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Biblioteca

MARC Lista (tabellare)
L'arte rupestre di Sellero : l'epopea in immagini di una comunità preistorica alpina / Umberto Sansoni ; presentazione di Emmanuel Anati
L'arte rupestre di Sellero : l'epopea in immagini di una comunità preistorica alpina / Umberto Sansoni ; presentazione di Emmanuel Anati
Autore Sansoni, Umberto
Pubbl/distr/stampa Capo di Ponte : Edizioni del Centro, 1987
Descrizione fisica 112 p. : ill. ; 24 cm
Disciplina 759.0113
Collana Studi camuni ; 9
Soggetto topico Incisioni rupestri - Sellero
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione ita
Record Nr. UNISALENTO-991002772349707536
Sansoni, Umberto  
Capo di Ponte : Edizioni del Centro, 1987
Materiale a stampa
Lo trovi qui: Univ. del Salento
Opac: Controlla la disponibilità qui
Helanshan : arte rupestre della Cina / testi e fotografie di Emmanuel Anati ; frottages dalle collezioni della Missione in Cina, Centro Camuno di studi preistorici
Helanshan : arte rupestre della Cina / testi e fotografie di Emmanuel Anati ; frottages dalle collezioni della Missione in Cina, Centro Camuno di studi preistorici
Autore Anati, Emmanuel
Pubbl/distr/stampa Capo di Ponte : Edizioni del centro, 1994
Descrizione fisica 64 p. ; 27 cm
Disciplina 759.0113
Altri autori (Enti) Centro Camuno di studi preistorici
Soggetto topico Arte rupestre - Cina
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione ita
Record Nr. UNISALENTO-991002561449707536
Anati, Emmanuel  
Capo di Ponte : Edizioni del centro, 1994
Materiale a stampa
Lo trovi qui: Univ. del Salento
Opac: Controlla la disponibilità qui
Myths about rock art / / Robert G. Bednarik
Myths about rock art / / Robert G. Bednarik
Autore Bednarik Robert G.
Pubbl/distr/stampa Oxford : , : Archaeopress, , [2016]
Descrizione fisica 1 online resource (ii, 218 pages) : illustrations
Disciplina 759.0113
Collana Archaeopress archaeology
Soggetto topico Rock paintings
Soggetto genere / forma Electronic books.
ISBN 1-78491-475-4
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Record Nr. UNINA-9910467365603321
Bednarik Robert G.  
Oxford : , : Archaeopress, , [2016]
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Myths about rock art / / Robert G. Bednarik
Myths about rock art / / Robert G. Bednarik
Autore Bednarik Robert G.
Pubbl/distr/stampa Oxford : , : Archaeopress, , [2016]
Descrizione fisica 1 online resource (ii, 218 pages) : illustrations
Disciplina 759.0113
Collana Archaeopress archaeology
Soggetto topico Rock paintings
ISBN 1-78491-475-4
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Record Nr. UNINA-9910794082903321
Bednarik Robert G.  
Oxford : , : Archaeopress, , [2016]
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Myths about rock art / / Robert G. Bednarik
Myths about rock art / / Robert G. Bednarik
Autore Bednarik Robert G.
Pubbl/distr/stampa Oxford : , : Archaeopress, , [2016]
Descrizione fisica 1 online resource (ii, 218 pages) : illustrations
Disciplina 759.0113
Collana Archaeopress archaeology
Soggetto topico Rock paintings
ISBN 1-78491-475-4
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Record Nr. UNINA-9910823120303321
Bednarik Robert G.  
Oxford : , : Archaeopress, , [2016]
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Ontologies of rock art : images, relational approaches and indigenous knowledges / / edited by Oscar Moro Abadía and Martin Porr
Ontologies of rock art : images, relational approaches and indigenous knowledges / / edited by Oscar Moro Abadía and Martin Porr
Pubbl/distr/stampa London ; ; New York, New York : , : Routledge, , [2021]
Descrizione fisica 1 online resource (468 pages)
Disciplina 759.0113
Soggetto topico Rock paintings
Indigenous peoples
Petroglyphs
Ontology
ISBN 0-429-32186-4
1-000-33967-X
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Philosophical and historical perspectives -- Rock art and indigenous knowledges -- Humans, animals, and more-than-human beings -- Syncretism, contact and contemporary rock art.
