Rock Art Studies Research Articles

SfM Photogrammetry for Cost-Effective 3D Documentation and Rock Art Analysis of the Dombate Dolmen (Spain) and the Megalithic Sites of Chã dos Cabanos and Chã da Escusalha (Portugal)

SfM (structure from motion) photogrammetry is a technique developed in the field of computer vision that enables the generation of three-dimensional (3D) models from a set of overlapping images captured from disparate angles. The application of this technique in the field of cultural heritage, particularly in the context of megalithic monuments, is inherently challenging due to the spatial constraints of these environments and the usual limitations posed by their architectural design, which often results in poor lighting conditions. This article presents an accurate and cost-efficient methodology for the study and documentation of rock art, which has been applied to three megalithic monuments in the Iberian Peninsula: one in Spain and two in Portugal. The three working environments are complex, but the combination of techniques used and improvements such as rendering for the enhancement of engravings and the creation of 3D stop-motion models made it possible to integrate all the information in 3D formats that allow its universal dissemination. This not only preserves the heritage in graphic form but also makes it accessible to the public, both for study and for virtual visits.

Seeing is believing: An Augmented Reality application for Palaeolithic rock art

By developing new recording methodologies, current rock art studies generate a large amount of graphic information about sites (tracings, photographs, three-dimensional reproductions) providing visibility of this fragile and little-known heritage, whose accessibility is often difficult or impossible for the general public. In addition, many rock art depictions are challenging to observe, due to the very nature of the artistic entities (fine engravings or faded paintings in karst environments or open-air sites with poor or changing light conditions), or to conservation problems derived from natural factors such as erosion and geological and biological processes, as well as from anthropic factors. These conditions make rock art depictions nearly indistinguishable in many places and on many objects today, except for experts. This difficulty of accessing and visualising rock art heritage, located in fragile environments and often challenging places such as caves or difficult-to-reach open-air sites, makes the information and knowledge generated by investigation of this heritage asset difficult to transfer to society in general, which is frequently unaware of the priceless value of this heritage. The present study proposes generating several mechanisms to transfer the results of research, restitution and documentation of rock art to society in general. An AR (Augmented Reality) application has been developed using LiDAR (Light Detection and Ranging) technology to address current challenges in implementing AR technologies in low-light environments. So far, this app has been developed in a Proof-of-Concept project at Spanish archaeological sites such as Hornos de la Peña (Cantabria), Domingo García (Segovia) and La Salud (Salamanca). This application will be particularly interesting for sites currently visited with or without a guide, allowing user interactivity and real-time reconstruction, for example, of the visibility of graphic motifs.

Rock engravings marking the Redan landscape in Gauteng, South Africa

The ontological1 and epistemological2 foundations of reality, myths, beliefs, and practices in ritual behaviour have long been studied by scholars around the globe. There is no single understanding and representation of reality, as all that is real or existent within the universe is historically shaped by interdependent cultural and social processes and fear factors. Although the study of rock art is primary a branch of archaeology, cultural history also focuses on a past time and place, to study beliefs and ideas from a bottom-up approach and include the objects and experiences (sometimes unwritten) of the everyday life of the uneducated and less privileged. It is particularly well equipped to offer an understanding of the San myths, beliefs, ritual practices, and modes of representation of reality, as represented in their rock art. The Redan open-air rock engraving site is located on the Kookfontein farm, near the former Klip power station at Redan, close to a wetland that was formerly a rivulet that founded its way to the Klip River, a tributary of the Vaal River. The Klip-Vaal area is situated in the southern part of Gauteng, South Africa. Being part of the Late Stone Age hunting, domestic and ritual sites of the San people and later migrants it contains numerous documented and undocumented rock art sites. In line with interpretivism, the methodology is based on published and unpublished literature, as well as several on-site inspections of the site between 2002 and 2022. Authorship of the engravings at the Redan site is unconfirmed, although two dominant views regarding the cultural origin have emerged, namely a San hunter-gatherer shamanistic approach and the Koranna-Khoekhoen initiation site hypothesis.Contribution: The article contributes to the neglected historiography of the rock engravings in the Klip-Vaal region, in particular the Redan site, and the need to facilitate a comparison with similar rock engravings in southern Africa.

