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World Monuments Fund (WMF) is a leading organization dedicated to preserving the world's most cherished cultural sites. In Latin America and the Caribbean, WMF has collaborated with local communities, funders, and governments on over 186 conservation projects since the 1980s, with a strong emphasis on local partnerships and capacity building. Recognizing the importance of community involvement, inclusive management, and diverse heritage narratives, as well as the need to foster this approach in our Latin American portfolio, recent WMF projects there aim to establish models for participatory heritage conservation. Two ongoing projects where WMF is testing this approach focusing on community participation and inclusive management include Teotihuacán in Mexico, where we aim to create the conditions for sustainable and equitable tourism development by fostering collaboration between local and institutional stakeholders. A second case study explores Rapa Nui National Park, where WMF is addressing the preservation of the endangered Mata Ngarahu petroglyphs in Orongo and empowering the Ma'u Henua Polynesian Indigenous Community in conservation efforts. These projects underscore the importance of long-term commitment, flexibility, and cultural sensitivity in promoting participatory approaches, with the need for adapting engagement strategies based on local dynamics. Lessons learned emphasize that successful implementation requires time, consistency, and alignment with local actors, particularly considering potential conflicts with institutional timing and constraints. [ABSTRACT FROM AUTHOR]

The general view of trees is that they threaten heritage structures, their roots disrupt archaeological features, or that they create microclimates conducive to biodeterioration. The conservator's experience in assessing the impact of trees on various cultural assets highlights the positive role they can play in modifying the outdoor environment to reduce stress mechanisms. Trees intercept sunlight and rain, absorb ground water and stabilise soils. This is particularly beneficial at rock art sites where infrastructure must be kept to a minimum to maintain the spiritual and aesthetic ambience. While focussing on studies demonstrating the protective role of trees, it is critical to make balanced assessments that recognise both positive and negative implications; a tree can both shade an object and increase the risk of mechanical damage from roots and falling branches. Objective assessments consider all implications rather than through intellectual and operational bias. Laboratory studies demonstrate hydrothermal stress to be greater than heating or wetting alone, and freeze–thaw that has been traditionally considered one of the most destructive mechanisms disrupting outdoor stone. Interventive approaches for reducing hydrothermal stresses in stone rely upon chemical treatments to repel water, and consolidation to better resist such stresses. A well-designed tree canopy can substantially reduce thermal expansion and almost completely remove rain from the object through interception, funnelling to the trunk and uptake of groundwater. [ABSTRACT FROM AUTHOR]

La Proveedora is an impressive archaeological site in the Sonoran Desert. The site has evidence of long-term human occupation and is represented by varied and extensive cultural remains, including: structures; lithics; ceramics; and shell artifacts. These date from between circa 2100 BC and up to the sixteenth century. However, the most prominent features at the site consist of thousands of petroglyphs on its hillsides. Three descriptive categories of rock art analysis will be discussed and the existence of a particular style in the creation of petroglyphs will be suggested. As will be discussed below, the combination of rock art designs and techniques allows us to propose what I call the "Caborca Style." This proposal makes sense within the framework of the regional cultural history of the Sonoran Desert, in which petroglyphs are only one cultural component involved in the development of these societies. [ABSTRACT FROM AUTHOR]

Explaining the processes that produce cultural diversity has long been a focus of anthropological study. Whilst linguistic diversity has frequently been shown to be associated with population splitting during migrations, much less is known about the influence of migration patterns on other forms of culture. Here we compare variation between different cultural types to understand whether their diversity might also be a consequence of historic population change. For our case study, we developed a dataset of 90 cultural traits recorded across around 100 societies in Pama-Nyungan Australia focusing on three cultural forms important in Australian life: adolescent initiation, mortuary practice and rock art motifs. Trait diversity was analysed using phylogenetic methods and compared with language diversity since previous studies have suggested an association between Pama-Nyungan language evolution and population dispersal. We were able to demonstrate a strong association between the phylogenetic history of language and initiation ritual but not between language and mortuary ritual or rock motifs. The finding suggests population migration may have had a significant influence on initiation ritual diversity. It also lends support to the idea, as suggested by some authors, that the development of complex initiation practices may have played an active role in the dispersal of Pama-Nyungan speakers throughout the Australian continent. Our study results suggest that the type of phylogenetic comparative approach applied here can make an important contribution to the reconstruction of deep cultural history over long timescales. [ABSTRACT FROM AUTHOR]