Record Nr. UNINA-9910774608203321
London ; ; New York, New York : , : Routledge, , [2021]
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Pitture delle caverne / Herbert Kühn ; traduzione di Maria Attardo Magrini
Pitture delle caverne / Herbert Kühn ; traduzione di Maria Attardo Magrini
Autore Kühn, Robert
Pubbl/distr/stampa Milano : Il Saggiatore, 1959
Descrizione fisica 18 p., 20 tav. ; 19 cm
Disciplina 759.0113
Collana Biblioteca delle silerchie. Serie d'arte
Soggetto non controllato Pitture ruspestri
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione ita
Record Nr. UNINA-990005604190403321
Kühn, Robert  
Milano : Il Saggiatore, 1959
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Powerful Pictures : Rock Art Research Histories Around the World / / edited by Jamie Hampson, Sam Challis, and Joakim Goldhahn
Powerful Pictures : Rock Art Research Histories Around the World / / edited by Jamie Hampson, Sam Challis, and Joakim Goldhahn
Edizione [First edition.]
Pubbl/distr/stampa Oxford, England : , : Archaeopress Publishing Ltd, , [2022]
Descrizione fisica 1 online resource (iv, 175 pages) : illustrations (some color), maps
Disciplina 759.0113
Collana Archaeopress archaeology
Soggetto topico Rock paintings
ISBN 1-80327-389-5
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Intro -- Title Page -- Copyright page -- Contents Page -- List of Figures and Tables -- Figure 2.1. The eastern Trans-Pecos (or 'Big Bend') region of west Texas delineated by the Pecos River and state boundary to the north, the Rio Grande to the south, and archaeologically defined cultural areas - the Lower Pecos (east) and Jornada Mogollon -- Figure 2.2. Charles Peabody and Mitre Peak, west Texas. Courtesy of Blackwell Publishing. -- Figure 2.3. Forrest Kirkland's watercolours of the rock art at Meyers Springs, Texas. -- Figure 2.4. Another example of the stunning rock art in west Texas, at Hueco Tanks, c. 20 cm wide. Courtesy of J. McCulloch. -- Figure 3.1. William Henry Holmes (1878) illustration of petroglyph panel at Waterflow, New Mexico. -- Figure 3.2. Kidder and Guernsey (1919) illustrated examples of mountain sheep from different sites in the Kayenta, Arizona, region to show the range of variation of this iconic figure. -- Figure 3.3. Watercolour painting by Ann Axtell Morris of Pictograph Cave in Canyon de Chelly, Arizona, circa 1923-1927. (American Museum of Natural History) -- Figure 3.4. Artist Agnes Sims (1949) created woodcuts illustrating petroglyphs at fourteenth- to seventeenth-century pueblos in the Galisteo Basin near Santa Fe, New Mexico, and compared them to personages that still appear in Hopi and Zuni ceremonies. Sh -- Figure 3.5. Harold S. and Mary-Russell Ferrell Colton noted similarities between petroglyphs at the Willow Springs, Arizona, site and Hopi use of clan signatures on historic legal documents (Colton 1946 -- Colton and Colton 1931). Drawing on the Coltons' wo -- Figure 4.1. Female figure at the Peterborough Petroglyhs, Ontario. Tracing by Dagmara Zawadzka after Vastokas and Vastokas 1973, plate 13. -- Figure 4.2. Images at the Kennedy Island site in Ontario painted over quartz veins. Photo by Dagmara Zawadzka.
