Digital Technology in Research and Documentation of Hunter-Gatherer Rock Art in South Africa

The use of digital technology to enhance and manipulate photographs of rock paintings affords researchers insights into imagery that was formerly invisible or obscure. Image enhancement and manipulation software have greatly increased the data set available for study. There is a wide range of techniques available in the digital repertoire, depending on the aim of the research. Here, three South African case studies are discussed in which hunter-gatherer rock paintings are enhanced and manipulated to create digital “tracings” using the computer programmes Adobe Lightroom, Adobe Photoshop and DStretch. The results obtained with these simple techniques are presented here, because they might prove useful for rock art research elsewhere in the world. It must be noted, however, that these technological developments do not eliminate the subjective nature of recording and interpreting rock art or the necessity of a theoretical framework in which to understand the imagery.     

NEUTRON TOMOGRAPHIC ASSESSMENT OF INCISIONS ON PREHISTORIC STONE SLABS: A CASE STUDY FROM WONDERWERK CAVE,SOUTH AFRICA*

This study presents the application of neutron tomography to the analysis of ironstone slabs found in a late Earlier Stone Age context (Fauresmith industry) at the back of Wonderwerk Cave, Northern Cape Province, South Africa. These slabs have markings on the surface that might be anthropogenic, and thus significant to understanding the emergence of human symbolic behaviour. Neutron tomography proved to be an effective tool for distinguishing surface incisions from lines that are the expression of internal fissures in the rock.     

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.     

Uranium-series age estimates for rock art in southwest China

We report the first uranium-series age estimates for rock art in China. Calcite bracketing a paint layer was used to constrain the age of a naturalistic outline hunter-gatherer painting in the Jinsha River area of northwest Yunnan Province (southwest China). The rock paintings in this region are unique in style and content compared with other bodies of rock art in China, which are dominated by Neolithic subject matter. The minimum and maximum ages were determined using isochron techniques on multiple samples of calcite from above and beneath the paint layer. A large painted deer head was dated to between 5738 and 2050 years. This painting and underlying flowstone are superimposed on older paintings that suggest the older paintings are at least 3400 years old, if not older than 5738 years. The results indicate for the first time that Jinsha River rock art is older than other forms of rock art in the region and show that rock art likely extends back to at least the transition from the Palaeolithic to Neolithic in this part of China.     

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.     

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.     

广西左江岩画的艺术特征及其价值

左江沿岸保存着许多古代壮族先民骆越人的珍贵化遗产——岩画,左江岩画有她自己的模式、风格、特征,当把这些共同的特征结合起来后,可以形成一个整体的概念。     

THE ORIGIN AND GEOCHEMICAL CHARACTERIZATION OF RED OCHRES FROM THE TITO BUSTILLO AND MONTE CASTILLO CAVES (NORTHERN SPAIN)*

Ochres were the most common source materials for pigments used in Palaeolithic rock art paintings. This work analyses the petrographic and geochemical signatures of different ochre samples from outcrops inside Tito Bustillo Cave and the Monte Castillo Caves using the most common techniques (petrography, XRD, SEM–EDS and ICP–MS) in archaeological pigment characterization studies. The results obtained permit the identification and characterization of the different source ochre types and, furthermore, allow the establishment of mineralogical and geochemical proxies for the study of questions related to ochre characterization, formation processes and provenance.     

Rock Art Conservation and Tourism

Rock art conservation has developed hand-in-hand with the increased pace of tourism, yet the two activities tend to remain in opposing camps. Policies and guidelines have been developed for cultural heritage and cultural tourism and there is a widely accepted range of principles in place, but a theory of sustainable rock art tourism is only in its infancy. To mature, the discipline needs research into the interaction of key elements that affect the long-term conservation of frequently visited rock paintings and engravings in their original setting, as well as consideration of social and economic factors that drive tourism and the public interest in rock art.     

The Sound of Rock Art. The Acoustics of the Rock Art of Southern Andalusia (Spain)

This paper explores the potential of acoustics to interpret the prehistoric rock art of southern Andalusia (Spain). Tests undertaken in two areas, north of the Celemín river and the Bacinete area, will form the basis of our discussion. The results obtained at a selection of rock art sites show that the two key rock art sites, El Tajo de las Figuras and the large shelter at Bacinete, both with the majority of paintings in the earlier Laguna de la Janda style, had good resonance values. In contrast, at most of the other minor sites tested, the values for resonance were negative or insignificant, regardless of whether they were painted in Laguna de la Janda or schematic style. We conclude that the major rock art sites in southern Andalusia were chosen not only for their geological appearance and location in the landscape, but also for their acoustic properties.     

岩画断代研究——科技考古学领域中一个亟待解决的问题

探索和研究表明,岩画断代问题仍然是困扰岩画研究的难题之一,其主要原因是岩画本身不能够提供可供断代的直接依据。本文综述了目前岩画断代研究中经常使用的自然科学和考古学方法及其存在的问题,提出应用AMS14C是今后研究我国岩绘画断代问题的首选方法,解决岩刻画的断代问题则主要有赖于微腐蚀方法。     

Designing Digital Recording for Volunteers in Rock Art Surveys,Management Plans and Public Outreach in the Cederberg,South Africa

