Rock Art Motifs Research Articles

Design and implementation of an augmented reality application for rock art visualization in Cova dels Cavalls (Spain)

Abstract Prehistoric rock art paintings, specifically rock-shelters exposed to environmental and anthropogenic factors, are usually faint and severely damaged, being them difficult to identify and understand by visitors. Augmented Reality (AR) supplements reality with virtual information superimposed onto the real world. This sensor-based technology in smartphones/tablets can improve the paintings experience displaying the 2D digital tracings overlapped onto the real scene (rock with faint paintings). This paper presents an AR application (app) developed in Cova dels Cavalls that shows a recreation of a possible original composition full of motifs with descriptive information to improve current guided tour user experiences. This case study aims to evaluate the rock art AR app targeting non-expert visitors as a means of improving rock art knowledge and sensibility of a fragile archaeological UNESCO Work Heritage site. To achieve this, a variety of participants with different backgrounds and interests tested the AR app on site and answered a complete questionnaire about the use of AR mobile apps. Overall, the results showed great acceptance of this AR app, mainly because in addition to adding new information interactively, it helps to identify the rock art motifs, as well as to recognise them quickly, improving their understanding.

Pinturas rupestres y comunicación en la cuenca de los lagos Tar y San Martín (provincia de Santa Cruz)

Se aborda el análisis de las representaciones rupestres de los sitios Bloque 1 del Campo de Bloques 1 y Alero con Manos del Río Chalía, relevados en los sectores bajos asociados a la cuenca de los lagos Tar y San Martín (sudoeste de la provincia de Santa Cruz). Aquí se resumen las particularidades de ambos sitios y se propone una secuencia de ejecución de los motivos. Asimismo, los sitios son contextualizados con la información general sobre uso del espacio regional y con los datos disponibles sobre otros sitios con representaciones rupestres ubicados en las cercanías y a distintas altitudes. El análisis indica que en los sectores bajos asociados a la cuenca de los lagos Tar y San Martín se evidencia una baja densidad de representaciones rupestres, el uso exclusivo de la pintura y una baja diversidad de motivos que se diferencia de lo observado en espacios lindantes. De este modo, el estudio integrado de estas representaciones permite reconocer particularidades de los sectores bajos y evaluar la jerarquización de los espacios y la dinámica de circulación de información, principalmente durante el Holoceno tardío.

So ends this day:American whalers in Yaburara country, Dampier Archipelago

Abstract

Chemistry of prehistoric rock art pigments from the Indonesian island of Sulawesi

Rock art comprises various forms of images and markings, including paintings, drawings, and engravings, created by prehistoric people on immobile surfaces of rocks. In Indonesia, the distribution of rock art sites has been relatively well studied and documented. Indeed, Uranium-series analysis of speleothem materials overlying negative hand stencils and naturalistic animal paintings from the limestone karsts of Maros in southern Sulawesi shows that the rock art in this region dates to at least 40,000 years ago, and is thus among the world's oldest. To our knowledge, the chemistry of the Sulawesi rock art, including that of the pigments used for making these images, and with particular regard to the topology and morphology of these materials, have not yet been systematically investigated. In this study, we report the results of our spectroscopic and microscopic analyses of two samples of pigment collected from rock art motifs at Leang Sumpang Bita 2 in Pangkep, South Sulawesi. The first and second samples possess dark red and purple colours, respectively. Analysis shows that both samples contain iron oxide, which may explain their reddish colours. Nevertheless, microstructural differences are evident, including crystal morphology and size, and, in our view, are responsible for the discrepancy in the observed pigment colours. Our findings suggest that the sampled dark red and purple pigments are from the same raw material source (ochre), but differ in colour because of mechanically-induced alteration, presumably the result of varying pigment-processing methods used by the prehistoric artists.