Figure 4.3. Effigy formations known as Grandmother and Grandfather Rocks near the Mystery Rock Pictograph site on Lake Obabika, Ontario. Photo by Dagmara Zawadzka. -- Figure 4.4. Profile view of the Agawa Bay cliff on Lake Superior, Ontario. Photo by Dagmara Zawadzka. -- Figure 6.1. Carl Georg Brunius (1792-1869) in 1842 after a drawing by Magnus Körner. At the time he was 50 years old. Copyright expired. -- Figure 6.2. Brunius' trailblazing thesis from 1818. Now in Antikvarisk Topografiskt Arkiv in Stockholm, Bruniussamlingen Bd LXVI, published with their kind permission. -- Figure 6.3. Places in northern Europe mentioned in this paper. 1. Northern Bohuslän, 2. Scania, 3. Blekinge, 4. Öland, 5. Tjust. Authors map. -- Figure 6.4. Example of early rock art documentations from northern Europe. Top left, Backa in Brastad in Bohuslän (Brastad 1) by Alfsøn 1627 -- top right, Gladhammar by in Tjust (Gladhammar 22) by Rhezelius 1634 -- middle left, Möckleryd (Torhamn 11) in Bleki -- Figure 6.5. Portraits of people mentioned in this paper -- top left, Count Lars von Engeström -- top right, Sven Lagerbring -- below left, Nils Henric Sjöborg, and -- below right, Gomer Brunius. Various sources, all copyrights expired. -- Figure 6.6. Example of Brunius field documentations. This one from Aspelund or Tossenäng from the vicarage estate in Tanum parish, Tanum 505. N.B. This picture has been redrawn after the original field documentation (cf. Figure 7). The scale on original d -- Figure 6.7. Example of Brunius field documentations, here Brastad 1, the so-called 'Shoemaker,' cf. Figure 4. This documentation was probably made in 1838 when we know Brunius visited Brastad (see Brunius 1839). Source: Pl. XXXVI in the preserved manuscri.
Figure 6.8. Example of 'raw' and 'brutish' rock engravings from the black panels in Bohuslän, this one at Kolstads Utmark (Tanum 273 at Varlös, also Brunius 1868: Pl. V). The scale on original documentation is 1/24. Source: Brunius 1818, Pl. XV, now in An -- Figure 6.9. Example rock engravings from the black panels in Bohuslän showing people taking omens from birds (Tanum 9 at Vitlycke). Source: Brunius 1868, Pl. XV. The scale on original documentation is 1/24. -- Figure 6.10. Brunius own rock inscription in Latin honouring his father Gomer, Tanum 178. N.B. the fragmented anthropomorphic human figure, down to the left, and the cup marks on the top of the panel. Frottage made by Underslös museum. Source: Swedish Roc -- Figure 7.1. Motifs at Cachão da Rapa after Jerónimo Contador de Argote (1738: 233). -- Figure 7.2. Los Letreros. a. Engraving of the shelter and plan of motif location by Góngora (1868, Figs. 79-80) -- b-d. Motifs published by Góngora (1868, Figs. 81-82, 85-87). -- Figure 7.3. Comparisons of a selection of motifs found in schematic art and others found at the Mesolithic site of Mas d'Azil (Obermaier 1925, pl. xxiii). -- Figure 7.4. Table of the main chronological theories by author at the Symposium on the Rock Art of the Western Mediterranean and the Sahara in Burg Wartenstein (Austria), 1960 (based on Ripoll Perelló 1964a: xi). -- Figure 7.5. Machroschematic art. a-d. Pla de Petracos Shelters V, IV, VII and VIII -- e. Tollos (Hernández Pérez and Centre d'Estudis Contestans 1983, Figs. 2-6) -- Figure 8.1. Map of the expeditions Frobenius and his team undertook in Africa and Europe before 1937 (copyright Frobenius-Institut, Frankfurt am Main -- reproduced with kind permission) -- Figure 8.2a and 8.2b. 'En-face' lion, looking at the viewer (Frobenius 1933: 68 and 97) (copyright Frobenius-Institut, Frankfurt am Main.
reproduced with kind permission) -- Figure 8.3. 'Middle Paleolithic cultural structure in northern Africa' (Frobenius 1933: 103) (copyright Frobenius-Institut, Frankfurt am Main -- reproduced with kind permission) -- Figure 8.4. Comparison of European and southern African rock art styles (Frobenius 1936a: 17) (copyright Frobenius-Institut, Frankfurt am Main -- reproduced with kind permission) -- Figure 8.5. Frobenius explaining Saharan rock art during his exhibition in Rome 1933 (copyright: Bundesarchiv -- reproduced with kind permission) -- Figure 9.1. After Dowson 1994: Figures 2, 4 and 5. -- Figure 9.2. 'The death of the postcranial body' marked what Blundell saw as the increased importance of facial features for post-contact ritual specialists. Image courtesy South African Rock Art Digital Archive, www.sarada.co.za. 2b Figures of comparable -- Figure 9.3. After Campbell 1987, people wearing brimmed hats float next to trance-related horse images with fringed streamer tails. Image courtesy SARADA. -- Figure 9.4. The capture of a manifestation of !khwa, the rain snake or water snake. Image by author and Jeremy Hollmann. -- Figure 9.5a. Shield-bearing warrior in the Maloti-Drakensberg. Image courtesy SARADA. -- Figure 9.5b. Bull sacrifice of the 'first fruits' festival. Image courtesy Jeremy Hollmann. -- Figure 9.6. Eland antelope painted in the poster-like manner associated with the 'Disconnect'. Image by author. -- Figure 9.8. 'Magical arts' of the Korana raiders. Image SARADA, courtesy Sven Ouzman. -- Figure 9.10. AmaTola 'Bushmen' in trance dance postures, acquiring horse and baboon features in ritualised affirmation of their raiding economy and the desire for supernatural protection. Image by author.
