Landscape and Rock Art

Rock art in the precontact Andes was frequently associated with venerated, pacarina water spring features. As nodes in the cultural landscape, pacarina were, and still are, considered critical access points to the primordial underworld from which the Ancestors arose to the world above and appropriating them was vital linking identity to the land, and to territorial expansion. During the Late Intermediate Period (AD 1000-1476), the Chimú Kingdom on present-day Peru's central and north coasts aggressively expanded their influence in a time characterized by drought, conflict, and political fragmentation.

Résumé - La falaise de Baume Brune s’allonge sur 900m environ, au nord de la plaine drainée par le Calavon et au pied des monts de Vaucluse. On y dénombre 43 abris naturels dont 10 ont été marqués par des figures peintes appartenant à l’iconographie schématique du Néolithique. Les abris peints sont choisis, ici comme ailleurs, selon quatre critères qui sont leur position dominante, leur orientation méridionale, la couleur « rouge » de leurs parois et leur humidité épisodique. Toutefois, si ces critères s’appliquent aux abris peints, ils conviennent aussi à certains abris qui ne portent aucun motif. Ces critères peuvent aussi n’être ni ostensibles, ni évidents sur un abri peint. C’est le cas des concrétions qui trahissent des ruissellements systématiques après les pluies mais qui ne sont pas automatiquement de grand volume. Souligner de rouge ces concrétions sert peut-être à mettre en exergue l’activité hygrophile de ces abris peints. L’iconographie détermine sans doute aussi le choix des supports et à Baume Brune, il semble qu’on a voulu séparer les grands thèmes de l’expression schématique : des abris où serait prépondérante la représentation du personnage ou de l’idole ou du quadrupède. Enfin, dans l’idée que ce sont des sites plus marqués qu’ornés, que ce sont des sites dont la finalité de leur visite n’est peut-être pas de décorer les parois mais aussi d’être le lieu d’autres pratiques dont certaines seraient sonores, une analyse de l’acoustique externe et interne pour l’ensemble de la falaise et des abris a été réalisée. En règle générale, les espaces et les abris marqués de motifs peints sont aussi ceux où l'acoustique est amplifiée grâce aux réflexions du son sur les parois rocheuses.

Mattioli, T., García Atiénzar, G., Barciela González, V. y Díaz-Andreu García, M. 2019. Escuchar con los ojos: la aplicación del GIS al estudio del campo visual y sonoro en los paisajes de arte rupestre de la montaña alicantina. En García Atiénzar, G. y Barciela González, V. (eds.), Sociedades prehistóricas y manifestaciones artísticas. Imágenes, nuevas propuestas e interpretaciones: 285-302. Alicante: Instituto Universitario de Investigación en Arqueología y Patrimonio Histórico de la Universidad de Alicante (INAPH) (Colección Petracos 2).
1. Introducción; 2. El área de estudio: el arte rupestre de la Montaña de Alicante; 3. Modelando la visibilidad y la sonoridad en el arte rupestre de Alicante; 4. Interpretando los resultados del análisis GIS; 5. Discusión: cambiando la percepción del arte rupestre de la montaña alicantina; 6. Conclusión

El arte rupestre abarca el periodo más extenso de la historia del arte universal, no sólo se extiende a las decenas de miles de años que comprenden el Paleolítico superior, sino que, en numerosos casos de América, África y Oceanía su producción ha continuado hasta nuestros días. Entiendo por arte rupestre a todas aquellas formas de expresión pictórica y gráfica que se realizan sobre un soporte de roca, ya sea en un afloramiento superficial, en una peña o sobre la pared de una cueva, por medio de la aplicación de pigmentos o por medio de técnicas directas o indirectas de grabado, así como por la combinación de procedimientos pictóricos y de grabado. Llamamos pinturas rupestres a aquellas realizadas por la aplicación de una materia pictórica sobre la superficie del soporte de piedra. Por materia pictórica comprendemos un pigmento de color, ya sea de origen mineral o vegetal y un aglutinante o medio que tiene la función de pegar las partículas de pigmento entre sí y al soporte rocoso (Doerner, 1982: 2-5). Prefiero utilizar un concepto general que comprenda las diversas manifestaciones pictóricas y funciones semánticas, a diferencia del concepto: pictogramas, que tiene un sentido más específico y restrictivo que no sería correcto emplear en todos los casos (Figura 1). Los petrograbados: son aquellos realizados por medio de las técnicas de incisión, abrasión, percusión directa o indirecta sobre el soporte de piedra, mismas que se pueden utilizar de manera única o combinada (Figura 2). Además de las pinturas y los grabados sobre piedra, tenemos que tomar en consideración a los denominados geoglifos. Se trata de diseños de gran escala, que pueden llegar a medir más de 100m y que presentan formas abstractas (geométricas y biomórficas), antropomorfas o zoomorfas, muy esquemáticas. Se las puede hallar formando grupos o de manera aislada.

