Archive for Interpretation and semiotics

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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Étude sur les sculptures préhistoriques (Blanc 1878)

Blanc_1878_planche300

Blanc 1878

TRACCE free e-books


Blanc E., 1878. Étude sur les sculptures préhistoriques du Val d’Enfer près des Lacs des Merveilles, pp. 72-87, 1 pl. h.t.
| full text-image flip book and PDF (from Gallica – BnF, public domain) | French

[editor’s note: in this paper, the author, a librarian from Nice, supports the idea that the engravings were the result of the cult of some malevolent deity, terrifying generator of lightning and thunder]

by Edmond Blanc

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Iscrizioni simboliche, Lago delle Meraviglie (Prato 1884)

CAI1884logo150

1884, CAI logo

TRACCE free e-books


Prato A. F. 1884. Sulle iscrizioni simboliche del Lago delle Meraviglie, Rivista Alpina Italiana, Periodico mensile del Club Alpino Italiano, 9, 30 settembre 1884, pp. 97-98.
| full text-image flip book and PDF (from TRACCE scan-OCR, public domain) | Italian

[editor’s note: in this short paper, published in the Italian Alpine Club review, the author suggests that the Marvels Lakes engravings where made to celebrate hunters with their preys, who died in this area]

by A. Filippo PRATO

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Topografiche: culture e colture, potere e poderi…

Fontanalba (Mt. Bego)

Topographic engravings: cultivations and cultures, power and holdings: the topographic engravings must be registered in the history of the topography as the oldest zenithal representations of the western and middle-eastern world. Regarding the agriculture history they testify the development of the cultivation techniques, from the hoe to the plough… Abstract of the communication presented at the International Conference Stone Maps, June 2012, Capo di Ponte (Valcamonica – I)

by A. Arcà

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Mappe di Pietra – Stone Maps

Stone Maps

Convegno Internazionale, 14-15-16 Giugno 2012, Capo di Ponte, Cittàdella Cultura (BS, Valcamonica – I).

International Conference, 14th-16th June 2012, Capo di Ponte, Cittàdella Cultura (Valcamonica – I). mappedipietra.blogspot.it

by Alberto Marretta, Craig Alexander, Angelo Martinotti

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The strange case of snow-circles and cup-and-rings

Snow-circles

A contemporary land-art performance curiously produces the same patterns engraved on prehistoric petroglyphs. Maybe a relationship with the landscape, real or symbolical, should be considered? Here the voices of Sonja Hinrichsen, the artist, and of Andrea Arcà, the archaeologist. The debate is open.

by Andrea Arcà and Sonja Hinrichsen

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“Praying figures” in Valcamonica rock art

In Valle r. 4

TRACCE open access papers


Arcà Andrea, 2001.
Chronology and interpretation of the “Praying figures” in Valcamonica rock-art. In: Archeologia e arte rupestre: l’Europa – le Alpi – la Valcamonica, secondo convegno internazionale di archeologia rupestre. Atti del Convegno di studi, 2-5 ottobre 1997, Darfo Boario terme, Milano, 2001, pp. 185-198

| abstract and full text-image inline PDF | English, Italian
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Following Arianna’s Thread Symbolic Figures

Ossimo 9, Sun God

TRACCE open access papers


Fossati Angelo Eugenio, 2007.
Following Arianna’s Thread Symbolic Figures at Female Rock Art Sites at Naquane and In Valle, Valcamonica, Italy, in Nash G., Children G., 2008 (ed.), The Archaeology of Semiotics and the Social Order of Things, BAR International Series 1833, pp. 31-44.
| abstract and full text-image inline PDF | English

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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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