Figure 11.1. Map showing painted and engraved sites recoded by the Archaeological survey (after Van Riet Lowe 1952, place names have been updated to reflect current names). -- Table 11.1. Summary of regional differences as outlined by Burkitt (1928), Bleek (1932), van Riet Lowe (1952), Rudner and Rudner (1970) and Willcox (1984). I have tried to align similar regions as much as possible. -- Figure 11.2. Rock painting and engraving areas as proposed by the Rudners (after Rudner and Rudner 1970: 266). -- Figure 11.3. Division of the subcontinent into six regions by Willcox (after Willcox 1984: 128). -- Figure 12.1. Grey's Figure from March 29th Cave. Image courtesy of Auckland Libraries Heritage Collections GMS 136.3 -- Figure 12.2. (Left) Wandjina. (Right) Dendroglyph of an Argula, 'the spotted devil of the Wahgomeralis'. Explorer (Gunn) 1886 -- Figure 12.3. Laurell's sketch of the Wandjina Wandada at Mt. Barnett. Image courtesy of Kim Akerman. -- Figure 12.4. Roy Collison and Charles Price Conigrave with a ground figure of a crocodile. Image courtesy of Kim Akerman. -- Figure 12.5. Two Wandjinas from Nyimundum Rock. Love 1930, Plate 2. -- Figure 13.1. Kimberley Region Western Australia (Michael P Rainsbury) -- Figure 13.2. Winged Figure (DRNP). -- Figure 13.3. Gwion Figures (DRNP). (Sketch by Chris Henderson 1988.) -- Figure 13.4. Joc Schmiechen, Lee Scott-Virtue, Mike Donaldson, David Welch. -- Figure 13.5. Grahame L Walsh 1944-2007 (The Australian, August 24, 2007). -- Figure 14.1. Tree, Puthur Malai -- Figure 14.2. Jain Tirthankar, Kidaripatti -- Figure 14.3. Bird-headed man, Kidaripatti -- Figure 14.4. Man riding a horse, Anaipatti -- Figure 16.1. Key sites and geographic localities mentioned in the text. 1 - Besovy Sledki, Zalavruga -- 2 - Kanozero -- 3 - Kapova Cave (Shul'gan-Tash) -- 4 - Irbitskiy Pisanyi Kamen' -- 5 - Tom' rock art site.
6 - Boyarskaya Pisanitsa.
Record Nr. UNINA-9910780438303321
Oxford, England : , : Archaeopress Publishing Ltd, , [2022]
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Powerful Pictures : Rock Art Research Histories Around the World / / edited by Jamie Hampson, Sam Challis, and Joakim Goldhahn
Powerful Pictures : Rock Art Research Histories Around the World / / edited by Jamie Hampson, Sam Challis, and Joakim Goldhahn
Edizione [First edition.]
