Archive for Archaeology

Filippo Gambari, archeologia e arte rupestre

Filippo Maria Gambari

Giovedì 19 novembre 2020 Filippo Maria Gambari, archeologo preistorico, direttore del Museo delle Civiltà di Roma,  ha lasciato questo mondo. Nel corso della sua vita di studioso ha approfondito vari aspetti della scienza archeologica: sono molti i luoghi e i temi della preistoria alpina (e non solo) che grazie alla sua progettualità e al suo impulso sono stati affrontati con grande attenzione. Tra questi, il tema dell’arte rupestre ha assunto un ruolo non certo di secondo piano. E’ doveroso ricordare lo studioso in queste pagine, che proprio all’arte rupestre sono dedicate.

AA-AEF-PL Read more

Les cavaliers dans l’art rupestre. Le cas du Maroc

Foum Chenna, Maroc

Dans tous les pays du Maghreb et du Sahara, en plein air ou sous abri, on peut rencontrer une petite figure, gravée ou peinte, connue dans la littérature spécialisée ou de divulgation sous l’appellation de cavalier “libyco-berbère”. Puisque cette image est très répandue, il semble qu’elle n’ait pas de secret et que du cavalier tout soit connu : son armement, le harnais de sa monture, jusqu’à son rôle dans la société de l’époque. Rien de plus faux. Au Maroc, nous pouvons observer combien le monde des cavaliers était diversifié en visitant les deux gisements principaux : le site de Foum Chenna dans la vallée du Draa (Maroc méridional) et le plateau aux pieds du Jebel Rat, dans le Haut Atlas central, le premier abritant 2550 gravures, le deuxième 1800 dont 800 appartiennent à la phase des cavaliers (pdf disponible).
.

par Alessandra BRAVIN Read more

Naquane, Valcamonica, the Great Rock

NAQ1 deer figure

(October 9, 2020, European Day of Rock Art). With its 104 engraved rocks, the National Rock Art Park of Naquane is the main archaeological site of Valcamonica and one of the most important European rock art sites. The best-known rock is the n. 1, called the Great Rock for its size; more than two thousand figures have been engraved over its surface: deer hunting scenes, acrobatic riders, sword duels, women with hands up, wooden barns, ducks, geese and chickens, the mysterious palettes … a virtual tour allow to discover it, to enjoy the panorama, to fly over its engraved figures looking at ultra high-res pictures, tracings and 3D models (PDF available).

by Andrea ARCÀ Read more

Naquane, Valcamonica, la Grande Roccia

NAQ1, settore P

(9 ottobre 2020, Giornata Europea dell’Arte Rupestre). Con le sue 104 rocce incise, il Parco Nazionale delle Incisioni Rupestri di Naquane costituisce il principale sito archeologico della Valcamonica e uno dei più importanti complessi europei di arte rupestre. La roccia più conosciuta è la n. 1, nota anche come Grande Roccia per le sue dimensioni; sulla sua superficie sono state incise più di 2mila figure: scene di caccia al cervo, di cavalcatura acrobatica, duelli alla spada, donne a braccia levate, granai di legno, oche, papere e galline, le misteriose palette …  un tour virtuale permette di scoprirla, di godere della vista del panorama, di sorvolare le sue figure incise osservando  riprese fotografiche, rilievi iconografici e modelli 3D ad altissima risoluzione (PDF disponibile).

di Andrea ARCÀ Read more

Quadruped animals and spirals

The Balma dei Cervi in Crodo is not the only prehistoric painted shelter within the Ossola valleys: not far away, is the Shelter of the Baby Goat in which interesting figures painted in red are found, now almost invisible: two small schematic four legged animals, probably a dog attacking an ibex, a large interweaving figure and a spiral, unique among the rock paintings across the Alps | La Balma dei Cervi di Crodo non è l’unica pittura rupestre preistorica delle valli ossolane: la non lontana Balma del Capretto ospita figure di quadrupedi (un cane che attacca uno stambecco), un’ampia figura a griglia e una spirale, unica tra le pitture rupestri delle Alpi (PDF available)