The petroglyphs of the Negev Desert, Israel, are famous and valuable archaeological remains. Previous studies have investigated the microbial communities associated with petroglyphs and their potential role in stone deterioration; nevertheless, the role of fungi remains unclear. In this study, the fungal communities present on the stone and, as a comparison, in the surrounding environment (soil and air) at Negev petroglyph sites were analyzed by means of culture-dependent and -independent (metagenomic) techniques. The metagenomic results showed a high fungal biodiversity in the soil, and both approaches highlighted the prevalence of species producing melanized, large, thick-walled spores (mainly Alternaria spp.). From the air sampling, mostly Cladosporium spp. were retrieved. On the other hand, on the rock, the results seem to indicate a low presence of fungi, but with a rock-specialized mycobiota consisting of extremotolerant microcolonial fungi (MCF) (e.g., Vermiconidia and Coniosporium) and lichens (Flavoplaca). In addition, low proportions of cosmopolitan fungi were detected on the stone, but the comparison of the data clearly indicates that they are transients from the surrounding environment. The ability of the isolated strains to dissolve CaCO3 and therefore be a potential threat to the petroglyphs (limestone substrate) was tested, but only one strain resulted in positive acid production under laboratory conditions. Nevertheless, both lichens and MCF detected in this study are well-known stone deteriogens, which may have a significant impact on the petroglyph's deterioration. [ABSTRACT FROM AUTHOR]

Of the large number of petroglyph sites known in Peru, in this paper we deal with those located in an extensive archaeological area located in the southernmost part of the country, extending through the high mountains of the Illomas ravine (District of Chuquibamba. Province of Condesuyos. Department of Arequipa), conforming an extensive archaeological complex different from the known sites in the south of Peru, when allowing an approximation to the correlation that existed between the rupestrian engravings and the human settlements. That characteristic makes it singularly important to try to fix the chronological-cultural contexts and their meaning, starting from the consideration that these must have constituted a unit with its archaeological and geographical environment, forming an integral part of the daily life of the communities that settled and developed in the region of Illomas. Undoubtedly, it constitutes an archaeologically singular geographic area in terms of type of archaeological site and rock representations, evidence that make it possible to attempt an approximation to the model of adaptation that the ancient settlers of Peru developed in this geographic environment and the mentality that surrounded it. [ABSTRACT FROM AUTHOR]

Copyright of Turkic Studies Journal is the property of L.N. Gumilyov Eurasian National University 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 Virtual Archaeology Review is the property of Virtual Archaeology Review 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 Magazine General Union of Arab Archaeologists is the property of General Union of Arab Archaeologists 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.)

Knowledge of salt and moisture distribution is a key factor for understanding rock decay at cultural heritage sites. The cave town of Uplistsikhe in Georgia, carved from sandstone in late bronze age to medieval times, suffers from progressive scaling and flaking processes. Multi-method investigations of rock moisture and salt distribution were carried out in order to better understand the patterns of decay. Salt distribution was investigated using drill dust samples and paper pulp poultices; moisture was determined by 2D-resistivity and handheld microwave sensors, supplemented by infrared thermography. The combined results from the different methods revealed a complex pattern of salt and moisture distribution. At most sites, K2SO4 (arcanite) and its hydrates dominate, sometimes in combination with CaSO4 (gypsum). At one site (Grandhall), halite (NaCl) and niter (KNO3) prevail. Sulphates are assumed to be a legacy of air pollution; origin of halite and niter remains unsolved but might be due to concrete reinforcements. Two main sources of moisture were evidenced depending on season and spatial situation: (1) Condensation of air humidity at cool cave backwalls in spring (combined with and aided by salt hygroscopicity), evidenced by 2D-resistivity and infrared thermography; (2) seepage along joints particularly at the cave backwalls and roofs, evidenced by handheld microwave sensors. Further investigations should focus on identifying seepage pathways and on clarifying the origin of destructive halite and nitrates. [ABSTRACT FROM AUTHOR]

