Featured posts

Rock art across Australia

Wandjina spirit

As rock art theory has largely been refracted through western conceptual and epistemological underpinnings, it is a valuable (and timely) exercise to redirect art theory through the lens of Indigenous Australians’ geographical and cultural settings. For reasons of brevity, this critical exploration is not to offer a comprehensive road map pertaining to all aspects of vastly complicated socio-artistic elements of Australian Indigenous society but to stimulate discussion.

by Marisa GIORGI

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Piovono capre: i capridi nell’arte rupestre dell’Iran

Sigari17_150

Iran, goat-like figure

Il testo qui proposto vuole essere una breve sintesi di quanto si è potuto osservare durante una serie di visite, tra aprile e maggio 2013, in tre siti con arte rupestre in Iran: Kalateh Abdol e Shotor Sang, entrambi prossimi alla città di Mashhad, nella regione del Khorasan, e la zona della piana di Teymareh nella provincia di Khomein, a metà strada tra Tehrān e Esfahan. I siti con arte rupestre in Iran offrono una visione d’insieme che appare di straordinaria importanza e ricchezza. Al loro interno i capridi costituiscono un soggetto di primaria importanza e di vasta diffusione.

by Dario SIGARI Read more

Icons That Travel

0 logoThe Atacama Desert and the Andes in South America are crisscrossed by myriads of paths and tracks. Often those tracks are easily seen in Google Earth as broad bands. Also rock art images narrate of such travels. They mainly depict camelids guided by people. In rare instances however a specific kind of traveller has been depicted on the rocks. I have labelled it ‘The Enigmatic Traveller‘. In this study I describe the distribution of this icon, compare it with similar images and try to explain the meaning of the enigmatic position of the arms of this figure.

By Maarten van Hoek

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El Arpa en el Arte Rupestre Andino

Arpista Andino

Instrumentos musicales rara vez se han representado en el arte rupestre. Por lo tanto el descubrimiento de tres (quizás cuatro) petroglifos de arpas – en dos casos tocando por arpistas – en una pared de roca en el desierto de Atacama de América del Sur, es excepcional. Ciertamente son petroglifos de la época posthispana. Musical instruments have only rarely been depicted in rock art. The discovery of three (perhaps four) petroglyphs of harps – two played by harpists – on a rock wall in the Atacama Desert of South America is therefore exceptional. They certainly are Post-Columbian petroglyphs.

By Maarten van Hoek

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Val Meraviglie e Fontanalba (Barocelli 1921)


Barocelli 1921

TRACCE free e-books


Barocelli P. 1921. Val Meraviglie e Fontanalba (Note di escursioni paletnologiche), Atti della Società Piemontese d’Archeologia e Belle Arti, vol. X, fasc. 1, 51 pp., X tavv.
| full text-image and PDF (TRACCE 2015 re-editing) | Italian

[editor’s note: this 1921 paper expresses the first complete archaeological and chronological framework of the Mt. Bego petroglyphic complex; the author, Piero Barocelli was the archaeologist charged with the area, which was at this time managed by the Italian Royal Archaeological Superintendence; Clarence Bicknell, during the last years of his life, passed to him the baton of the research]

by Piero Barocelli – 1921

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Rock Art in Jebel Akhdar, Oman

Bilad Sayt

Bilad Sayt

The petroglyphs and pictographs of Oman are little known, but for the last five years I have been involved in a series of surveys of the Jebel Akhdar Mountains that have resulted in the location of several important sites. Recording these in advance of construction projects undertaken to modernize the country’s transportation network has enabled me to study the rock art in considerable detail for the first time. Using superimpositions, cross-dating with known artistic expressions elsewhere in the region, and the known dates for introduction of various objects of material culture, I propose a preliminary chronology consisting of four major phases spanning the last 6,000 years.

by Angelo Eugenio Fossati
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The Case of Guelta Oukas, Morocco

Thumbnail

Guelta Oukas

Very recently several petroglyphs at the rock art site of Guelta Oukas in the Anti Atlas Mountains of southern Morocco were severely damaged. However, the mutilation was limited to two panels with mainly depictions of cattle and – moreover – to specific body parts of those zoomorphic images. In this paper I argue that this is not just another case of unwanted vandalism. Instead, I propose that the mutilation at Guelta Oukas could represent an instance of ‘negative’ rock art, involving the desecration of the images.

