This paper presents the fifth case in my series of articles in which I discuss a selection of petroglyph boulders at Alto de Pitis, in the Majes Valley of southern Peru. It especially discusses a controversial petroglyph of an anthropomorph that has been interpreted in two most different ways. One rendering of the figure is questioned in this study (updated September 2023).
By Maarten van Hoek
This paper analyses the 2018-thesis by Prof. Scaffidi. It concerns a revision (dated September 2023).
by Maarten van Hoek
In general, it proves to be rather awkward (or even impossible) to establish the exact species of biomorphic images depicted at Toro Muerto (Peru), and thus this is even more problematic for conflations of two or more animals. In this study I argue that at Toro Muerto several petroglyphs of quadrupeds may well depict a specific conflation. With a number of illustrations I will demonstrate that this hypothesis is not far-fetched at all.
By Maarten van Hoek
This paper – the fourth in a series about Alto de Pitis, all published in TRACCE – discusses some specific petroglyphs on Boulder AP3-098, focusing on the possible therianthrope on one of its panels.
By Maarten van Hoek
Emanuele Süss (1909-1996) è stata una figura molto importante per le ricerche e la diffusione dell’arte rupestre della Valcamonica nei primi anni ’50 del ’900. Dopo averle catalogate, disegnò la pianta con la numerazione delle rocce del Parco nazionale nell’area di Naquane. Fu autore del volume “Le Incisioni rupestri della Valcamonica” che ebbe una grande fortuna e che andò incontro a numerose ristampe. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marro (1875-1952) è senza dubbio la figura più discussa tra tutti i ricercatori dell’arte rupestre della Valcamonica nella prima metà del ’900. E’ importante sottolineare il ruolo dello studioso nell’ambito delle scoperte. Egli percorreva i boschi a piedi inoltrandosi nei castagneti dov’erano presenti le rocce incise – infatti è ricordato anche come “il grande camminatore” – e scopriva le figure rupestri rimuovendo l’humus, spesso con l’aiuto di persone del posto, tra le quali il Marro utilizzava soprattutto Giuseppe Amaracco di Capo di Ponte. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marini era davvero instancabile e appena poteva conduceva in visita gruppi italiani – anche scuole – e stranieri interessati a vedere il Parco di Luine con le incisioni rupestri più antiche della Valle. Una rara fotografia scattata nell’ottobre del 1990 lo ritrae seduto sulla roccia n. 73 ed intento a illustrare alcune figure di mani, rappresentazioni tra le più rare del Parco. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il mondo accademico italiano e straniero deve molto a Battista Maffessoli, artigiano, artista eclettico (pittore e scultore) dalla complessa personalità, guida alle incisioni rupestri per gruppi – sono nell’ordine di migliaia le persone che negli anni ha accompagnato a visitare le incisioni rupestri – e singoli, tra cui vanno annoverati praticamente tutti gli studiosi oggi attivi nelle ricerche dell’arte rupestre della Valcamonica. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il percorso artistico e archeologico sperimentale di Jack Belmondo – nome d’arte di Giuseppe Belfiore Mondoni non può essere separato dal suo luogo di nascita, Cerveno, piccolo paese della media Valcamonica. Le prime ricostruzioni di archeologia sperimentale – modellini di capanne, di carri ed aratri – furono da lui eseguite nel 1988 ed esposte nel Museo di Nadro sino al 1991. Tra il 1989 ed il 1990 iniziò le prime esperienze di fusione dei metalli, allo scopo di ottenere quelli che gli parevano i manufatti più interessanti. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Raffaello Battaglia è il quarto studioso ad occuparsi dell’arte rupestre della Valcamonica dopo Laeng, Graziosi e Marro, ma fu sicuramente il primo ad occuparsene scientificamente, dopo Paolo Graziosi. Insieme a suoi collaboratori, rinvenne numerosi siti con incisioni. Tra queste, famosa resta la scoperta e pubblicazione delle rocce di Bedolina (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
My paper describes the images on a boulder that has one of the most complex biomorphic petroglyphs in the Majes Valley and in Arequipa rock art. It may well be death-related, as will be demonstrated. Another death-related petroglyph on an adjoining panel definitely links the boulder – and the whole site – with Apu Coropuna, the most Sacred Mountain of the whole of southern Peru.
