C. Helm, Andrew S Carr, H. Cawthra, Paul D. Cowley, J. D. Vynck, Pieter-Jan Gräbe, Renée Rust, Willo Stear, Alan K. Whitfield
A purported cemented sand sculpture found in Pleistocene aeolianite deposits on the Cape south coast of South Africa resembles a stingray (minus a tail) in outline. Symmetry is evident in the rock’s shape and the pattern of grooves on its surface. It is postulated that it may be a three-dimensional example of representational art of another species. Optically stimulated luminescence studies of rocks in the vicinity indicate that it dates to the Middle Stone Age, most probably during Marine Isotope Stage 5 (when high sea levels imply a nearby coastline). The correspondence in shape between the purported sand sculpture and the blue stingray (Dasyatis chrysonota) suggests that it may have been traced from a fresh specimen. Tracings on sand are postulated as a possible ‘stepping stone’ between abstract early palaeoart and representational rock art. Features of the rock suggest that the creation of a stingray sand sculpture may conceivably have been followed by symbolically wounding it and amputating its lethal end. Identification of further ammoglyphs will be important in refining the analysis of this newly identified form of early palaeoart.
{"title":"A PURPORTED PLEISTOCENE SAND SCULPTURE FROM SOUTH AFRICA","authors":"C. Helm, Andrew S Carr, H. Cawthra, Paul D. Cowley, J. D. Vynck, Pieter-Jan Gräbe, Renée Rust, Willo Stear, Alan K. Whitfield","doi":"10.56801/rar.v41i1.272","DOIUrl":"https://doi.org/10.56801/rar.v41i1.272","url":null,"abstract":"A purported cemented sand sculpture found in Pleistocene aeolianite deposits on the Cape south coast of South Africa resembles a stingray (minus a tail) in outline. Symmetry is evident in the rock’s shape and the pattern of grooves on its surface. It is postulated that it may be a three-dimensional example of representational art of another species. Optically stimulated luminescence studies of rocks in the vicinity indicate that it dates to the Middle Stone Age, most probably during Marine Isotope Stage 5 (when high sea levels imply a nearby coastline). The correspondence in shape between the purported sand sculpture and the blue stingray (Dasyatis chrysonota) suggests that it may have been traced from a fresh specimen. Tracings on sand are postulated as a possible ‘stepping stone’ between abstract early palaeoart and representational rock art. Features of the rock suggest that the creation of a stingray sand sculpture may conceivably have been followed by symbolically wounding it and amputating its lethal end. Identification of further ammoglyphs will be important in refining the analysis of this newly identified form of early palaeoart.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140487502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Amy Roberts, Marc Fairhead, C. Westell, Ian Moffat, Jarrad Kowlessar
This article describes and contextualises the rock art at the Thurk Petroglyph Site on the Murray River in South Australia using multiple methods. The Thurk Aboriginal engravings comprise at least 524 motifs made up predominantly of geometric line elements as well as a small number of other ‘simple’ geometric motifs, two ‘bird tracks’, one figurative design (a ‘fish’) and a possible anthropomorphous figure. This paper provides the first synthesis of rock art sites/complexes and motifs from other sites on the Murray River as well as visual symbols recorded from senior Aboriginal ‘knowledge carriers’. These syntheses allow us to consider the relationship of Thurk to other cultural places and to highlight and honour the traditional knowledges and beliefs which underpin the rock art. Thurk’s placement within the riverscape, its unique geological canvas, lack of observable ‘domestic’ archaeological evidence combined with it being the likely upstream extent of Murray River rock art in South Australia contribute additional dimensions to its cultural significance. That Thurk’s rock art, and the broader site, have been desecrated by gratuitous graffiti, vandalism and infrastructure brings into sharp focus Australia’s poor record of heritage protection and provides a challenge to current and future generations of non-Aboriginal people to remedy this past.