The Caminho da Caiçara II archaeological site is located in the village of Cadoz Velho, a rural area in the municipality of Piripiri, Piauí, Brazil. It consists of a large vertical wall and a small sandstone block containing 101 rock paintings in red and yellow colors. There are abstract figures and human handprints, as well as a bird's footprint and a spear-thrower. There are rock engravings in the shape of cupules. This paper reports the results of in situ monitoring of environmental parameters such as ambient air temperature and relative humidity, rock temperature in areas with and without rock paintings, as well as the speed of the winds that reach the archaeological site under investigation. The experimental data obtained indicate that the thermal action on the pictorial films of the rock paintings from the Caminho da Caiçara II site is clearly more intense than in other nearby archaeological sites. Direct sunlight on the rock paintings for most of the day and year is the main agent responsible for the high heating of the pictorial films. [ABSTRACT FROM AUTHOR]

Gobustan, a prehistoric site 60 km south of Baku, has an impressive collection of rock carvings from different prehistoric eras. Near the site, a national museum presents the prehistoric findings in a narrative that connects them with modern-day Azerbaijan, calling the hunter–gatherer tribes that lived in Gobustan 'our ancient Azerbaijani ancestors'. While many nation-building projects dig deep into the past, reconstruct it, claim ancient civilizations as their own and sometimes even invent historical narratives that never happened, the Gobustan Museum and the narrative it implies (that prehistoric people living in 15,000 BCE were Azerbaijanis) seems like 'overkill', an exaggerated effort to connect the past and the present. The data from the museum points to a larger story: the construction of national identity and collective memory in post-Soviet Azerbaijan. This paper presents some of the author's anthropological field research findings in the museum and explains why the narrative of 'ancientness' is so essential in post-Soviet Azerbaijan. [ABSTRACT FROM AUTHOR]

Copyright of China Mining Magazine is the property of China Mining Magazine Co., Ltd. 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.)

The article presents the results of the analysis of the study of the image of fish in the rock art of ancient hunters and fishermen of Northern Europe (final VI – III BC). During the study, 134 fish figures were studied on 6 rock paintings and in 17 clusters of petroglyphs of Fennoscandia. The small proportion of fish figures in relation to the total number of images on the rocks of the region, with a high proportion of fishing in the primitive economy, established by bone remains at Neo-Eneolithic sites, suggests a mythological basis for the images under consideration. Spatial differences in the appearance of fish figures in Northern Europe make it possible to distinguish two areas (western and eastern), radically different in the style of the ichthyomorph image. The rock art mainly reflects representatives of the largest fish species that lived in the region: catfish, sturgeon, halibut, pike, salmon, whitefish. In the bone remains at the sites located near the clusters of rock carvings, other types of fish are usually dominant: zander, cod. In the compositions of fishing, as in other hunting scenes carved on the petroglyphs of Fennoscandia, only active methods of its extraction are presented, although there is numerous archaeological evidence of the use by the inhabitants of the region for catching fish and other animals of various types of traps.

Статья посвящена исследованию образцов доисторического искусства на территории Монголии, где находятся археологические памятники, свидетельствующие о том, что предки современного человека жили здесь 3,7 миллиона лет назад. Зарождение духовной культуры и художественного мышления древних людей связано с мифологией, а наскальные рисунки являются важным материалом для изучения культурных пластов того времени. Древние формы мышления, свойственные центральноазиатским кочевым сообществам, наиболее полно отражены в памятниках наскального искусства. Целью данной работы является выявление механизмов формирования художественного образа на основе анализа наскальных рисунков. Материалом исследования послужили петроглифы, зафиксированные в сомоне Улаанхус аймака Баян-Улгий в бассейнах рек Байга-Ойгур и Цагаан-Салаа в районе горного массива Алтай-Богдо-Уул. В результате применения феноменологического и герменевтического методов выявлены и интерпретированы образы, их общие и особенные черты, связанные с региональными традициями и культурной спецификой.

