Abstract
The Harris Matrix was developed in the 1970s to correctly interpret the sequence of data derived from archaeological excavations. When layers of pigment are applied over surfaces to make rock art, they also form sequences through time. Understanding motif superimpositions is a key to understanding sequential changes in rock art repertoires. The use of the Harris Matrix in rock art research was first proposed by Chippindale and Taçon in the 1990s and was used to derive a firm sequence for western Arnhem Land rock art in northern Australia. Their work was amplified in subsequent larger projects in South Africa that clearly demonstrated the potential of the Harris Matrix in rock art studies. Despite these successes, the Harris Matrix has been little employed elsewhere; this chapter is a timely re-evaluation of the method and its underlying principles.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
