Rock Art

Moving Mountains: Shamanic Rock art and the International of Experimental Artists

by Psychogeography from 'Transgressions'

by Simon Crook, 'Transgressions: A Journal of Urban Exploration', 1998, number 4

'Psychogeography from 'Transgressions'' brings you classic pieces from the early days of the psychogeography revival

2008 Space&Discourse

by Tilman Lenssen-Erz

LenssenErz 2004 CUP

by Tilman Lenssen-Erz

Atlas-Beitrag Ennedi

by Tilman Lenssen-Erz

2012 CAJ Aesthetics

by Tilman Lenssen-Erz

Atlas-Beitrag BbgDaureb

by Tilman Lenssen-Erz

¿Esculturas subterráneas en Menorca? - La cueva de Tot-lluc y sus grabados rupestres.

by Ferran Lagarda Mata

Čabbe

by Bertrand Poissonnier

published in S. Uhlig (ed.) 'Encyclopaedia Ethiopica', 1. Wiesbaden, 2003: 660.

Famous Rock Art Site in Ethiopia Famous Rock Art Site in Ethiopia

Du Sahara au Nil: la faible représentation d'animaux dangereux dans l'art rupestre du désert Libyque pourrait être liée à la crainte de leur animation. - Les Cahiers de l'AARS, 13, 2009: 85-98.

by Julien d'Huy

Co-authored with Jean-Loïc Le Quellec
http://aars.fr/

Fuyant l’aridification de leur territoire pour rejoindre les régions plus clémentes de la vallée du Nil, peut-être en... more Fuyant l’aridification de leur territoire pour rejoindre les régions plus clémentes de la vallée du Nil, peut-être en empruntant ce qui allait devenir la piste d’Abū Ballās, les habitants du Djebel el-’Uweynāt et du Gilf Kebīr auraient emporté avec eux leur crainte de représenter des animaux dangereux.

Fleeing the increasing aridity of their territory in order to reach the more favourable regions of the Nile valley, perhaps following what was to become the Abu Ballas track, the inhabitants of the Djebel el-‘Uweinat and the Gilf Kebir may have taken with them their fear of representing dangerous animals.

Šumgädäl : peintures rupestres et histoires de vaches dans le Sud-Gondär

by Bertrand Poissonnier

co-authored with Anaïs Wion, published in 'Annales d'Ethiopie' 25, 2010.

Šumgädäl : rock paintings and cow stories in South-Gondär. The discovery of a series of rock paintings showing... more Šumgädäl : rock paintings and cow stories in South-Gondär. The discovery of a series of rock paintings showing schematic bucrania from a cave from the upper Blue Nile Valley, likely belonging to historical times, is studied alongside with local legends involving bovines.
Keywords: Ethiopia, Bägemder, Rock Art, Bovids, Comb Style, Oral Tradition.

Rock Art at the “Mini-Yengo” site near Kulnura, New South Wales

by Duane Hamacher

Hamacher, D.W.; Clegg, J.K.; Pankhurst, R.C. (2012). Rock Art Research, Volume 29, Issue 2, pp. 23-25.

We report on an Aboriginal rock art site dubbed "mini-Yengo" near Kulnura, NSW. The site features a large... more We report on an Aboriginal rock art site dubbed "mini-Yengo" near Kulnura, NSW. The site features a large rock mound that resembles the distant Mount Yengo, a sacred place in the oral traditions of the local Aboriginal people. We describe four petroglyphs - one of a serpent and three kangaroos, both near the base of the mound, as well as modern graffiti, an axe groove, and a carved cupule. This site has not been publishedin the literature and is probably one of the rock art sites relating to the oral traditions of Baiame and Mount Yengo.

The Pangs in Askum? An example of storytelling by rock pictures and their possible link to a known story

by Åsa Fredell

in Marco V. García Quintela, Francisco J. González García & Felipe Criado Boado (eds), Anthropology of the Indo-European World and Material Culture. 5th International Colloquium of Anthropology of the Indo-European World and Comparative Mythology. Archaeolingua: Budapest: 121-135.