by Maarten van Hoek
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New Anthropomorphic Figures from Jebel Rat

Jebel Rat

Jebel Rat

The plateau at the northern foot of Jebel Rat, in the heart of the High Atlas, Morocco, is a major rock-art centre, mainly known for its numerous petroglyphs of horsemen. There are also large circles (interpreted as round shields, some of them decorated) and weapons like daggers, halberds and axes. The anthropomorphic figures are not so well known. Some of them are similar to the ones present at Oukaimeden and Yagour, while others are typical of this plateau. Those figures are round or oval, their heads drawn with coils or spirals. A number of newly found anthropomorphs are presented in this paper.

by Alessandra Bravin
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Mt. Bego, a rediscovered manuscript

Manuscript

Manuscript

The oldest written document regarding European rock art is stored in the Turin State Archive. It is entitled the Academia de Giardini di Belvedere (the Belvedere Gardens Academy).

The manuscript is a copy made around the mid seventeenth century by Pietro Gioffredo, historian of the Savoy House, on the basis of another manuscript, written by Honorato Lorenzo, dating back to the end of the previous century, around 1591, or a few years later.

by Andrea Arcà

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Rock Art at Ischigualasto, and more …

Cruz Sagrada

This paper discusses several aspects of rock art research in general, using the status of rock art research in the Cuyo region of western Argentina as a pilot study. A number of protected and unprotected rock art sites will be discussed, focussing on four interrelated issues: Issue 1: Have the locations of rock art sites correctly been published? Issue 2: Should rock art sites be accessible for all? Issue 3: Should the location of rock art sites be revealed or not? Issue 4: Do only academics have the right to publish information about rock art?

by Maarten van Hoek

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Latmos Mountains (Turkey), endangered rock paintings

Latmos paintings

Baliktas paintings

The living environment of the Latmos Mountains and of its communities are threatened by the deforestation caused by feldspar quarrying. The cultural heritage looks back upon a long history, from the Neolithic period up to the Ottoman Empire. More than 170 sites of rock drawings (6th/5th millennia BC) are known, representing one of the most important discoveries in prehistoric archaeology during the past decades in Anatolia. Television documentaries, newspaper reports, symposia and demonstrations, have not succeeded in preventing the devastation of the landscape… please sign the online petition!

by Anneliese Peschlow-Bindokat

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Phaistos, Crete, cup-marks and other signs

Festos150

Phaistos, spiral

Rock art enthusiasts and researchers will be pleasantly surprised while discovering the moderate but diffused presence of Minoan Palaces “rock art”; two main categories are present: mason’s marks and cup-marks – so-called kernoi – all these engraved upon the ashlars limestone blocks of the Minoan Palaces, mainly in the first centuries of the 2nd millennium BC. Some interpretation problems arise, concerning the sacred or practical character of the marks and the use of the kernoi as offering tables or as popular or childish board games. A great concentration of such items may be found at the Phaistos Palace...

by Andrea Arcà



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Chauvet-Pont d’Arc cave, grand opening!

Lion head

Lion head

After only 30 months of work, the opening of the Chauvet-Pont d’Arc cave to the public is scheduled for Saturday 25 April 2015: don’t miss it! It’s the largest cave replica ever built worldwide, ten times bigger than the Lascaux facsimile. All geological and archaeological features, such as paintings and engravings, are reproduced full-size in an underground environment identical to the original one. Visitors’ senses will be stimulated by the same sensations of silence, obscurity, temperature, humidity and acoustics, carefully reproduced.

by Andrea Arcà

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Signs of Infinity at Aït Ouazik, Southern Morocco

Aït Ouazik

Aït Ouazik

Aït Ouazik is a renowned and – fortunately – protected  petroglyph site in the eastern part of the Anti Atlas Mountains, Morocco. The current paper focuses on continuous loop patterns in this area and explores their possible parallels in the rock art of NW Africa. Although the focus in this paper is on only a few specific petroglyph panels, Aït Ouazik has much more to offer. In order to give a more complete impression of the site and its petroglyphs, the paper is enriched by a YouTube video.

by Maarten van Hoek

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Chenal shelter, six thousand years of iconography

