By Jo McDonald, Peter Veth
This designated consultant presents a creative and archaeological trip deep into human heritage, exploring the petroglyphic and pictographic types of rock artwork produced via the earliest people to modern peoples round the world.
-Summarizes the range of perspectives on old rock artwork from top foreign scholars
-Includes new discoveries and learn, illustrated with over a hundred and sixty photographs (including 30 colour plates) from significant rock paintings websites round the world
-Examines key paintings of famous experts (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and descriptions new instructions for rock paintings research
-Is generally overseas in scope, deciding on rock artwork from North and South the USA, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new ways within the archaeological research of rock paintings, exploring concerns that come with gender, shamanism, panorama, id, indigeneity, history and tourism, in addition to technological and methodological advances in rock paintings analyses
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Extra resources for A Companion to Rock Art
Some of these studies demonstrate varying degrees of formal trait analysis, while others are more concerned with phenomenological approaches (sensu Tilley 1994). Iain Davidson (Chapter 4) explores differences between late Pleistocene rock art from western Europe and the east Mediterranean. By examining assemblage variability in detail and exploring robust and plausible modeling, he concludes that ideological differences are at center stage. Variation in motif theme, and the relationships amongst these, and in the positioning of images within sites, indicate patterning in the rock art from these two regions which overall reﬂects the emergence of different ideologies in the Pleistocene at either end of the Mediterranean.
But, as I am proposing here, there are productive and positive impacts and inﬂuences from taking an explicitly marginal stance, as much feminist research can attest. Positive marginality can be an empowering choice, and perceiving things from the margins can certainly change the center, and others perceptions of this place. It is to this dimension of rock art research – among others – that this Companion contributes. Two topics of rock art research that I would like to comment on brieﬂy here are, ﬁrst, a mainstream rock art theme – mainstream both within the ﬁeld of rock art research and to the wider discipline – of rock art as shamanic/shamanistic (see J.
Berkeley: University of California Press. , 1998 Positive Marginality: Antecedents and Consequences. Journal of Adult Development 5(3):163–170. , 2009 Cave Paintings and the Human Spirit: The Origin of Creativity and Belief. New York: Prometheus Books. Plate 1 San rock paintings of antelope-headed therianthropes: one bleeds from the nose, an indicator of trance; the other has non-realistic zigzags and antelope hoof-prints trailing off its leg (photo: courtesy of the Rock Art Research Institute).