Pre-Historic Rockart

Infographic for the World Pigments Day (March 22), where the study of natural, synthetic, biological and geological pigments is celebrated. From a scientific divulgation point of view, we present the study of pigments and their symbolism in rock art.

The rock shelter at Isko is a well-known rock art site in the Hazaribagh district of Jharkhand. The present research is carried out to understand the prehistoric and present cultural context of Barkagaon block of Jharkhand by drawing a general comparative analogy between rock art at Isko and ethnic traditions. Interpretation of symbols of rock art has been attempted with the help of an ethnographic study on paintings, symbolic beliefs, tattoos and religious customs of Munda, Birhor and Oraon communities in the study area. The recent find of microliths near the Isko rock shelter can be useful aid for understanding the chronology and identify the authors of the rock art.

Esta dissertação de mestrado aborda a metodologia de registro e de análise digital de dois sítios de arte rupestre. Os alvos são o sítio nº 304, 108/159 ou CNSA/BA00418 no Complexo Malhada Grande, no município de Paulo Afonso, estado da Bahia; e o sítio nº 352, Patrocina ou CNSA/SE00028/Lima na Fazenda Mundo Novo, no município de Canindé de São Francisco, estado de Sergipe, ambos no Brasil. Estes sítios foram escolhidos por apresentarem painéis expostos às intempéries, o que fez com que as pinturas existentes estivessem sob acelerado processo de degradação por pátina e/ou desvanecimento dos pigmentos. A aplicação de um plugin para o software ImageJ, chamado DStretch, em fotografias feitas durante os levantamentos sistemáticos, possibilitou a elaboração de decalques digitais, melhorando a obtenção de dados considerados “perdidos” nos painéis anteriormente analisados e publicados por outros pesquisadores. A partir destes dados, foi realizado, também, um levantamento fotogramétrico para elaboração de um modelo em 3D no sítio CNSA/BA00418, que devido ao suporte rochoso irregular, apresentou as condições ideais para a aplicação desta técnica em conjunto com o registro digital.

Due to changes in climate and weather many of the South Scandinavian rock carvings are in a poor preservation state. The carved motifs erode, and become increasingly difficult to detect. The rock surface is harmed by different climatic, environmental and biological factors. Unfortunately, the amount of rock carvings is too high to preserve them all for the future in situ. But if we cannot save all carvings, can we instead preserve them for future research through documentation? The great amount of rock carvings makes it necessary to use recording methods which are accurate, quick and manageable. One solution could be to document them realistically with image-based 3D reconstruction. In this article the author illustrates a critical analysis of image-based 3D reconstruction applied to the documentation of rock carvings, comparing it to two traditional 2D recording methods, tracing and rubbing. The methods will be evaluated for their potentials and limitations concerning applicability, manageability, time consumption, and objectivity. This analysis draws upon the work which the author has done for her Master’s thesis in Prehistoric archaeology

The SW of Portuguese territory has been marked, in the last 20 years, by the great public enterprise of the Alqueva dam and its irrigation channels construction. This enterprise allowed the identification of numerous sites with rock art of several chronologies, from the Paleolithic to modern age, significantly increasing the number of occurrences of this type. The remaining identifications happened within research projects, some of them specifically focused on rock art, enlarging the number of
specific studies. On the other side, new researches where done in well known sites (eg Arronches), as well as valorization projects (eg Escoural), contributing to the improvement of the knowledge of rupestrian manifestations in this region of Portugal.

Seven significant contributions on the Rock Art of Arabian peninsula as special issue double blind peer review of Conference organized by Qatar University May 2017 in Qatar. Interpretations, new findings, novel luminescence dating methods and useful review papers on this particular geographical area. (www.maajournal.com) 2017 Vol 17, No.4. (www.maajournal.com). Open access, Free download.

This paper explores the processes involved in the production of prehistoric paintings using inorganic pigmentation. The focus for discussion involves a number of rock-shelter sites that contain rock art within the western part of the Iberian Peninsula, with particular reference to the sites that contain Schematic rock art. A direct date cannot be obtained on rock art that is made with inorganic pigments. However, sampling and subsequent analysis has clearly shown that pigments were produced using tried and tested recipes that involved the use of sometimes organic binders. This paper will explore the chemical and mineralogical qualities of sampled pigments from a selected number of sites within Spain and Portugal and suggest that pigmentation was more than just applying paint to rock.