Exploring the utility of Geometric Morphometrics to analyse prehistoric hand stencils

Hand stencils are a remarkable graphic expression in Prehistoric rock art, dating back to 42 ka BP. Although these stencils provide direct impressions of the artists’ hands, the characterization of their biological profile (i.e., biological sex and age) is very challenging. Previous studies have attempted this analysis with traditional morphometrics (TM), whereas little research has been undertaken using Geometric Morphometrics (GM), a method widely used in other disciplines but only tentatively employed in rock art studies. However, the large variation in relative finger position in archaeological hands poses the question of whether these representations can be examined through GM, or, in contrast, if this creates an unmanageable error in the results. To address this issue, a 2D hand scans sample of 70 living individuals (F = 35; M = 35) has been collected in three standardized positions (n = 210) and digitized with 32 2D conventional landmarks. Results show that the intra-individual distance (mean Procrustes distance between Pos. 1–2 = 0.132; 2–3 = 0.191; 1–3 = 0.292) is larger than the inter-individual distance (mean in 1 = 0.122; 2 = 0.142; 3 = 0.165). Finally, it has been demonstrated that the relative finger positions, as well as the inclusion of all hand parts in the analysis, have an overshadowing effect on other variables potentially involved in the morphometric variability of the hand, such as biological sex.

Study of the Traditional Rock Art of the Zo Tribes in Northeast India

Stone engraving or carving also known as petroglyph is an image created by removing part of a rock surface by incising, picking, carving or abrading, as a form of rock art. In the engraving, animals, men, ornaments, instruments, weapons and so on have been depicted which is the material culture of the Zo tribes. This article attempts to give a brief account of the living rock art tradition of the Zo people in the transborder area of Indo-Myanmar. The culture extended to Chin Hills and Mizoram who are the same group of southern Manipur. The periodisation of the studied rock art is beyond the understanding of a mere scholar without the help of experts. This article deals only with the petroglyph or rock art irrespective of megalith, monolith, dolmens or menhir. Efforts have been made to explore how these diverse tendencies can be beneficial within the study of rock art and history.

The rock art of Caraculo, Namibe province, Angola

The province of Namibe, in south-western Angola, is rich in rock art, which is distributed throughout the region, from the municipality of Camucuio, with its Cipopilo sites, to the Caraculo area, which has the largest number of shelters with rock art. The distribution extends throughout the region, including the municipality of Virei, where the Citundu-Hulu shelter stands out, and the commune of Iona, with the Monte Negro rock art site. To date, the Caraculo region has the largest number of rock art sites identified in Angola. In this paper, we will discuss the general state of rock art studies in Namibe province and, of the various shelters found in the region. We will focus our study on four new sites firstly published in this paper, as they are a good illustration of the diversity of rock art in the region: Muliolila, Múcua II, Kandombolo and Cikotoue. These four shelters were subjected to a digital documentation protocol that is fundamental to the preservation and understanding of these archaeological sites. The methodology involved the application of a digital documentation protocol that included digital photography of the site, panels, figures and surrounding landscape, digital image processing, enhancement of the visualisation and interpretation of the rock art images using DStretch® software, and digital tracing using Adobe Photoshop© software. This documentation protocol will be used not only to provide accurate and up-to-date information about the site (thus raising awareness of the cultural and historical importance of these sites), but also to identify hazards and threats that may affect the site, to monitor possible damage and to take measures to protect the site. The motifs represented are very diverse, emphasizing zoomorphic figures such as antelopes, cats and serpentine figures, anthropomorphic forms, geometric forms (simple lines, combined lines, and circular forms) and indeterminate figures. The figures are both monochromatic and bichromatic, with white, black and red being the shades that can be observed (although these vary within each colour). The predominant technique is finger painting. Hunting scenes can be seen, either in isolation or in combination. One suggests that there may be indications that figures were made by at least two culturally distinct groups, even if in this paper the authors do not present any scientific proof for this statement but only different characteristics of the rock art. The rock art sites in the Namibe are of great cultural and historical importance, both for Angola and the world. They provide valuable information about the lives and traditions of the peoples who created them and help to promote awareness and conservation of Angola's cultural heritage. It is essential that intensive documentation and awareness of the importance of this Angolan rock art heritage be promoted and practiced on a large scale.

