Rock art on Socotra,Yemen: the discovery of a petroglyph site on the island's south coast.

Recent fieldwork on the south coast of the island of Socotra, Yemen, has revealed a hitherto unknown petroglyph site. This site represents the first rock art to have been recorded on the south coast, an area generally regarded as being unpopulated up until the recent past. The corpus of recorded petroglyphs includes feet, cupules, anthropomorphic figures and geometric motifs, whose designs parallel those from known rock‐art sites on the north coast. The importance of this site is that it provides us with the first glimpse into the religious and socio‐political lives of the inhabitants of the previously unknown southern half of Socotra. Placing these petroglyphs within the broader context of rock‐art studies on the island of Socotra has also allowed us to begin to disentangle the skewed view of Socotra's inhabitants.     

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.     

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。     

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.     

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.     

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.     

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...     

Rock Art Between Preservation,Research and Sustainable Development—a Perspective from Southern Ethiopia

This paper focuses on southern Ethiopia, along the outer rim of the Rift Valley and not far from the Kenyan border, in an area forming part of a larger region known as a cradle of humankind. However, it also hosts a diverse Holocene rock art heritage, which is still underestimated and underdocumented. Paintings and engravings are widespread in the region, both in rock shelters and open-air sites, often located in remote areas currently inhabited by communities belonging to different ethnic groups. The aim of this paper is to present the first results of a new project in the area around Yabelo, within the broader framework of rock art research in East Africa, integrating archaeological research, preservation and heritage management with a relevant involvement of local communities. The outstanding cultural importance of these contexts offers new prospects for both scholarly research and sustainable development. The recording and study of the artworks is underway, using digital technologies that guarantee a high standard of accuracy of the documentation and non-invasive recording methods. This provides important insights for reconstructing cultural dynamics in the area between the final Pleistocene and onset of the Holocene. Moreover, the focus on rock art makes it possible to enhance local knowledge, increasing the awareness of local communities, with a significant impact on the preservation of this fragile heritage and the development of local, sustainable tourism projects. Differently from other archaeological features, rock art can have a more immediate attractiveness for contemporary observers, in terms of the apparent immediacy of the images and their emotional impact, raising awareness of cultural heritage and fostering major involvement in its preservation.     

Ancient Pottery Surface Treatments from Dakhleh Oasis,Egypt: an Experimental Study

This study examines the heating and cooling effectiveness of three common surface treatments associated with the prehistoric pottery from Dakhleh Oasis, Egypt. Experiments were conducted on replica vessels with plain, compacted and textured surfaces—observations on thermal damage were also taken to explore the relationship between surface treatment and vessel durability. The study is interested in understanding if, and how, these treatments perform differently in heating and cooling the vessel contents. This could help to explain long-term trends in the archaeological record at Dakhleh, particularly shifts in subsistence patterns. Importantly, the study highlights the potential to incorporate more experimental research within the expanding field of Egyptian ceramic studies.     

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.     

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.     

Contributions of a Heritage Values-based Approach to Rock Art Management. Lessons from the Maloti-Drakensberg World Heritage Site,South Africa

This paper is based on rock art sites of the Maloti-Drakensberg massif (South African part), where more than 600 decorated shelters have thus far been identified. Being both institutionalised heritage sites open to the public and living heritage sites associated with various social practices and utilizations, their preservation requires us to consider the complexity of the values attributed to them. Combining a multidisciplinary and empirical approach, our paper highlights the processes of hybridization between attributed values, which therefore do not adhere to a strict category approach. Being strongly linked to the contexts in which they are articulated, their identification is coupled with a consideration of the macrodynamics in which rock art sites are integrated, as well as an analysis of the links between these different contexts and the value systems identified. In conclusion, the operational dimensions of such a methodology is questioned and some initial possibilities for action are proposed.     

ICAHM redivivus!

Abstract

The measures employed in a current Siberian rock art conservation project are briefly described; and preliminary results are examined. The future development of the project is considered, and specific noninterventionist methods are suggested in an effort to contain contamination of the rock art, and so to avoid the destruction of its remaining research potential. The main site among the series of sites being discussed has suffered extensive damage from rock art recorders, as well as intentional vandalism by residents of the district's villages. In view of the steepness of most of the sites, access modifications are considered to be the most effective measures of alleviating anthropic damage. A number of less serious threats can be mitigated by fairly simple measures of altering the conditions threatening the rock art. Such measures of minimal intervention are listed. Although the paper deals with a particular region, climate, demography and geology, the underlying management philosophy may be much more widely applicable.     

