Search

En este trabajo se presenta una primera aproximación a la caracterización de los paisajes rupestres mediante la exploración y análisis sistemático del arte rupestre de dos sectores del cañadón Yaten Guajen (Santa Cruz, Patagonia Argentina). Dicho análisis se basa en la concepción de que los paisajes rupestres actualmente visibles son producto de las acciones acumuladas de grupos humanos cuyas agencias dejan señales en: a) la distribución de motivos en el soporte rocoso –identificables mediante el estudio de su frecuencia, proporción, densidad, expansión y variedad de motivos y de tipos de motivos– y b) el vínculo de los motivos entre sí y con el soporte. Para ello se propone una metodología de registro y un protocolo de análisis de datos rupestres a escalas espaciales amplias, combinando la noción de registro arqueológico como un continuum y la noción de que la experimentación de los paisajes rupestres requiere tanto percepción como movimiento y opera a distintas escalas espaciales complementarias. Los resultados se discuten a la luz del vínculo entre agencia de productores y observadores del arte, sugiriendo que los paisajes rupestres requieren no solo percepción visual sino también movimiento físico para poder experimentarlos.

Con el objetivo de ofrecer una primera aproximación a cuestiones tan fundamentales como el número de estaciones que conforman el fenómeno rupestre gallego, su composición temática o su distribución geográfica, hemos llevado a cabo un vaciado del Preinventario del Servizo de Arqueoloxía de la Dirección Xeral do Patrimonio Cultural de la Xunta de Galicia. La base de datos obtenida ha sido analizada posteriormente por medio de sistemas de información geográfica y software estadístico. En la actualidad, se conocen un total de 3.374 estaciones rupestres distribuidas de modo desigual a lo largo del territorio gallego. Su análisis evidencia el dominio absoluto de las figuras geométricas frente a las naturalistas, pero también la existencia de una considerable heterogeneidad que se manifiesta no sólo en la densidad de petroglifos, sino también en la frecuencia relativa de motivos, en su tendencia a comparecer o no de modo conjunto en los mismos paneles o en la propia implantación de las rocas grabadas en el paisaje.

El departamento de Guachipas, Salta (Noroeste Argentino) se caracteriza por la concentración de sitios arqueológicos, algunos de ellos se destacan por sus representaciones rupestres. En esta presentación se describe el sitio Río Pirgua 1 y se comparan sus representaciones con las de otros sitios de la microrregión Las Juntas. El conjunto analizado se compone de 96 motivos pintados que incluyen escutiformes (característicos del área de estudio), figuras humanas y camélidos en diferentes actitudes. Los mismos serían producto de tres momentos de ejecución. El más reciente posiblemente coincidente con la presencia inca en la región (1450-1535 d.C.), otro momento atribuido al período Desarrollos Regionales (900-1450 d.C.) y uno más temprano correspondiente al primer milenio de la era cristiana (0-900 d.C.). Se discuten las razones de esta adscripción.

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zephyrus is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Memoria em Rede is the property of Revista Memoria em Rede and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ciência da Informação is the property of Instituto Brasileiro de Informacao em Ciencia e Tecnologia (IBICT) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Here are presented an analysis of Cuban archaeological material curated at the Cultural Resources Center of the National Museum of the American Indians, Maryland, USA. Found within the collection were discovered unknown elements that add to the study of Cuban rock art. These new findings were supported and augmented by intense fieldwork, and together provide novel evidence for the understanding and catalog of rock art in the Cuban archipelago that includes proven acts of vandalism towards this cultural and nationally important patrimony. [ABSTRACT FROM AUTHOR]

Copyright of Procesos Historicos is the property of Universidad de Los Andes (Venezuela) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Intersecciones en Antropología is the property of Universidad Nacional del Centro de la Provincia de Buenos Aires, Facultad de Ciencias Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Forma: Serie I, Prehistoria y Arqueología is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Mundo de Antes is the property of Revista Mundo de Antes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En julio de 2006 abrió sus puertas el Museo y Parque Arqueológico Cueva Pintada (Gáldar, Gran Canaria). Atrás quedaban más de dos décadas en las que se desarrolló un proyecto de musealización que respondía a la necesidad de conciliar la investigación y la conservación de este excepcional yacimiento con la accesibilidad –en el más amplio sentido del término– al público. Además de la propia cámara decorada, el complejo troglodita en que se ubica y el poblado que conforma el yacimiento, el Museo gestiona una importante colección de bienes muebles integrada por objetos correspondientes a la cultura prehispánica grancanaria así como otros de importación, introducidos en la isla por los europeos que frecuentaban el archipiélago en la baja Edad Media.