Chenal shelter

Chenal shelter

The oldest post-Palaeolithic engravings of the Alps, 5th millennium BC, reveal many contact points with the ancient megalithic art of Brittany. We publish here the complete paper related to the Montjovet-Chenal shelter, Aosta valley; Italian version, with short English abstract and all-sectors tracings. Full text-image searchable flip book (Flash plugin needed). The low-res PDF is also available.

by A. Arcà, D. Daudry, A. Fossati, F. Morello, L. Raiteri

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Reflecting (on) Petroglyphs: Two Cases

diaguita

Parque Diaguita

Two instances of special petroglyph manifestations in Namibia (Twyfelfontein Valley) and Peru (Virú Valley), having very limited visibility, will be discussed in this paper.
Dos casos de manifestaciones especiales de petroglifos en Namibia (Valle de Twyfelfontein) y Perú (Valle de Virú), que demuestran de tener una visibilidad muy limitada, serán discutidos en este documento.

by Maarten van Hoek


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Magura Cave paintings, Bulgarian rock art

Sun figure

Situated in north-western Bulgaria, and managed by the Belogradchik municipality, the Magura cave (Пещера МАГУРА) is, with the Porto Badisco cave (south Italy), the most important European post-Palaeolithic painted cave. Hundreds of dark brown figures are diffused along an astonishing underground Art Gallery: hunting, dancing and mating scenes, bi-triangular female silhouettes, axes, solar symbols… a prehistoric iconographic treasure which definitely deserves a special attention. [Text and photogallery]

by Andrea ARCÀ

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CAA 2015, computer and rock art studies

CAA2015_150

Call for papers

The Call for Papers for the 43rd International Conference on Computer Applications and Quantitative Methods in Archaeology (CAA 2015) is open. You may submit your abstract for the Session 3C, Computer and rock art studies: data collection,  interpretation and communication. Deadline november 20th 2014.




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The Felines of Foum Chenna, Morocco

Foum Chenna

Foum Chenna

Depictions of cats in rock all over the world art are frequently characterised by specific feline properties. The feline images at the petroglyph site of Foum Chenna in southern Morocco are much less idiosyncratic. Besides a general description of the rock art site of Foum Chenna, the current paper attempts at a re-evaluation of the image of the feline at Foum Chenna, simultaneously trying to fit the image into a chronology of Moroccan rock art.

by Maarten van Hoek


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Prehistory popularisation: a de profundis?

bison

Cave art

Two recently published  archaeology books, mainly or partially concerning cave art, show a set of inaccuracies which doesn’t seem acceptable, not only for a specialised scientific level, but also for an educational one. The lack of a review process performed by professional archaeologists demonstrates the weakness in Italy, and not only, of the archaeologist profession, particularly in the prehistoric and rock art fields.

by R.C. de Marinis

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The Motocachy Pampa Disaster, Peru

Figure 011a

Motocachy Pampa


The UNESCO’s World Heritage List now registers almost a thousand properties. Only two percent of the World Heritage List comprises rock art sites. Regrettably 44 of those properties are in danger, which proves that being on the World Heritage List is not a guarantee that nothing will endanger the site. I will focus the discussion mainly on rock art sites in the deserts of western Peru.

by Maarten van Hoek – rockart@home.nl



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Elephas antiquus depicted at Vermelhosa rock art?

Vermelhosa

Vermelhosa

Among the Vermelhosa Palaeolithic scratched figures, an elephant head stands out. Eighteen years after its publication, it’s time to recall the attention of Palaeolithic rock art scholars over this case: having been the Iberian peninsula the last European refuge of the straight-tusked elephant, are we facing an Elephas antiquus depiction?

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by Andrea Arcà

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Palaeolithic rock engravings at Vermelhosa

verm_sq_yellow

Vermelhosa


SIMÕES DE ABREU M., ARCÀ A., FOSSATI F., JAFFE L., 1998. Palaeolithic rock engravings at Vermelhosa, Côa valley archaeological park, Portugal, in  UISPP – International Union of Prehistoric and Protohistoric Sciences, Proceedings of the XIII Congress, Volume 3, Forlì
| full text-image flip book and PDF | English.