{"title":"WURRANDERRA’S SYMBOLS: AN EXPLORATION AND CONTEXTUALISATION OF THE THURK PETROGLYPH SITE (KINGSTON-ON-MURRAY) ON THE MURRAY RIVER, SOUTH AUSTRALIA","authors":"Amy Roberts, Marc Fairhead, C. Westell, Ian Moffat, Jarrad Kowlessar","doi":"10.56801/rar.v41i1.274","DOIUrl":"https://doi.org/10.56801/rar.v41i1.274","url":null,"abstract":"This article describes and contextualises the rock art at the Thurk Petroglyph Site on the Murray River in South Australia using multiple methods. The Thurk Aboriginal engravings comprise at least 524 motifs made up predominantly of geometric line elements as well as a small number of other ‘simple’ geometric motifs, two ‘bird tracks’, one figurative design (a ‘fish’) and a possible anthropomorphous figure. This paper provides the first synthesis of rock art sites/complexes and motifs from other sites on the Murray River as well as visual symbols recorded from senior Aboriginal ‘knowledge carriers’. These syntheses allow us to consider the relationship of Thurk to other cultural places and to highlight and honour the traditional knowledges and beliefs which underpin the rock art. Thurk’s placement within the riverscape, its unique geological canvas, lack of observable ‘domestic’ archaeological evidence combined with it being the likely upstream extent of Murray River rock art in South Australia contribute additional dimensions to its cultural significance. That Thurk’s rock art, and the broader site, have been desecrated by gratuitous graffiti, vandalism and infrastructure brings into sharp focus Australia’s poor record of heritage protection and provides a challenge to current and future generations of non-Aboriginal people to remedy this past.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140486384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among the many generic explanations offered over the past two centuries for rock art production, those involving several brain illnesses and shamanism are selected for detailed analysis. These proposals are reviewed in light of the aetiologies of the psychiatric conditions linked to rock art. Some are related to the assumption that palaeoart was introduced through shamanism. Although no simplistic link between shamanism and brain disorders has been demonstrated, relevant susceptibility alleles might be involved in some shamanic experiences. No connection between rock art and shamanism has been credibly demonstrated to date. Moreover, the assumption that neuropathologies and shamanism preceded the advent of palaeoart also appears to be mistaken. It derives from the belief that palaeoart was introduced by ‘anatomically modern humans’ and on the discredited replacement hypothesis. These interlinked issues are discussed.
{"title":"SHAMANISM AND BRAIN ILLNESS IN ROCK ART PRODUCTION","authors":"R. Bednarik","doi":"10.56801/rar.v41i1.275","DOIUrl":"https://doi.org/10.56801/rar.v41i1.275","url":null,"abstract":"Among the many generic explanations offered over the past two centuries for rock art production, those involving several brain illnesses and shamanism are selected for detailed analysis. These proposals are reviewed in light of the aetiologies of the psychiatric conditions linked to rock art. Some are related to the assumption that palaeoart was introduced through shamanism. Although no simplistic link between shamanism and brain disorders has been demonstrated, relevant susceptibility alleles might be involved in some shamanic experiences. No connection between rock art and shamanism has been credibly demonstrated to date. Moreover, the assumption that neuropathologies and shamanism preceded the advent of palaeoart also appears to be mistaken. It derives from the belief that palaeoart was introduced by ‘anatomically modern humans’ and on the discredited replacement hypothesis. These interlinked issues are discussed.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140489206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article pertains to rock paintings recorded during studies conducted in 2017 and 2019 by an international archaeological expedition at numerous sheltered sites in the Río Atico basin and Vilavilani region in the Río Caplina catchment area within southern Peru. During the research, archaeological sites with rock art were registered, the state of preservation of the paintings was documented, and it was determined what factors were causing their destruction/degradation. The form and thematic scope of the paintings were also determined while defining four styles/stylistic conventions (styles 1–4) of the rock painting in the area in question. New arrangements regarding the superposition of representations/paintings made it possible to define the time sequence of their creation (relative chronology). Multifaceted physicochemical analyses of colouring substances were also carried out, which allowed determining their chemical composition. The mineral origin of all colouring substances has been confirmed, i.e. they should be described as inorganic pigments. At the same time, conclusions regarding the source of origin of the raw material used for their acquisition were presented. During the research, changes in the colours of individual paintings were observed, which provides the basis for conclusions regarding the chemical processes that caused them.