While landscape art has been considered as an approved vehicle of the articulation of class and racial relations, as well as imperialism, colonialism and nationalism, gender has, as a rule, been absent from artistic analysis of landscape. Still, “gender has imprinted and continues to imprint itself on the landscape in a myriad of forms”. The cultural construction of land itself is traditionally sexed: Nature is female, as is the Earth; the land can be “Virgin”, conquered via the odyssey of a customarily male explorer; sites can be spoiled, ideal, forbidden or untouched. The language of geography can be remarkably similar to the sexual one, a dichotomy defined by activity and passivity.

The natural world, therefore, is gendered in ways; and furthermore, for a long time so was the artist: pre contemporary culture -art history, even- speaks of creativity being male, unmatched by female’s procreativity. The male landscape artist can therefore -willingly or accidentally- identify and be identified with the combined gendered roles of male artist and explorer. Considering in addition that women’s access to travel, the land and the outdoors in general, has been historically restricted,  with male and female (artists or not) enjoying very different admittance onto the “imaginary and real space that makes up landscape art”, and the argument naturally forms - ought landscape art be reconsidered in light of gender?

Toro Muerto (valle del río Majes, Arequipa-Perú), es uno de los sitios arqueológicos más grandes del mundo y con mayor cantidad de expresiones petrográficas: en un área de 10 km2 se han registrado 2.584 bloques de rocas grabadas con representaciones geométricas, zoomórficas y antropomórficas. En el 2017, al realizarse las prospecciones de acuerdo con el Proyecto de Investigación Arqueológica Toro Muerto (PIA-TM), en el extremo norte del sitio, se halló una colina con 92 petroglifos aun no estudiados (Sector X). En el 2018, se realizó un registro integral y preciso de todo el yacimiento: cada roca cuenta con fichas, fotografías calibradas, dibujos y algunos modelos 3D de rocas. Asimismo, se realizaron levantamientos geodésicos, fotogrametría del terreno, ortofotos, tecnomorfología y modelo 3D del sector y también excavaciones. El presente artículo trata sobre el estudio y la virtualización integral del patrimonio cultural rupestre del referido sector.

Stretching back in time, the Hill of Tara has been the spiritual heart of Ireland, yet little is known about the site other than what has been gleaned from the ancient manuscripts, which tell us nothing about how it appeared during the Neolithic and Early Bronze Age. Although the excavations in the 1950’s of Ráith na Senad and Duma na nGiall, by Professor Sean P. O’Riordain and Professor Ruaidhri de Valera, have given us a glimpse into that period of history, they merely scratched the surface. It is therefore the purpose of this paper to examine an ‘historical record’ that has been overlooked ever since its discovery sixty years ago… one that is quite literally carved in stone.

En este trabajo se presenta una síntesis de la investigación realizada en torno al arte rupestre de los recolectores cazadores del semidesierto queretano, particularmente entre las décadas de 1980 y 1990; también se incluye un breve apartado que trata de las manifestaciones rupestres de las sociedades agricultoras mesoamericanas, con quienes los seminómadas convivieron durante varios cientos de años.

The iconography of a stela recently found in Almadén de la Plata (Seville, Spain), showing a pair of human figures portraying rather distinctive attributes, poses a number of challenges to the conventional wisdom attached to these monuments in terms of mythological constructs and power structures. Similarly, the intensive survey fieldwork carried out at the location of this particular find and its surroundings suggests that more emphasis has to be put on the diachronic dimension of the local cultural traditions these outstanding monuments were part of.

