation and diagnostic Proterozoic microfossils. When calibrated by fossils, genomic data form the basis of molecular clock analyses. However, different interpretations of the geochemical record, fossil calibrations and evolutionary models produce a wide range of age estimates that are often conflicting. Here, we show that multiple interpretations of the cyanobacterial fossil record are consistent with an Archean origin of crown-group Cyanobacteria. We further show that incorporating relative dating information from horizontal gene transfers greatly improves the precision of these age estimates, by both providing a novel empirical criterion for selecting evolutionary models, and increasing the stringency of sampling of posterior age estimates. Independent of any geochemical evidence or hypotheses, these results support oxygenic photosynthesis evolving at least several hundred million years before the Great Oxygenation Event (GOE), a rapid diversification of major cyanobacterial lineages around the time of the GOE, and a post-Cryogenian origin of extant marine picocyanobacterial diversity.


Author(s):  
G.A. Botha

Abstract The Cenozoic stratigraphy of South Africa has developed over the past 166 years since geological mapping of the region was initiated. The current status of lithostratigraphy and the global chronostratigraphic framework is discussed in the context of the diverse Cenozoic regolith across the region. Geological mapping here utilizes lithostratigraphy to organise the Cenozoic deposits, although some extensive units are characterised informally using lithological descriptors. Although there are no formal biostratigraphic units, the allied use of “Land Mammal Ages” compiled from fossil type sites is described. An analogous archaeological cultural-historical “technocomplex” stratigraphy is outlined to subdivide stone age cultural material commonly associated with Quaternary deposits and has often been used as a relative dating framework. A summary table of Cenozoic regolith is presented, differentiating deposits into their terrain morphologically defined Geomorphic Province context as a means of correlating similar deposits across the subcontinent. For mapping units based on lithological characteristics, the use of lithodemic nomenclature to characterise units in each geomorphic province is proposed as a temporary measure to enhance inter-regional correlation and encourage further research that could lead to formal lithostratigraphic descriptions.


2021 ◽  
Vol 133 (3) ◽  
pp. 312-328
Author(s):  
Lida Panov

Abstract To this day there is no consensus about the dating and literary growth of the Hezekiah-Isaiah narratives. This paper is a contribution designed to clarify the literary history of these stories. It considers processes of innerbiblical exegesis, aspects of a text-critical analysis and facets of their absolute and relative dating. Simultaneously, observations on the multiple cross connections with other texts reveal the theological substance of the stories: Experiences of misery that appear in the older Isaiah tradition developed into a salvation-theological ideal in the Hezekiah-Isaiah narratives.


Geosciences ◽  
2021 ◽  
Vol 11 (8) ◽  
pp. 342
Author(s):  
Dmitrii A. Ganyushkin ◽  
Sofia N. Lessovaia ◽  
Dmitrii Y. Vlasov ◽  
Gennady P. Kopitsa ◽  
László Almásy ◽  
...  

For the Altai Mountains’ region, especially the arid southeastern part of the Russian Altai, the data on glacier fluctuations in the Pleistocene and Holocene are still inconsistent. The study area was the Kargy River’s valley (2288–2387 m a.s.l.), a location that is not currently affected by glaciation and the glacial history of which is poorly studied. Field observations and geomorphological mapping were used to reveal the configuration of Pleistocene moraines. The relative dating method was applied to define the degree of weathering as an indicator of age. Three moraine groups of different ages (presumably MIS 6, MIS 4, and MIS 2) were identified based on a detailed investigation of their morphological features and the use of relative dating approaches. The latter were primarily based on weathering patterns. Data on the rock mineralogy, porosity, and specificity of biological colonization as an agent of weathering were obtained for the moraine debris. The studied moraines were composed of fine-grained schist, in which the specific surface area and fractality (self-similarity) were more developed in the older moraine. The growth of biota (crustose lichen and micromycetes) colonizing the rock surface led to rock disintegration and the accumulation of autochthonous fragments on the rock surface. Despite the fact that the initial stage(s) of moraine weathering affected by biota was fixed, the correlation trends of biota activity and moraine ages were not determined.


KALPATARU ◽  
2021 ◽  
Vol 30 (1) ◽  
pp. 1-24
Author(s):  
Sukawati Susetyo ◽  
Ashar Murdihastomo ◽  
Agustijanto Indradjaja ◽  
Dimas Nugroho

In the archaeology Hindu-Buddhist era in Indonesia, there are several known art styles temple building architecture and statue art: Early Classical Era and Late Classical Era. In more detail, that several eras can be described that Early Classical Era developed during the Old Mātaram era with the center of its reign at Central Java, and Late Classical Era Style developed during Kāḍiri/Siŋhasāri and Majapahit with the center of its reign at East Java. Late Classical Era Style divided into two subs, Kāḍiri/Siŋhasāri and Majapahit. Kāḍiri as an early dynasty in East Java not yet known clearly what the special characteristic style of its temple is building architecture and its statue art, and only been told that the Kāḍiri Era Style is the connecting line between Early Classical Era Style and Late Classical Era. This essay intends to find out special characteristics of the Kāḍiri Era Style (transition art style). For this reason, the research was carried out on statues comes from Gurah Temple and Tondowongso Temple, both temples knew the date, with relative dating method or absolute dating method. From this iconographic research in detail will describe parts of the statues, from then will obtain several features that always appear, and that’s characteristics are considered as a strong characteristic from statues from Kāḍiri Era Style.


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