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Learn rock art: Valcamonica fieldwork 2017

Rock Art recording

Tracing prehistory: from July 20 to August 10 2017 the annual archaeology field school at Paspardo will be open to archaeologists, scholars, students and enthusiasts. We are working on engraved rocks made by prehistoric and protohistoric people during the Neolithic (six thousand years ago), Bronze Age and Iron Age (from four thousand to two thousand years ago).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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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

Sigari17_150

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

Thumbnail

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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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



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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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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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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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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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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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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

Read more

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

Sigari17_150

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

Water supply of the fortress Gala Abu Ahmed

gfsfgh

Sudanese desert

To reconstruct the paleo-environmental conditions near an ancient fortress from Napatantimesin the first millennium BC a 6m deep soil profile in the Sudanese desert was studied using 14C-dating and stable C isotope analyses. Strong evidence for the existence of an open water source or at least a near surface water resource during or near the period of the use of the fortress was found. This would explain the establishment and the operation of the fortress at this remote place.

by Nadia PRAYS, Friederike LANG,
Martin KAUPENJOHANN, Andreas GUNDELWE
IN

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TRACCE Online Rock Art Bulletin 38 – May 2016

 

TRACCE38logo# 38 – May 2016

TRACCE Online Rock Art Bulletin 38

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

38: 1 2 3 4

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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

Read more

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

Read more

Valcamonica, fieldwork 2016

roseduel150Tracing prehistory: from July 21 to August 11 2016 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

Read more

The Avian Staff Bearer

Ariquilda-1

Ariquilda-1

This paper investigates a well-known but rare icon from the rock art of the Atacama Desert. It concerns a group of anthropomorphic figures displaying a very specific bird-related element. For that reason Juan Chacama and Gustavo Espinosa speak of ‘hombres-falcónidas’, ‘raptor-men’, to describe this class of anthropomorphic figures. Remarkably, their interpretation seems to be generally ignored by several archaeologists and rock art investigators. This study presents a revaluation of the theory put forward by Juan Chacama and Gustavo Espinosa in 1997.

By Maarten van Hoek

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TRACCE Online Rock Art Bulletin 37 – October 2015

TRACCE37headimage# 37 – Oct 2015

TRACCE Online Rock Art Bulletin 37

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

37: 1 2 3 4 5 6 7 8 9 10 11

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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

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The Potash Sheep Shifters

0 LOGO

Shay Canyon Bighorns

The Southwest of North America is known for its rich rock art in which the image of the Bighorn is one of the most important zoomorphic representations. This study investigates the many manifestations of the Bighorn in rock art. The focus is on idiosyncrasies and possible transformations of the image of this impressive animal. It proves that in this respect especially Site 3 on Potash Road near Moab, Utah, offers so many shape-shifted images that we can speak of the Potash Sheep Shifters.

by Maarten van Hoek

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AsTrend, ancient carvings enhanced

AsTrend

AsTrend

A short outline of a new low cost methodology: we present the AsTrend, a new methodology for enhance and depict details of the 3D models. This technique is being revealed as an accurate method to study rock art carvings and inscriptions. We think that this method could be used by everyone as the main study objects are based in low cost photogrammetry on the acquisition of 3D models.

by M. Carrero-Pazos, A. Vázquez-Martínez, B. Vilas-Estévez




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CAA 2016, call for papers

Call for papers

Call for papers

Call for papers: CAA 2016, section 6, Computer tools for depicting shape and detail in 3D archaeological models. Deadline for paper submission 25 October 2015. Communications, posters and audio-visual material will be accepted, especially those that deal with new computer techniques, to depict shape and detail in 3D archaeological models.

by M. Carrero-Pazos, A. Vázquez-Martínez
B. Vilas-Estévez, M. Miguel Busto-Zapico




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Maçaõ: The art of Prehistoric societies

ASP2015

ASP2015

The art of Prehistoric societies, 4th International Meeting of Doctoral and Post-Doctoral Researchers, will take place in Mação (Central Portugal) between 26th and 29th November 2015. Deadline for communication proposals reception (abstracts): October 31th, 2015; abstract up to 3000 characters with 5 keywords and 2 images. Website: http://www.asp2015.com/asp2015/

by ASP2015


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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
Read more