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Australian natural history
| Australian natural history |
| Pubbl/distr/stampa | Sydney, : Australian Museum, 1962- |
| Descrizione fisica | 1 online resource |
| Disciplina | 590.7 |
| Soggetto topico |
Natural history - Australia
Technology Sites Indigenous knowledge Cultural heritage - Protection - Museums and keeping places - Collections and acquisitions Art - Rock art Animals Anthropology Natural history |
| Soggetto genere / forma | Periodicals. |
| Formato | Materiale a stampa  |
| Livello bibliografico | Periodico |
| Lingua di pubblicazione | eng |
| Altri titoli varianti | ANH |
| Record Nr. | UNINA-9910895658503321 |
| Sydney, : Australian Museum, 1962- | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Culture in translation : the anthropological legacy of R. H. Mathews
| Culture in translation : the anthropological legacy of R. H. Mathews |
| Autore | Mathews R. H (Robert Hamilton), <1841-1918, > |
| Pubbl/distr/stampa | [Place of publication not identified], : ANU E Press, 2007 |
| Descrizione fisica | 1 online resource |
| Disciplina | 305.800994 |
| Collana | Aboriginal history monograph series Culture in translation |
| Soggetto topico |
Ethnologists - Social life and customs - Australia
Ethnology - Languages - Australia Aboriginal Australians Anthropology - Theory and criticism Ceremonies - Secret / sacred Social organisation - Kinship Social organisation - Kinship - Systems Art - Rock art Stories and motifs Initiation - Subincision Initiation Gundungurra / Gandangara people S60 Bundjalung people E12 Wayilwan language D20 Kurnu language D25 Kurnu people D25 Bidawal people S49 Gubbi Gubbi people E29 |
| ISBN | 1-921313-24-2 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Record Nr. | UNINA-9910169658703321 |
Mathews R. H (Robert Hamilton), <1841-1918, >
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| [Place of publication not identified], : ANU E Press, 2007 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Histories of Australian Rock Art Research
| Histories of Australian Rock Art Research |
| Autore | Frederick Ursula <1970-> |
| Edizione | [First edition.] |
| Pubbl/distr/stampa | Canberra, : ANU Press, 2022 |
| Descrizione fisica | 1 electronic resource (306 pages) |
| Altri autori (Persone) |
MaySally K
McDonaldJo TaçonPaul S. C <1958-> (Paul Stephen Charles) |
| Collana | Terra Australis. |
| Soggetto topico |
Petroglyphs - Research - Australia
Picture-writing - Research - Australia Art - Rock art |
| ISBN |
9781760465360
1760465364 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Intro -- List of figures -- Figure 1.1: Histories of Australian Rock Art Research Symposium participants, Gold Coast campus, Griffith University, December 2019. -- Figure 1.2: Mary Blyth with Paul S.C. Taçon, Ursula K. Frederick, Sally K. May and Jo McDonald, December 2019. -- Figure 2.1: 'Group photograph of the members of the 1948 American-Australian Scientific Expedition to Arnhem Land, taken on Groote Eylandt.' -- Figure 2.2: An example of Mountford's 'polychrome X-ray art' from Injalak Hill. -- Figure 2.3: Yingarna, Injalak Hill. -- Figure 2.4: Photograph of the adult and baby birds referred to by McCarthy in his field diaries, Injalak Hill. -- Figure 2.5: Frederick McCarthy and Frank Setzler excavating Site 1 on Injalak Hill in 1948. -- Figure 3.1: Peter and Sheila get their photograph taken on Groote Eylandt. -- Figure 3.2: Peter Worsley spearing fish in a billabong on Groote Eylandt 1953. -- Figure 3.3: Detail of original pencil drawing of polychromatic rock art painting of 'Pearling Lugger' made by Peter Worsley during his fieldwork. -- Figure 3.4: Left: Photograph of red ochre paintings on ceiling at Yinumaluwalumanja, 2019. Right: Detail of drawings made by Peter Worsley while visiting Yinumaluwalumanja in 1953. -- Figure 4.1: John Clegg and Lesley Maynard at her Masters graduation ceremony in the University of Sydney Quad in 1976. -- Figure 4.2: East-west differences in the Sydney Basin can be attributed to environmental factors (top), with a cultural style boundary at the Georges River - north of this boundary kangaroos are depicted with four legs -- south with two legs in profile (McM -- Figure 4.3: Lesley excavating at Newman Rockshelter in 1976 -- and recording Pilbara rock art with Bruce Wright in 1978. -- Figure 4.4: John Clegg tracing rock art on polythene at Little Devils Rock, Old Northern Road, 1972.
