By Jo McDonald, Peter Veth
This special consultant offers an inventive and archaeological trip deep into human background, exploring the petroglyphic and pictographic different types of rock paintings produced via the earliest people to modern peoples round the world.
-Summarizes the range of perspectives on old rock artwork from prime foreign scholars
-Includes new discoveries and examine, illustrated with over one hundred sixty pictures (including 30 colour plates) from significant rock paintings websites round the world
-Examines key paintings of famous professionals (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and descriptions new instructions for rock artwork research
-Is generally overseas in scope, opting for rock paintings from North and South the USA, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new techniques within the archaeological learn of rock paintings, exploring matters that come with gender, shamanism, panorama, id, indigeneity, history and tourism, in addition to technological and methodological advances in rock artwork analyses
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Additional resources for A Companion to Rock Art
The wall was touched repeatedly in between the drawings and many ﬁnger wipes have been recorded (tracing by M. Azéma and J. Clottes). Plate 26 Varnish microlamination thin-sections, showing alternating dark and light bands, corresponding to major paleoclimatic changes. Top: Coso-7, with conﬁrmed VML minimum-limiting age of 5,900 yrs cal BP; bottom: Coso-9, with conﬁrmed VML minimumlimiting age of 11,100 yrs cal BP (courtesy of Tanzhuo Liu). Plate 27 Left and middle: computer enhancement of a canoe with sail, from the island of Dauan in the Torres Strait (source: Liam M.
The excitement evinced by Gero and Conkey (1991) in their application of explicitly feminist theory to archaeological practice is still palpable amongst these authors. And the boundaries are pushed well beyond the Paleolithic view that “all rock art was produced by men for men” to questions such as: to what extent and in what context did woman create rock art? What can be learnt about gendered lives and worldviews from rock art? What different cultural processes are at play in rock art assemblages which contain clearly gendered human ﬁgures compared to others that have ungendered humans or humans only represented iconographically?
Blinkhorn). Plate 8 Great Mackerel Rock-Shelter: women and babies hands and digging stick composition in white stencils (enhanced using D_stretch; lab_cb). se). Alfssøn’s documentation is published by kind permission of the Arnamagnæan Institute at Copenhagen University, Denmark. Plate 10 Cattle painting from the Ennedi Highlands, Chad. V). Plate 11 A painted ceiling of a rock-shelter at Injaluk Hill in Western Arnhem Land, Australia (photo: Howard Morphy). Plate 12 A Wanjina painting referring to a mythical chase across country by two lovers in the form of mullets (photo: Howard Morphy).
A Companion to Rock Art by Jo McDonald, Peter Veth