Although a complex and primarily zoomorphic iconography developed in Upper Egyptian rock art during the Predynastic Period, often making allusion to humans, anthropomorphs are uncommon in the corpus. The imagery that decorates the rocks of the Upper Egyptian desert could also appear as body decoration — tattooing and/or body painting — on images of female ritualists who oversaw the conversion of the animals of the desert hunt into the meat offerings of the temples of the Nilotic world. The imagery could both socialize the desert, and turn the body of a hunter or ritualist into a type of landscape. Later Egyptian texts reveal that the surface of the rock and the skin of a human could both express an inner, latent imagery. The absent human in the imagery of Predynastic Upper Egyptian rock art is supplied by the viewer of the imagery, or the ritualist who wears it. The human body of the viewer mediates the reflectivity of rock and skin.

The petroglyphs and pictographs of Oman are little known, but for the last 9 years I have been involved, through the Omani Ministry of Heritage and Culture, in a series of surveys of the Jebel Akhdar Mountain range, that have resulted in the location of several important sites. The recording of these sites, on occasion in advance of major roadwork modernization projects, has for the first time enabled detailed research of the rock art in the area. This is being undertaken through the research of: superimpositions; cross-dating with known artistic expressions elsewhere in the region; the known dates for the introduction of writing systems in Ancient Arabic and Standard Arabic alphabet; the study of various objects of material culture; and the presence of certain animals in the rock art (such as turtles, oryxes, goats-like animals, camels and horses). I propose a preliminary chronology consisting of several major phases spanning the last 7,000 years.

"This special issue of "Patrimonio Histórico" (Historical Heritage), the bulletin of the Andalusian Historical Heritage Institute, brings together a series of contributions aimed at disseminating the concept of megalithic heritage among cultural and historical heritage specialists. It provides a general overview of the basic themes involved in today's research of the megalithic phenomenon (section "ideas, theories, problems"), the main methodological innovations the field has experienced in recent years ("sciences, methods"), the public perceptions involved ("perceptions") as well as a series of major megalithic sites of southern Iberia ("sites, interventions, management")."

The megalithic phenomenon is one of the most exciting subjects of study in prehistory. The practice of monumentalising places of special significance by erecting large stones started during the Neolithic period, approximately 10.000 years ago. On time, it acquired such a social and ideological depth that it became one of the most geographically and temporally widespread cultural phenomena ever known in Europe. In Andalusia,  megalithic sites and landscapes express themselves with great richness and diversity, representing an exceptional source of scientific information for our understanding of our forebears’ ways of life, as well as a unique and beautiful historical legacy. This book combines the contributions of various university professors, who bring us up to date with their research, with excellent photographic illustrations and, for the first time, reflects the spread of this cultural phenomenon throughout Andalusia. It is suitable for both those who wish to deepen their knowledge of this professional specialisation and those who seek the pleasure of a satisfied interest.

En esta obra -ganadora del Premio Alfonso Caso 2018 a la mejor investigación en arqueología en México-, se presenta parte del resultado de la investigación arqueológica realizada en la franja occidental y semidesértica de la Sierra Gorda de Guanajuato (México) en el marco del proyecto Arte rupestre en la cuenca del río Victoria, auspiciado por el Instituto Nacional de Antropología e Historia. Publicado en español e inglés, consta de dos volúmenes; en el primero se ofrece una introducción a la región de estudio (antecedentes arqueológicos e históricos), las características iconográficas generales de las manifestaciones rupestres de la región, así como los principales temas de la imaginería rupestre de Arroyo Seco. El Volumen II constituye el catálogo completo de la iconografía de este último sitio, uno de los yacimientos rupestres más significativos del nororiente guanajuatense, mismo que fue abierto a la visita pública en marzo de 2018.
En resumen, se trata de ofrecer una interpretación de la transformación del paisaje natural en paisaje sagrado, marcado de forma ritual por el arte rupestre (Viramontes, 2001), y se propone que el paisaje se tornó en un agente más que de diferentes formas influyó en la elaboración de la pintura rupestre regional. En los abrigos y frentes rocosos de la Sierra Gorda se expresó al menos parte de la cosmovisión de las diferentes formaciones sociales que habitaron el territorio, desde la épocas prehispánica hasta la colonial: muchas de las rocas fueron pintadas como parte de rituales de paso, de fertilidad o de iniciación; como marcadores territoriales, de eventos históricos o astronómicos además de estar asociados a rituales terapéuticos y fueron testigos del esfuerzo evangelizador de los europeos a partir del siglo XVII.