The article explores advanced image processing techniques for pigment discrimination in rock art paintings, emphasizing color separation using RGB (red, green, blue) and LHCUv (Luminance, Hue, Chroma) imagery. It highlights the use of dimensionality reduction methods such as Principal Components Analisys PCA and Independent Component Analysis (ICA), with a focus on Gaussian Mixture Models (GMM) for probabilistic classification of image elements. This approach, applied to the Chomache archaeological site on the northernmost coast of the Atacama Desert in Chile, reveals previously undetected motifs and details, offering a nuanced perspective in rock art documentation and analysis. This proposal reinforces the value of rock art panel not only as a finished product but as a process. [ABSTRACT FROM AUTHOR]

Summary: The rock art of Alta, comprising more than 7000 rock carvings, is dated by shoreline chronology. It is unparalleled in Europe. The well‐dated rock carvings make the material suitable for a temporal study of the rock art and the frequency of rock art production over c.5500 years. Based on new detailed elevation measurements performed by Alta Museum of the 92 panels with rock art and individual measurements of a total of 442 individual figures it is possible to discuss the temporal and spatial distribution of the rock art in Alta in detail. This up‐to‐date study shows that the rock art in Alta was made between c.5300 BC and AD 100 (6300–1900 BP). This raises the question whether the rock art record represents an even production of figures, accumulated gradually over more than five millennia, or whether there were more intensive phases of activity in the Alta area. Further, were all main areas used throughout the five millennia or did activities shift in the landscape? Based on the current record, the frequency of the rock art argues for a clear division of the material into four chronological phases. The material record shows an intense production in the earliest period from c.5300–4000 BC, with about 60% of the rock art being made then. The results from this study indicate that the rock carvings in Alta support a framework for the Alta rock art into four phases. [ABSTRACT FROM AUTHOR]

This study presents the creation of a virtual reality experience for the Museo Preistorico dei Balzi Rossi e Zona Archeologica (hence Balzi Rossi Museum) commemorating the centenary of Prince Albert I Grimaldi's archaeological work at the site. The project aims to preserve and convey the site's heritage through advanced VR technology. Photogrammetry was used for 3D reconstruction of the entire Balzi Rossi coastal cliffs, including the notable "Caviglione" and "Florestano" caves, known for their upper Paleolithic rock engravings. Two subsequent development phases produced the final public VR experience, incorporating Nanite technology for enhanced visual fidelity. This advancement resulted in a more detailed and immersive VR experience, presenting the Balzi Rossi cliffs across different historical periods, including the Würm glaciation. Key to this phase was optimizing the VR experience for performance, focusing on stable frame rates and minimizing motion sickness, and integrating a multi-lingual interface for broader accessibility. Since November 2023, the VR setup at Balzi Rossi Museum has been an educational and interactive feature enabling visitors to virtually explore the site's history. This study aims to describe a process for optimizing and enabling the creation of VR experiences while maintaining a high polygon count within the context of small teams. [ABSTRACT FROM AUTHOR]

The article delves into the study and preservation of petroglyph sites in southern Illinois and southeastern Missouri, highlighting the techniques used to create these ancient images, their cultural importance, and the challenges they face. It also discusses the analysis of pigments by archaeologists, the diverse motifs depicted in the petroglyphs, and the significance of photography in documenting and safeguarding these sites.

In the Changxi River Basin in eastern Fujian, a few stone elements remain and Buddhist buildings with one bay in width and three bays in depth have been preserved dating from the timespan of the Tang to the Song dynasty. These features are characterized by a regional form of early Buddhist architecture seldom seen in Chinese history. The article focuses on the reconstruction of a Song dynasty Buddhist building at the Gonghoulou Temple site in Huotong Town, Jiaocheng District, Ningde City, and aims to analyze the potential characteristics and rules of single-bay Buddhist architecture. From the styles of the remaining stone columns, the direction of the lotus carving at the column base, and the mortises of the plinth stone, a spatial arrangement is indicated that includes an open front corridor and a closed rear section. A "reconstruction" of the ruler used in the original building reveals the possibility that a local Fujian ruler was used, shorter than the standard measurement device employed elsewhere. The analysis of the frame construction indicates that this hip-gable roof-covered Buddhist hall utilizes the horizontally layered logic of multi-storied palatial-style halls. Key elements include its gentle roof slope, restraint from the practice of shortening the roof ridge, use of the traditional chuji method, and the interior columns use of internal longitudinal architraves secured to beam supporting brackets. This research brings to light a unique architectural type that has disappeared in the course of history and was previously unknown to the academic community. It holds significant importance and value for deepening the understanding of the history of timber frame architecture technology in Fujian. [ABSTRACT FROM AUTHOR]