Figure 4.5: The Woronora rock-shelter assemblage where the placement of motifs was explored. -- Figure 4.6: Knobs and blobs: A neutral geometric way to describe the shape of a motif. -- Figure 4.7: An early morphometric approach to striped animal depictions. -- Figure 4.8: The Bull Cave Bulls (left) - and mythical creature of similar schemata found in Putty (right) - to the north of the Sydney Basin. -- Figure 4.9: The pan-continental sequence (from Maynard 1979:Figure 4.1), and the transitional sequence from nonfigurative to figurative. -- Figure 4.10: The Sydney School's influence on rock art research (including ANU and UWA): The start of a rock art research network map. -- Figure 5.1: Andrée Rosenfeld at Early Man Rockshelter, Cape York Peninsula, 1974. -- Figure 5.2: Portrait of Andrée Rosenfeld by Robin Wallace-Crabbe and Diane Fogwell. -- Figure 5.3: Patricia Vinnicombe tracing uKhahlamba-Drakensberg rock art. -- Figure 6.1 (left): Margaret Preston (Australia -- England -- France, b. 1875, d. 1963), Banksia 1938, oil on canvas, 53.2 × 42.6 cm. -- Figure 6.2 (right): Margaret Preston, The brown pot 1940, oil on canvas, 51 × 45.8 cm. -- Figure 6.3 (left): Caption reads: 'Details of the aboriginal rock paintings which Margaret Preston discusses in her article'. Imagine this image in reverse. -- Figure 6.4 (right): Margaret Preston, Aboriginal design 1943, woodcut, printed in colour inks, from one Masonite block, 38.4 × 39.6 cm (printed image), 43.1 × 45.4 cm (sheet). -- Figure 6.5: Caption reads: 'Making tracings of rock paintings, Glen Isla Rock Shelter, Victoria Range, Victoria'. Percy Leason on the left. -- Figure 6.6 (left): Plate IV caption reads: 'Nos. 67-9, dead pony -- nos. 70, 74, drowned domestic cat -- nos. 71, 73, 75, drowned Jersey calf -- no. 72 dead Jersey calf, as found -- no. 76 dead domestic cat, as found. no. 77 Jersey heifer browsing -- no. 78, wild b -- Figure 6.6 (right): Plate V caption reads: 'Nos. 111-4, slaughtered pigs with legs in various positions -- no. 115-6, Altamira boars showing alternative positions of legs -- no. 117, combination of nos. 115-6 -- no. 118, Altamira boar -- no. 119, living boar (tra -- Figure 6.7: Percy Leason, Self-portrait with cave paintings ca. 1956-1957, oil on canvas, 67.0 × 85.1 cm (sight), in frame 77.8 × 95.3 cm. -- Figure 6.8: (left) Percy Leason, Mammoth/Elephant H32356 -- (right) Percy Leason, The 'galloping' boar of Altamira H32352, State Library of Victoria. -- Figure 7.1: Location of Gariwerd and locations mentioned in the text. -- Figure 7.2: Central Gariwerd from the east. -- Figure 7.3: Mt Clay tribesmen painted up for Corroboree 1859. -- Figure 7.4: Billimina rock-shelter (post-2013 fire). -- Figure 7.5: Mathew's drawing of the art at Billimina as published (above) and as originally drawn by him (below). -- Figure 7.6: Section of Lorblanchet's 1975 detailed recording of the Billimina art panel. -- Figure 7.7: Drivers behind Victorian rock art recording. -- Figure 7.8: Patterns of site recording 1896-2019. -- Figure 8.1: Explorer Ernest Giles's 'Aboriginal National Gallery', Glen Thirsty. -- Figure 8.2: Rock paintings recorded by Richard Helms in the Everard Ranges in 1891. -- Figure 8.3: Post-contact drawn horse and rider, Watarrka National Park. -- Figure 8.4: One of 17 engraved archaic faces at Alalya, Cleland Hills. -- Figure 8.5: Engraved archaic face with body, Alalya, Cleland Hills. -- Figure 8.6: Painted pole designs at Back Canyon, Watarrka National Park. -- Figure 8.7: Engraved circles covered in calcium oxalate crust sampled for dating, Wanga East, Watarrka National Park. -- Figure 8.8: Pounded figurative motifs among the most recent art at Rainbow Valley. Figure 9.1: Map showing the Dampier Archipelago with the location of places mentioned in the text. -- Figure 9.2: Landscape of Murujuga, a 50,000-year-old cultural wonderland that is often mistaken for a mining-created landscape of mullock heaps. -- Figure 9.3: Enso Virili (in hat) with Traditional Custodian Coppen Dale and others at Gum Tree Valley. -- Figure 