By Maarten van Hoek
Read more
Worldwide, Paolo Emilio Bagnoli, former full professor of Photonics and Optoelectronics at Pisa University, is among the few researchers active in the rock art field to apply to engraved rocks the method of 3D modelling on a photometric basis. As a tribute to his memory, it is appropriate to remember him in his own words in relation to the photometric technique applied to 3D modelling (PDF available).
by Andrea Arcà – Footprints of Man Read more
Seminario di studi online
a cura della Cooperativa Archeologica
Le Orme dell’Uomo.
Venerdì 30 dicembre 2022
h 18:00-20:00 C.E.T.
YouTube: https://bit.ly/3WyPcJP
Le Orme dell’Uomo – Footsteps of Man Read more
The paper proves that even “minor” rock art sites can be most interesting, especially when placing such a “minor” site in a larger local and regional context. Torán is such an important “minor” site, as it is clearly connected with the two most important “major” rock art sites in the valley; Toro Muerto and Alto de Pitis.
By Maarten van Hoek
The paper proves that even “minor” rock art sites can be most interesting, especially when placing such a “minor” site in a larger local and regional context. Punta Colorada is such an important “minor” site as it may well connect (graphically, literally and metaphorically) two most important “major” rock art sites in the valley. Additionally, the site of Punta Colorada also seems to establish the spiritual link between certain rock art icons and Apu Coropuna, the Sacred Mountain of southern Peru.
By Maarten van Hoek
This paper describes a huge boulder at Alto de Pitis in the Majes Valley of southern Peru. It has some enigmatic petroglyphs that will be fully discussed. Especially one type of image is most idiosyncratic. It may depict or symbolise domestication of felines.
By Maarten van Hoek
This paper describes the petroglyph site of Cerro San Diego, north of Lima. The site has a rather unusual location. Moreover, it has some exceptional petroglyphs, for instance a large purported “eye-motif” from the Andean Formative Period.
By Maarten van Hoek
It is very rare to find a unique rock art image repeated on ceramics or textiles from contemporaneous cultures. This study discusses the parallel between the unique petroglyph of a deliberately rotated bird image at Cochineros, a rock art site along the Río Mala, and compares the bird with similar images on ceramics and textiles of a surprisingly large coastal area.
By Maarten van Hoek
The valley of the Río Palpa, tributary of the Río Grande drainage in the Department of Ica on the south coast of Peru, is very rich in rock art sites; all comprising petroglyphs. At this moment (July 2022) nine sites with petroglyphs had already been recorded (more information about rock art in the Palpa Valley is available in my book about Páracas rock art: Van Hoek 2021: Fig. 7
By Maarten van Hoek
Read more
This paper considers the role of music and sound possibly depicted in the rock art of the Central Majes Valley (southern Peru) in view of the Middle Horizon musical instruments found at La Real (and Uraca).
By Maarten van Hoek
This paper investigates one enormous boulder with numerous petroglyphs at Alto de Pitis, a major rock art site in the Majes Valley of southern Peru. Two types of petroglyphs on this boulder are being described in more detail and discussed within the context of the rock art of the Majes Valley.
By Maarten van Hoek (Revised September 2023)
Quebrada de La Tuna is a small, yet important petroglyph site in the Sihuas Valley of southern Peru. As early as 1977 Cuban archaeologist Antonio Núñez Jiménez visited the site and recorded several boulders with petroglyphs. This present study re-describes the site, offering updated information about the rock art (based on our survey of 2008), also explaining the position of Núñez Jiménez.
By Maarten van Hoek
This study describes curious cases of “missing” information about petroglyphs reported (and recorded?) at the archaeological complex at Beringa in the Majes Valley of southern Peru. It was claimed (2007) by the leading excavator, Prof. Tiffiny Tung, that all petroglyphs were documented in 2001 and yet not a single illustration / description of the Beringa petroglyphs is available. This study tries to answer that inconsistency. Updated September 2023.
By Maarten van Hoek
Especially in this time of a dangerously increasing amount of online (deep) fake-news, outrageous lies, falsified photos and misleading information that are used to – for instance – “justify” a disgusting and horrible war in Europe, it should not be tolerated that similar false illustrations are being used in scientific publications by academic professionals. In the following two publications I expose and criticize some of those incorrect illustrations in rock art publications, focusing on the Majes Valley in Peru (Revised September 2023).