{"title":"ROCK PAINTING WITHIN SOUTHERN PERU IN THE CONTEXT OF PHYSICOCHEMICAL ANALYSIS OF PIGMENTS","authors":"Józef Szykulski, Beata Miazga, J. Wanot","doi":"10.56801/rar.v41i1.276","DOIUrl":"https://doi.org/10.56801/rar.v41i1.276","url":null,"abstract":"The article pertains to rock paintings recorded during studies conducted in 2017 and 2019 by an international archaeological expedition at numerous sheltered sites in the Río Atico basin and Vilavilani region in the Río Caplina catchment area within southern Peru. During the research, archaeological sites with rock art were registered, the state of preservation of the paintings was documented, and it was determined what factors were causing their destruction/degradation. The form and thematic scope of the paintings were also determined while defining four styles/stylistic conventions (styles 1–4) of the rock painting in the area in question. New arrangements regarding the superposition of representations/paintings made it possible to define the time sequence of their creation (relative chronology). Multifaceted physicochemical analyses of colouring substances were also carried out, which allowed determining their chemical composition. The mineral origin of all colouring substances has been confirmed, i.e. they should be described as inorganic pigments. At the same time, conclusions regarding the source of origin of the raw material used for their acquisition were presented. During the research, changes in the colours of individual paintings were observed, which provides the basis for conclusions regarding the chemical processes that caused them.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140489597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents the initial results of a digitisation project exploring the combination of photogrammetric modelling with DStretch image enhancement and 3D model display within virtual reality head-mounted displays. Using the sites of Bunjil’s Shelter and Gulgurn Manya within or near Gariwerd as case studies, the paper outlines a process for applying DStretch image enhancement to photogrammetry textures and reapplying these textures to the 3D models, allowing a completely DStretch-enhanced 3D model to be viewed within virtual reality. Photogrammetry and DStretch enhancement have long been used in the documentation and analysis of rock art. However, few papers have reported on the potential benefits of combining the two methods, and no Australian papers to date have reported on the display of this combination within virtual reality. Under-discussed applications of photogrammetry are described, and the unique opportunities offered by the combination of the two methods are presented, particularly the ability to digitally trace motifs from the DStretch-enhanced model and separate motifs from the original photogrammetry model. The combination is demonstrated to be feasible at a low cost of time and equipment. Potential benefits of virtual reality display are discussed, emphasising Traditional Owner management, public outreach and education.
{"title":"STRETCHING THE SURROGATE: AN INITIAL TEST COMBINING DSTRETCH IMAGE ENHANCEMENT WITH PHOTOGRAMMETRY MODELLING AT BUNJIL’S SHELTER AND GULGURN MANYA, AUSTRALIA","authors":"T. J. Keep, R. G. Gunn, J. Goodes","doi":"10.56801/rar.v41i1.273","DOIUrl":"https://doi.org/10.56801/rar.v41i1.273","url":null,"abstract":"This paper presents the initial results of a digitisation project exploring the combination of photogrammetric modelling with DStretch image enhancement and 3D model display within virtual reality head-mounted displays. Using the sites of Bunjil’s Shelter and Gulgurn Manya within or near Gariwerd as case studies, the paper outlines a process for applying DStretch image enhancement to photogrammetry textures and reapplying these textures to the 3D models, allowing a completely DStretch-enhanced 3D model to be viewed within virtual reality. Photogrammetry and DStretch enhancement have long been used in the documentation and analysis of rock art. However, few papers have reported on the potential benefits of combining the two methods, and no Australian papers to date have reported on the display of this combination within virtual reality. Under-discussed applications of photogrammetry are described, and the unique opportunities offered by the combination of the two methods are presented, particularly the ability to digitally trace motifs from the DStretch-enhanced model and separate motifs from the original photogrammetry model. The combination is demonstrated to be feasible at a low cost of time and equipment. Potential benefits of virtual reality display are discussed, emphasising Traditional Owner management, public outreach and education.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140489255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fish motifs in Aboriginal rock art of the Laura area (Cape York Peninsula, Queensland, Australia) include a heterogenous group that has been imprecisely classified by rock art researchers. By analysing motif attributes, style and contexts (including natural populations), we characterised three categories: fork-tailed catfish (Neoarius paucus), eel-tailed catfish (Neosilurus spp.) and eel (Anguilla reinhardti). We label the categories with the local names ‘catfish’, ‘jewfish’ and ‘eel’. The catfish cohort has a relatively naturalistic style, while the eel exhibits anatomical trends of eels, distinctive arrangements, and stylistic overlaps with jewfish that may denote shared meanings. Ambiguity is confirmed as a cultural value and communication mode of the rock art system.