9.4: Herbert Parker and Algie Paterson, senior Pilbara lawmen and active in the National Aboriginal Conference, with whom Lorblanchet consulted. -- Figure 9.5: Pat Vinnicombe, flies and all, taking photograph of petroglyph during the 1980 Dampier Archaeological Project, Burrup Peninsula. -- Figure 9.6: Ken Mulvaney, Bill Arthur and Peter Veth having a morning cuppa while sheltering from the cold wind and noise of machinery, Withnell Bay 1981. -- Figure 9.7: Traditional Owner Wilfred Hicks addressing visitors on the FARA tour of 2015. -- Figure 9.8: Part of the FARA 'Stand Up for the Burrup' action, Hearson Cove 2007, a campaign that has gone international. -- Figure 9.9: University students under the tutelage of Ben Gunn recording rock art at a site within the Hamersley Iron lease, Burrup Peninsula, during the 2010 field school. -- Figure 10.1: Australia's Kimberley, showing places mentioned. -- Figure 10.2: Grey's documentations of rock art during his 1838 trip to west Kimberley. -- Figure 10.3: Examples of Bradshaw's documentation of Gwion Gwion rock art from his visit to Kimberley in 1891. -- Figure 10.4: Photograph from Elkin's fieldwork in the late 1950s. -- Figure 10.5: Helmut Petri during fieldwork at the Munja Government Station in 1938. -- Figure 10.6: Kimberley rock art publications 1841-2020 according to authorship. -- Figure 10.7: A 1993 version of Welch's rock art chronology for the Kimberley. -- Figure 11.1: Namuluda, Goulburn Island in 1925. Figure 11.2: One of the earliest 'tourist' photos of Arnhem Land rock art, 1922, Oenpelli area. -- Figure 11.3: Allan Stewart with Djimongurr (Old Nym) and 'Roy' at Nanguluwurr, Kakadu National Park, 1959. -- Figure 11.4: George Chaloupka in the field in 1988. -- Figure 11.5: Nipper Kapirigi and David Canari at Yuwenjgayay, Kakadu National Park in 1986. -- Figure 11.6: Sally K. May (far left) with Josie Maralngurra (fourth from the left) and PhD candidate Emily Miller (far right) and others at Nanguluwur, Kakadu in 2019. -- Figure 11.7: From left to right, Christopher Chippindale, Sue McPherson, Paul S.C. Taçon and Peter Sullivan recording rock paintings at the key sequence site of Kungurrul in Kakadu National Park, 1991 (see Chippindale and Taçon 1993). -- Figure 12.1: Anbangbang (Nourlangie) in 2019. -- Figure 12.2: Photograph (a) and diagram (b) of materials used in Koongarra trial. -- Figure 12.3: Nourlangie Restoration Project in 1989: (a) The Park note provided to visitors at the time and (b) Conservators at work during the project. -- Figure 12.4: CORLAB trial at Nanguluwurr in (a) 1987 and (b) 2017, highlighting further deterioration despite treatment. -- Figure 12.5: Koongarra trial in (a) 1988 evaluation and (b) 2019 evaluation. -- Figure 13.1: The Laura Sandstone Basin showing Laura River and Little Laura River precincts (1 and 2). -- Figure 13.2: Dr George Musgrave (left) and Dr Tommy George (right) at Mushroom Rock c. 1995. -- Figure 13.3: Chart indicating selectivity of figurative motifs in Laura valleys (LR=Laura River -- LLR=Little Laura River) -- excludes human and track motifs and hand stencils. -- Figure 13.4: Rock painting of Anurra Quinkan at Sandy Creek. -- Figure 13.5: Examples of headdresses and head forms painted in the study area. -- Figure 13.6: Scrub turkey (a), composite beings (b and c) and dingo (d) motifs. Figure 13.7: Rock-shelter at Brady Creek with rock paintings of fish. |
| Record Nr. | UNINA-9910595463203321 |
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Frederick Ursula <1970->
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| Canberra, : ANU Press, 2022 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Jakarda Wuka (too many stories) : narratives of rock art from Yanyuwa Country in Northern Australia's Gulf of Carpentaria / / li-Yanyuwali-Wirdiwalangu (YanyuwaElders), Liam M. Brady, John Bradley, Amanda Kearney
| Jakarda Wuka (too many stories) : narratives of rock art from Yanyuwa Country in Northern Australia's Gulf of Carpentaria / / li-Yanyuwali-Wirdiwalangu (YanyuwaElders), Liam M. Brady, John Bradley, Amanda Kearney |