By Maarten van Hoek
This study describes a little-known rock art site located on very high ground between the rivers Rímac and Lurín, a short distance inland from the capital of Perú, Lima. It has been reported for the first time in 2014. At least 25 boulders with petroglyphs have been discussed in this study.
Este estudio describe un sitio de arte rupestre poco conocido ubicado en un terreno muy alto entre los ríos Rímac y Lurín, a poca distancia tierra adentro de la capital del Perú, Lima. Se informó por primera vez en 2014. En este estudio se han discutido al menos 25 rocas con petroglifos.
By Van Hoek and Cárdenas
Report describing a hitherto undescribed rock art site ENE of Lima, Peru. Simple petroglyphs of quadrupeds (camelids?) and abstract motifs predominate, but there is at least one interesting zoomorphic image as well.
Informe que describe un sitio de arte rupestre hasta ahora no descrito ENE de Lima, Perú. Predominan los petroglifos simples de cuadrúpedos (¿camélidos?) y motivos abstractos, pero también hay al menos una imagen zoomorfa interesante.
By Maarten van Hoek and Gustavo Cárdenas
The coastal areas of the Department of Arequipa in southern Peru are very rich in rock art. Most of the rock art sites are found along or very near river valleys. One of those river valleys that is rich in rock art is the valley of the Río Vítor. In this study the rock art in the stretch of river between the confluence with the Río Yura in the north of the Vítor-Chili drainage and the confluence with the Río Sihuas, further downstream, will be discussed.
By Maarten van Hoek
La Laja is a major rock art concentration on a large outcrop wall high above the Majes River valley in southern Peru. This article describes the many rock art images at La Laja and attempts at a tentative chronology. Most of the imagery belongs to the Majes Rock Art Style (see Van hoek 2018 for more information), although several images are later.
By Maarten van Hoek
It is known for more than 80 years that the Manga drainage in southern Peru houses one of the most important rock art sites in this part of the Andes (Illomas). However, apart from Illomas there are a number of smaller, yet important rock art sites in this valley. This study discusses two sites in the Manga Valley that were provisionally recorded in 2018 by the Upper Manga Archaeological Survey Project (University of Toronto, Department of Anthropology, Royal Ontario Museum, Canada). It concerns Cuesta de la Pachana and Miraflores-Pachana.
By Maarten van Hoek
This paper presents the fifth case in my series of articles in which I discuss a selection of petroglyph boulders at Alto de Pitis, in the Majes Valley of southern Peru. It especially discusses a controversial petroglyph of an anthropomorph that has been interpreted in two most different ways. One rendering of the figure is questioned in this study (updated September 2023).
By Maarten van Hoek
This paper analyses the 2018-thesis by Prof. Scaffidi. It concerns a revision (dated September 2023).
by Maarten van Hoek
In general, it proves to be rather awkward (or even impossible) to establish the exact species of biomorphic images depicted at Toro Muerto (Peru), and thus this is even more problematic for conflations of two or more animals. In this study I argue that at Toro Muerto several petroglyphs of quadrupeds may well depict a specific conflation. With a number of illustrations I will demonstrate that this hypothesis is not far-fetched at all.
By Maarten van Hoek
This paper – the fourth in a series about Alto de Pitis, all published in TRACCE – discusses some specific petroglyphs on Boulder AP3-098, focusing on the possible therianthrope on one of its panels.