Early paintings of central-western Thailand

In the field of rock art, Mainland Southeast Asia remains the least understood region in the world. Thailand has a rich corpus of rock art, particularly in the central-west of its mountainous uplands. This paper takes an empirical approach to the study of central-western Thai rock art presenting for the first time a comprehensive inventory of the region's motifs and contextualising them against the archaeological and anthropological records of central-western Thailand and neighbouring regions (southwest China and northern Vietnam) to re-examine existing interpretations of the art.

Archéologie de l’art rupestre au Mato Grosso (Brésil) : la Chapada dos Guimarães

As part of the research program “Archaeology of rock art in Mato Grosso: the Chapada dos Guimarães National Park (Cuiabá, Brazil)” placed under the coordination of Patrick Paillet and Veronica Wesolowski, an integrated and interdisciplinary approach to the territory still largely unpublished rock art of the Chapada dos Guimarães, has been undertaken since 2020 by combining strictly archaeological research (surveys, excavations and prospecting-inventories), rock art studies (analysis and graphic, photographic and photogrammetric recording of representations) and geological analyzes and, to define and characterize the structure of its ornamented landscapes. Our program is an extension of other projects carried out from 1983 to 2013 under the direction of Agueda Vilhena-Vialou, Denis Vialou and Levy Figuti in the region of the Cidade de Pedra near Rondonópolis and at Santa Elina in the Serra das Araras (Jangada). The region of the Chapada dos Guimarães National Park (PNCG) was the subject of exploration and partial studies between 2017 and 2019 under the direction of Caroline Bachelet within the framework of the program “Prehistory and Paleoenvironments in the Pantanal region (Mato Grosso, Brazil)”. The pursuit of archaeological research in the PNCG contributes to better defining the chronology and the dynamics of occupations at local and regional scales, to characterizing chrono-culturally the settlements and their variability in the region, extending from the Rio Vermelho in the south to the Rio Cuiabá in the north, and to understand the processes of settlement and/or mobility of past populations along the firm lands and especially the hydrographic systems that border the floodplains of the Pantanal and which constitute the main routes of population movement.

Exploring the Significance and Interpretation of Animal Motifs in Rock Art: A Systematic Review

Rock art has been a subject of fascination for scholars, archaeologists, and enthusiasts for centuries due to its unique aesthetic qualities and cultural significance. This systematic review paper provides an overview of the significance of rock art motifs and their interpretations. Through a comprehensive analysis of the literature, we identified common rock art motifs and themes, as well as various interpretative approaches and theoretical frameworks used to understand the meanings and contexts of these motifs. The review also explores variations in interpretations across time and space and discusses the implications of these findings for rock art studies. The results reveal that rock art motifs and their interpretations are shaped by diverse cultural, social, and historical contexts, and that interdisciplinary and community-engaged research is needed to better understand, preserve, and appreciate this unique cultural heritage. The limitations and recommendations for future research are also discussed. This review contributes to our understanding of the cultural, symbolic, and aesthetic significance of rock art and highlights the importance of interdisciplinary perspectives and engagement with local communities in the study and conservation of rock art sites and cultural heritage.