| Autore | li-Yanyuwa li-Wirdiwalangu (Yanyuwa Elders) |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | Sydney : , : Sydney University Press, , 2023 |
| Descrizione fisica | 1 online resource (345 pages) |
| Disciplina | 759.01/13 |
| Collana | Tom Austen Brown studies in Australasian archaeology |
| Soggetto topico |
Yanyuwa (Australian people)
Rock paintings - Australia - Carpentaria Basin (Qld. and N.T.) Rock paintings - Australia - Carpentaria, Gulf of (N.T. and Qld.) Art, Aboriginal Australian Yanyuwa people N153 Yanyuwa language N153 Art - Rock art - Painting Art - Rock art Indigenous knowledge Social organisation - Kinship |
| ISBN |
9781743328781
1743328788 9781743328798 1743328796 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Cover -- Tom Austen Brown Studies in Australasian Archaeology -- Copyright -- Dedication -- Acknowledgements -- Contents -- List of Figures -- List of Maps -- List of Tables -- Glossary -- Foreword -- 1 A story about Saltwater People and their rock art -- 2 A framework to understand Yanyuwa rock art: kinship and relationships -- 3 Creative expressions and rock art in the southwest Gulf of Carpentaria -- 4 Rock art of Wuyaliya clan Country -- 5 Rock art of Wurdaliya clan Country -- 6 Rock art of Rrumburriya clan Country -- 7 Rock art of Mambaliya-Wawukarriya clan Country -- 8 Mainland rock art: Rrumburriya and Wurdaliya -- 9 The importance of rock art and Country for Yanyuwa People -- References -- Index. |
| Record Nr. | UNINA-9911087528003321 |
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li-Yanyuwa li-Wirdiwalangu (Yanyuwa Elders)
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| Sydney : , : Sydney University Press, , 2023 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Pundawar Manbur : The Art Sequence of a Major Kwini Rock Art Site in the Kimberley, Northern Australia
| Pundawar Manbur : The Art Sequence of a Major Kwini Rock Art Site in the Kimberley, Northern Australia |
| Autore | Gunn Robert G |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | Bicester : , : Archaeopress, , 2025 |
| Descrizione fisica | 1 online resource (234 pages) |
| Disciplina | 704.039915 |
| Soggetto topico | Art - Rock art |
| ISBN |
1-80583-148-8
9781805831488 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover -- Title page -- Copyright information -- Contents -- List of Figures and Tables -- Chapter 2 Rock Art of the Kimberley, Western Australia -- Figure 2.1. Location of Pundawar Manbur. -- Figure 2.2. Pundawar Manbur rock shelter (A) and the smaller alcove with rock art next to it (B). (Note: the vegetation was burnt prior to our 2018 visit to record the art). (Photograph by Leigh Douglas). -- Figure 2.3. The manbur (kangaroo) motif from Pundawar Manbur. (Photograph by Robert Gunn). -- Figure 2.4. Contrasting art styles of the Kimberley region. A: Wanjina from Borologa 1, Kwini Country. B: Gwion from Kwini Country. (Photographs by Robert Gunn). -- Figure 2.6. Welch's illustrated sheet of his initial Kimberley rock art sequence, which he distributed at the 1992 AURA conference. It was subsequently published in Welch (1993c: 100). -- Figure 2.7. Walsh's initial Kimberley rock art sequence (Walsh 1994: 18). -- Table 2.1. Published rock art sequences: nomenclature and characteristics. Compiled from Donaldson 2012 -- Veth et al. 2018 -- Welch 2000 and Welsh 1993c. -- Chapter 3 Pundawar Manbur: Background and Approach -- Figure 3.1. Typical unburnt vegetation from the study area. (Photograph by Leigh Douglas). -- Figure 3.2. Pundawar Manbur from the southeast. (Photograph by Leigh Douglas). -- Figure 3.5. Plan of the Pundawar Manbur shelter. -- Figure 3.6. Shelter cross-section at X-X'. -- Figure 3.7. Shelter cross-section at Y-Y'. -- Figure 3.8. The highly decorated rear wall at Pundawar Manbur. (Photograph by Robert Gunn). -- Figure 3.9. Recording Pundawar Manbur. From top, Robert Gunn, William Maraltadj Jnr, Rowan Waina, Madeleine Kelly and Ken Mulvaney. (Photograph by Leigh Douglas, 2017).