By Maarten van Hoek
Emanuele Süss (1909-1996) è stata una figura molto importante per le ricerche e la diffusione dell’arte rupestre della Valcamonica nei primi anni ’50 del ’900. Dopo averle catalogate, disegnò la pianta con la numerazione delle rocce del Parco nazionale nell’area di Naquane. Fu autore del volume “Le Incisioni rupestri della Valcamonica” che ebbe una grande fortuna e che andò incontro a numerose ristampe. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marro (1875-1952) è senza dubbio la figura più discussa tra tutti i ricercatori dell’arte rupestre della Valcamonica nella prima metà del ’900. E’ importante sottolineare il ruolo dello studioso nell’ambito delle scoperte. Egli percorreva i boschi a piedi inoltrandosi nei castagneti dov’erano presenti le rocce incise – infatti è ricordato anche come “il grande camminatore” – e scopriva le figure rupestri rimuovendo l’humus, spesso con l’aiuto di persone del posto, tra le quali il Marro utilizzava soprattutto Giuseppe Amaracco di Capo di Ponte. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marini era davvero instancabile e appena poteva conduceva in visita gruppi italiani – anche scuole – e stranieri interessati a vedere il Parco di Luine con le incisioni rupestri più antiche della Valle. Una rara fotografia scattata nell’ottobre del 1990 lo ritrae seduto sulla roccia n. 73 ed intento a illustrare alcune figure di mani, rappresentazioni tra le più rare del Parco. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il mondo accademico italiano e straniero deve molto a Battista Maffessoli, artigiano, artista eclettico (pittore e scultore) dalla complessa personalità, guida alle incisioni rupestri per gruppi – sono nell’ordine di migliaia le persone che negli anni ha accompagnato a visitare le incisioni rupestri – e singoli, tra cui vanno annoverati praticamente tutti gli studiosi oggi attivi nelle ricerche dell’arte rupestre della Valcamonica. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il percorso artistico e archeologico sperimentale di Jack Belmondo – nome d’arte di Giuseppe Belfiore Mondoni non può essere separato dal suo luogo di nascita, Cerveno, piccolo paese della media Valcamonica. Le prime ricostruzioni di archeologia sperimentale – modellini di capanne, di carri ed aratri – furono da lui eseguite nel 1988 ed esposte nel Museo di Nadro sino al 1991. Tra il 1989 ed il 1990 iniziò le prime esperienze di fusione dei metalli, allo scopo di ottenere quelli che gli parevano i manufatti più interessanti. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Raffaello Battaglia è il quarto studioso ad occuparsi dell’arte rupestre della Valcamonica dopo Laeng, Graziosi e Marro, ma fu sicuramente il primo ad occuparsene scientificamente, dopo Paolo Graziosi. Insieme a suoi collaboratori, rinvenne numerosi siti con incisioni. Tra queste, famosa resta la scoperta e pubblicazione delle rocce di Bedolina (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
My paper describes the images on a boulder that has one of the most complex biomorphic petroglyphs in the Majes Valley and in Arequipa rock art. It may well be death-related, as will be demonstrated. Another death-related petroglyph on an adjoining panel definitely links the boulder – and the whole site – with Apu Coropuna, the most Sacred Mountain of the whole of southern Peru.
By Maarten van Hoek
Read more
Worldwide, Paolo Emilio Bagnoli, former full professor of Photonics and Optoelectronics at Pisa University, is among the few researchers active in the rock art field to apply to engraved rocks the method of 3D modelling on a photometric basis. As a tribute to his memory, it is appropriate to remember him in his own words in relation to the photometric technique applied to 3D modelling (PDF available).
by Andrea Arcà – Footprints of Man Read more
Seminario di studi online
a cura della Cooperativa Archeologica
Le Orme dell’Uomo.
Venerdì 30 dicembre 2022
h 18:00-20:00 C.E.T.
YouTube: https://bit.ly/3WyPcJP
Le Orme dell’Uomo – Footsteps of Man Read more
The paper proves that even “minor” rock art sites can be most interesting, especially when placing such a “minor” site in a larger local and regional context. Torán is such an important “minor” site, as it is clearly connected with the two most important “major” rock art sites in the valley; Toro Muerto and Alto de Pitis.
By Maarten van Hoek
The paper proves that even “minor” rock art sites can be most interesting, especially when placing such a “minor” site in a larger local and regional context. Punta Colorada is such an important “minor” site as it may well connect (graphically, literally and metaphorically) two most important “major” rock art sites in the valley. Additionally, the site of Punta Colorada also seems to establish the spiritual link between certain rock art icons and Apu Coropuna, the Sacred Mountain of southern Peru.
By Maarten van Hoek
This paper describes a huge boulder at Alto de Pitis in the Majes Valley of southern Peru. It has some enigmatic petroglyphs that will be fully discussed. Especially one type of image is most idiosyncratic. It may depict or symbolise domestication of felines.
By Maarten van Hoek
This paper describes the petroglyph site of Cerro San Diego, north of Lima. The site has a rather unusual location. Moreover, it has some exceptional petroglyphs, for instance a large purported “eye-motif” from the Andean Formative Period.
By Maarten van Hoek
It is very rare to find a unique rock art image repeated on ceramics or textiles from contemporaneous cultures. This study discusses the parallel between the unique petroglyph of a deliberately rotated bird image at Cochineros, a rock art site along the Río Mala, and compares the bird with similar images on ceramics and textiles of a surprisingly large coastal area.
By Maarten van Hoek