An inscription in the name of a Kushan king, Wima Takto (circa 90–113 CE), has recently been discovered by the archaeologist Muhsin Bobomulloev of the National Museum of Tajikistan and his colleagues. The new inscription, found in the Almosi Gorge with other inscriptions in an 'unknown script', confirms the identity of Wima Takto, the second king of the Kushan Dynasty, which ruled a large territory stretching from Central Asia to North India in the first four centuries CE. The history of this dynasty is pieced together from inscriptions, coins, and archaeology, and fleeting references in Chinese sources. Each new inscription adds another piece to the jigsaw of Kushan history, revealing a powerful state in control of the central lands of the ancient Silk Road. This article positions the new inscription within the current understanding of Kushan history and the status of Wima Takto. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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.)

Deterioration development is a recognized worldwide threat to rock carvings, especially in humid regions of southern China. Cultural heritage managers thus require precise identification of different deterioration patterns and conduct comprehensive assessments. However, the quantitative analysis of deterioration patterns is limited due to the severe impact of temperature and humidity on rock carvings. Additionally, the current research on the different deterioration patterns is independent, and the corresponding systematic framework is vague. Based on this, the hyperspectral response is constructed to evaluate the various deterioration patterns using spectral index and intelligent model. Firstly, the remarkable correlation between the feldspar content and the deterioration patterns of rock carvings with the influence of environmental factors is investigated by mineralogical analysis. Secondly, combined with microscopic and mineralogical characteristics, the extracted deterioration characteristics are qualitatively screened. Then, a novel spectral index characterizing the correlation between image grayscale and spectral reflectance is proposed by introducing dynamic correction, and the optimal wavelength combination is applied to identify the distribution of deterioration patterns. Consequently, the quantitative screening of deterioration patterns can be realized. After that, the WOA-XGBoost model exhibits better performance in the classification of deterioration patterns. Finally, the influence of different deterioration patterns on rock carvings is quantified by integrating the deterioration index reflected by chemical composition and the proportion of deterioration pattern distribution identified by the spectral response. In the regional deterioration assessment of Dazu Rock Carvings, biological colonization and surface morphological changes have the highest proportion and degree of deterioration, which is worthy of attention in the protection of rock carvings in this region. [ABSTRACT FROM AUTHOR]

Prehistoric rock carvings are one of Scotland's most enigmatic and poorly understood monument types. This article discusses the pioneering approach used by Scotland's Rock Art Project to enhance understanding of the abstract motifs through multiscalar computational analyses of a large dataset co-produced with community teams. The approach can be applied to suitable rock art datasets from other parts of the world and has international relevance for rock art reserach. Our analysis incorporates data from across Scotland in order to investigate inter-regional differences and similarities in the nature and contexts of the carvings. Innovative application of complementary analytical methods identified subtle regional variations in the character of the rock art and motif types. This variability suggest an understanding of the rock art tradition that was widely shared but locally adapted, and reflects connections and knowledge exchange between specific regions. [ABSTRACT FROM AUTHOR]

The dating and meaning of petroglyphs constitute a challenge in African rock-art research. In this article, we present and discuss a recently found rock-art assemblage from the Shaqadud site complex (Sudan), a site aggregation that nicely documents Holocene prehistoric cultural adaptations in non-aquatic, deep-savanna environments in what is today the Eastern Sahel. The rock-art corpus contains 120 identifiable motifs with a clear predominance of giraffes (n = 113, 94.2%) that are of small dimensions (< 50 cm) and are shown in a limited number of compositions. The thematic and technological compactness of the assemblage suggests a chronological integrity of the local figurative rock art and a coherent thematic and technological mindset of its creators. The archaeological context and the general characteristics of the assemblage place the local figurative rock art between the beginning of the Holocene and the Late Neolithic, in absolute dates between ca. 8748–1639 cal BC. However, spatial and visual connections could suggest a narrower dating of the assemblage, to the late Khartoum Mesolithic, around 6421–6088 cal BC. The predominance of the giraffe in the Shaqadud rock art suggests that this species may have carried a special significance for the local prehistoric communities. At the same time, the lack of hunting scenes in the figurative assemblage indicates that the importance of the giraffe motif goes beyond subsistence. [ABSTRACT FROM AUTHOR]

