Knowledge capture and transfer in rock art studies: Results of a questionnaire on rock art decay in Britain

Abstract

Several thousand prehistoric rock art sites are known in Britain, yet the degree of preservation of these engravings remains a poorly researched and undervalued aspect of the historic environment. Our lack of knowledge has severe implications for how we interpret the rock art sites and how we conserve and manage them. The ongoing ‘Fading Rock Art Landscapes’ project aims to address this gap in our knowledge by gathering information on the rate and nature of decay in prehistoric engravings. As part of the project, a questionnaire was distributed to a number of individuals who, for up to thirty years, have been visiting and recording rock art and who have a detailed knowledge of the sites, how they have changed over time and the types of threat to which they are exposed. In particular, the questionnaire aimed to capture individuals' perceptions of how three groups of agents (physical/chemical, animal, human) influenced the degradation of the engravings. The synthesized results reveal common perceptions of a duality in the rate and nature of decay, with a slow background level of erosion caused by physical and chemical agents, over which is superimposed a rapid, variable degradation from the impact of humans and animals.     

Latest developments in rock art recording: towards an integral documentation of Levantine rock art sites combining 2D and 3D recording techniques

This paper presents a further step in the integral documentation of prehistoric rock art, combining 2D and 3D digital recording techniques. Image processing and digital enhancement techniques are an invaluable aid to obtain high quality and accurate 2D recordings, especially when working with faint motifs or complex superimpositions. But what constitutes a real breakthrough is the possibility of combining 2D digital tracings with metric 3D models, providing a whole set of metric outputs that improve our understanding of the motifs in their context and, at the same time, can be used to deliver accurate metric reproductions.     

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.     

佛山石湾陶瓷艺术的数字化保护及利用研究

文化遗产和艺术作品的数字化保护与数字内容应用是近年来国内外文化界和科技界的一个共同研究热点,也是我国积极推动文化创新和文化产业发展的重要内容。为了更好地开展我国首批非物质文化遗产的佛山石湾陶瓷艺术的数字化保护工作,研究了非接触式光学三维扫描设备进行表面反光的陶瓷作品三维数据扫描和形态整合的问题。同时研究了利用HDR技术进行陶瓷表面色彩纹理信息采集和复原的技术方法,得到完整的陶瓷作品数字化模型,达到了对文化遗产数字化保护和数字内容建设的目的。最后,讨论和研究了文物数字化内容的宣传和推广方法,并给出了实际应用的案例。     

Face images in Lower Angara rock art

The Lower Angara rock art database includes relatively complete information on 42 petroglyphic sites with 155 representations of anthropomorphic faces. The classification of these images and their chronology, assessed on various grounds, suggests that they are roughly contemporaneous and are associated with Okunev art of the Late Neolithic and Early Bronze Age (3rd – 2nd millennia BC). Having originated in the Stone Age, the tradition of depicting anthropomorphic faces was practiced by the taiga tribes of the Lower Angara until recent centuries.     

Uranium-series dating rock art in East Timor

At many sites throughout the world rock art paintings have been covered by naturally deposited calcite laminations, which we demonstrate can be individually dated by recently improved uranium-series methods. Here we report the application of multi-collector inductively coupled plasma mass spectrometry to measure the ages for carbonate coatings that bracket red pigment at Lene Hara cave, East Timor, which could be evidence of human painting. These analyses establish the feasibility of dating milligram samples of finely layered calcite deposits associated with archaeological evidence of human occupation. In addition to confirming an age of less then 6300 years for the visible red paintings on the carbonate surface we also report a substantially older age of 24,000 to 29,300 years for a similar, older red pigment lamination providing possible evidence for an earlier painting episode.     

Computer vision methods and rock art: towards a digital detection of pigments

A non-invasive procedure for assessing and interpreting the pigments of rock art paintings through computer vision and photogrammetric techniques is presented. The method is designed to document and interpret poorly preserved pigments by making use of advanced techniques of photogrammetry and computational imaging. Two different software solutions that were developed by the authors have been used for this purpose. Finally, two case studies of rock art paintings from Spain have been analysed, which show the reliability of the method.     

Ethics,politics and practices in rock art conservation

Abstract

Weathering and deterioration of Norwegian rock art has become an increasing area of concern over the last decade, with subsequent increasing efforts towards conservation. This has brought questions onto the agenda regarding the ethics and politics involved in conservation theory and practice. It is argued that such issues have been difficult to debate due to the concept of conservation being regarded as a legal and moral ideal. Referring the situation in Norway to ongoing global debates and perspectives regarding rock art conservation enables us to reveal and discuss some of the fundamental and complex philosophical issues involved. Notions of authenticity which implicitly underlie attitudes to rock art conservation are questioned, and the relationship between ‘green’ politics and rock art conservation is also discussed. A tendency towards uniform solutions and avoidance of critical issues, seen as influenced by strong social-democratic political traditions in Scandinavia, is at odds with the growing realization that most approaches to rock art conservation inevitably have unforeseen and frequently undesired consequences. Rather than further segmenting ethics, politics or practices in rock art conservation, a self-critical and reflective approach is suggested whereby changing concepts of ethics and authenticity are continuously debated.