Se presentan en este trabajo los grabados paleolíticos del abrigo de La Viña (La Manzaneda, Oviedo, Asturias). A partir de la fotogrametría realizada por J. Fortea a finales de la d.cada de 1990, se documentan los grabados exteriores de surco profundo conservados en el gran frente parietal que protege el asentamiento. Se incluyen los dos horizontes gráficos: uno, auriñaciense, no figurativo y anicónico; el otro, graveto-solutrense, que incorpora la figura animal, con un dominio mayoritario de la cierva. Este dispositivo parietal se adapta a las convenciones técnicas, formales y temáticas repetidas a lo largo de la cuenca media del río Nalón, con apenas excepciones.

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Even though Southeast Asia is one of the most densely populated regions of the world, its rock art is relatively unknown, and the rock art of Micronesia is even less so. As a starting point for comparing Philippine rock art within the region, a systematic quantitative literature review (SQLR) was conducted to assess the current body of accessible publications. The SQLR resulted in 126 viable references, and characteristics of those references were quantified and analyzed to ascertain the qualities of research published to date. The SQLR results show that scholarship in Southeast Asian rock art is increasing and that the research is dominated by Australia-affiliated scholars. It also quantitatively affirmed that the most noted color for rock art in the region is red and the most commonly identified motif is anthropomorphic. Many motifs found elsewhere in Southeast Asia are notably absent in the known corpus of Philippine rock art. Finally, we discuss SQLR methodology and propose integrating collaborative semantic web applications to increase efficiency and relevance. [ABSTRACT FROM AUTHOR]

For decades, the documentation of rock art has been the backbone of the research on this cultural practice. However, traditional techniques used for this purpose have proved to be imprecise and subjective. With the advent of the digital age there has been a revolution in the field of rock art documentation in general and in particular for petroglyphs. Techniques such as digital nightlight photography or three-dimensional (3D) photogrammetry have opened a world of possibilities. In the case of nightlight photography, its use goes back to the second half of the 20th century. However, in recent years the emergence of high-power digital cameras along with new lighting systems unthinkable decades ago, such as tactical flashlights, have rejuvenated a technique that seems incombustible. After the numerous tests carried out by the DIPAR (Integral Rock Art Documentation System) project team, it has become evident that, correctly employed, this technique still has immense potential in the field of rock art documentation, especially if we take into consideration its low cost and ease of use. Photogrammetry, on the other hand, is shown as the perfect complement to the records obtained through digital nightlight photography. The possibility of applying filters or shaders that increase the visibility of the digitized petroglyphs, within a metric scheme, is a great advance in their documentation. This paper explores the advantages associated with these techniques with a case study: unpublished petroglyphs of Alcázar de San Juan (Spain).

O Parque Nacional Serra da Capivara, localizado no sudeste do Piauí, tem cerca de 1.300 sítios arqueológicos catalogados, grande parte destes (mais de 900) com pinturas rupestres. Esse acervo natural de registro do homem pré-histórico na América vem sofrendo ação degradadora de diversos fatores, entre os quais a presença das térmitas. Face à importância de ações de proteção e preservação da arte rupestre nessa Unidade de Conservação, propôs-se um estudo que visou identificar a presença dos cupins nos sítios arqueológicos com pinturas rupestres. A análise foi realizada nos sítios que apresentam cupins ou seus vestígios e que fazem parte do roteiro turístico do Parque. Dos 143 sítios arqueológicos inspecionados (43 na Serra Branca, 11 na Serra Vermelha, 19 na Serra da Capivara e 70 na Serra Talhada), 19 apresentaram cupins, sendo 12 na Serra Branca e 6 na Serra Talhada. ABSTRACT In the Serra da Capivara National Park in the state of Piauí, there are over 1,300 registered archaeological sites with close to 900 rock paintings. This natural art collection is being degraded by several factors such as the presence of termites. In light of the importance of protecting and preserving rock art in the park, a study to determine the presence of termites in sites with rock paintings and to examine their impact on them was proposed. The study was carried out in sites that are part of the official tourist route of the park. Of the 143 sites inspected, termites were found in 19 (12 in Serra Branca and 7 in Serra Talhada). In the Serra Vermelha and da Capivara sites, none was found. In 19, termite tunnels were found on or ten centimeters from the rock art. Keywords:Serra da Capivara National Park, Isoptera, rock art, termites