El principal objetivo de la presente disertación es intentar comprender los mecanismos conceptuales que llevaron a los grupos humanos a señalar determinados lugares a través de pinturas rupestres esquemáticas, durante el Neolítico y el Calcolítico. Se analizaron diversos núcleos de abrigos con pinturas rupestres, ubicados en el centro del territorio portugués: Abrigo do Ribeiro das Casas (Almeida), Abrigo de Segura (Idanha-a-Nova), Abrigos do Pego da Rainha (Mação), Abrigo do Lapedo (Leiria), Lapa dos Coelhos (Torres Novas), Lapa dos Louções (Arronches), Igreja dos Mouros (Arronches) y Abrigo Pinho Monteiro (Arronches).
El análisis de las características formales y técnicas de ejecución (incluyendo un abordaje arqueométrico aplicado a los pigmentos) ha permitido tejer consideraciones sobre la metodología utilizada en el momento de la realización de las pinturas. El estudio de las características de implantación de cada yacimiento posibilitó el establecimiento de cuatro patrones de ubicación de los abrigos pintados los cuales, a la par de la descripción sistemática de los motivos representados y su interconexión, han permitido crear una periodización, con  dos periodos distintos. En la primera fase, tenemos la iconografía de transición de las comunidades recolectoras hacia los primeros grupos agro-pastoriles, que exhibe aun pormenores de la imaginética paleolítica, apareciendo zoomorfos de grandes dimensiones y antropomorfos con características formales, correspondiendo, pues, a un “arte esquemático semi-naturalista”. Con  la consolidación del sistema agro-pastoril, la sedentarización y la complejificación económico-social los esquemas de antropización del paisaje y del universo conceptual colectivo se alteran profundamente, originando representaciones reducidas a sus elementos mas básicos, que se vuelven totalmente esquemáticas. Se produce una transmutación de los motivos en ideogramas, dando origen al segundo periodo, titulado “arte esquemático ideográfico”, cuyo marco cronológico abarca el periodo comprendido entre el Neolítico final y el inicio de la Edad de Bronce.
En el contexto peninsular, el arte esquemático deberá, pues, ser visto como un proceso muy heterogéneo, resultante de las propias dinámicas de las comunidades que lo han producido y que, como tal, solamente puede ser analizado en un ámbito regional alargado. Por estos motivos, la periodización establecida deberá, por ahora, aplicarse solamente al área geográfica estudiada en la presente disertación.

ʻPetroglyphs: The Bend of the Boyneʼ predominately explored the hypothesis that many of the panels of artwork found within the Boyne Ensemble, are ʻmapsʼ of the site as it existed during the Neolithic. While that hypothesis was applied to a number of other sites in Ireland, the UK and France, any hypothesis must undergo repeated testing. As such, this paper, which for all intents and purposes is an addendum to ʻPetroglyphs: The Bend of the Boyneʼ, addresses a number of points and observations not previously covered, as well as a number of additional sites, both in Ireland and the UK.

The EAST AFRICA and HORN OF AFRICA Rock Art Bibliography is extracted from the Rock Art Studies Bibliographic Database version r31 and contains 228 citations covering the countries of: Kenya, Tanzania, Uganda, Djibuti, South Sudan, Ethiopia, Eritrea, and Somalia.

Images of animals are among the most frequent marks people made on rock surfaces. They occur around the world in more than 100 countries, in caves, rock shelters and in the open air. They were made as early as about 40,000 years ago until very recently. Between those dates and across those regions, there is much variation in the way images of animals have come down to us. Sometimes the species are difficult to identify, more often they are not, but the images are nevertheless variably stylised. The images occur singly (rather rarely) or in various combinations with other animals and with images of people. Scenes that take a form familiar to people accustomed to seeing paintings and sculptures in art galleries are rare for some times and places, but quite usual for others. Sometimes images of animals are combined with images of people either where the people wear parts of animals, or where images of the two appear in combination. Determining how to interpret images of animals is complicated by that fact that most ethnographic accounts of attitudes to animals and to making images depend on knowledge of the expressed views of the present day people. It is hazardous to attempt to infer the meanings from the images alone, at least in part because of variation through time and space. Nevertheless, it seems likely that differences between sets of images imply different worldviews, although similarities do not in themselves necessarily signify similar worldviews.