In ancient times, artists employed simple lines to carve images, leaving behind marks that reflect their identity and skill. These artworks, characterized by their distinctive features, prompt a more discerning examination of the engraved shapes on stone surfaces. They offer valuable insights into ecosystems, as well as the interplay between human life and the natural world, enriching both the fields of art history and archaeology. Within Tafarsh City and its environs, notable examples of such artwork endure, contributing significantly to the study of art and archaeology in the region. The primary objective of this research is to conduct a comprehensive and systematic investigation into the petroglyphs found in the villages of Zaghar, Derbar, Haftan, and Qaleh Ghamt Kuh, situated within Tafarsh City. This investigation aims to analyze these petroglyphs in terms of their typology, cultural symbolism, relative chronology, and geological context. By addressing these aspects, the research endeavors to answer two key questions: firstly, the timeframe to which the petroglyphs in the Tafarsh region belong, based on typological comparisons; and secondly, the societal context in which these petroglyphs were created, specifically whether they were produced by nomadic or settled communities. The data collection process involved initial identification through field surveys, followed by photography and documentation using the mollage vector method. However, due to the absence of laboratory facilities, the determination of their temporal context relies primarily on semantic and conceptual interpretation, allowing for only an approximate estimation of their age. The prevailing belief is that these paintings date back to the Sassanid period. Given that all four locations are situated adjacent to the Mal-Rou roads, likely part of the nomad route, it is hypothesized that the petroglyphs are associated with communities linked to the Koch-Ro nomadic groups. [ABSTRACT FROM AUTHOR]

Copyright of Saudi Art & Design Journal is the property of Saudi Art & Design Journal 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.)

Moisture plays a key role in rock decay in the built and natural environments. Rock-cut sites are particularly vulnerable to moisture-related weathering as they are carved into rock outcrops and do not have impermeable foundations or roofs to retard the flow of moisture. To characterise the moisture dynamics and its influence on weathering of rock-cut sites, we undertook a moisture monitoring campaign using a non-destructive Microwave Moisture Measurement System (MMMS) at two monolithic rock-cut churches in Lalibela, Ethiopia. The results showed that the walls were more saturated at depth than on the surface during the wet season. This suggests that low surface temperature and higher moisture content at depth will lead to constant-rate drying and accumulation of salts on the surface of the walls during the wet season. In the dry season, there was higher saturation near the surface than at depth (falling-rate drying). High rock surface temperature during the dry season contributes to subsurface drying and accumulation of salts below the surface. This seasonally shifting moisture dynamics will lead to a complex and dynamic damage profile. This study highlights the significant wetting facilitated by a lack of impermeable roofs and foundations at rock-cut structures during rainy periods. [ABSTRACT FROM AUTHOR]

At the site of Naldöken Kayasi, 10 km. west of Bayır village in the Seydikemer District of the Mugla Province, there is a rock mass lying in a row, forming a front towards the plain to the north. At the lowest part of the rock mass, there is a natural hollow, popularly known as "Bahattin Haystack" with a circular arrangement and a wide opening. The interior of this natural hollow, which was used without any additions, is decorated with a non-figurative painting programme in fresco technique, starting from the upper cover up to a height of 1 m above the floor. The upper cover, which is completely covered with a layer of soot, was surrounded by a circular form with double bands. The lower part of the circular form is surrounded by a border in which geometric arrangements are decorated with floral motifs. In the lower part of the border, there are 6 panels in different forms with crosses, floral and geometrical arrangements, separated from each other by bands. Three of the panels are complete and the other three are partially extant. The cross, floral motifs and inscription in the northwest of the lower row of this section and the partially preserved geometrical ornaments in the southeast constitute the two separate panels of the last decoration belt of the space. In the preserved sections of the wall paintings covering the interior of the Bahattin Samanlığı Cave, a decoration programme showing the characteristics of the aniconic was applied, including crosses, floral and geometric motifs as well as inscriptions. As in other Iconoclastic examples, the dominant element in the decoration is the cross. The cross has been widely used as a symbol of fertility, immortality, life, spirit, etc. since the earliest times, with varying meanings according to the cultures in which it was found. In the wall paintings of the Bahattin Samanlığı rock carving, the most common ornamentation after the cross motif consists of geometric forms around the cross motifs in some panels, sometimes alone in others, and sometimes accompanied by stylised floral motifs. Like the cult of the cross, the repertoire of geometric and floral ornamentation is not unique to the age of iconoclasm. Although they show similarities in terms of motif and stylistic characteristics with the iconoclast paintings we have analysed, the letter characters in the inscriptions, the remains of crosses and motifs, which show that the paintings belonging to the first phase also consisted of aniconic motifs, indicate that the wall paintings in Bahattin Samanlığ may have been painted in a period before iconoclasm or in the early 7th century to the early 8th century, which constitutes the first phase of the iconoclastic movement. [ABSTRACT FROM AUTHOR]