El marqués de Cerralbo fue un político carlista ilustrado que participó activamente en las instituciones nacionales relacionadas con la arqueología y en el conocimiento de los lugares arqueológicos cuya excavación el mismo patrocinó y estudió desde su centro de operaciones en el palacio de la marquesa de Villahuerta en Santa María de Huerta, en la provincia de Soria. Los yacimientos de esta provincia están por ello entre los primeros en ser investigados y podemos decir que realizó una carta arqueológica de los mismos. Yacimientos que nuevas investigaciones han valorado adecuadamente en los últimos años.

La cordillera montañosa del Tasili n’Ajer es bien conocida por su fenomenal riqueza en abrigos y cuevas pintados. Generaciones de investigadores han prospectado, cartografiado, dibujado y discutido diferentes facetas de estas pinturas del Tasili. La diversidad y versatilidad de las tradiciones pictóricas del Tasili hace difícil cualquier intento de generalización directa ya sea estilística o temática. Cada estación pintada parece ser única y expresiva de sugerencias propias que deben ser estudiadas extensa y sistemáticamente. En el enfoque esbozado en este artículo, un enfoque iconográfico, las pinturas son consideradas como series complejas de “artefactos” organizados por las mentes creativas de los artistas reales. ¿Cómo desarrollaban sus habilidades esos artistas? ¿Qué elementos icónicos escogieron para la representación y por qué? ¿Cómo y por qué esos elementos seleccionados se organizaron y combinaron? La nueva lectura de las pinturas de Uan Derbuaen permite sugerir una puesta en escena y una gran representación de los arreglos matrimoniales, el viaje final de las novias.

This paper argues that pre-evangelisation indigenous survival techniques noted in both contemporaneous Jesuit sources and in subsequent 20th- and 21st-century anthropological research continued to be employed in the mission to the Chiquitos. These concerned hunting, respect towards the supernatural combined with ritual attendant on that respect, a belief in the power of potent substances, modifying the body to deflect supernatural caprice, and marking numinous sites. It concludes that the painted churches reflected both Jesuit attempts to disguise the churches’ per-ceived deficiencies and indigenous attempts to protect them from harm.

O principal objetivo da pesquisa realizada foi o de compreender as relações cronológicas e estilísticas em um universo de 24 abrigos com pinturas rupestres localizados na microbacia do rio Pardo Pequeno (Diamantina, MG) numa perspectiva que considere seus contextos de inserção e seus atributos, no intuito de identificar possíveis diferenças e escolhas entre eles. Para isso, a análise realizada se debruçou na escolha de um recorte espacial, discussão de perspectivas teórico-metodologias acerca da paisagem e estilo, a contextualização geológica, geomorfológica, dos aspectos vegetacionais, da evolução dos atributos da paisagem na percepção local da paisagem, notadamente os Boqueirões. Além disso, os sítios arqueológicos e seus grafismos foram descritos e articulados uns com os outros de modo a “construir” as relações espaciais, cronológicas e estilísticas bem como a sua compreensão a partir da esculturação do relevo, sua aproximação e relações com os Boqueirões, as características e escolhas dos conjuntos estilísticos identificados, suas maneiras de compor painéis e de se relacionar com suportes e as figuras precedentes.

Se analizan algunos rasgos del arte rupestre de la localidad arqueológica de Cerro Colorado (Sierras del Norte, Córdoba), en el marco de un repertorio dominado por elementos compartidos. El examen de estos diseños y su comparación con referentes iconográficos locales y extrarregionales proporcionan argumentos para comprender sus incorporaciones y, junto con esto, proponer líneas que permitan indagar respecto a los procesos sociales que tuvieron lugar en la región durante el período Prehispánico Tardío (400-1550 DC). Algunos motivos de Cerro Colorado aluden a los diseños de los torteros hallados en la región media del río Salado (Santiago del Estero), pero también en el sitio La Paya (valle Calchaquí). Su inclusión en un contexto histórico local marcado por tensiones sociales que involucraban a diferentes esferas de interacción indica que estos motivos, probablemente resignificados respecto a su sentido social original, constituyeron recursos simbólicos activos en el fortalecimiento y demarcación hacia adentro y hacia fuera del grupo que participaba en la observación y ejecución del arte, a partir de los vínculos establecidos con poblaciones asentadas en otras regiones.