Pubbl/distr/stampa Oxford, England : , : Archaeopress Publishing Ltd, , [2022]
Descrizione fisica 1 online resource (iv, 175 pages) : illustrations (some color), maps
Disciplina 759.0113
Collana Archaeopress archaeology
Soggetto topico Rock paintings
ISBN 1-80327-389-5
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Intro -- Title Page -- Copyright page -- Contents Page -- List of Figures and Tables -- Figure 2.1. The eastern Trans-Pecos (or 'Big Bend') region of west Texas delineated by the Pecos River and state boundary to the north, the Rio Grande to the south, and archaeologically defined cultural areas - the Lower Pecos (east) and Jornada Mogollon -- Figure 2.2. Charles Peabody and Mitre Peak, west Texas. Courtesy of Blackwell Publishing. -- Figure 2.3. Forrest Kirkland's watercolours of the rock art at Meyers Springs, Texas. -- Figure 2.4. Another example of the stunning rock art in west Texas, at Hueco Tanks, c. 20 cm wide. Courtesy of J. McCulloch. -- Figure 3.1. William Henry Holmes (1878) illustration of petroglyph panel at Waterflow, New Mexico. -- Figure 3.2. Kidder and Guernsey (1919) illustrated examples of mountain sheep from different sites in the Kayenta, Arizona, region to show the range of variation of this iconic figure. -- Figure 3.3. Watercolour painting by Ann Axtell Morris of Pictograph Cave in Canyon de Chelly, Arizona, circa 1923-1927. (American Museum of Natural History) -- Figure 3.4. Artist Agnes Sims (1949) created woodcuts illustrating petroglyphs at fourteenth- to seventeenth-century pueblos in the Galisteo Basin near Santa Fe, New Mexico, and compared them to personages that still appear in Hopi and Zuni ceremonies. Sh -- Figure 3.5. Harold S. and Mary-Russell Ferrell Colton noted similarities between petroglyphs at the Willow Springs, Arizona, site and Hopi use of clan signatures on historic legal documents (Colton 1946 -- Colton and Colton 1931). Drawing on the Coltons' wo -- Figure 4.1. Female figure at the Peterborough Petroglyhs, Ontario. Tracing by Dagmara Zawadzka after Vastokas and Vastokas 1973, plate 13. -- Figure 4.2. Images at the Kennedy Island site in Ontario painted over quartz veins. Photo by Dagmara Zawadzka.
Figure 4.3. Effigy formations known as Grandmother and Grandfather Rocks near the Mystery Rock Pictograph site on Lake Obabika, Ontario. Photo by Dagmara Zawadzka. -- Figure 4.4. Profile view of the Agawa Bay cliff on Lake Superior, Ontario. Photo by Dagmara Zawadzka. -- Figure 6.1. Carl Georg Brunius (1792-1869) in 1842 after a drawing by Magnus Körner. At the time he was 50 years old. Copyright expired. -- Figure 6.2. Brunius' trailblazing thesis from 1818. Now in Antikvarisk Topografiskt Arkiv in Stockholm, Bruniussamlingen Bd LXVI, published with their kind permission. -- Figure 6.3. Places in northern Europe mentioned in this paper. 1. Northern Bohuslän, 2. Scania, 3. Blekinge, 4. Öland, 5. Tjust. Authors map. -- Figure 6.4. Example of early rock art documentations from northern Europe. Top left, Backa in Brastad in Bohuslän (Brastad 1) by Alfsøn 1627 -- top right, Gladhammar by in Tjust (Gladhammar 22) by Rhezelius 1634 -- middle left, Möckleryd (Torhamn 11) in Bleki -- Figure 6.5. Portraits of people mentioned in this paper -- top left, Count Lars von Engeström -- top right, Sven Lagerbring -- below left, Nils Henric Sjöborg, and -- below right, Gomer Brunius. Various sources, all copyrights expired. -- Figure 6.6. Example of Brunius field documentations. This one from Aspelund or Tossenäng from the vicarage estate in Tanum parish, Tanum 505. N.B. This picture has been redrawn after the original field documentation (cf. Figure 7). The scale on original d -- Figure 6.7. Example of Brunius field documentations, here Brastad 1, the so-called 'Shoemaker,' cf. Figure 4. This documentation was probably made in 1838 when we know Brunius visited Brastad (see Brunius 1839). Source: Pl. XXXVI in the preserved manuscri.