by Mila SIMÕES DE ABREU, Andrea ARCÀ, Angelo FOSSATI, Ludwig JAFFE

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Le rupi scolpite delle Alpi Marittime (Issel 1901)

issel1901foto150

Fontanalba picture

TRACCE free e-books


Issel A. 1901. Le rupi scolpite nelle alte valli delle Alpi Marittime, Bullettino di paletnologia italiana, s. III, t. VII, a. XXVII, n. 10-12, pp. 218-259.
| full text-image flip book and PDF (from TRACCE scan-OCR, public domain) | Italian

[editor’s note: the most detailed paper until that time on Mt. Bego’s engravings; Issel never recorded the engraved rocks, but attentively examined the literature and was in close and friendly contact with C. Bicknell]

by Arturo ISSEL

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Entre Mont Bego et Val Camonica

meravigliemago

Merveilles, le Sorcier

TRACCE open access papers

Arcà Andrea, 2011.
Entre Bego et Val Camonica: une clé pour mieux comprendre l’origine de l’art rupestre dans les Alpes, in BEPAA XXII, pp. 71-89.
| full text-image inline PDF | French

La comparaison entre ces deux sites est cruciale pour l’encadrement global de l’art rupestre alpin.

by Andrea Arcà

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Piero Barocelli, a rupestrian archeology pioneer

Piero Barocelli, archaeologist

Piero Barocelli’s work on Mt. Bego Petroglpyphs plays a highly original and markedly pioneering role for the Alpine and European rupestrian archaeology. Full text-image inline PDF available (TRACCE open access papers).

Gli studi di Piero Barocelli sui petroglifi del Monte Bego assumono per l’archeologia rupestre alpina ed europea una posizione fortemente originale e di marcato pionierismo. Disponibile la versione PDF integrale.

by Andrea Arcà

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Gavrinis, une approche multiscalaire

Gavrinis art

A multiscale approach: the workflow committed on the Gavrinis island cairn gathers archaeologists and archaeometrists, architects and surveyors, to acquire, handle and share information relative to a passage-tomb built at the beginning of the IVth millennium, one of the most famous of the European monumental heritage.

by S. Cassen, L. Lescop, V. Grimaud, G. Querré, B. Sune

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How do we recognise rock art?

Aboriginal engraving

This paper was stimulated by an on-line discussion with Andrea Arcà (Case example 4: figurative and non-figurative below) about a need for archaeologists to treat figurative and non-figurative rock art differently.

by † John Clegg

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Dating and (up)dating Valcamonica rock art

Valcamonica chronology

Since the beginning the achievement of a correct chronological attribution has represented an important point of any rock art research. But since the beginning any chronological attribution has been subjected to the risk of being questioned, not accepted or simply updated. So rock art dating is often controversial…

by Andrea Arcà

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TRACCE Online RA Bulletin 39 special issue – July 2016

TRACCE special issue

On the occasion of the Valcamonica summer fieldschool

21st July -11 August 2016 Paspardo (BS – I)

Edited by Dario SIGARI

Sulif_duel_crop

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Valcamonica, fieldwork and lectures summer 2016

3D scan

3D scan

Dear Valcamonica Fieldwork & Fieldschool Participants, Collaborators and Friends! The field project is formally scheduled from Thursday afternoon July 21st through Thursday morning  August 11th 2016 The fieldwork volunteers are coming from Azerbaijan, China, France, Italy, USA, Switzerland, UK, plus crew and lecturers (from Australia, Germany, France, Italy, Portugal, USA) permanent members.
Caro partecipante (collaboratore ed amico) della Campagna estiva di archeologia rupestre in Valcamonica! La campagna è formalmente prevista tra il giovedì pomeriggio del 21 luglio fino al giovedì mattina dell’11 agosto 2016.
I partecipanti al campo provengono da Azerbaijan, China, France, Italy, USA, Switzerland e UK, oltre ai membri dello staff e conferenzieri (da Australia, Germania, Francia, Italia, Portogallo, USA).
Welcome to Paspardo 2016 Project! Benvenuti al Progetto Paspardo 2016!

by Footsteps of Man

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La paura del ritorno: sepolture “anomale”…

Sewerby, East Yorkshire

Ritrovamenti archeologici e fonti letterarie testimoniano alcuni casi di riapertura di tombe e la mutilazione del cadavere, atti dovuti probabilmente alla volontà di rendere definitivamente innocue persone considerate malvagie, nefaste e pericolose, delle quali si temeva il ritorno in vita e alle quali doveva essere imputato un evento inspiegabile, come morti dovute a epidemie.

