Prehistoric Rock Art

Prehistoric rock art is the markings - paintings, engravings, or pecked images - left on rocks or cave walls by ancient peoples. In this book, Paul G. Bahn provides a richly illustrated overview of prehistoric rock art and cave art from around the world. Summarizing the recent advances in our understanding of this extraordinary visual record, he discusses new discoveries, new approaches to recording and interpretation, and current problems in conservation. Bahn focuses in particular on current issues in the interpretation of rock art, notably the "shamanic" interpretation that has been influential in recent years and that he refutes. This book is based on the Rhind Lectures that the author delivered for the Society of Antiquaries of Scotland in 2006.

This title covers an extensive region of East Siberia, considering prehistoric ethno-cultural and social processes through the development of rock art styles and traditions. It addresses the questions of why rock art is created, why specific styles and traditions emerge and why changes in rock art occur. These questions are explored through anthropological perspectives on ethnicity, identity, and symbolism. A reader will find a comprehensive overview of the developments of rock art research in Siberia as well as detailed accounts of the regional archaeology in the Bronze/Iron ages, the Neolithic, and partially the Late Paleolithic. Importantly, this study is primarily fieldwork-based, presenting information on 108 rock art sites in Yakutia and Trans-Baikal. It is a major contribution to Siberian and global rock art research and suggests new directions for future rock art research.

From the high plains of Canada to caves in the southeastern United States, images etched into and painted on stone by ancient Native Americans have aroused in observers the desire to understand their origins and meanings. Rock paintings and engravings can be found in nearly every state and province, and each region has its own distinctive story of discovery and evolving investigation of the rock art record. Rock art in the twenty-first century enjoys a large and growing popularity fueled by scholarly research and public interest alike. This book explores the history of rock art research in North America and is the only volume in the past twenty-five years to provide coverage of the subject on a continental scale. Written by contributors active in rock art research, it examines sites that provide a cross-section of regions and topics and complements existing books on rock art by offering new information, insights, and approaches to research. The first part of the volume explores different regional approaches to the study of rock art, including a set of varied responses to a single site as well as an overview of broader regional research investigations. It tells how Writing-on-Stone in southern Alberta, Canada, reflects changing thought about rock art from the 1870s to today; it describes the role of avocational archaeologists in the Mississippi Valley, where rock art styles differ on each side of the river; it explores discoveries in southwestern mountains and southeastern caves; and it integrates the investigation of cupules along GeorgiaÕs Yellow River into a full study of a site and its context. The book also compares the differences between rock art research in the United States and France: from the outset, rock art was of only marginal interest to most U.S. archaeologists, while French prehistorians considered cave art an integral part of archaeological research. The bookÕs second part is concerned with working with the images today and includes coverage of gender interests, government sponsorship, the role of amateurs in research, and chronometric studies. Much has changed in our understanding of rock art since Cotton Mather first wrote in 1714 of a strange inscription on a Massachusetts boulder, and the cutting-edge contributions in this volume tell us much about both the ancient place of these enduring images and their modern meanings. Discovering North American Rock Art distills todayÕs most authoritative knowledge of the field and is an essential volume for both specialists and hobbyists.

This study analyses almost 300 known prehistoric rock art sites dating from c.2500 BC set within their environmental context. Susan Searight discusses the themes and motifs represented, comprising anthropomorphs, human hands and feet, weapons, agricultural tools, chariots and geometric forms, and their distribution.

Includes information on protected rock art sites in Arizona, Colorado, Nevada, New Mexico, and Utah. Gives information on these special rock art areas: Albuquerque and Santa Fe Area; Arches National Park; Bandelier National Monument Area; Canyon de Chelly National Monument; Canyonlands National Park--Maze Area; Canyonlands National Park--Needles Area; Capitol Reef National Park;Central Utah Area; Chaco Canyon Area; Desolation-Gray Canyon of the Green River; Grand Canyon National Park; Grand Gulch Primitive Area;Hovenweep National Monument; Indian Creek Canyon; Moab Area; Petrified Forest National Park; San Juan River Gorge; Three Rivers Area; Uintah Basin Area; West-Central Colorado Area; Zuñi-Cibola Area; miscellaneous areas; and Anasazi celestial rock art.

Pictures, painted and carved in caves and on open rock surfaces, are amongst our loveliest relics from prehistory. This pioneering set of sparkling essays goes beyond guesses as to what the pictures mean, instead exploring how we can reliably learn from rock-art as a material record of distant times: in short, rock-art as archaeology. Sometimes contact-period records offer some direct insight about indigenous meaning, so we can learn in that informed way. More often, we have no direct record, and instead have to use formal methods to learn from the evidence of the pictures themselves. The book's eighteen papers range wide in space and time, from the Palaeolithic of Europe to nineteenth-century Australia. Using varied approaches within the consistent framework of informed and proven methods, they make key advances in using the striking and reticent evidence of rock-art to archaeological benefit.

In a brilliant and ambitious thriller that combines elements of Jean Auel’s The Clan of the Cave Bear and Ken Follett’s The Pillars of the Earth into a riveting, multifaceted tale of love, art, courage, and war, Martin Walker brings to life the creation of an extraordinary work of prehistoric cave art and the struggle to possess it in our own time. Martin Walker’s richly interwoven novel opens with the arrival of a mysterious package for a young American woman working in a London auction house. Brought by a British officer, it contains a 17,000-year-old fragment of a cave painting left to him by his father, a former World War II hero. The fragment, significant and stunning in itself, is also the key to the existence of an un-known cave that may be more important in the history of art and human creation than the world-famous one at Lascaux. It triggers a storm of publicity and commands the attention of the French authorities all the way up to the President of the Republic, who seems to know more about the painting's origins than anyone else... As the young American woman, the British officer, and a French government art historian explore the ancient province of Périgord to determine the painting’s origins, their search serves as backdrop for three compelling stories. There is the tale of the British officer’s father who lands in Nazi-occupied France in 1944 to organize the Resistance, culminating in a series of battles to prevent the SS Das Reich Panzer Division from reaching the Normandy beaches in time to repel the D-Day invasion, which leads to an account of the subsequent discovery—and cover-up—of the lost cave and its paintings. And there is also the moving story of the young artist who painted them, the woman he loved, and the ancient culture that produced the first recognizable human art but required the sacrifice of its own creators. Filled with vivid, historically accurate details and imaginative re-creations of prehistoric life, The Caves of Périgord blends a complex plot and richly diverse characters into a seamless narrative of romance, tragedy, and heroism from past to present.

Along the Atlantic seaboard, from Scotland to Spain, are numerous rock carvings made four to five thousand years ago, whose interpretation poses a major challenge to the archaeologist. In the first full-length treatment of the subject, based largely on new fieldwork, Richard Bradley argues that these carvings should be interpreted as a series of symbolic messages that are shared between monuments, artefacts and natural places in the landscape. He discusses the cultural setting of the rock carvings and the ways in which they can be interpreted in relation to ancient land use, the creation of ritual monuments and the burial of the dead. Integrating this fascinating yet little-known material into the mainstream of prehistoric studies, Richard Bradley demonstrates that these carvings played a fundamental role in the organization of the prehistoric landscape.