A Companion to Rock Art

A Companion to Rock Art

Language: English

Pages: 714

ISBN: 1444334247

Format: PDF / Kindle (mobi) / ePub

This unique guide provides an artistic and archaeological journey deep into human history, exploring the petroglyphic and pictographic forms of rock art produced by the earliest humans to contemporary peoples around the world.

  • Summarizes the diversity of views on ancient rock art from leading international scholars
  • Includes new discoveries and research, illustrated with over 160 images (including 30 color plates) from major rock art sites around the world
  • Examines key work of noted authorities (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and outlines new directions for rock art research
  • Is broadly international in scope, identifying rock art from North and South America, Australia, the Pacific, Africa, India, Siberia and Europe
  • Represents new approaches in the archaeological study of rock art, exploring issues that include gender, shamanism, landscape, identity, indigeneity, heritage and tourism, as well as technological and methodological advances in rock art analyses

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that the production of paintings and engravings was part of the way people adjusted their social interactions in the context of changing environmental conditions before and after the Last Glacial Maximum. There is a persisting notion that the Upper Paleolithic lasted until the end of the Pleistocene at 10,000 years ago (e.g., http://en.wikipedia.org/wiki/Upper_ Paleolithic, accessed February 23, 2012; for the persistence in the more professional 60 IAIN DAVIDSON literature, see, e.g,. Pettit

about 15,000 years ago there is relatively little evidence of such rituals in the east Mediterranean. Ritual behavior, of course, frequently involves intangible behaviors such as singing or dancing so that may have been there in abundance. The point is, though, that without the enduring material presence, the character of the ritual is likely to have been different. Elsewhere I have argued (Davidson 2012a) that all of these discussions support the proposition that in seeking to understand the

population growth, multiplication of pottery styles, an increase in number and types of settlement, expansion into remaining islands, including Jamaica and the Bahamas, and the emergence of stratified societies organized into complex political polities. Ceramic Period cultural development is viewed as the result of local and inter-island societal dynamics among arriving and resident populations influenced by surrounding continental areas. The Ostionoid or pre-Taíno and Taíno populations are the

Not in situ boulder fragments with petroglyphs Table 7.1 (Continued) Enclosure characteristics Designation and shape Site and date Site column totals Viví 1250–1500 (6,7) Size (sq m) No. Enclosure A square 1,505 14+ Enclosure B rectangular 646 14–16 25–49 1 25–49 4 land source granodiorite boulder-lined sides 3+ on 2 boulders west side 4 on 3 boulders east side 6 on 2 boulders removed; likely associated with Enclosure A 1 removed; possibly from Enclosure A; now in Jayuya 2

presence or absence of bear images. Since bear habitat and presence were universal in North America, bear images in rock art may identify which cultural groups used bears as significant symbols and perhaps engaged in bear ceremonialism. An important aspect of style is that it be “peculiar to a specific time and place” (Sackett 1977:370). In other words, it should define a culture. The goal is to define the ethnic groups who created the images in order to shed light on their history, social and

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