by Francesca CECI & Francesca RONCORONI


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Facies locorum – paesaggi e arte rupestre

Valcamonica, la Concarena

Valcamonica, la Concarena

La densità e la varietà delle incisioni presenti sulle rocce, che per un lungo tratto della valle degradano verso l’alveo del fiume Oglio che dai ghiacciai dell’Adamello e dalle molte valli laterali convoglia le acque verso il lago d’Iseo, fanno della Valcamonica un caso esemplare per lo studio dei processi di creazione di un paesaggio. Proprio il carattere più evidente di gran parte del patrimonio figurativo rupestre, l’inamovibilità dai luoghi in cui esso è stato istoriato, solleva una questione che tocca in profondità la nozione di paesaggio.

by Giacomo CAMURI

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Rock art across Australia

Wandjina spirit

As rock art theory has largely been refracted through western conceptual and epistemological underpinnings, it is a valuable (and timely) exercise to redirect art theory through the lens of Indigenous Australians’ geographical and cultural settings. For reasons of brevity, this critical exploration is not to offer a comprehensive road map pertaining to all aspects of vastly complicated socio-artistic elements of Australian Indigenous society but to stimulate discussion.

by Marisa GIORGI

Read more

Piovono capre: i capridi nell’arte rupestre dell’Iran

Sigari17_150

Iran, goat-like figure

Il testo qui proposto vuole essere una breve sintesi di quanto si è potuto osservare durante una serie di visite, tra aprile e maggio 2013, in tre siti con arte rupestre in Iran: Kalateh Abdol e Shotor Sang, entrambi prossimi alla città di Mashhad, nella regione del Khorasan, e la zona della piana di Teymareh nella provincia di Khomein, a metà strada tra Tehrān e Esfahan. I siti con arte rupestre in Iran offrono una visione d’insieme che appare di straordinaria importanza e ricchezza. Al loro interno i capridi costituiscono un soggetto di primaria importanza e di vasta diffusione.

by Dario SIGARI Read more

Water supply of the fortress Gala Abu Ahmed

gfsfgh

Sudanese desert

To reconstruct the paleo-environmental conditions near an ancient fortress from Napatantimesin the first millennium BC a 6m deep soil profile in the Sudanese desert was studied using 14C-dating and stable C isotope analyses. Strong evidence for the existence of an open water source or at least a near surface water resource during or near the period of the use of the fortress was found. This would explain the establishment and the operation of the fortress at this remote place.

by Nadia PRAYS, Friederike LANG,
Martin KAUPENJOHANN, Andreas GUNDELWE
IN

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TRACCE Online Rock Art Bulletin 38 – May 2016

 

TRACCE38logo# 38 – May 2016

TRACCE Online Rock Art Bulletin 38

––––––––––––––––––> by Footsteps of Man
edited by Le Orme dell’Uomo (Valcamonica – I)

38:1234

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Icons That Travel

0 logoThe Atacama Desert and the Andes in South America are crisscrossed by myriads of paths and tracks. Often those tracks are easily seen in Google Earth as broad bands. Also rock art images narrate of such travels. They mainly depict camelids guided by people. In rare instances however a specific kind of traveller has been depicted on the rocks. I have labelled it ‘The Enigmatic Traveller‘. In this study I describe the distribution of this icon, compare it with similar images and try to explain the meaning of the enigmatic position of the arms of this figure.

By Maarten van Hoek

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El Arpa en el Arte Rupestre Andino

Arpista Andino

Instrumentos musicales rara vez se han representado en el arte rupestre. Por lo tanto el descubrimiento de tres (quizás cuatro) petroglifos de arpas – en dos casos tocando por arpistas – en una pared de roca en el desierto de Atacama de América del Sur, es excepcional. Ciertamente son petroglifos de la época posthispana. Musical instruments have only rarely been depicted in rock art. The discovery of three (perhaps four) petroglyphs of harps – two played by harpists – on a rock wall in the Atacama Desert of South America is therefore exceptional. They certainly are Post-Columbian petroglyphs.