Peach gum was the most common and widely used exudate gum in ancient China. In this study, polyclonal antibodies to peach gum were prepared using the protein of peach gum as the antigen. The polyclonal antibodies were used to identify peach gum with high sensitivity and specificity by biotin–streptavidin-enzyme-linked immunosorbent assay (BA-ELISA). The binders used in the ancient paintings of the Forbidden City and the Dazu Rock Carvings were detected by enzyme-linked immunosorbent assay (ELISA). The results showed that the binders of the Dazu Rock Carvings were diverse, including collagen, ovalbumin, casein, peach gum, and lacquer, and that collagen and peach gum coexisted in most samples of the Forbidden City. This study demonstrates ELISA's high efficiency in analyzing binders in ancient paintings. [ABSTRACT FROM AUTHOR]

The article reports on the first findings of rock engravings in La María, Santa Cruz, Argentina. During the survey, the engraved motifs were recorded and characterized, photographed and geopositioned, and the surrounding materials were analyzed. The identified motifs, techniques used, and landscape characteristics are mentioned. Additionally, the presence of rock paintings in the area is highlighted. The engravings suggest the presence of a rock landscape related to guanaco hunting. It is suggested to carry out further surveys and examine the recovered artifacts. The work was funded by CONICET, ANPCYT, and UNLP. [Extracted from the article]

Near the northwestern-southeastern foothills of the Marvdasht plain in Fars province, lie a range of ancient necropoleis which date from the reign of Darius I, the Achaemenid king and until the first century after the Muslim conquest. The well-known necropoleis of Naqsh-e Rostam and Persepolis have the most complex tombs among them. However, there are other burials in this region, although smaller and simpler or even imitative, which have considerable archeological importance, since they provide information for the social and political understanding of their time of creation, often known as the dark ages. The present study aims to introduce and analyze the structural-chronological features of the rock-cut tomb of Khūrigān, one of the recent discoveries near Naqsh-e Rostam. Regarding the architectural and stylistic characteristics of the tomb and its context, as well as considering its archeological landscape and using historical information, the period from the last century of the Achaemenid reign until the beginning of the Sassanid dynasty is considered for the general chronology of this tomb; however, through applying a more detailed perspective, we can attribute the chronology of this tomb to the first half of the 3rd until the 1st century BC. [ABSTRACT FROM AUTHOR]

The Eagle's Nest is a vision quest (and rock art site) site located on the extreme edge of the Niagara escarpment in southern Fond du Lac County, Wisconsin (USA). It was discovered by following a Summer Solstice Sunset (SSSS) alignment of mutually visible sites spaced along high points on a 13.5 mile (21.7 km) long line. Beginning with the discovery of the Krug Sun Circle, the SSSS alignment/line also defines a continental sub-divide which separates the north flowing Great Lakes/North Atlantic Ocean and the south flowing Mississippi River/Gulf of Mexico drainage basins. Like the cultural landscape, the sites exhibit a pronounced 'definite Archaic presence' dating from the middle to Late Archaic (ca. 2000 - 1500 BC), the time of the warm period known as the Climatic Optimum and post Pleistocene northward drainage of Lake Michigan. At the Eagle's site, symbolic dimensions represented by a petroglyph of a stickman figure holding a crescent moon may well represent a Copper Culture moon cult which, together with the sun, help delineate a vital part of the astronomical and belief system imprinted on the broader Late Archaic cultural landscape. The story of discovery is told in a first-person narrative as a legacy to years in the field, valued colleagues, legal precedence and conservation. [ABSTRACT FROM AUTHOR]