La Cueva de los Pintados se localiza dentro del Municipio de Guadalupe Zacatecas, donde se identificó un motivo rupestre de forma de arco tensado con una flecha de manera aislado en color negro, el cual se considera como un marcador territorial y área de veneración de aguas superficiales. Sobre sus autores se propone sean los grupos zacatecos, quienes habitaban en la región a la llegada de los españoles.

El trabajo aquí presentado analiza los cambios observados en las elecciones vinculadas con la producción rupestre, buscando interpretar tales modificaciones dentro del marco de un proceso socio-histórico más amplio, la transición hacia la producción de alimentos. Con esa finalidad en mente se trabajó con la totalidad de sitios y motivos correspondientes a esa temporalidad ubicados en la microrregión de Antofagasta de la Sierra, Catamarca. De esta manera pudimos definir que ciertos factores de cambio, considerados relevantes para la investigación de modificaciones en otras esferas del accionar social durante este mismo momento, también desempeñaron un rol en la producción del arte rupestre. Sin embargo, y más importante aún, fue la consideración de las técnicas de producción utilizadas, el análisis de distintas variables sobre sitios y motivos (características de emplazamiento, visibilidad, tipos de soporte, modalidades estilísticas, tipos y cuantificación de motivos) y su evaluación dentro de un contexto más amplio lo que nos permitió interpretar de manera más ajustada las tendencias apreciadas en el largo plazo. Consideramos este trabajo como un primer acercamiento a una problemática que hasta este momento sólo fue abordada de manera tangencial, destacando el carácter novedoso, aunque preliminar, de la propuesta.

Historic period Plains biographic art provides narratives of the deeds and actions of Indigenous peoples of the region. The Crow (Apsáalooke) are one such people with a rich record of biographic drawings in rock art and portable works. However, chronological and stylistic links between these two media have long been thought out of reach, even though such links are essential if the abundant Historic period rock art is to be fully incorporated into discussions of Apsáalooke history and their connection better ascertained to documented historical and ethnohistorical events and trends. Indeed, the lack of such a framework locks away a vast wealth of history in these hundreds of rock art pictures. In this article we present a statistical framework for comparing better-dated Crow portable artworks with their rock art equivalents. We are able to place rock art imagery from five sites into a relatively fine-grained chronological order, which permits a better understanding of changing patterns in Crow stylistic imagery. This permits a direct association with changing historical circumstances and facilitates a better understanding of the link between social history and the changing patterns seen in these artworks. Moreover, in one case, our analysis provides archaeological confirmation of Crow ethnohistory. [ABSTRACT FROM AUTHOR]

Copyright of Intersecciones en Antropología is the property of Universidad Nacional del Centro de la Provincia de Buenos Aires, Facultad de Ciencias Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper I'trying to show that there is a relationship between rock art, a site where rock art is placed and the wider landscape, articulated according to the Camunian "mindscape" in Valcamonica, Italy. In particular, I believe rock art may be regarded, making Lødøen's felicitous phrase my own, as a 'consumption of souls' within an animistic understanding of the world. I think the importance of mining copper and iron in relation to petroglyphs in Valcamonica has been underestimated so far, and I have tried to show its strong symbolic relationships. I believe I have made quite clear the symbolical connections between a certain type of landscape, a gulch with a strong hydrocentric focus, thundering noises, mining, metallurgy and deer, thanks to linguistic analysis, which shows how the same kind of landscape and similar mythologies can be found over an extremely wide territory. We do not know what the religious beliefs of the ancient Camunians were, similarities with neighboring populations aside, but linguistic analysis, anthropological as well as archaeological comparison and the study of both local folklore and archaic Aegean beliefs, allows us to hypothesize a more detailed picture of the Camunian thought in the Iron Age. [ABSTRACT FROM AUTHOR]

Copyright of Revista Chilena de Antropologia is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Chilena de Antropologia is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Complutum is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)