ABSTRACT
Possible interpretation of a set of petroglyphs from Sakkaka, Saudi Arabia (2008 - RAR 25-2)

Short Note by MAARTEN VAN HOEK: The complete arrangement seemed to reflect the imprints of a Muslim person that is praying in one of the most typical position, notably when being bend over with the hands touching the floor in front of the person.

With Reply by Dr. MAJEED KHAN: I am surprised about the observations of Van Hoek that Fig. 8 of my paper could indicate a person in a praying attitude (more in uploaded paper).

With comments by MAARTEN VAN HOEK on KHAN's Reply: To conclude, the set of petroglyphs as drawn by me in Figure 1 (above) does not necessarily have to represent an exact replica of the imprint that a praying Muslim made in the sand of the desert.

With comments by Prof. Dr. JAN DERĘGOWSKI: It appears prima facie that neither the nature of the depiction questions Van Hoek’s interpretation, nor is his speculation as to the perceived heading of the figure are unreasonable as far as the working of the human perceptual mechanism is concerned.

Rock art near Guadalupe Canyon includes both petroglyph and pictograph sites. This paper documents a
rock shelter in the canyon containing pictographs in both black and red pigments. The black figures were
made in two styles, by painting using a black pigment and by scratching with a charcoal stick. As judged by
content, superposition and preservation, the black figures (of both types) seem much more recent than most
of the red figures. Because of fading and superposition, the red figures can be very difficult to make out. The
DStretch rock art enhancement program was used to improve the visibility of the red figures. The abstract
style of the faded red figures differs from the painted black figures, which include many anthropomorphs and
animals, and from the scratched black designs. There are stylistic similarities between the faded red designs
and petroglyphs found in the area.

PSEUDO ALIENS’ REPRESENTATIONS
IN CHHATTISGARH ROCK ART
(INDIA)
In The Times of India dated 15 July 2014 a sensational
information was published: an Indian archaeologist had
found what looked like aliens’ representations painted in a
Chhattisgarh shelter. Many other newspapers took up the
news which created quite a stir in the public despite its
improbability. It so happened that we went to the area in
the autumn of 2014 and could visit the site at length on 25
November, as well as several others in the same region.

In a recent publication, we tackled the theme of engraved chariots of the Messak Settafet and the Messak Mellet, where only
one was known at that stage. Thereafter, the inventory remainded rather limited with onIy five specimens. Since then,  some additional
chariots have come to our knowledge. Larger statistics allow for a better comparison with the situation in the surroundmg regions, the
Hammâdat el-Homra more to the north and the Akakus massif to the West where many painted chariots have been recorded, and
where we recently came across an engraved chariot. These new specimens are described in the present work together with an initial, though partial, synthesis. Some interesting conclusions may be drawn which contradict previous ideas on the topics. On a larger scale, the comparison illustrates some interesting similarities in the various techniques used for chariots throughout the whole Sahara.

As a tourist destination, traditional villages and houses are not only places for socio-cultural and domestic practices but also facilities for tourists. This phenomenon is a paradox in the development of a cultural tourism area. Tourists expect a natural and authentic culture. On the other hand, the community hopes to participate actively in tourism activities and utilize their houses and village as economic resources. The participation of local people plays a vital role so that the success of developing a tourism destination depends on the level of the local communities' supports. However, people's participation in the tourism business has triggered local culture transformation since they have utilized their traditions, including their vernacular house and village, as tourist resources. To investigate this phenomenon, architectural examination and interviews are used as a method of investigation. This paper found that to sustain the tourism destination, it is significant to pay attention to its planning and traditional house transformation. In the transformation process, local communities must be encouraged to identify their own goals so that the development of tourism in the village can address tourist needs without polluting the traditional values. This participation model discusses the relationship between local traditions and practices, including traditional building practices and tourism. This model can be implemented in other tourism villages.