Novel implementation of the INFN-CHNet X-ray fluorescence scanner for the study of ancient photographs, archaeological pottery, and rock art

INFN-CHNet is the cultural heritage network of the Italian National Institute of Nuclear Physics (INFN) and is constituted by units from Italy and from outside Europe, one of them at Universidad Nacional de San Martín (UNSAM) in Buenos Aires, Argentina. As a result of the initiative carried out during 2015 by the Accademia dei Lincei for the year of the Italian culture in Latin America, an INFN-CHNet laboratory was set at CEPyA-UNSAM with the collaboration of INFN and the Restoration Workshop Centro Tarea. Noteworthy, this laboratory is conceived as a multidisciplinary research facility with complementary skills, both scientific and humanistic. In this context, the first instrument jointly set up, optimised, and applied to Cultural Heritage was an X-ray fluorescence scanner. In this manuscript, we describe the instrument and its main features together with a set of representative yet novel applications in the field of cultural heritage, namely, the experimental study of hidden rock art through laboratory replicas that imitates the problems found in the archaeological sites (hematite drawings hidden below carbon deposition); the study and chemical characterisation of archaeological decorated pottery; and finally, the application of the XRF scanner to ancient photography, for quick and accurate identification of materials and techniques employed. Beyond these specific results, the primary output of this initiative has been the conception of a future network of scientific laboratories in South America, coordinated by CEPyA at UNSAM.

Qualia in late precolonial Pueblo rock art: An exploration of conventionalized sensorial experience in Rio Grande Style petroglyphs

Although the application of semiotics to the archaeological study of rock art is not new, Peircean perspectives are still uncommon, and those implementing the concepts of qualisigns and qualia are only rarely employed. Yet, an approach centered on sensuous properties can serve as a valuable complement to other materiality- and landscape-based frameworks popular in contemporary rock art research. Using Ancestral Pueblo rock art from the Middle and Northern Rio Grande region of the U.S. Southwest as an example, I offer an archaeological narrative of how social values may be attached to conventionalized qualia rooted in sensorial experiences. Specifically, I examine how diverse media—rock art, shields, objects of adornment, and feathers—were connected through luminosity and security, culturally conceptualized qualitative properties that became formalized and enregistered in the context of new social institutions and modes of group conduct appearing during the 14th century CE.

Dots, circles and horses: New rock art evidence through image-based digital methods in Moro Cave (Tarifa, Spain)

In the mid-1990s, Moro Cave rock-shelter became a key site to understand the rock art phenomenon in southernmost Iberia, as the discovery of Solutrean engravings settled former arguments about the presence of Upper Palaeolithic art in the region. Since then, discontinuous and unsystematic interventions in this site not only left many questions unanswered but also reduced its scientific relevance in broader reviews and discussions. In this paper, we highlight how current digital applications of image-based spatial methods are improving the study of rock art in Campo de Gibraltar and La Janda ancient lagoon area (Cádiz province, Spain).Here we present the first results of the introduction of ‘free and open-source’ image-based recording methods to research at Moro Cave, such as photogrammetric Structure from Motion, orthophotomosaics, microtopography, and statistical band-processing of raster imagery. As a result, spatial modelling of the rock-shelter, microtopography of panels, and the discovery of numerous unpublished motifs across the whole site provide promising insights for future research. This paper focuses on new faint and particular dotted painted patterns (spirals/concentric circles, alignments, and aggregations) related to the large horse on the lower floor; cultural parallels, Upper Palaeolithic adscription, taphonomic issues and future directions are discussed. As a conclusion, a Late Solutrean/Early Magdalenian chronology is proposed due to dot size and shape, arrangement and composition, comparison with other sites, and degree of degradation.