Landscapes are socially produced and reproduced spaces. This is easily recognizable for large-scale urban groups with built environments that dominate living places. But it also pertains to all types of societies and cultures, even small-scale hunter–gatherers, once the ontological beliefs structuring landscape perception and use are acknowledged. The foragers of south–central and southern California and the Great Basin illustrate this fact. They maintained a widely shared ontological perspective supported by a fundamental cognitive postulate. This is that supernatural power, the principle causative agent in the universe, was differentially distributed among individuals and places. The distribution of power, revealed by certain geomorphological features and natural events, structured their perceptions of landscape. These perceptions were expressed in ritual and symbolism, including petroglyphs and pictographs as durable manifestations of ceremonies on the landscape. The ontological relationship between power and landscape explains a longstanding question in hunter–gatherer archaeology: Why were rock writing sites created at specific locations? It also explains another equally significant but rarely considered and related problem: Why do some localities have massive quantities of rock writings that dwarf most other sites? The landscape symbolism of and the placement of sites by Native Californian and Great Basin tribes is explained by reference to their shared ontological beliefs, illustrating how they structured their ritual practices and archaeological record. [ABSTRACT FROM AUTHOR]

The Fowan Cliff Carvings are a key part of the Dazu Grottoes. Formed in a southern and northern stretch, the 290 individual niches at Fowan were mostly sculpted from the Late Tang to the Southern Song. Previous research by archaeologists and art historians has used typological and iconographic methods to periodize these niches and debate the themes behind particular niche sculptures. This essay employs niche inscriptions in a discussion of typical Fowan niche contents, matching lay feasting activities onto the period background behind their construction. These individual case studies grant an understanding of the overall atmosphere at Fowan through the shared inclinations or connections between niches, also reflecting specific niche sculptures via holistic analysis. This method, repeatedly examining the relationship between the niches and site from the perspective of "venue", helps us restore a sense of situatedness when facing different eras of Fowan and to understand the choice in statue content, changes in niche content, and the design underlying niche form. [ABSTRACT FROM AUTHOR]

The seven islands in the Ionian Sea form one of the smallest states in the world - Malta. The Phoenicians called it Malat, the Greeks called it Melita or Melite, and the Maltese called it Ghasel, meaning honey. The Maltese gave it this name because of the specific color of the soil, the rocks, but also because of the tradition of honey cultivation on the territory of Malta. Malta's cultural heritage is inversely proportional to the size of the state. Seven megalithic temples are found on the islands of Malta and Gozo, each the result of a distinct stage of cultural development. The two temples on the island of Gozo, dating from the Bronze Age, are impressive for their gigantic structures. Some other examples in this regard, given by UNESCO experts, are the monuments: Auberge de Baviere, Church of the Shipwreck of Saint Paul the Apostle, Mantel Theatre, the Library located in the heart of the capital Valletta and many others. From the strong cultural wealth of Malta we cannot omit the The Sovereign Military Order of Malta (SMOM), officially the Sovereign Military Hospitaller Order of Saint John of Jerusalem, of Rhodes and of Malta. The birth of the Knights Hospitaller dates back to around 1048. The original hospitaller mission became the main activity of the order, growing ever stronger during the 20th century, most especially because of the contribution of the activities carried out by the Grand Priories and National Associations in many countries around the world. [ABSTRACT FROM AUTHOR]

Famed for the impressive sandstone towers, deep ravines and powerful spirit of the place, the Adršpach-Teplice Rocks in the north-east of Bohemia are a popular tourist spot. This contribution investigates the toponymy of the Rocks from the 18th century, when tourists started to flock here, until present. Readers are reminded of place names that were conceived as having a strong advertising function – this is because their aim was to attract new tourists. These include e.g. Švýcarské údolí (Swiss Valley), Itálie (Italy), Krakonošova harfa (The Lord of the Mountains’ Harp), and Goetheho jeskyně (Goethe’s Cave). Place names created by gamekeepers and filmmakers are also mentioned – the former include Stalinova paseka (Stalin’s Clearing) while U partyzána (At the Partisan’s) is an example of the latter. We seek to provide a contrastive analysis of the toponymy of the Adršpach-Teplice Rocks and other areas with sandstone rocks situated elsewhere in the Czech Republic, also focusing on how the post-Second World War demographic transformation of the Czechoslovak border areas was reflected in the toponymy of the Rocks. The conclusion of the contribution also addresses place names found in information panels that are some of the constituents of the contemporary linguistic landscape of the Rocks. [ABSTRACT FROM AUTHOR]