El arte rupestre de la localidad arqueológica La gruta (Patagonia, Argentina)

En este trabajo se presentan los resultados iniciales del análisis del arte rupestre registrado en seis sitios distribuidos en dos sectores vecinos de la localidad arqueológica La Gruta (Santa Cruz, Patagonia, Argentina), de los cuales sólo dos habían sido previamente descriptos e interpretados -en forma aislada- por otros investigadores (Menghin, 1952; Gradin & Aguerre, 1983; Belardi & Carballo Marina, 2005). Los resultados del estudio comparativo entre el arte rupestre de estos dos sectores de La Gruta muestran diferencias entre ellos a tres escalas: de sitio, de panel y de motivos. Se sostiene que estas diferencias son indicativas de la existencia de dos formas distintas de marcación visual del terreno vinculadas con diferentes estrategias de ocupación del espacio en dos sectores relativamente similares de una pequeña localidad arqueológica de ca. 6,5 km2.

Documenting a threatened rock art site on Soqotra, Yemen

During ongoing archaeological fieldwork on Soqotra, Yemen, by the Soqotra Heritage Project, a poorly recorded rock art site on the north coast of the island was identified and documented. A systematic survey of this rock art site has revealed an extensive corpus of 187 rock art motifs that include feet, cupules, a ship, various geometric patterns, and cruciform shapes that bear striking similarities to motifs found in other rock art sites throughout the island. This site is now known to be the second largest petroglyph site found on Soqotra. Unfortunately, the entire site is currently under imminent threat from development.

Pigments, binders, and ages of rock art at Viuda Quenzana, Santa Cruz, Patagonia (Argentina)

The first direct AMS radiocarbon dating of two rock art motifs in separate rock shelters (VQ1 and VQ2) at the Viuda Quenzana (VQ) archaeological locality in Patagonia, has provided median probability ages of 3190 cal BP for two reddish dots, and 520 cal BP (1430 CE) for a pink negative hand. These ages are consistent with evidence of occupation of sites in the locality and in the nearby region during the later part of the Middle Holocene (8200–4200 cal BP) and Late Holocene (4200 cal BP to present), as indicated by ages for bones and charcoal from sediments in the VQ8 and VQ7 rockshelters, and the nearby La Martita 4 and La Gruta 1 and 3 rockshelters ranging from ca. 5470 to 305 cal BP (Rubinos Perez 2003; Franco et al. 2013; Brook et al. 2015). The pink hand is relatively recent, which supports the notion that such artwork continued through the Late Holocene despite changes in other artistic motifs. Characterization by Raman spectroscopy, powder x-ray diffraction, and high-resolution scanning electron microscopy with energy dispersive spectroscopy shows that: 1) hematite is the main pigment in both the dot and hand motifs, 2) the reddish dot paint includes a specific type of hematite, microplaty hematite, and 3) animal fat appears to have been added as a binder to the reddish dot paint. Thus, rock art paint production at VQ involved two distinct processes. One, used to paint dots, entailed mixing a mineral coloring substance (hematite) with an organic binder (animal fat), which was then applied to the rock substrate with a painting tool and/or fingers. The second process, used to produce the hand motif, entailed using a mineral coloring substance (hematite) with no binder (or with a binder that left little chemical trace), which was then applied to the rock substrate by spraying, probably with the mouth.

Hilando entre las rocas... análisis de los diseños de torteros foráneos en el arte rupestre de Cerro Colorado (norte de Córdoba, Argentina)

This paper analysis some rock art motifs that breaking with a Cerro Colorado (Sierras del Norte, Cordoba) shared repertoire. The local and macro regional iconographic comparison provide us guidelines for understanding their incorporation into the local repertoire. In the same way, this comparative strategy allow to proposed lines to inquiry about the social processes that took place in the region during the Late Pre-hispanic period (400-1550 AD). Thus, some motifs of Cerro Colorado are similar to the designs of the spindle whorls found in the middle region of Salado river (Santiago del Estero) but also on site of La Paya (Calchaqui Valley). Its inclusion in a local historical context marked by social tensions involving different spheres of interaction indicates that these designs were symbolic resources to strengthen and demarcation within and also out of the group from the reference to the ties established with communities, for example, of the of thelowlands of Santiago del Estero.