At least since the advent of modern archaeology, archaeologists have proposed numerous interpretations of the petroglyphs found throughout Ireland and the UK, yet none have ever been tested, nor can they ever be tested, and therefore do not meet the criteria of a scientific hypothesis or theory. This paper explores the likelihood that many of the panels of petroglyphs decorating the orthostats and kerbstones at sites such as Knowth, Newgrange and Dowth, simply depict the monuments that were constructed during the Neolithic and Early Bronze Ages. The spatial distribution of the motifs on stones at Knowth, Newgrange and Dowth for example, were a way of drawing in the wider ritual landscape, creating for the community a way of connecting the physical landscape, with the realm of the dead.

Though many of the monuments within the Boyne Ensemble are still visible in the landscape, there are hundreds of sites where nothing can be seen, except for the panels that exhibit this enigmatic art, with hundreds more yet to be discovered. With the advances in geo-prospecting technology, and using the probable cartographic information on the panels, undiscovered sites and monuments beckon.

BRITISH ISLES Rock Art Bibliography is extracted from the Rock Art Studies Bibliographic Database verison r31 and contains 770 citations covering the countries of: England, Scotland, Wales, Northern Ireland, Republic of Ireland, Isle of Man, and Channel Islands.

Social and ideological developments of the Jornada Mogollon region of southern New Mexico and west Texas are often considered peripheral to the greater Southwest. This perspective belies the fact that inhabitants of the region maintained one of the more successful and stable societies in the prehistoric Southwest.  The fluorescence of Jornada style iconography in rock art, ceramics, and other media during the 14th century is well known.  Recent chronometric and iconographic studies show that the underlying cosmology and ideology related to mountains and caves – the basis of Jornada ethnogenesis and identity - can be traced to as early as the 5th century AD. Over the span of several centuries Jornada social identity was also expressed through agave fermentation and feasting, acts of ritual dedication, ceramic technology, and orientations of rooms and settlements. The Jornada region offers a unique setting for the study of how identity was formed, conserved, and maintained over periods of several centuries.

Rock-art of Nine Mile Canyon and Range Creek in the Tavaputs Plateau created by Fremont people, Mu:kwitsi/Hopi (250 – 1300 A.D.). and the later Numic arrivals. Recent linguistic and mtDNA analysis show the Fremont as being a mixture of Pre-Hopi (Uto-Aztecan) and Tanoan (Jemez) ancestry. Depictions of Awanyu, the Tanoan plumed serpent, in Nine Mile are found in pottery designs and rock-art panels from ancestral Tanoan pueblos of the Rio Grande. Fremont rock art depicts Hopi hair styles, Hopi garden plots and Hopi mythical deities. Hopi katsina masks and carved dolls are linked to Fremont figurines. A.D 1100s-1400s rock-art depict Numic emigrants with large burden baskets. Late A.D 1500-1600 panels depict battles between Fremont (Mu:kwitsi/Hopi) by their Hopi hairstyle and hock moccasins fighting Numic (Paiute/Utes) with flat heads, horns and band signs. Cultural directionality (left-to-right sunwise direction) is specific to Numic language speakers, while Hopi/Tanoan cultural preference is a right-to-left directionality.

The Idaho Rock Art Bibliography takes a comprehensive look at the literature concerned with rock art studies in the State of Idaho (USA) from the earliest reports through the present day. The data for this bibliography has been exported from the Rock Art Studies Bibliographic Database (https://musnaz.org/rock_art_studies_db/).

Dr Shirodkar's volume on rock art in Goa is an encyclopedic and pioneering venture in rock art studies in India. It has placed the petroglyphs of Usgalimal and Kajur in the background of the history of geological formation, biological evolution, megalithism, mother goddess and fertility cults in India and the world . it has put the faunal, human and geometrical designs on laterite rocks in the backdrop of hunting ,gathering and foraging communities in the river valleys of Goa.