The Cognitive Processus Behind Neolithic Schematic Rock Art. Archaeological Implications and Research Hypothesis

The issue addressed in this article is essentially whether the same cognitive processes are at work for mimetic prehistoric graphic productions and schematic ones. Holocene schematic rock art is one of the main graphic expressions of European prehistory, from the Iberian peninsula to Italy. Despite its wide distribution and the incomparable insight it may provide on the functioning of prehistoric human groups and the cultural geography of the western European Neolithic, this rock art's imprecise chronology and geometric and schematic nature has often led to its exclusion from research on these societies, particularly in France. This paper proposes a study of schematic rock art from the perspective of the pragmatic and cognitive semiotics of visual culture and suggests that the production and purpose of diagrams, which compose so-called schematic rock art and which are common to all human societies, are different to those of figurative images, as is their cognitive origin. This demonstration sheds a new light on schematic rock art and the social practices it involved and invites us to rethink its coexistence with the Levantine imagery from the Spanish Levant.

Performance theory: a growing interest in rock art research

ABSTRACT It is always surprising to find clear examples in archaeology of researchers with common interests working, albeit unintentionally, without any awareness of their colleagues’ allied research. The sub-discipline of rock art research provides a striking example. All rock art practices involve performances of one kind or another. While performance is notionally implicated in rock art studies around the globe, earnest appeals to performance theory are less common. The few studies employing recognisable performance theory to study rock art are largely independent of one another. Consequently, this sub-field has not accumulated insights. It is, nevertheless, a growing interest. This comparative appraisal reviews a selection of performance theory approaches to rock art, drawing attention to their similarities and differences as well as some of the benefits of performance theory. The standard terms, concepts and definitions of performance theory provide a means to coordinate and formalise disparate ideas. Rock art research globally stands to gain from comprehensive, rather than partial, engagements with performance theory.

Does Group Contact Shape Styles of Pictorial Representation? A Case Study of Australian Rock Art.

Image-making is a nearly universal human behavior, yet the visual strategies and conventions to represent things in pictures vary greatly over time and space. In particular, pictorial styles can differ in their degree of figurativeness, varying from intersubjectively recognizable representations of things to very stylized and abstract forms. Are there any patterns to this variability, and what might its ecological causes be? Experimental studies have shown that demography and the structure of interaction of cultural groups can play a key role: the greater the degree of contact with other groups, the more recognizable and less abstract are the representations. Here we test this hypothesis on a real-world dataset for the first time. We constructed a balanced database of Indigenous Australian rock art motifs from both isolated and contact Aboriginal groups (those often in contact with other groups). We then ran a survey asking participants to judge the recognizability of the motifs and to provide interpretations. Results show that motifs from contact Aboriginal groups were more likely to be judged as inter-subjectively recognizable and also elicited more convergent descriptions than motifs from isolated groups. This is consistent with the idea that intergroup contact is likely to be an important factor in the cultural evolution of pictorial representation. We discuss the implications of these findings for the archaeology and anthropology of art, and the parallels with language evolution.

Superpositions and superimpositions in rock art studies: Reading the rock face at Pundawar Manbur, Kimberley, northwest Australia

Patterns of superposition in rock art are often used to systematically construct style sequences. However, once on the rock, images can affect subsequent engagements with the art, the rock surface, the site, and its surrounding landscape, and this recursiveness can be studied through the superimpositions (significantly overlaid markings) on a rock face. This is an opportunity for archaeologists to investigate the culture of engagement not just at the moment of the art’s initial creation, but subsequently also. In this paper we show how a long sequence of art styles that together span c. 17,000 years or more was not haphazardly arranged at the key site of Pundawar Manbur, in the Kimberley region of northwest Australia, but rather was constituted of many meaningful overlaps whose particularities reveal much about the culture of art and site engagement over time.