The article focuses in general on the narrative elements and structures of southern Scandinavian figurative rock... more The article focuses in general on the narrative elements and structures of southern Scandinavian figurative rock pictures, and in particular on one panel with a scene that possibly could be linked to a known story. The problem of evaluating possible links between figurative archaeological material and much later, and perhaps also in space distant, written texts is methodologically difficult. It is emphasised that the aim of the article is not to prove an existing relation between the discussed scene and text, but instead to use the text as an illustrative and possible example of how rock pictures in practice could have been used within a society where social memories and a cultural transmission were based on oral tradition.

«Solhjorten» fanns den? Fallstudium av ett galiciskt bildtema och dess relationer till identitet

by Åsa Fredell

i Randi Barndon, Sonja M. Innselset, Kari K. Kristoffersen og Trond K. Lødøen (red.): Samfunn, symboler og identitet - Festskrift til Gro Mandt på 70-årsdagen. UBAS Nordisk 3. Universitetet i Bergen Arkeologiske Skrifter. Bergen 2006:121-33.

Identity is a phenomenon that can group and gather at the same time as it can divide and shatter. It is a force... more Identity is a phenomenon that can group and gather at the same time as it can divide and shatter. It is a force beating like a heart where a contraction inevitably is followed by an expansion. It is the equation of life according to which even our lungs, our breeding and our society works, but rarely our archaeology. Does this depend on the fact that the archaeological material is not alive, that it can be considered “dead” and thereby incapable of protesting
when we stitch it up into a “Frankenstein,” an image of prehistory that we hope will affect ourown age and be part of our future?
In this case, archaeological and mythological identities are investigated: “The Sun-deer”, firstly from a general and then a local and more materially anchored perspective. The intention of the article is, besides giving the reader a glimpse of the world of Galician rock pictures, also to criticise the projection of identities into prehistory and to encourage a more organic view of archaeology that does not always have to create patchwork quilts or little “Frankensteins” from its scarce source material. We also can treat it for what it really is; small, distorted bits and glimpses of many possible identities, then as now.

A Mo(ve)ment in Time? A comparative study of a rock-picture theme in Galicia and Bohuslän

by Åsa Fredell

In Fredell, Åsa, Kristiansen, Kristian & Criado Boado, Felipe (eds.) (2010a). Representations and communications: creating an archaeological matrix of late prehistoric rock art. Oxford, UK: Oxbow Books: 52-74

This paper summarizes some of the results of a comparative study on a rock-picture theme ‘the Sun deer’, that was... more This paper summarizes some of the results of a comparative study on a rock-picture theme ‘the Sun deer’, that was carried out as a part of my post doctorate study at the Landscape Archaeology laboratory of the Padre Sarmiento Institute of Galician Studies in Santiago de Compostela. Based on these results and with the aim of putting them in a greater context by way of a case study where two rock-art panels are set in focus, I will suggest a hypothetical mo(ve)ment in time where people from distant places in prehistory came in direct contact. This requires a developed methodology where the concept of time is treated more flexibly, and partly also a new (more specified) chronology of Galician rock art which will be argued for. My aim is not to deliver undisputable facts, but merely to open up for discussion the possibilities of using rock art as a more direct source material for creating and testing hypotheses.
The archaeological work was partly carried out within the “Archaeological Context of Galician Rock Art. ContextArt” project. Defrayed by the Spanish Ministry of Science and Technology. Code: HUM 2005–6119/Hist.

Bodily Attributes and Semantic Expressions: Knees in rock art and Indo-European symbolism.

by Åsa Fredell

Co-authored with García Quintela, Marco. In Fredell, Åsa, Kristiansen, Kristian & Criado Boado, Felipe (eds.) (2010a). Representations and communications: creating an archaeological matrix of late prehistoric rock art. Oxford, UK: Oxbow Books: 75-92.

