Narratives and Journeys in Rock Art: A Reader

George Nash, Aron Mazel, George Nash, Aron Mazel

• Publisher: Archaeopress Archaeology
• Year: 2018
• Print ISBN:
  9781784915605
• eBook ISBN:
  9781784915612
• Topic: Art
• Subtopic: Archaeology

Why publish a Reader? Today, it is relatively easy and convenient to switch on your computer and download an academic paper. However, as many scholars have experienced, historic references are difficult to access. Moreover, some are now lost and are merely references in later papers. This can be frustrating. This book provides a series of papers from all over the world that extend as far back as the 1970s when rock art research was in its infancy. The papers presented in the Reader reflect the development in the various approaches that have influenced advancing scholarly research.

Table of contents

• Cover
• Title page
• Copyright Page
• Contents Page
• Introduction
• Seeing and Construing
• An Introduction to the Problems of Southern African Rock Art Regions:
• Fluvial erosion of inscriptions and petroglyphs at Siega Verde, Spain
• The Location of Prehistoric Rock Art in North-East England:
• Beyond Art and Between the Caves
• Transculturation, Rock Art and Cross-Cultural Contact
• The Cultural Context of Hunter-Gatherer Rock Art
• Who Thought Rock Art Was About Archaeology?
• The power of a place in understanding southern San rock engravings
• Acoustic elements of (pre)historic rock art landscapes at the Fourth Nile Cataract
• Unsettled times: shaded polychromes and the making of hunter-gatherer history
• Engraved in Place And Time:
• Rock art and the material culture of Siberian and Central Asian shamanism
• Chronological Trends in Negev Rock Art: The Har Michia Petroglyphs as a Test Case
• Making sense of obscure pictures from our own history:
• Religious Spatial Behaviour: Why Space is Important to Religion
• Bedrock notions and isochrestic choice: evidence for localised stylistic patterning
• Rainbow Colour and Power among the Waanyi of Northwest Queensland
• Caves as Landscapes
• Landscape representations on boulders and menhirs
• Roaring Rocks:
• Rock Art and Archaeological Excavationin Campo Lameiro, Galicia
• The Shore Connection
• Rock art as visual representation –
• A discovery of possible Upper Palaeolithic Parietal art
• Images as Messages in Society
• Approaches to Passage Tomb Art
• Ritual Landscapes
• Excavation of a rock art site at Hunterheugh Crag, Northumberland
• From natural settings to spiritual places in the Algonkian sacred landscape:
• In Small Cupules Forgotten:
• Shamanism, Natural Modeling and the Rock Art
• Tsagiglalal, She Who Watches:
• Rocks in the landscape: managing the Inka agricultural cycle
• On-Site and post-site analysis of pictographs
• _GoBack
• Contents
• Introduction
• Seeing and Construing
• An Introduction to the Problems of Southern African Rock Art Regions:
• Fluvial erosion of inscriptions and petroglyphs at Siega Verde, Spain
• The Location of Prehistoric Rock Art in North-East England:
• Beyond Art and Between the Caves
• Transculturation, Rock Art and Cross-Cultural Contact
• The Cultural Context of Hunter-Gatherer Rock Art
• Who Thought Rock Art Was About Archaeology?
• The power of a place in understanding southern San rock engravings
• Acoustic elements of (pre)historic rock art landscapes at the Fourth Nile Cataract
• Unsettled times: shaded polychromes and the making of hunter-gatherer history
• Engraved in Place And Time:
• Rock art and the material culture of Siberian and Central Asian shamanism
• Chronological Trends in Negev Rock Art: The Har Michia Petroglyphs as a Test Case
• Making sense of obscure pictures from our own history:
• Religious Spatial Behaviour: Why Space is Important to Religion
• Bedrock notions and isochrestic choice: evidence for localised stylistic patterning
• Rainbow Colour and Power among the Waanyi of Northwest Queensland
• Caves as Landscapes
• Landscape representations on boulders and menhirs
• Roaring Rocks:
• Rock Art and Archaeological Excavation in Campo Lameiro, Galicia
• The Shore Connection
• Rock art as visual representation –
• A discovery of possible Upper Palaeolithic Parietal art
• Images as Messages in Society
• Approaches to Passage Tomb Art
• Ritual Landscapes
• Excavation of a rock art site at Hunterheugh Crag, Northumberland
• From natural settings to spiritual places in the Algonkian sacred landscape:
• In Small Cupules Forgotten:
• Shamanism, Natural Modeling and the Rock Art
• Tsagiglalal, She Who Watches:
• Rocks in the landscape: managing the Inka agricultural cycle
• On-Site and post-site analysis of pictographs