Mineral deposition systems at rock art sites, Kimberley, Northern Australia — Field observations

Mineral coatings, fringes, glazes and skins forming on the surfaces of sandstone rock shelters in Western Australia's Kimberley region offer the potential to provide datable materials to bracket ages of rock art motifs with which they are often spatially associated. These mineral deposition systems, which occur at the interface between the atmosphere and host rock, have never been characterised specifically and their overall formation mechanisms have yet to be completely established. This study serves to increase the understanding of complex processes behind the formation and long-term preservation potential of these mineral deposition systems. This is achieved by combining field observations with multiple mineralogical and geochemical characterisation techniques. Using both wet and dry season field observations and 94 mineral accretion samples collected from three different areas of the Kimberley, we identify four separate mineral deposition systems; polychrome fringes, dispersed wall coatings, floor glazes and silica skins. Detailed observations of the different characteristics of each deposition system are used to assess their suitability for the application of radiometric dating methods. Coherent internal stratigraphies are identified in polychrome fringe accretions, essential for the reliable application of uranium-series dating techniques, whilst floor glaze mineralogy, identified as dominated by carbon-bearing calcium oxalate minerals, provides radiocarbon dating opportunities. Consequently, this study provides a rigorous basis for establishing targeted sampling and analysis strategies essential for reliable and replicable rock art dating as well as having implications for rock art conservation.

Camera characterization for improving color archaeological documentation

AbstractDetermining the correct color is essential for proper cultural heritage documentation and cataloging. However, the methodology used in most cases limits the results since it is based either on perceptual procedures or on the application of color profiles in digital processing software. The objective of this study is to establish a rigorous procedure, from the colorimetric point of view, for the characterization of cameras, following different polynomial models. Once the camera is characterized, users obtain output images in the sRGB space that is independent of the sensor of the camera. In this article we report on pyColorimetry software that was developed and tested taking into account the recommendations of the Commission Internationale de l'Éclairage (CIE). This software allows users to control the entire digital image processing and the colorimetric data workflow, including the rigorous processing of raw data. We applied the methodology on a picture targeting Levantine rock art motifs in Remigia Cave (Spain) that is considered part of a UNESCO World Heritage Site. Three polynomial models were tested for the transformation between color spaces. The outcomes obtained were satisfactory and promising, especially with RAW files. The best results were obtained with a second‐order polynomial model, achieving residuals below three CIELAB units. We highlight several factors that must be taken into account, such as the geometry of the shot and the light conditions, which are determining factors for the correct characterization of a digital camera.

Obsidian geochemistry, geoarchaeology, and lithic technology in northwestern Patagonia (Argentina)

We studied the organization of mobility of hunter-gatherers groups of northwestern Patagonia (Argentina) from an interdisciplinary perspective. We combined geochemical and technological characterization of obsidian assemblages from surface and stratigraphic contexts spanning the Holocene, and a preliminary geoarchaeological study of the sources. The goals were to assess the provenance, mode of supply, use, and discard of obsidian artifacts on the basis of information on the structure of the two main regional sources: Cerro Huenul, located in the lowlands, and Laguna del Maule, located in the Andean highlands. We conducted geoarchaeological field sampling at different altitudes of the Barrancas River fluvial deposits to study the geomorphic impact on the secondary structure of the highland source. Preliminary geoarchaeological results allow extending the area of availability up to 90km towards the lowlands from the outcrops. In addition, we performed non-destructive XRF analyses on 266 lithic artifacts, which were placed along a continuum of reduction. 89% of the artifacts corresponded to the local Cerro Huenul source, while 11% to Laguna del Maule. While the artifacts made on Cerro Huenul obsidian were represented by the full reduction sequence, those from Laguna del Maule are only represented by advanced stages. We integrate these results with information on the frequencies of projectile points, ceramics, and rock-art motifs for the two main archaeological sites in the region: Cueva Huenul 1 and Cueva Yagui. These proxies indicate that the sites have different place use histories, providing a scheme for the analysis of human use of the regional landscape.