By Maarten van Hoek

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Valcamonica, fieldwork 2016

roseduel150Tracing prehistory: from July 21 to August 11 2016 the annual archaeology field school at Paspardo will be open to archaeologists, scholars, students and enthusiasts. This area gives a great opportunity to learn, survey, photograph, draw and catalogue the rock engravings. The program involves field research, documentation, tracing, guided visits and lectures. Fieldwork is organised by Footsteps of Man, Valcamonica. Infos, poster and photo-galleries here available.

by Angelo Eugenio Fossati

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The Avian Staff Bearer

Ariquilda-1

Ariquilda-1

This paper investigates a well-known but rare icon from the rock art of the Atacama Desert. It concerns a group of anthropomorphic figures displaying a very specific bird-related element. For that reason Juan Chacama and Gustavo Espinosa speak of ‘hombres-falcónidas’, ‘raptor-men’, to describe this class of anthropomorphic figures. Remarkably, their interpretation seems to be generally ignored by several archaeologists and rock art investigators. This study presents a revaluation of the theory put forward by Juan Chacama and Gustavo Espinosa in 1997.

By Maarten van Hoek

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TRACCE Online Rock Art Bulletin 37 – October 2015

TRACCE37headimage# 37 – Oct 2015

TRACCE Online Rock Art Bulletin 37

––––––––––––––––––> by Footsteps of Man
edited by Le Orme dell’Uomo (Valcamonica – I)

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Usseglio, Alpine cults, archaeology and rock art

Ròch dij Gieugh

Ròch dij Gieugh

[Usseglio: culti in ambiente alpino, archeologia e arte rupestre]. A new exhibition room dedicated to the cults of the Alps has recently enriched the Civic Alpine Museum Arnaldo Tazzetti of Usseglio. A part of the room is devoted to the monumental Ròch dij Gieugh, an engraved stone situated on the slopes of the Usseglio mountains. The interest in this rock is given by the great number of shoeprints connected to a complex network of cup-marks and grooves. New important discoveries emerged during the recent tracing: three figures of Iron Age warriors and a possible votive inscription to Juppiter, the first found in the Alps on a cup-marked rock [ENG-ITA].

by Andrea ARCÀ and Angelo Eugenio FOSSATI Read more

Seradina 12, Valcamonica, 83 years of research

Seradina R12 deer

Seradina R12 deer

Covering more than 200 square metres, Rock 12 is the largest engraved rock of the Seradina area; it is included in the Seradina-Bedolina Archaeological Municipal Park. Its beautiful and richly engraved surface has been known since the first discovery of the greatest part of the Valcamonica rock art (1932). In the 1980s the rock was traced and studied under the direction of Mila Simões de Abreu, during which time the tracing was completed. Seradina 12 hosts some very rare iconographic items; among them, we can notice six Iron Age horse-driven ploughing scenes. Two of them are accompanied by sexual scenes, the action meaningfully performed while the ground is being hoed.

by M.Simões de ABREU and A.E. FOSSATI

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The Potash Sheep Shifters

0 LOGO

Shay Canyon Bighorns

The Southwest of North America is known for its rich rock art in which the image of the Bighorn is one of the most important zoomorphic representations. This study investigates the many manifestations of the Bighorn in rock art. The focus is on idiosyncrasies and possible transformations of the image of this impressive animal. It proves that in this respect especially Site 3 on Potash Road near Moab, Utah, offers so many shape-shifted images that we can speak of the Potash Sheep Shifters.

by Maarten van Hoek

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AsTrend, ancient carvings enhanced

AsTrend

AsTrend

A short outline of a new low cost methodology: we present the AsTrend, a new methodology for enhance and depict details of the 3D models. This technique is being revealed as an accurate method to study rock art carvings and inscriptions. We think that this method could be used by everyone as the main study objects are based in low cost photogrammetry on the acquisition of 3D models.

by M. Carrero-Pazos, A. Vázquez-Martínez, B. Vilas-Estévez




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CAA 2016, call for papers

Call for papers

Call for papers

Call for papers: CAA 2016, section 6, Computer tools for depicting shape and detail in 3D archaeological models. Deadline for paper submission 25 October 2015. Communications, posters and audio-visual material will be accepted, especially those that deal with new computer techniques, to depict shape and detail in 3D archaeological models.

by M. Carrero-Pazos, A. Vázquez-Martínez
B. Vilas-Estévez, M. Miguel Busto-Zapico




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