Archive for Featured

Los Petroglifos de Tintín, Sihuas, Arequipa, Perú

logo-oranjeTintín es un sitio pequeño de arte rupestre en el valle del Río Sihuas en el sur de Perú. El sitio, también conocido como Cerro Blanco y Pisanay tiene algunas rocas con petroglifos. La Roca Principal es bastante grande y tiene un gran cantidad de imágenes. Un video muestra los petroglifos en detalle.

Tintín is a small rock site in the Sihuas River valley in southern Peru. The site, also known as Cerro Blanco and Pisanay has some rocks with petroglyphs. The Main Rock is quite large and has a lot of images. A video shows those petroglyphs in detail.

 By Maarten van Hoek Read more

The Petroglyphs of Chumbenique, Zaña, Peru

logo This short paper, together with a YouTube video, describes and illustrates the rock art discovered in the valley of the Río Zaña in northern Peru. The petroglyphs were first described (in Spanish) by archaeologist Edgar Bracamonte in 2014. Because that is the only brief report that exists at the moment, I have written a brief paper in English, while the video (which is in Spanish) offers the illustrations as well as shots of the environment. The locals at Chumbenique know about ‘their’ rock art and I hope that they will encourage locals of their village and of the valley and of course every visitor to Chumbenique to respect and protect this sacred site.

By Maarten van Hoek

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L’arte rupestre di Böyük Daş in Gobustan, Azerbaijan

Böyük Daş

Böyük Daş

The Böyük Daş mountain is one of the three promontories included in the Natural Historical Artistic Reserve of Gobustan. With its terraced profile and big boulders scattered around the different terraces, it preserves thousands of engravings with a very long chronology. Its rock art includes several figurative categories: zoomorph, anthropomorph, boat, symbol. Here is presented a brief guide to visit the Böyük Daş hill, in Gobustan Rock Art Reserve.

Il monte di Böyük Daş è uno dei tre promontori inclusi nella Riserva Naturale Storico-Artistica di Gobustan, Con il uso profilo terrazzato e una serie di grossi massi sparsi lungo le sue terrazze, conserva migliaia di figure incise di cronologia molto ampia e appartenenti a varie categorie figurative: zoomorfi, antropomorfi, imbarcazioni, simboli. Ecco una breve guida per visitare l’area di Böyük Daş, all’interno della Riserva di Arte Rupestre di Gobustan.

by Dario SIGARI [i]

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Los Bordes Aserrados de las Rocas de Chuquillanqui, Perú

figure-0-logo-1A menudo un sitio de arte rupestre tiene una característica muy específica que además es a menudo único en ese sitio. Este artículo presenta un elemento tan distintivo en el sitio rupestre de Chuquillanqui en la cuenca del Río Chicama en el norte de Perú.

Often a rock art site has a very specific feature that moreover is often unique to that site. This paper presents such a distinguishing element at the petroglyph site of Chuquillanqui in the Chicama drainage of northern Peru.

by Maarten van Hoek

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Kuntur Wasi, Peru: Architectural Art or Rock Art ?

fig-logo-2Often we find pecked or scratched images on walls of rocks that are part of ancient structures, ranging from simple circular huts to intricate temple complexes. In many cases the rocks that are used have been smoothened before (or after) they were incorporated. In most instances it is clear that those images have been added after the smoothening and after the incorporation of the stones into the structure. Some of them may definitely be regarded as true rock art and not as architectural art, but a few images are ambiguous in this respect. This short paper discusses one such controversial image on a menacing monolith at Kuntur Wasi in northern Peru.

By Maarten van Hoek

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The Frontal Insignia-Tumi

arg-def-defThe Desert Andes (the westernmost coastal strip of South America) is very rich in rock art sites. In rare cases specific images occur at selected sites, often separated by long streches of the desert. Two telling examples are the Avian Staff Bearer and the The Enigmatic Traveller (both published in TRACCE). This study examines another “travelling” icon: The Frontal Insignia-Tumi that is found from Tamentica in the south to – surprisingly – Toro Muerto in the north of the Study Area, a distance of no less than 630 km (as the crow flies).

By Maarten van Hoek

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Sobre Dibujos de Arte Rupestre (Andino)

logo-tracceThe essence of every rock art study must be the image. In most cases the image that we observe is not quite the same as manufactured and/or intended by prehistoric people. It is altered by weathering, erosion and all sorts of anthropic activities. Yet, the resulting image is the only source to use. The best thing to do is to photograph the image, but if one makes a drawing of the image, it should be as correct as possible. Yet, many rock art researchers produce and publish drawings that are not correct. Consequently, their interpretations will be incorrect. This study discusses some examples of incorrect drawings and offers some recommendations.

by Maarten van Hoek

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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

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

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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

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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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