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.     

Nutritional and disease stress of juveniles from the Dakhleh Oasis,Egypt

Bioarchaeologists use skeletal health indicators to measure how ancient populations adapted to their physical, cultural and biological environments. Skeletons of infants and children are rarely included in these kinds of analyses because of factors such as poor preservation, small sample size, incomplete recovery or research design. In this study, skeletal remains of juveniles aged from foetal to 15 years (N = 238) from Kellis 2, a Romano‐Byzantine cemetery in the Dakhleh Oasis, Egypt, are analysed to shed light on how infants and children were affected by Roman policies during the early years of the Christianisation of Egypt. Non‐specific indicators of physiological stress (cribra orbitalia, enamel hypoplasia and osteoperiostitis) are analysed for post‐natal individuals and interpreted in the context of the physical, cultural and biological landscapes. Results from these analyses suggest moderate levels of skeletal and dental stress with a marked improvement in general health from pre‐Roman times. This study contributes to a better understanding of juvenile paleoepidemiology and mortuary practices in Egypt during the Romano‐Byzantine period. Copyright © 2010 John Wiley & Sons, Ltd.     

花山岩画岩体开裂机理统计分析

岩体开裂是危害花山岩画最严重的病害,会对岩画造成毁灭性的破坏。为制定有效的灌浆加固措施,在对岩体开裂成因及影响因素分析和现场调查的基础上,做了统计分析。结果表明:1)岩画区共有418处开裂病害,开裂岩体以风化开裂体为主,占69%,且构造开裂体的厚度大于风化开裂体;2)构造开裂体的钙质、钙质与泥质共同充填比例为78%,高于风化开裂体的52%;3)构造裂隙和风化裂隙的张开度均以小于6mm为主,可知当张开度大于6mm时,开裂体将发生剥离掉块;4)风化开裂体的危险性I级、Ⅱ级所占的比例为57%和22%,小于构造开裂体的64%和27%,但风化开裂体多发育于岩画存在部位,易出现开裂和掉块,破坏更大;5)构造开裂体的厚度较大、裂隙连通性好、危险等级高,而风化开裂体厚度较薄、裂隙贯通性差、危险等级较高。本研究结果可为开裂岩画岩体灌浆加固及后期修复提供理论依据。     

A NEW METHOD TO DATE PETROGLYPHS

A new calibrated method based on erosion phenomena is presented for the dating of petroglyphs (rock carvings and engravings) and geomorphic surfaces. In contrast to previous methods of petroglyph dating, which sought to determine the age of various mineral and organic deposits coating the art, microerosion analysis attempts to ascertain the time of mark production itself, by creating a geomorphologically based time frame. The method involves the establishment of calibration curves for the crucial variables to be considered. These are the rock type and climate of a particular region, microerosional indices and age. The theory, practical application, and prerequisites of the method are considered, and the paper concludes by defining the disadvantages and advantages of the method.     

广西花山岩画抢救性保护修复材料的选择试验

花山岩画受环境因素作用,岩体崩落掉块、片状鳞片状剥离脱落等病害,给花山岩画造成了巨大破坏,威胁着岩画的长期保存。其中物理风化引起的岩石片状脱落病害,以及化学风化引起的颗粒状产物对岩画的危害最大,应尽快采取抢救性保护措施对其进行治理。本工作在现场调查的基础上,通过粘合剂强度分析,以及清洗剂实验,研究了治理物理风化片状剥离脱落岩石片的粘合剂性能,以及化学风化颗粒状产物的清洗效果,并在现场无岩画处进行了初步试验。结果表明,使用丙烯酸树脂环氧树脂改性的粘合剂,用于花山岩画片状剥离病害的治理时,可以达到预期目标。在对颗粒状和薄膜状风化产物进行处理,疏松的颗粒状产物,清除效果较好,对岩石没有明显影响;对于较为致密的颗粒状产物或薄膜状产物未见明显效果。