Working on Rock Art in the Dakhleh Oasis: Some Thoughts on Threats to Petroglyphs and Possibilities of Research in the Western Desert,Egypt

The rock art in Dakhleh, despite being known for more than a century, has been thoroughly investigated only since the late 1980s, and remains far from being well known especially outside of Egypt. At the same time, the consecutive seasons of fieldwork conducted by the Petroglylph Unit (part of the international Dakhleh Oasis Project) have produced a great number of findings and substantially enhanced our knowledge of the petroglyphs of this area. Here, rather than focusing on interpretive aspects of the research, I wish to discuss the threats endangering the petroglyphs in the Oasis. Dakhleh has developed very intensively in the last 100 years. It is, however, the twenty-first century which seems to pose some serious threats to archaeological heritage. Hence, in this paper I wish to report on what has been done so far to document rock art in the Oasis, and try to establish the priorities for potential future work. The agricultural and infrastructural development in the area, and the uncertain political climate in the country, heavily influence the state of rock art preservation and the possibilities of research. The need for documentation and preservation of rock art is larger than ever before, because many changes in the local landscape cannot be stopped. The time is pressing, because more and more rock art is disappearing due to the reasons discussed in this paper. Threats to Egyptian rock art in general will form a background for considerations concerning petroglyphs from the Western Desert.     

Red marals at Satakular in the Alai

The article focuses on a newly discovered petroglyphic site on the Satakular River, Ongudai Region, Altai Republic. Rock art images were found in two areas on the walls of a natural groove running through a huge monolith rock. The images include several pecked representations and two unique red paintings of Siberian deer (marals). The images have parallels in the petroglyphs of the Minusinsk tradition in the middle reaches of the Yenisei River, the Afanasyevo culture at Kalbak-Tash Mount, and the Kuilu rock shelter. An analysis of Kalbak-Tash analogies suggests that the Satakular petroglyphs represent a pair of male and female maral deer. The painted images themselves demonstrate expressed artistic skill and the rock monolith with its unusual groove represents a unique site.     

High‐resolution geospatial surveying techniques provide new insights into rock‐art landscapes at Shuwaymis,Saudi Arabia

Many parts of the Arabian Peninsula contain rock art that has received minimal archaeological attention or has not yet been thoroughly surveyed. In 2001 an extensive rock‐art complex called Shuwaymis, Ha'il Province, Saudi Arabia was brought to the attention of the Saudi General Commission for Tourism and Antiquities. This paper sets out the results of the first high‐resolution geospatial mapping and recording of rock art at this remote site. The research saw the innovative use of a differential GPS to record rock‐art panels to within 5 mm of accuracy at the site of Shuwaymis‐2, the first time that such technology has been used to record rock art in the Arabian Peninsula. With such technology it was possible to show which of eighty‐three late prehistoric rock‐art panels surveyed were in their original position and which had fallen, and to demonstrate that there was spatial homogeneity of rock‐art styles and composition across the site. The mapping recorded multiple panels of cattle, ibex, equid, large cat and other animals. The depictions of lions and cattle in particular indicate that the rock art must have been engraved no later than the early Holocene humid phase (c.10–6 ka BP).     

Socioreligious context and rock art in east-central California

Interpretations of rock art typically focus on the symbolic meaning of the art, treating the paintings and engravings implicitly as passive iconographic texts. Rock art, however, is the product of active ritual and ceremony. As such it played an important role in the socioreligious lives of its creators and users. Here I provide a study of the socioreligious contexts of the pictographs and petroglyphs of eastern California, North America, emphasizing the painted art of the Tubatulabal and Coso Shoshone territories and the petroglyphs of the Coso region and using only archaeological data. This requires, first, establishing the chronological placement of this art. Based on a variety of lines of evidence the pictographs and some of the petroglyphs are argued to be historic in age. An ethnography of communications model is then used to provide a conceptual basis for investigating socioreligious contexts and ritual functions of the art. Message content is studied using a factor analysis of painted motif types and an examination of the distribution of sites predominated by certain factors. Two motif complexes, or message content groups, are identified: a Tubatulabal ritual community, employing geometric designs, and a Coso Shoshone community, exhibiting a predominance of representational pictographs. Analysis of message form, channels, settings, and inferred ritual participants suggests that Tubatulabal art resulted from community rituals, in which all the inhabitants of a hamlet would have directly or indirectly participated. Knowledge of the rules for creating and interpreting the parietal art would have been common to all in the community. In contrast, pictographs of the Coso Shoshone were the result of private rituals, with limited numbers of participants and witnesses. The message communicated in the ritual and the painted art would have necessarily been arcane, and few in the community at large may have even known of the creation of this rock art. The Coso petroglyphs, also created by the Coso Shoshone but apparently by a different ritual community within the population, had a different set of rules for ritual actions and symbolic interpretation. The ceremonies creating the engravings were commonplace, yet logically were conducted in private or with few participants, suggesting that the knowledge concerning the means for undertaking and interpreting this type of ritual was widely known throughout the population.     

