Rock Art management & Awareness

The article examines the handling of the rock-art site in the Ceto, Cimbergo and Paspardo Reserve. The site represents an example of a archaeological park open to the public where research continues using archaeological survey campaigns on the engraved rocks. An attentive eye is turned to other sectors like handling tourism and didactics, musealisation, preservation and evaluation of archeological and ethnographic heritage.

In 2017 Shumla Archaeological Research and Education Center launched the Alexandria Project, with the goal of digitally documenting and preserving the 4,000 year record of hunter-gatherer rock art in the Lower Pecos Canyonlands of southwest Texas. The majority of identified Lower Pecos rock art is in Val Verde County, Texas, and the objective of the Alexandria Project is to conduct baseline documentation at the over 300 known Val Verde County rock art sites. Shumla has implemented intensive rock art documentation and digital preservation methods using a combination of low and high-tech approaches, including Structure from Motion (SfM) 3D modeling and high-resolution gigapanoramas. This project will create an unparalleled visual and spatial inventory of Lower Pecos rock art to inform current and future research. This paper summarizes Shumla's documentation methods used during the Alexandria Project.

This paper reviews current developments in microerosion analysis, including the testing of a universal calibration curve based on regional precipitation. This enables the use of the method in regions that are unlikely to provide suitable calibration surfaces. The paper also considers the creation of the archive of the International Centre of Rock Art Dating, and the need for it to facilitate the testing of rock art age estimates.

The principal findings of a project begun in 2001, of introducing scientific methodology into the study of the rock art of the Kingdom of Saudi Arabia, are briefly summarised in this paper. They include the first scientific and direct rock art datings reported from the Middle East. The project, commenced by the Deputy Ministry of Antiquities and Museums, is continuing under the auspices of the Saudi Commission for Tourism and National Heritage. It has led to the discovery of large rock art site complexes numbering tens of thousands of motifs, and to the successful nomination of major rock art properties to the UNESCO World Heritage List. More specifically, the work of this project has also resulted in a preliminary chronological sequence of Arabian Peninsula rock art, the basis of which is briefly presented in this review paper. All petroglyphs analysed so far in Saudi Arabia have been shown to be of the Holocene, with specimens dating from the Pre-Pottery Neolithic (PPN) up to the historical period.

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Rock Art Studies Bibliographic Database https://musnaz.org/search _rock_art_studies_db/ The Rock Art Studies Bibliographic Database is an open access, online resource that fulfills the need for a searchable portal into the world's rock art literature. Geared to the broadest interests of rock art researchers, students, cultural resource managers, and the general public, the RAS database makes rock art literature accessible through a simple on-line search interface.

Among the zoomorphs in rock art that have been proposed to demonstrate Pleistocene age, the woolly rhinoceros has been a favourite for much of the 20th century. An example that came to attention only recently is from the Tayuan rock art site in the Xinlin District, Heilongjiang Province, in the Chinese Amur region, which is that coun-try's northernmost part. The site consists of a granite tor, on the side of which is a small vertical panel, barely protected from the rain, comprising an anthropomorph, two apparent zoomorphs shown in a steeply inclined position,

Often considered evidence of humanity's first artistry, prehistoric rock art has captivated people all over the world. Associated with many different cultures, the meaning and purpose of most forms of prehistoric rock art remain shrouded in mystery. Even the most experienced archaeologists continue to ask basic questions about rock art. What does it depict? What does it mean? Who produced it? When was it produced? What function did it serve? Here, using eHRAF Archaeology and other sources, I will explore some examples of prehistoric rock art while demonstrating how scholars have attempted to understand the ancient people that produced these mysterious markers of human artistry and creativity.

Rock art studies, to be fruitful, must move from exclusive, parochial, appropriative taxonomies to inclusive, comprehensive, participative approaches. Understanding of the shape and meaning of rock art can come only from a hermeneutic circular movement between past and present, regional and global, part and the whole, self and the other, surface and the context in the rock art traditions of the world. Such understanding cannot come from attempts to impose artificial order on data according to preconceived , uni-demensional models of the cognitive development of the human language, articulated through rock art.