This short note discusses a possible addition of a “Trophy” Head petroglyph at Toro Muerto, southern Peru. Toro Muerto has the biggest concentration of “Trophy” Head petroglyphs in the Desert Andes. This paper suggests that another example can be added to the grand total, but simultaneously proposes that this new (possible) find – and many other panels at Toro Muerto – should be photographed in optimal circumstances to ascertain its identification.
By Maarten van Hoek
This short paper discusses two new finds of specific biomorphic petroglyphs in the Vítor Valley of Southern Peru and its distribution within the Majes Rock Art Style (MRAS). It proves that this type of biomorphic image is overrepresented in the Vítor Drainage.
By Maarten van Hoek
This short paper discusses a new find of another petroglyph depicting the “Venus-Cross” in the Vítor Valley of Southern Peru. The paper also reviews its distribution within the Majes Rock Art Style (MRAS) and within a much larger area (the Desert Andes). It proves that – for still some unknown reason – the “Venus-Cross” is overrepresented in the Vítor Drainage.
By Maarten van Hoek
This paper reviews the publication by academic archaeologists, Andrzej Rozwadowski and Janusz Z. Wołoszyn, in which they suggest that zigzag petroglyphs at Toro Muerto in the Majes Valley of southern Peru – constituting the most important rock art site in the Desert Andes of South America – could be representations of songs. In my paper I question a number of their suggestions and statements by trying to put the whole issue in a more appropriate context. I cannot refute their theory, but my objections makes it unlikely (though not impossible) that Toro Muerto zigzags indeed represent songs.
By Maarten van Hoek
This paper is one of a series of studies that investigates the rock art of the Majes Rock Art Style (MRAS) in southern Peru. This time I focus on petroglyphs of long, pecked stripes that have been animated by the prehistoric Majes People. I now argue that those Animated Stripes and many other typical MRAS images (discussed earlier by me; see my bibliography), including another icon (the “Majes Spitter”, which is the subject of my next study) created the Toro Muerto Anomaly, which – unfortunately – is either unknown or neglected by archaeologists busy in the Majes Valley.
By Maarten van Hoek
Imaoun-1 is one of the most important rock art sites in southern Morocco. In this study I briefly describe the array of petroglyphs at this site, comprising cupules, abstract motifs and patterns and biomorphic images. Imaoun-1 is also special because of its overrepresentation of abstract imagery. In this study I focus on one specific abstract petroglyph (said to have megalithic connotations), and – in more detail – on the Venus Cross, a globally widespread motif that is also overrepresented in this small part of Morocco. Its possible origin and journey across the prehistoric landscapes are also discussed.
By Maarten van Hoek.
This small petroglyph site in southern Morocco has – despite its limited number of decorated panel – a rather large variety of images. There are petroglyphs of quadrupeds (felines, bovines, antelopes, an elephant, perhaps a goat), some birds (probably ostriches) and one simple, yet interesting petroglyph of an outlined anthropomorphic figure. The site is very easily accessible and thus suffers from vandalism.
By Maarten van Hoek
This paper describes a modest petroglyph site just south of the Anti-Atlas of southern Morocco. It is found on a rocky hill, called Jorf Naga, where at least three other rock art sites have been recorded. All four sites play an important role in the rock art traditions of the most important rock art complex of Imaoun and the drainage of Wadi Akka, which – in ancient times – was definitely used as an important north-south migratory route through the Anti-Atlas to the contact zone with the Sahara.
By Maarten van Hoek
This petroglyph site – located in the far south of Morocco – has only a small number of decorated panels. Yet there is a surprising variety in imagery, which ranges from biomorphic figures (mainly quadrupeds of the Tazina Style) and abstract motifs, one of which may well depict an (unplayable) game-board. A few (abstract?) motifs are enigmatic.
By Maarten van Hoek
This paper describes the petroglyphs that my wife and I recorded at the rock art site of Jebel Youmkat in Wadi Tamanart in 2019. As far as I could check, this site has not been published anywhere. The petroglyphs mainly concern images of quadrupeds and some ostriches.