by Andrea ARCÀ, Angelo Eugenio FOSSATI Read more

Balma dei Cervi, archaeology and research

Le pitture della Balma dei Cervi, soggette ai danni del tempo e ai rischi di degrado antropico, costituiscono un bene culturale raro, prezioso ed estremamente delicato. Le esigenze di protezione e le notevoli difficoltà di accesso ne sconsigliano la musealizzazione in loco. Il programma di documentazione, valorizzazione e comunicazione è coordinato dalla Soprintendenza Archeologia, Belle Arti e Paesaggio.. The rock paintings of the Shelter of the Deer are rare, precious an extremely delicate cultural assets. They are endangered by the deterioration of time and by the risks of damage caused by humans. Safeguard requirements and difficulties in access discourage the creation of a Museum in the field. The documentation, valorisation and communication plan is coordinated by the Superintendence of Archaeology, Fine Arts and Landscape.

by Francesco RUBAT BOREL Read more

The Ranaldi Shelter in Basilicata (Italy)

The Ranaldi Shelter at the Serra Pisconi site takes its name from its discoverer, Francesco Ranaldi, an archaeologist and director of the Potenza Provincial Archaeological Museum from 1954 to 1988. It is possible to reach the site within the Reserve via a comfortable path. An excellent open-air museum has been created, making access easy after a pleasant walk of about twenty minutes.  The chronological and interpretive frame of the Ranaldi Shelter rock paintings follows two distinct paths: on one hand, we have a Mesolithic naturalistic depiction of a herd of deer in their wood, on the other, the most likely, a schematic Neolithic hunting scene with the persistence of more ancient traditions (PDF available).

by Andrea ARCÀ, Oriana BOZZARELLI Read more

Naquane, festa dei musei

NAQ1

Sabato 20 maggio 2017 alle ore 15 presso il parco Nazionale delle Incisioni Rupestri di Naquane a Capo di Ponte (BS) Navigando sulla grande Roccia, presentazione del tour virtuale della Roccia 1 del Parco di Naquane; dalle 20 alle 23 apertura straordinaria del parco con visita notturna delle rocce incise


by TRACCE editor

Read more

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

Read more

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

Read more

Footprints in the Alps – pediformi nelle Alpi

Pisselerand

Pisselerand

Footprints in the Alpine rock art: diffusion, chronology and interpretation. Abstract and slides of the communication presented on Tuesday 1 September 2015 at the IFRAO 2015 – XIX International Rock Art Conference (Cáceres, Spain). The communication provides a detailed description of the most important cases of alpine rocks bearing footprints, a chronological frame for the corresponding engraving phases, and a discussion about suggested interpretations.
Le impronte di piede nell’arte rupestre Alpina: diffusione, cronologia e interpretazione (abstract in Italiano)

by Andrea Arcà

Read more

Val Meraviglie e Fontanalba – Tavole (Barocelli 1921)

Barocelli1921SPABA_tav_logo150

Barocelli 1921, plates

TRACCE free e-books



Tavole I-X da:
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, public domain) | Italian

[editor’s note: the 1921 paper by Piero Barocelli is enriched by 10 plates – tracings, drawings and pictures – accompanined by very detailed captions]

by Piero Barocelli – 1921

Read more

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



Read more

Phaistos Palace, mason’s marks photogallery

Phaistos_masonmark150

Phaistos, Crete

More than 220 mason’s marks are reported at Phaistos by Luigi Pernier in 1935, mostly connected to the First Palace. Some characteristics, as their positioning upon hidden faces of the blocks or traces of plastering testify that they were hidden from view after the completing of the palace; for these reasons we may argue that they were more likely connected to the building phases than to the symbolic decoration of the palace. [photogallery]

by AA

Read more

Phaistos Palace, kernoi photogallery

Phaistos, Crete

Phaistos, Crete

At Phaistos Palace stone kernoi are interestingly concentrated over the limestone steps of the theatral terraces and along the paved flooring beneath. These kernoi appear worn, more likely for anthropic use than for natural weathering, so testifying foot traffic and/or the sitting of spectators. Depressions are too shallow to contain anything, apart from holding little pebbles or seeds. Such a connection with open-air shows or ceremonies would favour … [photogallery]

by AA

Read more

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

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