By Jo McDonald, Peter Veth
This distinctive consultant presents a creative and archaeological trip deep into human heritage, exploring the petroglyphic and pictographic sorts of rock paintings produced by means of the earliest people to modern peoples round the world.
-Summarizes the variety of perspectives on historical rock paintings from prime foreign scholars
-Includes new discoveries and examine, illustrated with over a hundred and sixty photos (including 30 colour plates) from significant rock paintings 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 greatly overseas in scope, making a choice on rock artwork from North and South the US, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new ways within the archaeological learn of rock paintings, exploring matters that come with gender, shamanism, panorama, id, indigeneity, background and tourism, in addition to technological and methodological advances in rock paintings analyses
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Additional resources for A Companion to Rock Art
This approach provides a powerful stimulus for scoping the scale and nature of these individual and group actions, especially where the expression may circulate through different media, such as portable objects, beads, or bodily ornamentation. Context (is everything) The deﬁnition of regional art bodies and style provinces based on trait analysis and the contextualization of these in a broader archaeological context continues to be an important, although clearly not new, research agenda. Linea Sundstrom (Chapter 19) focuses explicitly on contextual analysis at a variety of scales (landscape setting, RESEARCH ISSUES AND NEW DIRECTIONS 9 geographic range, and environmental correlates), sources (historically related cultural practices, sacred stories, and beliefs), and diachronic control.
Even if so-called mainstream literature is cited primarily to note how it “ignores,” “overlooks,” “fails to take into account,” or “gives short shrift to” relevant rock art sites, data, and interpretations, that literature remains the privileged and the standard. The frequent citation of our disciplinary authors and icons and/or textbooks (bemoaning their neglect of rock art) merely re-inscribes, more than challenges, their disciplinary authority. Many of the authors in this Companion perhaps cannot relate to the tensions over marginality and mainstreaming.
As some feminist analyses have been critiqued for “the cumulative effect of reproducing the very condition of marginality that their authors critique” (Brown 2005), so, too, perhaps, have some rock art researchers clung to being victims of a marginality that has shut out or at least detracted from the substance and value of their rock art research. Yes, it may seem rather delayed that UNESCO has only recently (in the past three years) made an explicit effort to better understand the ﬁeld of rock art research and what it holds for their heritage considerations (see Chapter 28 by Nuria Sanz).