By Maarten van Hoek
This paper deals with the petroglyph site of Oum el Aleg near Akka in the far south of Morocco. The main subject of the paper is that I argue that there possibly are three images of archers, two of which possibly engaged in a hunting scene. The paper is accompanied by a video about Oum el Aleg, which can be viewed at YouTube.
By Maarten van Hoek
This paper presents the fifth case in my series of articles in which I discuss a selection of petroglyph boulders at Alto de Pitis, in the Majes Valley of southern Peru. It especially discusses a controversial petroglyph of an anthropomorph that has been interpreted in two most different ways. One rendering of the figure is questioned in this study (updated September 2023).
By Maarten van Hoek
This paper analyses the 2018-thesis by Prof. Scaffidi. It concerns a revision (dated September 2023).
by Maarten van Hoek
In general, it proves to be rather awkward (or even impossible) to establish the exact species of biomorphic images depicted at Toro Muerto (Peru), and thus this is even more problematic for conflations of two or more animals. In this study I argue that at Toro Muerto several petroglyphs of quadrupeds may well depict a specific conflation. With a number of illustrations I will demonstrate that this hypothesis is not far-fetched at all.
By Maarten van Hoek
This paper – the fourth in a series about Alto de Pitis, all published in TRACCE – discusses some specific petroglyphs on Boulder AP3-098, focusing on the possible therianthrope on one of its panels.
By Maarten van Hoek
Emanuele Süss (1909-1996) è stata una figura molto importante per le ricerche e la diffusione dell’arte rupestre della Valcamonica nei primi anni ’50 del ’900. Dopo averle catalogate, disegnò la pianta con la numerazione delle rocce del Parco nazionale nell’area di Naquane. Fu autore del volume “Le Incisioni rupestri della Valcamonica” che ebbe una grande fortuna e che andò incontro a numerose ristampe. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marro (1875-1952) è senza dubbio la figura più discussa tra tutti i ricercatori dell’arte rupestre della Valcamonica nella prima metà del ’900. E’ importante sottolineare il ruolo dello studioso nell’ambito delle scoperte. Egli percorreva i boschi a piedi inoltrandosi nei castagneti dov’erano presenti le rocce incise – infatti è ricordato anche come “il grande camminatore” – e scopriva le figure rupestri rimuovendo l’humus, spesso con l’aiuto di persone del posto, tra le quali il Marro utilizzava soprattutto Giuseppe Amaracco di Capo di Ponte. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marini era davvero instancabile e appena poteva conduceva in visita gruppi italiani – anche scuole – e stranieri interessati a vedere il Parco di Luine con le incisioni rupestri più antiche della Valle. Una rara fotografia scattata nell’ottobre del 1990 lo ritrae seduto sulla roccia n. 73 ed intento a illustrare alcune figure di mani, rappresentazioni tra le più rare del Parco. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il mondo accademico italiano e straniero deve molto a Battista Maffessoli, artigiano, artista eclettico (pittore e scultore) dalla complessa personalità, guida alle incisioni rupestri per gruppi – sono nell’ordine di migliaia le persone che negli anni ha accompagnato a visitare le incisioni rupestri – e singoli, tra cui vanno annoverati praticamente tutti gli studiosi oggi attivi nelle ricerche dell’arte rupestre della Valcamonica. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il percorso artistico e archeologico sperimentale di Jack Belmondo – nome d’arte di Giuseppe Belfiore Mondoni non può essere separato dal suo luogo di nascita, Cerveno, piccolo paese della media Valcamonica. Le prime ricostruzioni di archeologia sperimentale – modellini di capanne, di carri ed aratri – furono da lui eseguite nel 1988 ed esposte nel Museo di Nadro sino al 1991. Tra il 1989 ed il 1990 iniziò le prime esperienze di fusione dei metalli, allo scopo di ottenere quelli che gli parevano i manufatti più interessanti. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Raffaello Battaglia è il quarto studioso ad occuparsi dell’arte rupestre della Valcamonica dopo Laeng, Graziosi e Marro, ma fu sicuramente il primo ad occuparsene scientificamente, dopo Paolo Graziosi. Insieme a suoi collaboratori, rinvenne numerosi siti con incisioni. Tra queste, famosa resta la scoperta e pubblicazione delle rocce di Bedolina (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
My paper describes the images on a boulder that has one of the most complex biomorphic petroglyphs in the Majes Valley and in Arequipa rock art. It may well be death-related, as will be demonstrated. Another death-related petroglyph on an adjoining panel definitely links the boulder – and the whole site – with Apu Coropuna, the most Sacred Mountain of the whole of southern Peru.
