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.     

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.     

Public archaeology and political dynamics in Portugal

Abstract

The two hardest-fought rock art conservation battles in the history of the International Federation of Rock Art Organizations have been the campaigns to save the petroglyph sites in the lower Côa valley of northeastern Portugal and in the Guadiana valley in southeastern Portugal. They have become test cases of rock art conservation and site management issues. This paper summarizes the history of these campaigns and the effects they had on rock art management practices in Portugal. Specific attention is given to the responses of the public archaeologists in this controversy, and to some specific and generic aspects of the issue that are in a general sense relevant to the sociology of state-funded agencies charged with the protection of archaeological resources.     

Dating North America's oldest petroglyphs,Winnemucca Lake subbasin,Nevada

On the west side of the Winnemucca Lake subbasin, Nevada, distinctive deeply carved meter-scale petroglyphs are closely spaced, forming panels on boulder-sized surfaces of a partially collapsed tufa mound. The large, complex motifs at this side are formed by deeply carved lines and cupules. A carbonate crust deposited between 10 200 and 9800 calibrated years B.P. (ka) coats petroglyphs at the base of the mound between elevations of 1202 and 1206 m. Petroglyphs above the carbonate crust are carved into a branching form of carbonate that dates to 14.8 ka. Radiocarbon dates on a multiple-layered algal tufa on the east side of the basin, which formed at an elevation of 1205 m, as well as a sediment-core-based total inorganic carbon record for the period 17.0–9.5 ka indicate that water level in the Winnemucca Lake subbasin was constrained by spill over the Emerson Pass Sill (1207 m) for most of the time between 12.9 ± 0.3 and ≥9.2 ka. These and other data indicate that the lake in the Winnemucca Lake subbasin fell beneath its spill point between 14.8 and 13.2 ka and also between 11.3 and 10.5 ka (or between 11.5 and 11.1 ka), exposing the base of the collapsed tufa mound to petroglyph carving. The tufa-based ¹⁴C record supports decreased lake levels between 14.8–13.2 ka and 11.3–10.5 ka. Native American artifacts found in the Lahontan Basin date to the latter time interval. This does not rule out the possibility that petroglyph carving occurred between 14.8 and 13.2 ka when Pyramid Lake was relatively shallow and Winnemucca Lake had desiccated.     

PERSPECTIVES ON THE DATING OF PREHISTORIC GREAT BASIN PETROGLYPHS BY NEUTRON ACTIVATION ANALYSIS

The possible relative dating of petroglyphs by nuclear measurements on desert varnish is explored. The abundances of 30 major and trace elements in desert varnish samples from the Grimes Point petroglyph site in western Nevada were measured by neutron activation analysis techniques. Samples of both desert varnish and heart rock from a non-artifactual test boulder of andesite were studied and the elements tungsten, arsenic, antimony, thorium, uranium, manganese and cerium exhibited the greatest enrichments in the surface samples and may be of use for dating purposes.     

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).     

Mid-Holocene age obtained for nested diamond pattern petroglyph in the Billasurgam Cave complex,Kurnool District,southern India

India has one of the world's largest and most significant bodies of rock paintings and engravings, yet not a single rock art site or image has been directly and accurately dated using radiometric techniques. Here we report on results from the Billasurgam Cave complex near Kurnool in southern India. Although this cave complex has been investigated archaeologically since the late 1800s, it was not until 2008 that a large petroglyph, consisting of the remains of three nested diamond designs on a stalactite, was noted. In order to determine if this petroglyph had been made recently, flowstone was sampled from on top of and below the engraving. Radiocarbon dating revealed a mid-Holocene age of about 5000 cal BP for the petroglyph, but we cannot rule out the possibility that the engraving is several centuries younger. Similar nested diamond designs at some rock painting sites and on a chert core elsewhere in India have been assumed to be Mesolithic. Our result is consistent with this hypothesis, although we note that it also consistent with the creation of the petroglyph in the early Neolithic. We conclude that the Billasurgam engraved diamond design was probably made by Mesolithic foragers of the Kurnool region and is the oldest surviving form of rock art yet directly dated in southern India.     