Figure 6.8. Example of 'raw' and 'brutish' rock engravings from the black panels in Bohuslän, this one at Kolstads Utmark (Tanum 273 at Varlös, also Brunius 1868: Pl. V). The scale on original documentation is 1/24. Source: Brunius 1818, Pl. XV, now in An -- Figure 6.9. Example rock engravings from the black panels in Bohuslän showing people taking omens from birds (Tanum 9 at Vitlycke). Source: Brunius 1868, Pl. XV. The scale on original documentation is 1/24. -- Figure 6.10. Brunius own rock inscription in Latin honouring his father Gomer, Tanum 178. N.B. the fragmented anthropomorphic human figure, down to the left, and the cup marks on the top of the panel. Frottage made by Underslös museum. Source: Swedish Roc -- Figure 7.1. Motifs at Cachão da Rapa after Jerónimo Contador de Argote (1738: 233). -- Figure 7.2. Los Letreros. a. Engraving of the shelter and plan of motif location by Góngora (1868, Figs. 79-80) -- b-d. Motifs published by Góngora (1868, Figs. 81-82, 85-87). -- Figure 7.3. Comparisons of a selection of motifs found in schematic art and others found at the Mesolithic site of Mas d'Azil (Obermaier 1925, pl. xxiii). -- Figure 7.4. Table of the main chronological theories by author at the Symposium on the Rock Art of the Western Mediterranean and the Sahara in Burg Wartenstein (Austria), 1960 (based on Ripoll Perelló 1964a: xi). -- Figure 7.5. Machroschematic art. a-d. Pla de Petracos Shelters V, IV, VII and VIII -- e. Tollos (Hernández Pérez and Centre d'Estudis Contestans 1983, Figs. 2-6) -- Figure 8.1. Map of the expeditions Frobenius and his team undertook in Africa and Europe before 1937 (copyright Frobenius-Institut, Frankfurt am Main -- reproduced with kind permission) -- Figure 8.2a and 8.2b. 'En-face' lion, looking at the viewer (Frobenius 1933: 68 and 97) (copyright Frobenius-Institut, Frankfurt am Main.
reproduced with kind permission) -- Figure 8.3. 'Middle Paleolithic cultural structure in northern Africa' (Frobenius 1933: 103) (copyright Frobenius-Institut, Frankfurt am Main -- reproduced with kind permission) -- Figure 8.4. Comparison of European and southern African rock art styles (Frobenius 1936a: 17) (copyright Frobenius-Institut, Frankfurt am Main -- reproduced with kind permission) -- Figure 8.5. Frobenius explaining Saharan rock art during his exhibition in Rome 1933 (copyright: Bundesarchiv -- reproduced with kind permission) -- Figure 9.1. After Dowson 1994: Figures 2, 4 and 5. -- Figure 9.2. 'The death of the postcranial body' marked what Blundell saw as the increased importance of facial features for post-contact ritual specialists. Image courtesy South African Rock Art Digital Archive, www.sarada.co.za. 2b Figures of comparable -- Figure 9.3. After Campbell 1987, people wearing brimmed hats float next to trance-related horse images with fringed streamer tails. Image courtesy SARADA. -- Figure 9.4. The capture of a manifestation of !khwa, the rain snake or water snake. Image by author and Jeremy Hollmann. -- Figure 9.5a. Shield-bearing warrior in the Maloti-Drakensberg. Image courtesy SARADA. -- Figure 9.5b. Bull sacrifice of the 'first fruits' festival. Image courtesy Jeremy Hollmann. -- Figure 9.6. Eland antelope painted in the poster-like manner associated with the 'Disconnect'. Image by author. -- Figure 9.8. 'Magical arts' of the Korana raiders. Image SARADA, courtesy Sven Ouzman. -- Figure 9.10. AmaTola 'Bushmen' in trance dance postures, acquiring horse and baboon features in ritualised affirmation of their raiding economy and the desire for supernatural protection. Image by author.
Figure 11.1. Map showing painted and engraved sites recoded by the Archaeological survey (after Van Riet Lowe 1952, place names have been updated to reflect current names). -- Table 11.1. Summary of regional differences as outlined by Burkitt (1928), Bleek (1932), van Riet Lowe (1952), Rudner and Rudner (1970) and Willcox (1984). I have tried to align similar regions as much as possible. -- Figure 11.2. Rock painting and engraving areas as proposed by the Rudners (after Rudner and Rudner 1970: 266). -- Figure 11.3. Division of the subcontinent into six regions by Willcox (after Willcox 1984: 128). -- Figure 12.1. Grey's Figure from March 29th Cave. Image courtesy of Auckland Libraries Heritage Collections GMS 136.3 -- Figure 12.2. (Left) Wandjina. (Right) Dendroglyph of an Argula, 'the spotted devil of the Wahgomeralis'. Explorer (Gunn) 1886 -- Figure 12.3. Laurell's sketch of the Wandjina Wandada at Mt. Barnett. Image courtesy of Kim Akerman. -- Figure 12.4. Roy Collison and Charles Price Conigrave with a ground figure of a crocodile. Image courtesy of Kim Akerman. -- Figure 12.5. Two Wandjinas from Nyimundum Rock. Love 1930, Plate 2. -- Figure 13.1. Kimberley Region Western Australia (Michael P Rainsbury) -- Figure 13.2. Winged Figure (DRNP). -- Figure 13.3. Gwion Figures (DRNP). (Sketch by Chris Henderson 1988.) -- Figure 13.4. Joc Schmiechen, Lee Scott-Virtue, Mike Donaldson, David Welch. -- Figure 13.5. Grahame L Walsh 1944-2007 (The Australian, August 24, 2007). -- Figure 14.1. Tree, Puthur Malai -- Figure 14.2. Jain Tirthankar, Kidaripatti -- Figure 14.3. Bird-headed man, Kidaripatti -- Figure 14.4. Man riding a horse, Anaipatti -- Figure 16.1. Key sites and geographic localities mentioned in the text. 1 - Besovy Sledki, Zalavruga -- 2 - Kanozero -- 3 - Kapova Cave (Shul'gan-Tash) -- 4 - Irbitskiy Pisanyi Kamen' -- 5 - Tom' rock art site.