Connections, Transactions and Rock Art within and beyond the Wet Tropics of North Queensland

This paper explores past connections of Aboriginal people within what is now known as the Wet Tropics, a coastal strip of tropical rainforest in northeast Australia. As a result of historical and ethnographic descriptions the rainforest is often defined as a ‘cultural zone’. The proclamation of the Wet Tropics World Heritage Area, based on environmental parameters, has exaggerated the idea of the rainforest as a cultural boundary. We propose that in the past, Aboriginal connections were multifaceted, multifunctional and multidirectional, extending beyond the Wet Tropics boundaries. We use rock art to illustrate connections within and beyond the rainforest. For example, decorated shields, an iconic item of rainforest material culture, are depicted in rock art assemblages south of the rainforest boundary. Are the shield paintings out-of-place or do they illustrate networks of connection? We examine rock art motifs found in rainforest areas and compare them with those found in other rock art regions in North Queensland. We identify, for example, that sites located in the eastern rainforest are dominated by painted anthropomorphs (people) and zoomorphs (animals) in the silhouette style similar to figurative rock art of southeast Cape York Peninsula. We suggest that, like other areas, there were connections between cultural groups within the rainforest but that these same groups had links that went beyond this environmental zone. We further propose that the proclamation of the Wet Tropics World Heritage Area has particularly influenced non-Aboriginal understandings of the past within this region.

Representaciones Rupestres del Sitio Villavil 2 (Valle de Hualfín, Catamarca, Argentina)

In this paper we present and interpret a group of rock art motifs found in the north of the Hualfin valley, Catamarca, Argentina. First of all the rock engravings are placed in the landscape, and is mentioned the major archaeological sites in the valley, being Hualfín Inka the most important archaeological site for Inca times. We present a preliminary analysis of the rock art along with the study of its functionality and its integration into the regional dynamic. Using the ancient rock art motifs found in Northwest Argentina and northern Chile and their associated interpretations, the engravings are located chronologically during the Regional Development period and probably during Inca occupation.

Embodiment, Transformation and Ideology in the Rock Art of Trans-Pecos Texas

Present in the Trans-Pecos rock art of west Texas are many motifs intelligible within hunter-gatherer ontological frameworks. These motifs—including human figures missing heads and limbs, figures with disproportionately large eyes, polymelia and pilo-erection—are concerned with somatic transformations and distortions experienced in altered states of consciousness. Ethnographic analogies also demonstrate that other Trans-Pecos features—smearing, rubbing and chipping of pigment and incorporation of natural inequalities of the rock surfaces into images—are evidence of kinetic experiences or embodied processes, including the important interaction with the ‘veil’ that separates one tier of the cosmos from others. By exploring the related concepts of embodiment, somatic transformation and process within non-Western ontologies, I offer a unified but multi-component explanation for the meanings and motivations behind several Trans-Pecos rock-art motifs. I also address the consumption of rock art in west Texas—how it was viewed and used by the original artists and subsequent viewers to shape, maintain and challenge ideologies and identities.

New Aboriginal hand stencil discoveries at the Freycinet National Park, Tasmania

Until the recording of hand stencils on the Derwent River near Meadowbank in 1958, the only rock markings known in Tasmania were those pecked in stone. Initially believed to be made by Aboriginal people from New South Wales brought to Tasmania, very little else was thought of the stencils until subsequent recordings challenged this theory and proved them to be a marking form in Tasmanian Aboriginal culture. The stencils of Fisheries Creek on the Freycinet Peninsula are different to those elsewhere in the state by virtue of their geographical location the material they were painted on, their state of preservation and the presence of associated archaeological deposits. However, this type of rock marking is rapidly deteriorating through natural erosion and many stencils may have gone unnoticed due to the opaque nature of their appearance. Applying Decorrelation Stretch (DStretch) techniques, six new hand stencils were recorded at Fisheries Creek in 2013, including two small faint stencils possibly indicating the presence of children at the site and during the art production. These recent discoveries indicate a need to update the recording practices of archaeologists in Tasmania when conducting archaeological surveys to represent better those rock art motifs that may not be visible to the naked eye.