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.     

Preparation for Deep Learning:

ABSTRACT

Norman H. Hardy is not a well-known historical character, so an element of salvage exists in bringing his art and book illustration to a wider audience. His short career as an artist with the Sydney Mail and the 68 paintings in The Savage South Seas in 1907 open up a wider discourse concerning the links between art and photography, between visitation and recording in the field, between art and journalism, and between popular imagination and the publishing practices for illustrated travelogues. Hardy's paintings of Papua, Solomon Islands and New Hebrides reached a wide audience and provide a close-up, intimate record of Indigenous life in the islands, as well as hinting at complex encounters between Islanders and traders. The visual evidence in The Savage South Seas also contributes to debates about the motivations of early 20th-century Euro-American travellers, authors and purchasers of books on the Pacific and provides yet another citation of notions of faraway lands and people in the Pacific as perceived by distant readers and audiences.     

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.     

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...     

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.     

Prehistoric land use at an archaeological hot-spot (the rock art park of Campo Lameiro,NW Spain) inferred from charcoal,synanthropic pollen and non-pollen palynomorph proxies

Pollen, non-pollen palynomorphs and charcoal from a colluvial soil surrounded by prehistoric petroglyphs (Campo Lameiro, NW Spain) were studied in order to assess the nature of human activities and their impact on Holocene vegetation patterns. Several phases of anthropogenic impact were observed. (i) Between 7.6 and 6.5 ka cal BP, synanthropic taxa (Urtica dioica type, Plantago lanceolata type) and coprophilous fungi (e.g. Sporormiella-type) are indicative of early (pre-agricultural) creation of small patches of pasture using fire, possibly for incipient animal husbandry or as part of a deliberate strategy to improve game availability. Such activities only had a minor effect on the deciduous Quercus-dominated forest established earlier during the Holocene Thermal Maximum. (ii) Between 5.9 and 4.8 ka cal BP a more intense signal indicative of pastoral activity was detected, corresponding to the Neolithic period. (iii) Between 4.8 and 3.4 ka cal BP, which fits within the hypothetical timeframe of petroglyph creation, the synanthropic and humidity (e.g. Cyperaceae, Mougeotia) indicators diminished while charcoal concentration increased, which can be explained by Mid-Holocene cooling/drying (Neoglaciation) in combination with reduced human impact, or by non-pastoral activities in the area possibly in association with the development of the rock art culture, converting pasture to protected open ground through anthropogenic fires. (iv) During the Late Bronze Age and Early Iron Age (3.4–2.5 ka cal BP), grazing pressure and fire regime intensity are high, coinciding with evidence of regional forest regression, despite an amelioration in climate. (v) Later phases, not corresponding to prehistoric rock art contexts, include a phase of heavy grazing and reduced fire frequency (from ca. 2.5 to 1.2 ka cal BP) as well as the near complete elimination of the deciduous woodland, the expansion of ericaceous shrubland and the evidence of local agriculture and afforestation. These results are consistent with earlier studies in the area and highlight the spatial heterogeneity in the vegetation especially during periods of prehistoric anthropogenic interference.     

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.     

Valuing rock art: a view from Northumberland in North East England

Abstract

Since the turn of the millennium three rock art projects focusing primarily on Northumberland in the United Kingdom (Northumberland Rock Art: Web Access to the Beckensall Archive, Rock Art on Mobile Phones and Heritage and Science: working together in the CARE of rock art) have made information and images widely available to the public via the Internet. All three projects were strongly underpinned by the ethos expressed in the Faro Convention and the Ename and Burra Charters that the value of cultural heritage should be enhanced by interpretation. This paper investigates the responses to these digital media initiatives, showing that they have increased the reach of this ancient rock art resource to large numbers of people in United Kingdom and Ireland, and globally. In addition, it reveals that having made these heritage resources available online, they have created a further desire among people to engage with the rock art virtually with the increased possibility of following this up with an in situ visit.