Figure 3.10. Position of the Art Panels within the shelter. (Note the off-vertical distortion of the far right edge of Art Panel A in this photograph). (Photograph by Robert Gunn). -- Figure 3.11. Art Panel A subdivisions (Art Panels A1-A5). (Photograph by Robert Gunn). -- Chapter 4 Geological and Geomorphological Setting, from the Plateau to the Site -- Figure 4.1. Pundawar Manbur's geological context. Infographic: Jean-Jacques Delannoy. -- Figure 4.2. Oblique view of Pundawar Manbur's landscape setting. The plateau, which developed at an altitude of 160-200m above sea level, is criss-crossed by a dense network of fractures (here shown by the straight black lines). These fractures guide wate -- Figure 4.3. Satellite image of the quartzite plateau and Drysdale River that runs along its edge. CNES-Airbus 2023 satellite image of the network of fractures in the quartzite bedrock. The fracturing is particularly noticeable where the quartzite outcrops -- Figure 4.4. Evolution of the study region's valley slopes incised in quartzite bedrock. A: Block diagram representing Pundawar Manbur's geological environment. The network of fractures can be seen along two orthoclinal (i.e., perpendicular) directions (in -- Figure 4.5. Pundawar Manbur in its geomorphological setting. The two slipped rock masses A1 and A2 (light colour -- A3 is not readily visible at this angle) and the collapsed blocks (orange colour) that together make up the site of Pundawar Manbur, highligh -- Figure 4.6. The rugged slope of Pundawar Manbur. Pundawar Manbur formed as a result of the downslope slide of two rock masses, quartzite blocks A1 and A2. The entire slope is prone to gravitational forces, resulting in parallel mechanical stress-relief cr -- Figure 4.7. Morphogenesis of the Pundawar Manbur slope. Photograph by Leigh Douglas. Infographic by Jean-Jacques Delannoy. Figure 4.8. Geomorphological map of Pundawar Manbur. The legend is the same as that of Figure 4.7. The map clearly shows the collapse of the overhanging cap of the 'A' set of blocks, which was initially a much larger conjoined set consisting of A1, A2 and -- Figure 4.9. Morphogenic evolution of the Pundawar Manbur rock shelter in block A1. The colour code differentiates three phases of rockfall under the overhang. '1' corresponds to the collapsed blocks on the edge of the shelter. '2' relates to the collapsed -- Figure 4.10. Physical evolution of the interior of the rock shelter. Colour coding is the same as for Figure 4.9. Photograph by Robert Gunn. Infographic by Jean-Jacques Delannoy. -- Figure 4.11. Archaeomorphological map of the rock shelter at Pundawar Manbur. Detailed cartography by Jean-Jacques Delannoy, from basemap by Robert Gunn. -- IntroductionArt Panel A -- Table A.1. Art Panel A: Size and number of motifs per art panel. -- Figure A.1. Art Panel A: Condition summary, with prominent motifs indicated. -- Figure A.2. Recent, deteriorating white pigment overlying well-preserved dark red pigment produced some 12,000 years before the white, as determined by radiocarbon ages on overlying mud-wasp nests (Art Panel A3). -- Table A.2. Art Panel A: Motif and superposition density for each sub-panel. -- Chapter 5The Art of Art Panel A1 -- Table 5.1. Art Panel A1, summary of the art by technique. 'Fragments' includes fragments in all techniques. -- Figure 5.1. Art Panel A1, photograph taken with flash. (Photograph by Robert Gunn). -- Figure 5.2. Art Panel A1, photo-tracing. -- Figure 5.3. Art Panel A1, motif codes. -- Figure 5.4. Photo-tracing of the scratched motifs on Art Panel A1. The dimensions of motif #2 (scratched anthropomorph) are 133 × 57cm. Superpositioning: #4 overlies #5 and #186 overlies #14. Figure 5.5. Photograph of faintly scratched outlined hands. Maximum lengths of hands: motif #14: 22cm -- motif #17: 13cm. (Photograph by Robert Gunn). -- Figure 5.6. Art Panel A1 motif #20 (variant hand stencil). Knuckle width: 9.5cm. (Photograph by Robert Gunn). -- Figure 5.7. Art Panel A1 motif #3 (Dalal Gwion). (Photograph by