Rock art survey in the ancient oasis of Salūt (northern Sultanate of Oman): a variegated iconographic record

The systematic survey of petroglyphs in the area of the ancient oasis of Salūt, in central Oman, highlighted a rich repertoire of representations that are here discussed against the background of Arabian rock art in general. The region displays an extremely rich number of engravings along the slopes of the Jabal Hammah, north of the main site of Salūt. The majority of the petroglyphs find abundant fitting comparisons in the region. The notable exception of the motif of the “man with halberd” is presented, as it appears to be significantly rare and underlines interpretative issues concerning the so-called T-shaped signs, ubiquitous in Arabian rock art. One of its occurrences was radiocarbon dated to before the mid-first millennium BCE. This and other, relative hints for reconstructing the chronological context of the petroglyphs are discussed, indicating that engravings can be broadly dated from the second millennium BCE onwards.     

ROCK ART SITES IN JAMAICA AND THEIR ETHNOGRAPHIC INTERPRETATION

26 sites with Pre‐Columbian (Taíno) rock art are known in Jamaica, most with petroglyphs only, but there are four with painted images, and three of these are discussed: Mountain River Cave, Potoo Hole, and Spot Valley Cave. In addition, an account is given of the Warminster rock shelter, which has petroglyphs described as among the best remaining in Jamaica. Spot Valley Cave was newly surveyed in 2005, with the help of the Jamaican Caves Organization, and in the same year a rescue operation to restore the Warminster petroglyphs was carried out, in cooperation with Dr Johannes Loubser. Comparisons are made, where appropriate, to Taíno artefacts in different materials, and also to Pre‐Columbian images on other islands in the Caribbean, notably Puerto Rico. The interpretation of the Taíno images, in Jamaica and elsewhere, relies to a considerable extent on the “Account of the Antiquities of the Indians”, compiled by Fray Ramón Pané in 1494–1498, on the express instructions of Columbus. Whatever the shortcomings of a narrative compiled by an outsider, we would be much worse off without it.     

The Science of Cupules

As the apparently simplest of all petroglyphs, cupules are shown to be scientifically and culturally very complex phenomena. Despite being the most common motif in rock art, their meaning or purpose remains largely unknown. This paper explores their physical and production properties, including their technology, taphonomy, morphology, biomechanics and energy investment involved, leading to the formulation of the production coefficient. The various quantifiable factors involved in cupule production are examined, including the phenomenon of kinetic energy metamorphosis (KEM). The tribological products, tectonite laminae, a new geological phenomenon first identified in cupules, offer the possibilities of developing a direct dating method as well explaining several related geological features.     

浙江仙居岩画的微腐蚀断代

微腐蚀测年通过观测矿物晶体上的"石亏"来获知岩画的制作年代,是一种无损的"直接断代法"。仙居岩画的测年工作主要在送龙山和小方岩两处地点开展,经过观测,研究人员从岩画刻槽中取得了十一组石亏微腐蚀数据,以及两组来自吴芾墓附属石刻的校准数据。由校准后的年代计算结果可知,小方岩岩画的制作开始于东吴末年,贯穿了两晋及南北朝时期,一直延续至唐初,而送龙山岩画则为唐代作品。     

Assessing the Stability and Sustainability of Rock Art Sites: Insight from Southwestern Arizona

