Abstract
Negev rock art comprises a large and diverse corpus of motifs and compositions developed over the course of several millennia. As dating of specific elements is at present not possible, the rock art was analyzed statistically through the study of individual panels where internal sequences of engraving could be discerned. Examining the set of such individual sequences, larger scale reconstruction of engraving phases, sequences and patterns were recognized. Additional chronological markers, such as the presence of domestic camels or other chronologically diagnostic features, offer benchmarks for tying the general trends to more absolute frameworks. The reconstructed patterns reflect the long term history of the Negev and some of the most significant cultural and social transitions in the region are reflected visually through the rock art, notably a form of self-expression, a crucial complement to the historical sequences derived from sedentary peoples living farther north. For example the introduction of the domestic camel and its symbolic and economic significance is well evident in the rock art. Similarly, the emergence of Islam is expressed through the mark makers’ preference for "abstract" (non-figurative) motifs. One motif found throughout all engraving phases, transcending the religious, political and economic structures of Negev society, is the “ibex”. Although Negev societies have all focused, to one degree or another, on sheep and goat pastoralism, these animals are rarely present in the Negev rock art and never as herds. Ibex, whose role in the diet and daily subsistence was minimal, was the most commonly depicted zoomorphic motif.
Highlights
Rock art is abundant in the Negev, few systematic analyses have been conducted
Though several chronometric techniques are available, it remains notoriously difficult, if at all possible, to secure absolute dates for petroglyphs The present paper presents a proposed chronology based on relative sequences discernible within individual panels, the construction of larger scale trends derived from the small scale sequences, and the use of specific attributes and motifs to anchor the sequence and transform the relative framework into an absolute chronology
The introduction of new motifs such as the camel and later numerous "abstract" motifs, and the long-term trends evident in the rock art constitute a visual self-expression, a crucial complement to the historical sequences derived from sedentary peoples living farther north
Summary
Rock art is abundant in the Negev, few systematic analyses have been conducted. The sequence based on the Har Michia corpus shows continuous use of both motifs and styles over several millennia For this reason even when direct dating becomes reliable and individual elements can be dated with precision the results will have little effect on the overall chronology of. The introduction of new motifs such as the camel and later numerous "abstract" motifs, and the long-term trends evident in the rock art constitute a visual self-expression, a crucial complement to the historical sequences derived from sedentary peoples living farther north. In this way the rock art reflects both the cultural continuities of. Highlights the innovations as they were introduced
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