By Maarten van Hoek
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Worldwide, Paolo Emilio Bagnoli, former full professor of Photonics and Optoelectronics at Pisa University, is among the few researchers active in the rock art field to apply to engraved rocks the method of 3D modelling on a photometric basis. As a tribute to his memory, it is appropriate to remember him in his own words in relation to the photometric technique applied to 3D modelling (PDF available).
by Andrea Arcà – Footprints of Man Read more
Seminario di studi online
a cura della Cooperativa Archeologica
Le Orme dell’Uomo.
Venerdì 30 dicembre 2022
h 18:00-20:00 C.E.T.
YouTube: https://bit.ly/3WyPcJP
Le Orme dell’Uomo – Footsteps of Man Read more
The paper proves that even “minor” rock art sites can be most interesting, especially when placing such a “minor” site in a larger local and regional context. Torán is such an important “minor” site, as it is clearly connected with the two most important “major” rock art sites in the valley; Toro Muerto and Alto de Pitis.
By Maarten van Hoek
The paper proves that even “minor” rock art sites can be most interesting, especially when placing such a “minor” site in a larger local and regional context. Punta Colorada is such an important “minor” site as it may well connect (graphically, literally and metaphorically) two most important “major” rock art sites in the valley. Additionally, the site of Punta Colorada also seems to establish the spiritual link between certain rock art icons and Apu Coropuna, the Sacred Mountain of southern Peru.
By Maarten van Hoek
This paper describes a huge boulder at Alto de Pitis in the Majes Valley of southern Peru. It has some enigmatic petroglyphs that will be fully discussed. Especially one type of image is most idiosyncratic. It may depict or symbolise domestication of felines.
By Maarten van Hoek
This paper describes the petroglyph site of Cerro San Diego, north of Lima. The site has a rather unusual location. Moreover, it has some exceptional petroglyphs, for instance a large purported “eye-motif” from the Andean Formative Period.
By Maarten van Hoek
It is very rare to find a unique rock art image repeated on ceramics or textiles from contemporaneous cultures. This study discusses the parallel between the unique petroglyph of a deliberately rotated bird image at Cochineros, a rock art site along the Río Mala, and compares the bird with similar images on ceramics and textiles of a surprisingly large coastal area.
By Maarten van Hoek
Aiapaec probably was the supreme divinity of the Mochica pantheon, an ancient civilisation that emerged in the coastal strip of northern Peru. There are numerous often much differing depictions of full zoo-anthropomorphic figures and – especially – of isolated heads in the Huaca de la Luna near Trujillo that are said to represent Aiapaec. In view of the importance of Aiapaec in this part of Peru it is extraordinary that there are no unambiguous depictions of undeniable Moche origin of this personage in Andean rock art. This paper discusses that problem and describes seven petroglyphs that might symbolise Aiapaec.
By Maarten van Hoek
La única descripción “científica” publicada sobre el sitio de arte rupestre de Cojitambo en el valle del Río Chicama, norte de Perú, es del arqueólogo académico Castillo Benites de Trujillo, Perú (2006). Su breve publicación tenía una necesidad desesperada de ser revisada. Este artículo ofrece una actualización de tres paneles en Cojitambo.
The only ‘scientific’ description published about the rock art site of Cojitambo in the valley of the Río Chicama, northern Peru, is by academic archaeologist Castillo Benites from Trujillo Peru (2006). His brief publication was in desperate need to be revised. This article offers an update of three panels at Cojitambo.
