A Companion to Rock Art by Jo McDonald, Peter Veth

By Jo McDonald, Peter Veth

This specified advisor offers a creative and archaeological trip deep into human background, exploring the petroglyphic and pictographic kinds of rock paintings produced via the earliest people to modern peoples round the world.
-Summarizes the variety of perspectives on historic rock paintings from top foreign scholars
-Includes new discoveries and study, illustrated with over a hundred and sixty pictures (including 30 colour plates) from significant rock artwork websites round the world
-Examines key paintings of famous specialists (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and descriptions new instructions for rock paintings research
-Is widely overseas in scope, settling on rock paintings from North and South the USA, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new ways within the archaeological learn of rock artwork, exploring concerns that come with gender, shamanism, panorama, id, indigeneity, historical past and tourism, in addition to technological and methodological advances in rock artwork analyses

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Linea Sundstrom (Chapter 19) focuses explicitly on contextual analysis at a variety of scales (landscape setting, RESEARCH ISSUES AND NEW DIRECTIONS 9 geographic range, and environmental correlates), sources (historically related cultural practices, sacred stories, and beliefs), and diachronic control. ” The importance of context is exemplified by the case study presented by Robert Bégouën, Carole Fritz, and Gilles Tosello (Chapter 21). Drawing on their collaborative research with others in the Tuc d’Audoubert (Bégouën et al.

Collaborative research, as discussed above, is exemplified in Chapter 33 by Jean Clottes and Jean-Michel Geneste. The need for a conservation approach was recognized early, and access to the cave was minimized, protecting the integrity of the rock art’s context and evidence for ongoing research. 1). Chapter 32 by Karen L. Steelman and Marvin W. Rowe provides an accessible entrée into the science behind dating very small charcoal and other carbon samples. The minuscule quantities of organics in most pigment art require the use of accelerator mass spectrometry, and the authors describe how plasma chemistry improves the viability of dating paintings using this process.

Plate 6 Hand stencils on a wall of Fetra-Hé cave, Lifou Island, New Caledonia archipelago. Plate 7 Rock art from the second and third stylistic phases in the Katavani Kunta Valley, Andhra Pradesh, India: a large red in-filled profile anthropomorphic figure superimposed by a large outlined feline figure with spotted in-fill (photo: J. Blinkhorn). Plate 8 Great Mackerel Rock-Shelter: women and babies hands and digging stick composition in white stencils (enhanced using D_stretch; lab_cb). se). Alfssøn’s documentation is published by kind permission of the Arnamagnæan Institute at Copenhagen University, Denmark.

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