Aucune loi ne pourra jamais préserver la sacralité d'un lieu … si ce n'est une loi morale, non écrite,adoptée et respectée par chaque individu, un véritable code personnel d'éthique.

(Soleilhavoup, 1994: 14)     

Boats in the rock art of Kanozero and Northern Europe

A comparative analysis of boats depicted in the rock art of Lake Kanozero and Northern Europe suggests that they refer to the same type, which was common in northern cultures and was characterized by a protruding straight keel, an oblique sternpost, and a stem post decorated with an elk head. The design apparently consisted of a broad keel plank to which the sides, bow, and stern were attached. In boats represented at Kanozero, this plank protrudes forward, beyond the nose, and backward, beyond the stern.     

Representation and knowledge in the prehistoric rock art of Africa

This study proposes that prehistoric rock art in Africa represents aspects of the natural and social environment which are aesthetically charged, for practical and symbolic reasons, and which are also problematic, in specific ways, for ordinary, untutored perception. Rock art functions as a medium of communication in three principal contexts. It refers to an extended network of ritual acts and beliefs, to out-of-the-ordinary perception and knowledge, and to adaptively significant local information. Rock art is therefore a particular, specialized instrument of the production process. Investigating the study of prehistoric art from art historical, archaeological, and anthropological points of view, the paper examines the ways in which the original contexts of function or meaning might be reconstituted, given the special nature and constraints of graphic representation as a mode of knowledge. Three major traditions of prehistoric rock art in Africa, the Sahara, Nile valley, and southern, are the focus of discussion and source of examples. The paper takes as a general theme the feasibility or possibility of an adequate archaeology of prehistoric knowledge.

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Résumé La présente étude propose que l'art rupestre préhistorique en Afrique représente des aspects du milieu naturel et social, exprimés de façon esthétique pour des raisons pratiques et symboliques, et qui présentent aussi des problèmes particuliers face à une perception non instruite. L'art rupestre sert de moyen de communication dans trois contextes principaux: il fait allusion à un réseau compliqué de croyances et d'actes rituels, à une perception et à des connaissances hors de l'ordinaire et à des renseignements locaux affectant l'adaptation. L'art rupestre figure donc comme instrument particulier et spécialisé dans le processus de production. En vérifiant l'étude de l'art préhistorique des points de vue historique, archéologique et anthropologique de l'art, l'article examine les façons selon lesquelles les contextes originaux de la fonction ou la signification pourraient être reconstitués, selon la nature et les contraintes spéciales de la représentation graphique comme genre de connaissance. La discussion se centre sur trois traditions principales d'art rupestre préhistorique, celles du Sahara, de la vallée du Nil et de l'Afrique du Sud, d'où sont aussi tirés les exemples. L'article a pour thème général la possibilité d'une archéologie mieux adaptée à la reconstruction des modes de connaissance préhistorique.

     

A multi-technique characterization and provenance study of the pigments used in San rock art, South Africa

During the course of a conservation project at the rock shelter known as RSA TYN2 (Eastern Cape, South Africa), a sample of 33 painted fragments that had become detached from the wall were collected. They have been studied using a multi-technique approach (optical microscopy, SEM-EDS, Raman spectroscopy and FTIR), with the aim of achieving a better understanding of their paint stratigraphy, composition, and provenance. The paintings are on a Clarens Formation sandstone and are embedded in calcium sulphates and oxalates. The red pigments show two different ‘hues’, corresponding to two different compositions. The light red is a red ochre, possibly pure, which is probably a degradation product of the Clarens Formation sandstone. The dark red contains more iron oxides and may be a mixture between the red ochre and pure haematite. Because of the presence of crystals which may be identified as augite we suggest this haematite came from the basaltic upper part of the Drakensberg, at least 4 km away from the rock shelter. The black pigments have been identified as carbon black, that is to say, incomplete combustion products of organic compounds, and are radiocarbon dated to between 2120 and 1890 cal BP, making these samples the oldest directly dated South African rock art.     

贺兰口岩画风化病害机理

贺兰山岩画在世界岩画中占有重要的地位,由于自然环境因素的长期作用,贺兰山岩画遭受到了严重的破坏,若不尽快采取有效措施,这些珍贵的历史文物将不复存在。但是,截至目前关于贺兰山岩画风化机理的研究甚少,从而严重制约了对其风化机理准确地、有效地科学认识。为此,以贺兰口岩画为研究对象,在风化现状调查的基础上,对其保存环境的温度、湿度、大风及沙尘天气等数据进行统计分析,利用X射线衍射仪、扫描电子显微镜等测试手段,并结合冻融实验和风洞试验进行风化病害机理研究。研究发现,贺兰口岩画以长石杂砂岩为主,引起其风化的因素有温度、湿度、风沙等。其中,温度变化和风沙剥蚀为主要病害因素。该研究有望为全面了解岩画风化机理以及其后续保护工作的实施提供理论基础。     

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.