By Jo McDonald, Peter Veth
This distinctive advisor presents an inventive and archaeological trip deep into human background, exploring the petroglyphic and pictographic different types of rock paintings produced by way of the earliest people to modern peoples round the world.
-Summarizes the variety of perspectives on historic rock paintings from top foreign scholars
-Includes new discoveries and learn, illustrated with over a hundred and sixty photos (including 30 colour plates) from significant rock artwork websites round the world
-Examines key paintings of famous specialists (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and descriptions new instructions for rock paintings research
-Is greatly overseas in scope, deciding upon rock paintings from North and South the USA, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new ways within the archaeological examine of rock paintings, exploring matters that come with gender, shamanism, panorama, identification, indigeneity, historical past and tourism, in addition to technological and methodological advances in rock artwork analyses
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Extra info for A Companion to Rock Art
What is immediately clear is that the universal codiﬁcation, comparability of thematics, and varied geographies make – by deﬁnition – any assessment matrix of standardized criteria a challenge. ” Nuria Sanz (Chapter 28) provides an insider’s view of the international cooperation and implementation currently underway in realizing rock art as an eligible category for listing. Aron Mazel (Chapter 29) provides a different insider’s view in his discussion of the listing of the uKhahlamba-Drakensberg rock art and the social and political context in which this has been sustainable – and has perhaps not yet reached its full potential.
The purpose may have been to create group cohesion and identity, to manipulate land and seascapes through ritual, to delineate new territories based on emerging elites, or to transform the landscape into places of activity and/or meaning (see Chapter 7 where, interestingly, rock is moved to create the place, then transformed by the production of rock art). , David and Thomas 2009). Phenomenological and neurological approaches are openly addressed in chapters focused on the issue and consequences of altered states of consciousness.
Cutting the skin was a symbolic killing of the drum. Collection of the Minusinsk Regional Studies Museum named after N. M. Martyanov, catalogue number 2182 (photo: A. Rozwadowski with permission of the Museum). Plate 21 Namarali at Karndirrim rock-shelter repainted by Donny Woolagoodja in April 2002 (photo: Sahyma Lachman; held by Donny Woolagoodja). Plate 22 Large painted panel at Game Pass Shelter 1, uKhahlamba-Drakensberg Park World Heritage Site (scale in cm). Plate 23 Complex in-ﬁlled anthropomorphic ﬁgures, central Canning Stock Route, Australia (photo: Jo McDonald).
A Companion to Rock Art by Jo McDonald, Peter Veth