By Jo McDonald, Peter Veth
This special advisor offers an inventive and archaeological trip deep into human heritage, exploring the petroglyphic and pictographic different types of rock artwork produced through the earliest people to modern peoples round the world.
-Summarizes the variety of perspectives on historic rock artwork from major overseas scholars
-Includes new discoveries and learn, illustrated with over one hundred sixty photos (including 30 colour plates) from significant rock artwork websites round the world
-Examines key paintings of famous gurus (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and descriptions new instructions for rock paintings research
-Is largely overseas in scope, opting for rock artwork from North and South the United States, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new techniques within the archaeological examine of rock artwork, exploring concerns 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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Extra info for A Companion to Rock Art
They provide a context for this parietal art’s production amongst the other activities carried out in the cave: clay sculpting, perhaps dancing, habitation, and the construction of ritual space. They argue that the unquestionable demographics of the cave’s occupants included women and children. Style In many of the chapters in this volume, style is taken as a given. There is, of course, an extensive and long-lived literature on the question “what is style” and, indeed, having – and using – a deﬁnition of style is paramount, if one is to explore variability in one’s rock art assemblage.
Peter Veth (Chapter 31) provides an Australian lens on these global issues, with his discussion on management scenarios for one of the world’s longest linear cultural landscapes, the Canning Stock Route of the Western Desert. The beneﬁts of collaborative research on rock art and the involvement of an autonomous indigenous governance structure (points also identiﬁed as critical by Valerie Magar) are shown to be a fundamental starting point for the ongoing 12 JO MCDONALD AND PETER VETH sustainable use of rock art where its commoditized values may sit in stark contrast to continuing indigenous engagement with that landscape.
And, yes, it does not yet appear that there are many academic positions – especially in North America – that specify rock art research as a desired subject of expertise. But while often bemoaning the perceived marginality of not being taken seriously by “the mainstream,” there is not often the needed accompanying critique of the said mainstream (but see Lewis-Williams 1984 for a lucid exception). As so many of the chapters in this volume attest, it cannot be denied that analyses that include rock art can contribute to fundamental shifts and expansions of our understandings of the human past and cultural practices.