Communicating and Disseminating Rock Art Research on Facebook: The ERC Artsoundscapes Project Goes Public

ABSTRACT This article explores the potential of social media in disseminating and communicating archaeological knowledge and the ways in which their impact on the public can be enhanced through marketing plans. It examines the implementation of such a plan in the context of the Facebook page of the ERC Advanced Grant project “The sound of special places: exploring rock art soundscapes and the sacred” (acronym: Artsoundscapes). Using quantitative and qualitative data provided by the Facebook Insights altmetrics tool, the article evaluates the general performance of the Artsoundscapes page and measures the effectiveness of the marketing plan. It discusses the components of marketing plans with emphasis on a carefully designed content strategy that, in the case of the Artsoundscapes Facebook page, in only 19 months of existence has resulted in the organic development of an active online community of 757 fans and 787 followers from 45 countries. The marketing plan has contributed to raising awareness of the Artsoundscapes project and an emerging, highly specialized and little-known branch of archaeology – the archaeoacoustics of rock art sites. It rapidly and engagingly disseminates the project’s activities and outcomes among both specialist and non-specialist audiences, and informs the non-specialist public about relevant advances in the multiple fields – rock art studies, acoustics, music archaeology and ethnomusicology – that intersect in it. The article concludes that social media are effective means for archaeologists and archaeological organizations and projects to reach various audiences, and that marketing plans significantly augment this process.

Meaningful choices and relational networks: Analysing western Arnhem Land’s Painted Hand rock art style using chaîne opératoire

A core feature of rock art studies concerns the characterisation and analysis of motif styles to generate new insights into their function, meaning, and symbolism in the deep and recent past. Yet what is oftentimes overlooked is attention to the production sequence used to create motifs, and what this can reveal about the social and cultural behaviour of artists. Where it is evident that a particular group of motifs contains a wide range of individual design conventions, questions about why and how these choices were made become points of enquiry that have the potential to develop new insights into their symbolic and relational character, and cultural significance. To address this challenge, we undertook an investigation of the rare and highly distinctive Painted Hand rock art style from western Arnhem Land (Northern Territory, Australia). Using a quantitative, systematic, style-based analysis, and an ethnographic exploration of a select group of distinctive design conventions, we show how the decisions made by artists to use specific design conventions were not random but instead were deeply implicated in, and shaped by, social processes acquired through learning or enculturation.

A QUÍMICA ANALÍTICA APLICADA AOS ESTUDOS DE PIGMENTOS RUPESTRES: UMA REVISÃO

Instrumental advances have been employed in the study of archeological remains such as prehistoric rupestrians paintings with the objective of chemically characterizing them in order to reconstruct the cultural technologies of a prehistoric human group and/or to support conservation science studies. The analytical techniques most commonly used in archaeometric research are non-destructive or semi-destructive and preferably portable to preserve the integrity of the rupestrians paintings. They include X-ray Fluorescence Spectrometry (XRF), Scanning Electron Microscopy coupled with Energy Dispersive Spectroscopy (SEM/EDS), Raman spectroscopy, X-ray Diffraction (XRD), Fourier Transform Infrared Spectroscopy (FTIR), Laser-induced Breakdown Spectroscopy (LIBS), and the many techniques with emerging applications such as Mössbauer Spectroscopy, X-ray Absorption Near Edge Structures (XANES), Particle Induced X-ray Emission Spectrometry (PIXE) and Laser Ablation Inductively Coupled Plasma Mass Spectrometry (LA ICP-MS). Therefore, this paper presents a review of the literature on the development of chemical strategies employed in the study of rock art, focusing mainly on the critical evaluation of analytical techniques used, limitations, challenges and the perspectives within this area of study

Новые находки петроглифов на Канозере в скоплении Еловый 3

For the period 2016–2019 a significant number of previously unknown petroglyphs were revealed in the Elovy 3 panel (the Elovy Island, Kanozero Lake). Detection of petroglyphs was facilitated by the use of photogrammetry techniques, careful night photographing of the panel with petroglyphs. The total number of new revealed rock carvings is is over 150, among them about hundred figures are recognizable and fall into one of the categories accepted in the study of rock art (anthropomorphs, zoomorphs, etc.).These findings expand our ideas about the stylistic diversity of the Kanozero petroglyphs. In this work, new motifs and compositions of rock carvings are introduced, both having analogues and previously not typical for the Kanozero rock art complex.