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Rock paintings

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A significant number of Holocene societies throughout the world have resorted at one time or another to the making of paints or carvings on different places (tombs, rock-shelters or caves, openair outcrops). The aim of the session A11e. Public images, private readings: multi-perspective approaches to the post-Palaeolithic rock art, which was held within the XVII World UISPP Congress (Burgos, September 1-7 2014), was to put together the experiences of specialists from different areas of the Iberian Peninsula and the World. The approaches ranged from the archaeological definition of the artistic phenomena and their socioeconomic background to those concerning themselves with the symbolic and ritual nature of those practices, including the definition of the audience to which the graphic manifestations were addressed and the potential role of the latter in the making up of social identities and the enforcement of territorial claims. More empirical issues, such as new recording methodologies and data management or even dating were also considered during this session.

Rock Paintings --- Social Science

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"Rock art is considered an archaeological artifact reflecting activities from the past, it is also a phenomenon with present-day meaning and relevance to both indigenous and non-indigenous communities. Challenging traditional ways of thinking about this recognizable form of visual heritage and providing insight into its contemporary significance"--Provided by publisher.

Indigenous art. --- Rock paintings.

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Filiform rock art appears as a spontaneous technique, more simple and immediate than pecking, good either for autonomous strands of expression, or for sketches and first drafts regarding works of painting or pecking. According to the order of presentation of the session's papers during the XVII IUPPS (UISPP) Conference in Burgos, the articles published here are the following: Late prehistoric incised rock art in southern Europe: a contribution for its typology, by Fernando A. Coimbra, where the author presents a preliminary typology of this kind of rock art, divided in two groups (geometric and figurative), approaching not only common themes to several countries, but also some examples that have only a regional character; Filiform rock art in mount Bego (Tende, Maritime Alps, France), by Nicoletta Bianchi, which analyses some cases where pecked carvings overlap filiforms, therefore pre-dating pecked engravings and studies the interaction of the two carvings tradition; Filiform figures in the rock art of Valcamonica from Prehistory to the Roman age, by Umberto Sansoni, Cinzia Bettineschi and Silvana Gavaldo, that provides a general corpus of the figurative incised rock art of Valcamonica with a quantitative and qualitative approach, by considering the typological variety, the long-lasting chronological dating and the strong relation with the local pecked rock art of the Camunian filiforms; Threadlike engravings of historical period on the rocks and plaster of churches and civic buildings. Some comparisons and proposals of interpretation, by Federico Troletti, which presents the incised engravings exclusively of historical time located in some sites of Valcamonica - the area of Campanine di Cimbergo and Monticolo di Darfo; The rock art from Figueiredo (Serta, Portugal): typology, parallels and chronology, by Fernando A. Coimbra and Sara Garces, focusing vi on the description of the engravings from three carved rocks with incised motives from the place of Figueiredo, in central Portugal, which were studied during different fieldworks. Two other papers of researchers that couldn't attend the Conference were also presented: The filiform rock art from Kosovo, by Shemsi Krasniqi, which presents recent findings from Kosovo with a similar typology of figures from other European countries; The filiform rock engravings of the Parete Manzi of Montelapiano (Chieti, Italy), by Tomaso Di Fraia, which analyses the problematic of incised rock art from a rock shelter in the centre of Italy.

Rock Paintings --- Art, Prehistoric --- Petroglyphs --- Art, European --- Social Science --- Art --- Rock paintings --- Art, prehistoric --- Art, european --- Social science

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"Swordfish Cave is a well-known rock art site located on Vandenberg Air Force Base in south central California. Named for the swordfish painted on its wall, the cave is a sacred Chumash site. It was under threat from various processes and required measures to conserve it. Nearly all of the cave's interior was excavated to create a rock art viewing area. That effort revealed previously unknown rock art and made it possible to closely examine how early occupants used the space inside the cave. They identified three periods of human use, including an initial occupation around 3,550 years ago, an occupation about 660 years later, and a final Native American occupation that occurred much later, between A.D. 1787 and 1804. The discovery of tools used to make the pictographs linked the art to the two early occupations, pushing back the generally understood antiquity of rock art on California's Central Coast by more than 2,000 years. Two aspects make this study unusual: datable materials associated with rock art and complete removal of cave deposits. Well illustrated with photographs, maps, and drawings of both the art itself and the excavations and materials revealed therein, the book presents a rare opportunity to directly link archaeology and rock art and to examine the spatial organization of prehistoric human habitation"--

Archaeological dating. --- Prehistoric peoples --- Fossil hominids --- Ethnohistory --- Archaeology --- Rock paintings --- Petroglyphs --- California --- Antiquities.