Consumption of animals beyond diet in the Atacama Desert, northern Chile (13,000–410 BP): Comparing rock art motifs and archaeofaunal records

The relations between humans and animals extend into socio-cultural aspects that go beyond the mere acquisition of food, meaning that animals constitute cultural resources that fulfill diverse roles in social and cultural systems. Visual images in different media, including rock art, represent one of the ways in which these complex relationships take place. While in the New World few comparative analyses of archaeofaunal and visual data have been addressed, in the Old World these studies have been framed by a dichotomist view between drawn (thought) and consumed (eaten) understanding, both terms as separate and disconnected social realms. This view also structures an abstract, non-pragmatic, rather passive, world drawn in art, against a concrete, practical, active world of consumption. The analysis we present here, based on principles of substantive economy theory, explores the relation between humans and animals in the prehistory of the Atacama Desert (ca. 13,000–410BP), by comparing visual images of fauna depicted in rock art (engravings and paintings) with archaeofaunal remains from domestic and funerary contexts. The dataset (comprised of 1534 archaeofaunal items and 729 rock art animal motifs from 117 sites) was standardized by calculating the percentage of ubiquity of each animal item per period of time, using Spearman’s rank correlation coefficients to identify synchronic and diachronic changes in the relative importance of certain animals consumed. We observed important temporal and contextual variations in the consumption of animals drawn in rock art in the Atacama Desert, and we conclude that they reflect a selection of a wide range of ritual and utilitarian, but not mutually exclusive, functions. In particular, images of camelids emphasized the importance of providing fiber for the creation of textile artifacts and camelid use as pack animals in the caravan trade, both activities that were fundamental in the economy of local societies.

The “Hidden” Code: Coding and Classifying in Rock Art. The Case of Northwestern Patagonia

Fil: Scheinsohn, Vivian Gabriela. Consejo Nacional de Investigaciones Cientificas y Tecnicas; Argentina. Secretaria de Cultura de la Nacion. Direccion Nacional de Cultura y Museos. Instituto Nacional de Antropologia y Pensamiento Latinoamericano; Argentina. Universidad de Buenos Aires. Facultad de Filosofia y Letras; Argentina

Here, there and everywhere?

Ling and Stos-Gale (above) present some hitherto little-known rock art motifs from various locations in Sweden, and offer an intriguing interpretation for them that ties in with the recent realisation that some of the copper used in the earlier Bronze Age of southern Scandinavia may have originated from Cyprus.

Evaluating conventional and advanced visible image enhancement solutions to produce digital tracings at el Carche rock art shelter

Advances in rock art recording techniques through non-destructive methods are a priority in rock art research. Developments on computer science, digital photography and more specifically on digital image enhancement have revolutionized the way rock art motifs are recorded and documented today. Conventional software for digital image processing is widely used to produce digital tracings, with reasonable results so far. But this manual process is still time consuming, especially when motifs are either faded, deteriorated or part of complex superimpositions. This paper explores the potential of two advanced digital image enhancement decorrelation techniques, principal components analysis (PCA) and decorrelation stretch (DS) to facilitate and accelerate motif recognition on visible digital images, as a first step in the rock art recording process. Statistical analysis revealed that the performance of PCA is slightly better (5%) than DS, when compared to the results of conventional image enhancement solutions.

Image processing and visualisation of rock art laser scans from Loups’s Hill, County Durham

Contemporary rock art researchers have a wide choice of 3D laser scanners available to them for recording stone surfaces and this is complimented by numerous software packages that are able to process point cloud data. Though ESRI’s ArcGIS primarily handles geographical data, it also offers the ability to visualise XYZ data from a stone surface. In this article the potential of ArcGIS for rock art research is explored by focusing on 3D data obtained from two panels of cup and ring marks found at Loups’s Hill, County Durham, England. A selection of methods commonly utilised in LiDAR studies, which enhance the identification of landscape features, are also conducted upon the rock panels, including DSM normalisation and raster data Principle Component Analysis (PCA). Collectively, the visualisations produced from these techniques facilitate the identification of the rock art motifs, but there are limitations to these enhancements that are also discussed.