In this article we consider the problems relating to the interpretation of rock engravings, from finding more or less... more In this article we consider the problems relating to the interpretation of rock engravings, from finding more or less deceptive evidence to the difficulty of making sense of many figures. We propose a dual form of investigation to surpass those difficulties; on the one hand an ordered systematic treatment of the corpus of images that we are trying to explore, on the other hand the consideration of the linguistic and mythological Indo-European registry (valid for populations speaking this family of languages). These approaches are, theoretically, independent, and would be possible to develop independently. Nevertheless, we propose to study whether their joint use reveals their double utility and complementariness. Our study aims to show how the rock art images represent the ambiguity of warriors, between the expression of force and violence (death) to their capacity of fertile reproduction (life).

To let the pictures talk

by Åsa Fredell

This article is the result of a paper read at a symposium held by Tanums Hällristningsmuseum/Scandinavian Society for... more This article is the result of a paper read at a symposium held by Tanums Hällristningsmuseum/Scandinavian Society for Prehistoric Art 25-26th July 2002, which addressed the role of the picture as an archaeological source. However, the picture as an archaeological source indicates a wide and diversified material and in this article I have chosen to depart from the southern Scandinavian rock art tradition, which consists of figurative pictures, symbols and geometrical designs pecked in stone. This tradition is in general dated to the years between 1800 BC and the starting point of our chronology.
My aim is to set a few points of departure for theoretical and methodological developments, when studying the societal and communicative role of pictures in a society based on oral tradition. Discussing "the active, contextual, talking and transformative picture" does this.
To add some balance and source criticism to our discussion, I finally refer to "the limited picture".

The Kalleby Experiment. Rock art and rock art panels as architechture.

by Åsa Fredell

PDF version. Draft only. Happy for any comments, suggestions and corrections of language...

This presentation seeks to investigate the concept of vitalized time in relation to temporal and spatial accumulation... more This presentation seeks to investigate the concept of vitalized time in relation to temporal and spatial accumulation of rock-art motifs and panels. Its results and discussion depart from statistics and typological series of a case study of a typical Scandinavian local landscape-context and a common group of some 40 panels of petroglyphs surrounding a flat land that during the discussed time period, approx 1750 BC – 1 AD, lay by a water communication-system linking this site with the sea and the surrounding world. Considering this rock-art tradition as changing space-, and time-scapes of intercommunicative motifs and panels, the results of the analyses aim to indicate if the practice of making rock art followed planned or structured patterns and if panels were given identities as special places tied up to different practices and meaning through time.

Rock Art in Eastern Jordan : 'Kite' Carvings ?

by Alison Betts

The hunter's perspective: 7th millennium BC rock carvings from eastern Jordan

by Alison Betts

10.000 AÑOS DE ARTE RUPESTRE. EL CICLO PREESQUEMÁTICO DE LA PENÍNSULA IBÉRICA Y SU REFLEJO EN EXTREMADURA (ESPAÑA)

by Hipolito Collado Giraldo

HIPÓLITO COLLADO, JOSÉ JULIO GARCÍA (2010). ACTAS DEL CONGRESO IFRAO 2009. PARQUE NACIONAL DE LAS SIERRA DE CAPIVARA (PIAUI, BRASIL). FUMDHAMENTOS, IX, VOL. IV, SESIÓN 23,  P.1167-1192 

CARACTERIZACIÓN DEL CICLO DE ARTE RUPESTRE PREESQUEMÁTICO EN LA PENÍNSULA IBÉRICA COMO EL CONJUNTO DE MANIFESTACIONES... more CARACTERIZACIÓN DEL CICLO DE ARTE RUPESTRE PREESQUEMÁTICO EN LA PENÍNSULA IBÉRICA COMO EL CONJUNTO DE MANIFESTACIONES DE ARTE RUPESTRE PRODUCIDA POR GRUPOS CAZADORES RECOLECTORES DURANTE LA PRIMERA MITAD DEL HOLOCENO