6 - Boyarskaya Pisanitsa.
Record Nr. UNINA-9910820644903321
Oxford, England : , : Archaeopress Publishing Ltd, , [2022]
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Working with rock art : recording, presenting and understanding rock art using indigenous knowledge / / edited by Benjamin W. Smith, Knut Helskog, David Morris
Working with rock art : recording, presenting and understanding rock art using indigenous knowledge / / edited by Benjamin W. Smith, Knut Helskog, David Morris
Pubbl/distr/stampa Johannesburg, South Africa : , : Wits University Press, , 2012
Descrizione fisica 1 online resource (332 p.)
Disciplina 759.0113
Collana Rock Art Research Institute monograph series
Soggetto topico Rock paintings
Rock paintings - Documentation
Interpretation (Philosophy) in art
Art, Prehistoric
Soggetto genere / forma Electronic books.
ISBN 1-86814-598-0
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto ON DOCUMENTING ROCK ART. Rock art management: juggling with paradoxes and comUpromises, and how to live with them / Anne-Sophie Hygen -- Expressing intangibles: A recording experience with /Xam Rock Engravings / Janette Deacon -- Aspects of documentation for conservation purposes exemplified by rock art / Terje Norsted -- The spatial context of rock art sites: what might GIS have to offer in the absence of a temporal resolution of rock paintings? / Thembi Russell -- Rock art in context - theoretical aspects of pragmatic data collections / Tilman Lenssen-Erz -- Representing southern African San rock art: a move towards digitisation / D.Winnie Mokokwe -- The routine of documentation / Knut Helskog -- Prehistoric explorations in rock - investigations beneath and beyond carved surfaces / Trond L©ıd©ıen.
ON UNDERSTANDING ROCK ART USING INDIGENOUS KNOWLEDGE. Politics, ethnography and prehistory: in search of an 'informed' approach to Finnish and Karelian rock art / Antti Lahelma -- Ethnography, history, rock art: the significance of social change in interpreting rock art / David Pearce -- Symbols on stone - in the footsteps of the bear in Finnish antiquity / Juha Pentik{tilde}inen -- Animals and humans: metaphors of representation in south-central African rock art / Leslie Zubieta -- Ways of knowing and ways of seeing: spiritual agents and the origins of Native American rock art / David Whitley -- Shamanism, rock art and history: implications from a Central Asian case study / Andrzej Rozwadowski.
ON PRESENTING ROCK ART. Presenting rock art through digital film / Paul Ta{dot}on -- Rock art at present in the past / Lindsay Weiss -- The importance of Wildebeest Kuil: 'a hill with a future, a hill with a past' / David Morris -- Theoretical approaches and practical training for rock art tourist guiding and management / Janette Deacon and Neville Agnew -- Two related rock art conservation/education projects in Lesotho / Pieter Jolly -- Scandinavian rock art in the past - the present - and the future / Gitte Kjeldsen -- The presentation of rock art in South Africa: what are the new challenges? / Ndukuyakhe Ndlovu -- Yellowstone, Kruger, Kakadu: nature, culture and rock-art in three celebrated national parks / Catherine Namono and Christopher Chippindale.
Record Nr. UNINA-9910461147203321
Johannesburg, South Africa : , : Wits University Press, , 2012
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