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Marara (carved trees, dendroglyphs or tapholgyphs) are a distinct part of Wiradjuri Country in southeastern Australia. Each marara displays a unique muyalaang (tree carving) that a Wiradjuri person carved into the outer surface of a tree after removing bark. Marara mark the dhabuganha (burials) of Wiradjuri men of high standing, representing part of traditional cultural practices that extend into the deep past. Yet, the meaning of these sacred locations is not widely understood due to the lack of Wiradjuri teaching, knowledge and participation in previous studies. Here we present the first Wiradjuri-led archaeological study of marara, muyalaang and dhabuganha, completed in the Central Tablelands. We combine a review of previous studies with new information from interviews with Wiradjuri Elders and knowledge holders, Ground Penetrating Radar survey, and 3D modelling (photogrammetry) – guided by the Wiradjuri philosophy Yindyamarra (cultural respect). The results build new, culturally and scientifically informed understandings of practical and symbolic aspects of Wiradjuri culture, with marara and dhabuganha viewed not as individual objects or 'sites' but as connected parts of Wiradjuri Lore, beliefs, traditional cultural practices and Country. Consistent with Wiradjuri Elder requests, this paper is freely available and written in simple language for the Wiradjuri community and beyond. [ABSTRACT FROM AUTHOR]

The article informs that researchers are studying art like geometric symbols and figures of birds, serpents, and other animals carved into the soft, rippling bark of barrel-shaped boab trees preserved in the Tanami Desert in northwestern Australia.

About 900-1000 tree-carvings, most of them in pine-trees, have been recorded during the last 30-40 years in the central Swedish province of Dalecarlia (Dalarna). About 800 have been found in Ore parish alone, and about 80 in the north-western part of the province. Most parishes have just a few carvings. The majority of the carvings were made during the 19th century. The oldest are from the early 18th century, although a few have been described from the late 17th century. The carving tradition disappeared during the first half of the 20th century. The carvings contain signatures, often dates, and occasionally the names of farms and villages. Short messages occur, but rarely. The signatures consist of three letters, e.g. AOD for Anna Olsdotter, the daughter of Olof, and MES for Mats Ersson, the son of Erik. In Ore parish 95 per cent of all names are female, in the north-west there are 65 per cent female names. The points of time consist of years, sometimes the season, never the month, again sometimes the weekday, and never the date. A period of time may be noted with crosses for weeks and strokes for days. The forests were the outland of the farms, with women and men performing manifold tasks associated with the farms. The carvings were made by women tending cattle during the summer season at the fäbodar (summer farms), and to a lesser extent by men staying at the fäbodar for transport purposes and especially for wetland haymaking. It is noteworthy that the peasant women in the forest used writing. This was little known -- and usually associated with men -- before the discovery of the tree-carvings, and the carvings may be a source material of importance for literacy research. The women noted who had been watching the cattle, and where and when. The grazing areas in the forest were strictly divided among the villages and farms. In addition, the women sometimes expressed their feelings, joy at the beginning of the season and longing for home towards the end of it. The men left mostly just signatures and years behind them. [ABSTRACT FROM AUTHOR]

This paper describes the attributes, preservation and management of Aboriginal dendroglyphs in the Wet Tropics World Heritage Area of northeast Australia, the only known dendroglyphs recorded in a tropical rainforest environment worldwide. Our research identifies that dendroglyphs are usually single trees with abstract linear or figurative designs carved into their outer bark and are often associated with Aboriginal walking tracks and other cultural sites. Using existing historical field notes and records, including a fibreglass model of one carving made in 1991, we conclude that the dendroglyphs have changed little over 20 years. They appear to be more resilient to extreme climatic events than previously predicted, and the main threat to their preservation appears to be vulnerability from the effects of ageing, such as insect and fungal attack. Difficulties for traditional owners in accessing dendroglyphs within the Wet Tropics World Heritage Area highlight tensions between natural and cultural site management practices. [ABSTRACT FROM AUTHOR]

Images indented into living kō;pī (Corynocarpus laevigatus) trees by Polynesian Moriori of the Chatham Islands are a novel, indigenous Oceanic carving expression. Currently the absolute chronology of the kōpī tree carving (rākau momori) tradition is poorly resolved. In a recent Rēkohu (Chatham Island) investigation, two isolated shell midden sites were recorded and excavated in the vicinity of rākau momori clusters. A cultural landscape assessment provides reasonable cause to identify each carved tree cluster and midden association as discrete social space. Radiocarbon dates on paired marine shellfish samples of different taxa from the Kaingaroa Station Covenant midden and on paired marine and terrestrial kōpī seed samples from the Taia Bush Historic Reserve midden are reported. At the least these dates identify probable, pre- 19th century Moriori use of kōpī forest. On site context grounds we suggest that these dates may represent a terminus ante quem for the tree carving tradition as well. [ABSTRACT FROM AUTHOR]

The article discusses arborglyphs, or tree carvings, and how arborglyphs hold significance for all people in all people of the U.S. The article cites the book "Speaking Through the Aspens: Basque Tree Carvings in California and Nevada," by Joxe Mallea-Olaetxe. The author explains how this book narrowed perceptions of arborglyphs until people used them to only refer to the carvings of Basque sheepherders. The glyph research of Carol Pederson in the late 1990s is talked about. The article also discusses several contemporary brief works published on reading arborglyphs in the 1960s, 1970s, and 1980s. Several photographs are provided.