In light of global trends in human population growth and urbanization, burgeoning cultural heritage tourism industries, and climate change, cultural heritage places in nearly every corner of the world are significantly threatened, and will remain so into the foreseeable future. Rock art sites are some of the most imperiled, with their exposed contexts posing unique challenges to conservation. Consequently, effective management of publically accessible rock art sites necessitates a sustainable approach that weighs visitation in regard to cultural significance and site stability. This essay integrates rock art stability and sustainability assessment methodologies at the Painted Rock Petroglyph Site in southwestern Arizona. The study specifically applies the Rock Art Stability Index (RASI) to evaluate the natural and anthropogenic weathering forces impacting the site, and the Heritage Asset Sensitivity Gauge (HASG) to assess site sustainability under existing management practices in relation to current and forecasted rates of visitation. A spatial analysis of aggregated RASI data shows that visitor foot traffic has had some of the most profound impacts to the petroglyphs. Unrestricted access to the site area is also highly correlated with the presence and location of vandalism and graffiti, and visitor-related trampling has adversely affected the site’s surface artifact assemblage. Application of the HASG projects that, while existing management practices are fairly sustainable, they become less so under forecasted increases in visitation. Further, the HASG appraises the site’s cultural significance as outweighing its market appeal, indicating management efforts should prioritize conservation over tourism-related development.     

Artificial Intelligence, 3D Documentation,and Rock Art—Approaching and Reflecting on the Automation of Identification and Classification of Rock Art Images

Journal of Archaeological Method and Theory - Rock art carvings, which are best described as petroglyphs, were produced by removing parts of the rock surface to create a negative relief. This...     

Elk Heads at Sea: Maritime Hunters and Long‐Distance Boat Journeys in Late Stone Age Fennoscandia

Tumlehed is the most well‐preserved and complex prehistoric rock painting in the coastal region of south‐west Sweden. Originally reported and described in 1974, we re‐documented the panel using digital and IR photography, DStretch image enhancement software, and non‐destructive PXRF spectroscopy. This re‐documentation revealed a more complex image inventory with several previously unknown motifs and image details. The new data provide a better basis for identifying motif categories, the organization of the panel, the chronological sequence, and different frequentation periods. We report on the only known boats with an elk‐head stem in southern and western Scandinavian rock art, the emergence of rock art boat depictions in the region, and evidence for long‐distance maritime journeys and sea‐mammal hunting in the later Stone Age. Comparisons to similar images with shoreline data in Fennoscandia narrow the time range for the date of the painting to 4200–2500 BC.     

Dietary Diversity on the Swahili Coast: The Fauna from Two Zanzibar Trading Locales

Occupants of coastal and island eastern Africa—now known as the ‘Swahili coast’—were involved in long‐distance trade with the Indian Ocean world during the later first millennium CE. Such exchanges may be traced via the appearance of non‐native animals in the archaeofaunal record; additionally, this record reveals daily culinary practises of the members of trading communities and can thus shed light on subsistence technologies and social organisation. Yet despite the potential contributions of faunal data to Swahili coast archaeology, few detailed zooarchaeological studies have been conducted. Here, we present an analysis of faunal remains from new excavations at two coastal Zanzibar trading locales: the small settlement of Fukuchani in the north‐west and the larger town of Unguja Ukuu in the south‐west. The occurrences of non‐native fauna at these sites—Asian black rat (Rattus rattus ) and domestic chicken (Gallus gallus ), as well as domestic cat (Felis catus )—are among the earliest in eastern Africa. The sites contrast with one another in their emphases on wild and domestic fauna: Fukuchani's inhabitants were economically and socially engaged with the wild terrestrial realm, evidenced not only through diet but also through the burial of a cache of wild bovid metatarsals. In contrast, the town of Unguja Ukuu had a domestic economy reliant on caprine herding, alongside more limited chicken keeping, although hunting or trapping of wild fauna also played an important role. Occupants of both sites were focused on a diversity of near‐shore marine resources, with little or no evidence for the kind of venturing into deeper waters that would have required investment in new technologies. Comparisons with contemporaneous sites suggest that some of the patterns at Fukuchani and Unguja Ukuu are not replicated elsewhere. This diversity in early Swahili coast foodways is essential to discussions of the agents engaged in long‐distance maritime trade. © 2017 The Authors International Journal of Osteoarchaeology Published by John Wiley & Sons Ltd.     