{"title":"CATEGORISING CATFISH, JEWFISH AND EEL MOTIFS IN LAURA (QUINKAN) ROCK ART, CAPE YORK PENINSULA, AUSTRALIA","authors":"Noelene Cole, Christine Musgrave, Roseanne George, Lynley Wallis","doi":"10.56801/rar.v41i1.271","DOIUrl":"https://doi.org/10.56801/rar.v41i1.271","url":null,"abstract":"Fish motifs in Aboriginal rock art of the Laura area (Cape York Peninsula, Queensland, Australia) include a heterogenous group that has been imprecisely classified by rock art researchers. By analysing motif attributes, style and contexts (including natural populations), we characterised three categories: fork-tailed catfish (Neoarius paucus), eel-tailed catfish (Neosilurus spp.) and eel (Anguilla reinhardti). We label the categories with the local names ‘catfish’, ‘jewfish’ and ‘eel’. The catfish cohort has a relatively naturalistic style, while the eel exhibits anatomical trends of eels, distinctive arrangements, and stylistic overlaps with jewfish that may denote shared meanings. Ambiguity is confirmed as a cultural value and communication mode of the rock art system.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140489842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
G. Caspari, T. Sadykov, J. Blochin, M. Bolliger, S. Szidat
Two-wheeled horse-drawn chariot depictions in the Eurasian steppe have long been stylistically dated to the Bronze Age. Here we present an example of a petroglyph embedded in the architecture of an early Scythian royal tomb in the Tuva Republic, Siberia. The construction of the tomb is dated through wiggle-matching to between 833 and 800 BCE (95.4%) thus providing a rare terminus ante quem for chariot depictions in southern Siberia.The new evidence supports the current chronological range for this type of petroglyph in the Eurasian steppe belt.
{"title":"New evidence for a bronze age date of chariot depictions in the eurasian steppes","authors":"G. Caspari, T. Sadykov, J. Blochin, M. Bolliger, S. Szidat","doi":"10.7892/BORIS.136504","DOIUrl":"https://doi.org/10.7892/BORIS.136504","url":null,"abstract":"Two-wheeled horse-drawn chariot depictions in the Eurasian steppe have long \u0000been stylistically dated to the Bronze Age. Here we present an example of a petroglyph embedded in the architecture of an early Scythian royal tomb in the Tuva Republic, Siberia. The construction of the tomb is dated through wiggle-matching to between 833 and 800 BCE (95.4%) thus providing a rare terminus ante quem for chariot depictions in southern Siberia.The new evidence supports the current chronological range for this type of petroglyph in the Eurasian steppe belt.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43068407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Upper Palaeolithic hand stencils at Cosquer Cave have been interpreted as forming a numeric code. The present analysis examined ‘digits’ at Cosquer and Gargas from the perspectives of modern ethnography, shared cognitive functioning and human hand anatomy, concluding that correspondences between the 27,000-year-old hand stencils and modern finger-counting practices, including the use of so-called biomechanically infeasible hand positions, are unlikely due to chance; thus, the hand stencils may indeed represent integers. Images of finger-signs may provide an additional avenue for interpreting Palaeolithic quantification.
{"title":"Finger-counting in the Upper Palaeolithic","authors":"Karenleigh A. Overmann","doi":"10.31235/osf.io/wgbe5","DOIUrl":"https://doi.org/10.31235/osf.io/wgbe5","url":null,"abstract":"Upper Palaeolithic hand stencils at Cosquer Cave have been interpreted as forming a numeric code. The present analysis examined ‘digits’ at Cosquer and Gargas from the perspectives of modern ethnography, shared cognitive functioning and human hand anatomy, concluding that correspondences between the 27,000-year-old hand stencils and modern finger-counting practices, including the use of so-called biomechanically infeasible hand positions, are unlikely due to chance; thus, the hand stencils may indeed represent integers. Images of finger-signs may provide an additional avenue for interpreting Palaeolithic quantification.","PeriodicalId":21481,"journal":{"name":"Rock Art Research","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2014-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69653679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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