By Maarten van Hoek
El autor – Rainer Hostnig, con residencia en Cusco, Perú – realiza una síntesis comparativa de representaciones del sitio rupestre recientemente registrado de Ñawpakachi (y los demás yacimientos rupestres en el Valle Sagrado, Perú) con figuras grandes de personajes de la élite inca o sus abstracciones en forma de escudos o unkus.
The author – Rainer Hostnig, who resides in Cusco, Peru – performs a comparative synthesis of representations of the recently recorded rock art site of Ñawpakachi (and other sites in the Sacred Valley, Peru) featuring large figures of Inca dignitaries or their abstractions in the form of shields or ‘unkus’.
The paper by Daniel Castillo Benites from Peru and María Susana Barrau from Argentina (2016) offers an excellent overview regarding the rock art of the Virú drainage in northern Peru. Yet there are some flaws.
El trabajo de Daniel Castillo Benites (de Perú) y María Susana Barrau (de Argentina) (2016) ofrece una excelente visión general del arte rupestre en la cuenca del río Virú en el norte del Perú. Sin embargo, hay algunas fallas.
By Maarten van Hoek
Este trabajo investiga el arte rupestre en el Valle de Jequetepeque en el norte de Perú. Se centra en el sitio de Quebrada del Felino. El artículo actualiza la información que se publicó anteriormente y se centra en establecer la fecha de varias imágenes en el Quebrada del Felino.
This paper focuses on the rock art site of Quebrada del Felino in the Valley of the Jequetepeque in northern Peru. The paper updates the information that was published earlier and focuses on the dating issue of some images at Quebrada del Felino.
El tema principal de este artículo es la relación entre ciertos petroglifos en el Valle de Yarabamba, sur de Perú, y el volcán El Misti. Para explicar esta relación se discutirán dos tipos de petroglifos en el sitio de Alto de San Antonio en el Valle de Yarabamba.
The main subject of this article is the relationship between certain petroglyphs in the Yarabamba Valley, southern Peru, and the volcano Misti. In order to explain this relationship I will discuss two types of images that are found at the rock art site of Alto de San Antonio in the Yarabamba Valley.
Este artículo investiga cuatro iconos raros del sitio de arte rupestre de Ariquilda en el desierto de Atacama en el norte de Chile. Se trata de un grupo de figuras antropomórficas que muestran una actitud muy específica y tres otros motivos muy enigmáticos. He nombrado estos cuatro motivos: ‘Los Hombres Torcidos’, ‘Los Cueros’ y ‘Las Gafas junto con Las Figuras Triangulares’. De nuevo estos iconos confirman el estatus especial de Ariquilda en el arte rupestre andino (véanse también ‘The Avian Staff Bearer’ y ‘Icons That Travel’, ambos publicados en TRACCE).
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
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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
Lunedì 27 marzo 2017 alle ore 18 presso il Centro Studi Piemontesi, in via Ottavio Revel 15 a Torino, per i Colloqui del Lunedì, Daniela Berta, Andrea Arcà e Francesco Rubat Borel dialogano intorno al libro Roccia dei Giochi, Roccia di Giove: un masso inciso tra preistoria ed età moderna a Usseglio, pubblicato dal Museo Civico Alpino “Arnaldo Tazzetti” di Usseglio
by TRACCE editor
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IFRAO 2018
Call for session proposals
NEW deadline February 15 2017
XX International Rock Art Congress IFRAO 2018
Standing on the shoulders of giants
Sulle spalle dei giganti
Valcamonica
Darfo-Boario Terme (BS) Italia
29 August – 2 September 2018
IFRAO 2018
Invito a presentare proposte di sessione
NUOVO termine ultimo 15 Febbraio 2017
XX Congresso Internazionale di Arte Rupestre IFRAO 2018
Standing on the shoulders of giants
Sulle spalle dei giganti
Valcamonica
Darfo-Boario Terme (BS) Italia
29 Agosto – 2 Settembre 2018
Tintín 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
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
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]
A 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
