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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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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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Grotte Chauvet Archaeologically Dated

Chauvet cave

TRACCE no. 12 – by Christian Züchner


The Grotte Chauvet was discovered at Christmas 1994. A beautiful picture book came out only a few months later (Chauvet et al. 1995). It has been the main source of our knowledge and discussion up to now.

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Rock Art in Russian Far East and in Siberia

Elangash

TRACCE no. 11 – by † Burchard Brentjes


Rock Art in Russian Far East and in Siberia. A bird’s eye view over a continent.
There are about half a million of petroglyphs known in Siberia and the Far East of Russia. Mobody knows up to now how many are still to be discovered

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The motif of the “Camunian Rose”

Camunian rose

TRACCE no. 10 – by Paola Farina


The motif of the “Camunian Rose” in the rock art of Valcamonica (Italy) part **.
In the past the scholars proposed some hypotheses about the meaning of the “Camunian rose”, engraved on several rocks in Valcamonica…
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Orientalizing motives in alpine rock art

Pazyryk horse

TRACCE no. 10 – by † Burchard Brentjes


Orientalizing motives in alpine rock art.
The rich ensemble of rock art in the Valle Camonica comprises several motives for which oriental parallels could be mentioned.
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Vermelhosa rock 1, palaeolithic figures

Elephant figure

TRACCE no. 5 – by Andrea Arcà


Palaeolithic figures in rock n. 1 of the Vermelhosa – Côa Valley area.
Rock n. 1 of the Vermelhosa Valley (Côa Valley area) lies at 180 m altitude, on the left orographic side of the Douro River, which is flowing few scores of meters below.. Read more

Vermelhosa Iron Age rock art

Duelling Iron Age scene

TRACCE no. 5 – by Angelo Fossati


The Iron Age in the Rock Art of Vermelhosa, Portugal.
Besides the figures attributable to the Palaeolithic times there are also petroglyphs that can be dated to the Iron Age (1st Millennium BC). These figures are engraved scratching the rock surface, sometimes with a stone, other times with a metal tool, as it is possible to note from the outlining. Read more

TRACCE Online Rock Art Bulletin 34 – Dec 14/Feb 2015

atelier_Tosello500# 34 – Dec 2014 – Feb 2015

TRACCE Online Rock Art Bulletin 34

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

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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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Valcamonica, Rock Art Fieldwork 2015

Tracing prehistory

Tracing prehistory

Tracing prehistory: from July 16 to August 6 2015 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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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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Podomorfos, footprints, pediformi, pédiformes

Pisselerand

Maurienne: Pisselerand,
Pierre aux Pieds

Here is integrally reported a long FB photographic thread started by Ángel L. Mayoral Castillo on June 2011. It is completely devoted to footprints; no matter about their chronological or geographical origin. You may intend it as a little bit casual, or, better, serendipitous, like some (few? many?) FB posts. Anyway it seems useful to share it, to get some starting points: an intriguing subject, surely not a secondary one concerning some aspects of rock art interpretation.

by FB thread (A.L.M.C.)


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15 years of Rupestreweb, 12 new papers online

rupestreweb2015_150

Rupestreweb

 

January-April 2015, twelve new papers on Rupestreweb, for its 15 years of web-presence; a rich overlook about: Bolivia, Brasil, Colombia, Cuba, México, Nicaragua Perú, República Dominicana.  Piedras sagradas, conservação, narraciones orales, murales policromos,  piedras pintadas, geoglyphs and so on…
Rupestreweb, Arte rupestre en América Latina.

by Rupestreweb


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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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Valcamonica Symposium 2015

Valcamonica Symposium 2015

Valcamonica Symp. 2015

The new scientific committee of the CCSP presents the 2015 Valcamonica symposium, the  international meeting among rock-art scholars and researchers, which will be held on September 9-12 2015 at Capo di Ponte (Valcamonica, Italy). Attention is drawn over archaeological contexts, research updates, documentation techniques, dating methods, environmental context and rock art management. Deadline for abstracts: 15 March 2015; deadline for completed papers: 30 May 2015.

by CCSP scientific committee

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La Grotte Chauvet-Pont-d’Arc (EuroPreArt)

chauv150

Rhinocéros

[la fiche de EuroPreArt, 2002] La grotte fut découverte le 18 décembre 1994 par trois spéléologues (J.M. Chauvet, E. Brunel-Deschamps, C. Hillaire), et immédiatement authentifiée par les spécialistes (visite de J. Clottes 10 jours après la découverte). La grotte n’a pas connu de visites humaines entre le Paléolithique et sa redécouverte en 1994, ce qui a permis une excellente préservation des ouvres pariétales mais aussi de tout le contexte archéologique.

by Laurence Remacle, Université de Liège

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I’M CHARLIE

lascaux_deuil600crop

JE SUIS CHARLIE

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FB and rock art serendipity 1

FB_post_Tanum150

FB posts

On FB, amidst the continuous flow of links and pictures, faces and likes, new events and old news, something interesting suddenly appears.TRACCE FB social page shares this little or great bricks of knowledge. Here a listing of some of these sharings, periodically updated. As casual finds in archaeology, rock art serendipity may happen, and research synapses aroused, we hope!

by TRACCE Archaeology FB social page Read more

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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TRACCE Online Rock Art Bulletin 33 – Nov 2014

TRACCE 33

# 33 – Nov 2014

TRACCE Online Rock Art Bulletin 33

––––––––––––––––––> by Footsteps of Man

edited by Le Orme dell’Uomo (Valcamonica – I)

33:1234567

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Arte rupestre australiana: conferenze

Nourlangie

Nourlangie

Spiritualità ed interpretazione della tradizione aborigena australiana, dalle origini al mondo contemporaneo. Due conferenze di Marisa GIORGI (Information Officer del Brisbane Queensland Museum) per presentare la spiritualità originale degli aborigeni e per capire perché abbiano un interesse per la protezione dell’arte rupestre in merito alla loro identità e all’interesse economico per il turismo.

- Venerdì 21 novembre 2014 ore 21
bibioteca Civica di Cerveno (Valcamonica)
- Venerdì 28 novembre 2014 ore 17
presso la sala della biblioteca regionale di Aosta. Read more

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

Read more

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.




Read more

Magura cave photogallery

bitriang150

Magura figure

The Bulgarian Magura cave is well known for its impressive prehistoric paintings, scattered along an astonishing and dreamy 240 m long underground diverticulum, for which its Art Gallery is really worth a visit. More than 750 darkish figures have been counted, made with bat guano, smeared or rubbed along the cave walls; on the curvy  shaped vaults and niches, white or yellowish “plastered” by the nature, we can recognise dancing, hunting, and mating scenes, and organise the figures into four thematic groups: anthropomorphic, zoomorphic, geometric, and symbolic signs. [Text and photogallery]

by AA

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Bulgarian rock art: the Madara rider

Madara_horse150

Madara rider

The Madara rider is a unique monument of the ancient Bulgarian art. Its popularity is immense in Bulgaria and since 1979 it has been included in the UNESCO World Heritage list. The high-relief depicts a rider on his stallion accompanied by a dog. A dead lion is carved under the horse and some inscriptions in Greek all around. The scene celebrates the founding of the Bulgarian state by the Khan Asparukh (680-700 AD). The Madara rider is the only European rock carved monument from the Early Middle Ages. [Text and photogallery]

by rupestre

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