RESUMO: Essa pesquisa é resultado da análise de 143 representações humanas pré-históricas pintadas, circunscritas nos sítios arqueológicos do Vale do Moxotó e do quadrante nordeste da Bacia Hidrográfica do Pajeú. O estudo foi realizado com a utilização do Quadro Analítico do Fenômeno Gráfico que, enquanto ferramenta metodológica, propõe que o fenômeno gráfico seja analisado em três dimensões, distintas entre si, mas que se interligam e se completam: Temática; Cenográfica; e Técnica. A escolha das categorias foi orientada para cumprir um duplo objetivo: apontar o perfil gráfico regional e efetuar comparações análogas entre os perfis já definidos para o Nordeste do Brasil. A pesquisa resultou na indicação de três padrões cenográficos que podem ser indicados como perfis para o Vale do Moxotó. Os dados, coletados de acordo com a metodologia proposta para o estudo, apontam proximidade técnica e cenográfica dos perfis gráficos delineados para o Vale do Moxotó e os definidos para a Região do Seridó. Palavras-chave: Pintura rupestre; Perfil gráfico; Vale do Moxotó; Vale do Catimbau. ABSTRACT: This research analyzes 143 prehistoric painted human representations circumscribed in archaeological Valley of Moxotó and the northeast quadrant of the Pajeú Basin. The study was conducted using the Analytical Framework that while methodological tool, proposes that the graphic phenomenon is analyzed in three dimensions, distinct from each other, but that interlock and are complementary: thematic, scenic and technical. The choice of the categories was guided to fulfill two objectives: regional point the graphic profile, and make similar comparisons between the profiles already defined for the Northeast of Brazil. The research resulted in the appointment of at least three patterns scenography that can be displayed as profiles for Moxotó Valley. The data, collected according to the methodology proposed for the study, indicate the proximity of technical and scenic graphic profiles outlined for Moxotó Valley and defined for the Seridó Region.

Premiers resultats de la mission archeologique menee par l'Universite de Liege en 2005 et consacree a l'etude de l'art rupestre de la vallee de Houmian, dans le Luristan (Iran). Une vingtaine d'abris-sous-roche renferment des motifs principalement peints, pour la plupart des scenes de chasse aux chevres sauvages, attribuables a l'âge du Fer et aux epoques ulterieures, notamment par comparaison avec les celebres « bronzes du Luristan », fabriques dans la region au debut du premier millenaire av. J.-C.

Photography is a cross-discipline, which demands specific knowledge of words and things. It crosses from the surface of an image for semantic depth of the visual field (optical). Archaeology processes knowledge in the inverse way, from the depth to the surface by contact (the haptic). Both deal with the darkness in emergency and revelation, respectively, of the image and the layers.
In both the awareness of time and duration is a crucial dimension. These two processes of (re) construction of knowledge and reality are deficient. Together, they complement and potentiate each other. It would say that would constitute a third discipline that detects the material and immaterial dimensions of the environment, what surrounds us, it brings to mind the past time, who summons the memory trace as the union of continuity, the transmission of a heritage and cultural heritage.
The application of photography in archaeological work was once considered only as a descriptive technique for knowledge of the monument, with a highlight on its historical value. The photography used in a systematic way, as a support for cooperation of notes and observations made during excavation work, complement the visual perceptual information and aesthetics of archaeologists during the intervention process and study of the archaeological sites.
The work presented here is intended to illustrate the photographic methodological development in archaeology, with the highlight of the rock engravings from the Cobragança site located in Mação, Portugal.
These are two engraved quartz countertops with representations of concentric circles, squares, lines, rectangles, and that seems to suggest a zoomorphic figure. The history of this rock art site accompanies various times of the evolution of the use of photography in archaeology. It has been proved as indispensable technique in digital preservation thereof having regard to the engravings near-total destruction by the action of a forest fire a decade ago.
Illustration connects these two concepts of memory in different media: photography, the photographic record in its visual support in paper, and the rock engraving, permanent engraved in the rock, both documenting something of different perceptions and different meanings in different media, but both connect up to your visual concept.