García Atiénzar, Gabriel, Barciela González, Virginia, Santos da Rosa, Neemias and Díaz-Andreu García, Margarita 2022. Modelizando el paisaje: iconografía y percepción visual y sonora en el arte rupestre macroesquemático. Virtual Archaeology Review 13 (27): https://polipapers.upv.es/index.php/var/article/view/16998.
Resumen: El análisis de la distribución espacial de los abrigos con arte rupestre y su relación con la creación de paisajes sociales por parte de sociedades prehistóricas se ha planteado desde diferentes perspectivas desde los años ochenta del siglo XX. Estas aproximaciones se han centrado en averiguar de qué modo estos conjuntos artísticos ofrecen claves sobre cómo se vertebraron los paisajes. Desde hace dos décadas, estas aproximaciones se han realizado a través de herramientas derivadas de los Sistemas de Información geográfica (SIG), particularmente para analizar y modelizar los patrones de visibilidad. Sin embargo, las diferentes modelizaciones han llevado a resultados, en ocasiones, contradictorios. Como medio para ahondar en estas y otras cuestiones, en este trabajo nos centraremos en el arte rupestre macroesquemático (ARM) a través de diferentes escalas de análisis. La primera analiza, desde un punto de vista iconográfico, los diferentes motivos. La segunda escala presta atención a la distribución espacial de estos motivos, así como su concentración en determinados sitios. Por último, la tercera escala modeliza la percepción visual y sonora a través del empleo de diferentes herramientas SIG. En este punto se realiza una evaluación crítica, tanto de las bases cartográficas como de los procedimientos empleados en la modelización de los paisajes visuales y sonoros. La concatenación de estas unidades de análisis permite aproximarnos a la articulación social del paisaje neolítico a partir de un fenómeno artístico tan concreto y particular como es el ARM.

Often considered evidence of humanity's first artistry, prehistoric rock art has captivated people all over the world. Associated with many different cultures, the meaning and purpose of most forms of prehistoric rock art remain shrouded in mystery. Even the most experienced archaeologists continue to ask basic questions about rock art. What does it depict? What does it mean? Who produced it? When was it produced? What function did it serve? Here, using eHRAF Archaeology and other sources, I will explore some examples of prehistoric rock art while demonstrating how scholars have attempted to understand the ancient people that produced these mysterious markers of human artistry and creativity.

Rancho Guejito is a 34-square mile working ranch in northern San Diego County, substantially comprised of the largest intact remnant of California’s historic Mexican land-grants. The ranch is privately owned and employs a variety of security measures to protect its prehistoric, ranching and farming interests. Among many of the ranch’s resources is a significant pictograph boulder formally reported in 1960 by archaeologist Delbert True and his long-time Luiseño friend, Henry Rodriquez. Current ranch management invited the authors to inspect and record this pictograph locality, and have granted permission to report their preliminary impressions. The most remarkable finding is that the pictograph boulder contains elements in all three of the identified rock art styles in southern California: San Luis Rey; Rancho Bernardo; and La Rumorosa. The site is geographically situated along the Late Period enthnographic division between Cupan (Luiseño) and Yuman (Ipai) speakers, providing a unique confluence of pictographic expressions and subsequent analytical value.

RE-THINKING ROCK ART: BIOGRAPHIES OF RESEARCH, NEW THEORETICAL EXPLORATIONS AND MULTIDISCIPLINARY APPROACHES (STANDARD PAPER)

Session Organisers: Joana Valdez-Tullett; Sofia Figueiredo Soares; Andreia Silva

Abstract: The nature of rock art’s representations, execution techniques, settings, poor understanding of chronology and lack of contexts or features akin to other types of archaeological remains, makes this a difficult subject to approach. Open to much speculation, it is mostly side-lined by mainstream archaeology. Despite its long research biography, rock art studies are typically developed within regional frameworks, raising issues regarding terminology, methodologies and theoretical backgrounds. The introduction of Landscape Archaeology in the 1990s, its new methodological and theoretical approaches, marked an important turning point in rock art research, highlighting the need to bring rock art into mainstream archaeology, given its social role in past societies. Recently, a new revolution in rock art studies began with the introduction of new digital recording methods and other computer techniques, as well as archaeometry and statistical studies, offering opportunities to re-think rock art, reconsider old questions, raising new possibilities of interrogation and further insights into its social and cultural roles. In this session we welcome papers from all chronologies and geographies about rock art’s research biographies; the potential and limitations of old and new approaches; how new approaches challenge old perspectives; the interplay between archaeology and ethnography in rock art studies; the role of digital technologies and what they bring to rock art studies beyond ‘pretty pictures’; the value of multidisciplinarity; the significance of new rock art finds to well established traditions; the role of archaeological theory in rock art studies; rock art’s social and cultural place in the past.

El Cacao: de los dioses para el mundo
América Malbrán Porto P.  9

Rituales de las láminas 15 a 17 del Códice Borgia:
¿Nacimiento del tlamacazqui?
Ofelia Márquez Huitzil P. 43           

Abrigo Rincón Mariano, un álbum de trabajo
Enrique Méndez Torres P. 115