The rock art survey and recording project described in this paper was designed for volunteers and heritage professionals involved in locating and mapping the position of rock art and other archaeological sites in the field, recording basic details for conservation and management, and making these details accessible in digital format for researchers who might want to undertake further investigation. An OpenDataKit (ODK) App with a digital site recording form was designed for mobile phones to be used in the field and to send data directly to the digital inventory of the South African Heritage Resources Information System (SAHRIS). The inventory has accumulated over 3000 sites with Later Stone Age rock paintings in the mountainous terrain of the Cederberg, a region that includes properties in the serial Cape Floral Region World Heritage Site in the Western Cape Province. More than a third of these rock art sites have been added to the database since 2007 by the members of the South African Archaeological Society. The information forms the basis for rock art management plans that are given to property owners to guide them in maintaining the value of the rock art. Interpretation of the information has raised awareness of the significance of the rock art in its historical and landscape setting with a trail and information boards. Local residents and CapeNature staff, who have received training in rock art monitoring and tourist guiding, play a key role in implementing the management plans for CapeNature properties, and monitoring individual sites and trails. The broader international context of volunteer programmes for archaeological site recording suggests that this type of programme has the potential to raise awareness of rock art beyond books and visits to museums and public lectures.     

Non-invasive portable instrumentation to study Palaeolithic rock paintings: the case of La Peña Cave in San Roman de Candamo (Asturias,Spain)

La Peña de Candamo Cave, listed as World Heritage by UNESCO in 2008, preserves one of the most important collections of parietal art in the North of Spain and there is an urgent need to evaluate the status of the cave both archaeologically and from the conservation and restoration points of view. In this work, the usefulness of non-invasive mobile instrumentation, such as Raman and EDXRF spectroscopies, is shown when this type of assessments are required under adverse experimental conditions. In addition to the rapid diagnosis that this non-invasive and mobile instrumentation provided, based on the subsequent multivariate analysis of collected spectra, it was possible the identification of the main pigments of the rock art as well as their different origins. Finally, this study also showed the biodeterioration and decalcification processes observed in some areas of the cave and revealed the damage suffered during decades. The effects of such decaying processes over pictorial layers show up the need of a continuous preventive control of paintings in order to minimise further deteriorations.     

Mourning the Un-mournable? Political Theology Between Refugees and Religion

Since the arrival, or the attempted arrival, of millions of refugees in Europe, the performances of the Center for Political Beauty – a Berlin-based collective of artists and activists – have had a huge impact on public and political debates about Germany's migration policies. In this paper, I analyze the performance “The Dead Are Coming” in which the artists buried refugees who drowned in their attempt to enter the European Union. Drawing on Judith Butler's political philosophy of performativity, I assess “The Dead Are Coming” as a “doing” rather than a “describing” of dignity. I argue that the integration of God into the practices of mourning enables both the activists and the audience to resist the differential distribution of dignity in Europe's migration policy. Ultimately, I advocate a re-thinking of political theology in which art learns from theology and theology learns from art in order to promote dignity under de-dignifying conditions.     

Acoustics and Levantine rock art: auditory perceptions in La Valltorta Gorge (Spain)

This article explores the relevance of acoustics as a factor for in the production and active use of Levantine rock art in Spain. The renowned rock art area of La Valltorta Gorge serves as a case study. Two experiments are described; the first assessed whether the sites with the most painted motifs had better acoustics than those with fewer motifs. The second tested which areas in La Valltorta Gorge had better acoustics and whether there was a difference between the acoustics of the decorated area and the contiguous sectors of the Gorge where no paintings have been found. In both experiments different sounds and pitches were used. The results suggest a strong relationship between the painted areas and the sonority of the place, with the major sites generally having provided the best results, with the exception of the sonority when facing the rock art panels. It is suggested that La Valltorta Gorge was chosen to be decorated with a view to increasing the perceptual impact of the rituals that may have been held at rock art sites due to the amplification caused by the echoing and resonance.     

Rock surface luminescence dating of prehistoric rock art from central Iberia

Rock art paintings are notoriously difficult to date numerically. Recently, luminescence dating has been shown to provide reliable rock surface burial ages in various archaeological settings. Here we use the cross-cutting relationship between a fallen rock and two paintings of the Iberian Levantine (older) and Schematic (younger) styles to constrain the age of the paintings by dating the rockfall event using rock surface luminescence dating. Infrared-stimulated luminescence (IRSL) signals as a function of depth into the buried face of the talus border indicate that the IRSL signal measured at 50°C (IR₅₀) was sufficiently reset to a depth of about 1.6 mm prior to burial. An uncorrected IR₅₀ age of 1.6 ± 0.2 ka was calculated for the rockfall event by dividing the surface equivalent dose (D_e) by the total dose rate. This age was corrected using both conventional and field-to-laboratory saturation approaches to yield indistinguishable ages of 2.7 ± 0.5 and 2.9 ± 0.3 ka, respectively. Since the panel with Schematic art was first available to the artist after the rockfall, we conclude the Schematic rock art at Villar del Humo is younger than ~2.9 ka. The Levantine rock art was painted on a panel constrained by the talus boulder before detachment, and so it is likely to be older than ~2.9 ka.     

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。     

First absolute dating of Andean hunter-gatherer rock art paintings from North Central Chile

We report the first absolute dating for rock paintings by Andean hunter-gatherer groups. Analysis by Raman spectrometry of remains of black paintings from the center-north of Chile (30° lat. S) allows for the identification of carbon as the raw material. Radiocarbon dating situates these paintings between 1623–1431 BCE and 80–240 ACE, dates that are supported by other lines of independent evidence. These results are consistent with proposals that suggest the appearance and popularization of rock art in various places in the Andes for the temporal transect of 3000–1000 BCE. Finally, these new datings are added to the scant corpus of absolute dates for rock art that exist in South America.