基于HSI彩色模型灰度分量的宁夏岩画断代研究初探

岩画是古代先民生产、生活、祭祀等活动的生动记载,是人类文明的史诗,岩画的断代一直是岩画研究的难点,文中提出了一种基于色度、饱和度和灰度(HSI)彩色模型的数字图像处理技术提取岩画灰度值(I)的方法,利用岩画灰度值与岩画作画年代之间的线性可比关系,测定岩画的年代。此方法能提取整个岩画中的灰度值,避免了手工提取有限个点的缺陷。试验结果表明此方法能为岩画的断代提供一种可参考的、简便的、快速的计算机解决方法,但测定年代的准确性依赖于选取的岩画标尺年代的准确性。     

On the Possible Origins of an Unusual (Mid to Late Holocene) Coastal Deposit,Old Punt Bay,South‐East Australia

An unusual coarse, shelly sedimentary unit is found elevated above present mean sea level in a sheltered pocket embayment at Old Punt Bay in south‐eastern Australia. The coarse sediments, diverse microfauna, and large shelly macrofauna of mixed affinity suggest that the deposit is the result of high‐energy deposition. The deposit was previously thought to have been deposited 1000–1300 cal bp based on one shell dated using ¹⁴C and amino acid racemisation. However, additional ¹⁴C dating indicates a likely age of ～2500 cal bp . Regardless of age constraints, the presence of rock‐encrusting oyster shells and large articulated bivalves, suggests that the depositional event must have been capable of removing and transporting coarse sediments (rock clasts), bivalves, and oysters shells from a variety of seaward environments and depositing them with little abrasion, something storm waves are unlikely to do. The deposit may be tsunamigenic. If a tsunami origin is accepted, the new dating results indicate that it is possibly coeval with a tsunami event previously reported to have affected several other sites along the coast of New South Wales at c. 2900 cal bp . Consequently, this deposit provides evidence for the event at a new site and importantly, a tighter constraint on the likely date of the events occurrence. It further adds weight to the developing catalogue of palaeotsunamis that may have affected the south‐eastern coast of Australia. Regardless of the deposit's origins, if viewed from a coastal planning perspective, this deposit indicates that this part of the coast has experienced large‐scale overwash events in the past that if repeated, would be catastrophic. There are serious implications for risk management.     

Three-dimensional recording by laser scanning of the petroglyphs at Rombald's Moor,West Yorkshire

Abstract

A variety of methods have been used to depict and document petroglyphs, from hand sketching to close-range photogrammetry. Most methods, however, record only a two-dimensional image, whereas petroglyphs are by their nature three-dimensional. Additionally, most methods suffer from inaccuracies resulting from the skill and subjectivity of the recorder or distortions imposed by the equipment and conditions under which the panel was viewed. Conventional three-dimensional recording techniques such as the use of traditional moulding and casting materials, may damage the petroglyph itself. An assessment of the various shortcomings of established rock art recording methods resulted in the field-testing of laser scanning with the objective of obtaining a quantitative, three-dimensional record of petroglyph panels and the creation of non-contact replicas. This paper presents the principles behind laser scanning and an account of field trial results of laser scanning rock art in situ at Rombald's Moor, West Yorkshire, England. The work presented was undertaken as part of the Rock Art Pilot Project commissioned by English Heritage in July 1999.     

Murujuga,Northwestern Australia: When Arid Hunter-Gatherers Became Coastal Foragers

ABSTRACT

The Dampier Archipelago (Murujuga) in northwestern Australia is a rich rock art province located in an arid-maritime cultural landscape. The archipelago juts into the Indian Ocean just north of the Tropic of Capricorn. When people started inscribing this rugged granophyre landscape it was an inland range more than 100 km from the coast. Murujuga rock art is contextualized by a 47,000-year-old occupation sequence from the Pilbara, a model for stylistic change, and a predictive model that envisages how people may have adapted to this eventual seascape. Initial testing of an outer island suggests that highly mobile coastal foragers took advantage of interior ranges across the Abydos Plain as sea levels rose after the Last Glacial Maximum. This article describes for the first time evidence for Australia's earliest domestic stone structures (dated to between 8063 and 7355 cal BP) and tests the predictive model. Rosemary Island is an inscribed landscape that reveals the emergence of an arid island and provides insights into the dynamics of mobile arid hunter-fisher-gatherers in the early Holocene. It adds to the body of Australian evidence for island abandonment with insulation, but with minimal evidence for subsequent (re)colonization.     

A FIELD METHOD FOR INVESTIGATING the DISTRIBUTION of ROCK ART

Summary: Recent studies of prehistoric rock art have analysed its position in the landscape and have suggested that it played an important role in a mobile pattern of settlement. But the distribution of petroglyphs is usually taken as given, with the result that it is difficult to assess the significance of this kind of patterning. We argue that such evidence should be compared with the distribution of uncarved rocks across the surrounding area, and illustrate this procedure by two case studies from northern England. In these examples rock carvings were carefully sited at viewpoints and may have overlooked important routes across the landscape.