Robert Gunn). -- Chapter 6 The Art of Art Panel A2 -- Table 6.1. Art Panel A2, summary of the art. -- Figure 6.1. Art Panel A2, Photographed with flash. (Photograph by Robert Gunn). -- Figure 6.2. Art Panel A2, original photograph enhanced with DStretch_lye10 to highlight indistinct yellow paintings. -- Figure 6.3. Art Panel A2, photo-tracing. -- Figure 6.4. Art Panel A2, variant and standard red hand stencils, and red animal motifs (#26 and #30) from the Irregular Infill Animal Period. -- Figure 6.5. Art Panel A2, Ngunuru Gwion figures in red and yellow, with other contemporaneous motifs. -- Figure 6.6. Art Panel A2, non-figurative motifs and a fragmentary anthropomorph (#78). -- Figure 6.7. Ngunuru Gwion with superimposed battering (#25 and #27). The larger figure is 132cm tall. (Photograph by Robert Gunn). -- Figure 6.9. Head and headdress details on motif #27. Note the use of two colours in outline and infill, and subsequent battering over the head. (Photograph by Robert Gunn). -- Figure 6.10. Details of body decoration on motifs #25 and #27. (Photograph by Robert Gunn). -- Figure 6.11. Yellow Ngunuru Gwion (#74 and #75). The larger motif #75 is 78cm tall. (Photograph by Robert Gunn). -- Figure 6.12. Superposition of Gwion (#89) over Gwion (#88), over variant hand stencil (#90). Photograph, DStretch_rgb010 enhancement, and detail of the superpositions. The variant hand stencil's knuckle width is 9cm. Figure 6.13 Small Gwion figures (#31 and #32). Motif #31 (left) is 17cm tall. The percussion marks on the bodies of both figures may be battering or accidental damage. (Photograph by Robert Gunn). -- Figure 6.14. Variant hand stencil, motif #48. Note the similarity of form to motif #20 (Figure 5.1) and other variant hand stencils on this panel. The knuckle width of motif #48 is 9.5cm. (Photograph by Robert Gunn). -- Figure 6.15. Large geometric design (#44), which is one of the most recent motifs on Art Panel A2. Photograph and DStretch_rgb010 enhancement. The motif is 103 × 62cm in its two greatest perpendicular dimensions. (Photograph by Robert Gunn). -- Chapter 7 The Art of Art Panel A3 -- Table 7.1. Art Panel A3, summary of the art by technique. 'Fragments' includes fragments in all techniques. -- Figure 7.1. Art Panel A3, photograph taken with a flash. (Photograph by Robert Gunn). -- Figure 7.2. Art Panel A3, photo-tracing. -- Figure 7.3. Art Panel A3, hand and boomerang stencils, and painted animals from the Irregular Infill Animal Period. -- Figure 7.4. Art Panel A3, Ngunuru Gwion (#127-#129), Yowna Gwion (#132-#136) and other contemporaneous motifs. -- Figure 7.5. Art Panel A3, Wanjina figure (#138) and other contemporaneous motifs. -- Figure 7.6. Art Panel A3, dry pigment drawings (#145-#154), yellow fragmented motif (#155), scratching (#156), and a painted boomerang (#157) that follows the shape of an earlier stencilled boomerang (#115). -- Figure 7.7. The Wanjina image, motif #138 (photograph and DStretch_yye10 enhancement). Note the deterioration of the Wanjina's pigment compared with that of the underlying Gwion figures. The Wanjina is 106cm tall and 108cm wide. (Photograph by Robert Gunn. Figure 7.8. Details of Wanjina image (#138) showing the overlapping of the white infill by its red outline. A: Showing the lack of earlier red outline. B: Red overpainting of stem bases of headdress. C: Rapid application of thin red pigment cutting over t. |
| Record Nr. | UNINA-9911072022503321 |
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Gunn Robert G
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| Bicester : , : Archaeopress, , 2025 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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The Victorian naturalist
| The Victorian naturalist |
| Pubbl/distr/stampa | [Melbourne], : Field Naturalists Club of Victoria |
| Descrizione fisica | 1 online resource |
| Disciplina | 508.94 |
| Altri autori (Persone) |
LucasA. H. S <1853-1936.> (Arthur Henry Shakespeare)
BarnardF. G. A |
| Soggetto topico |
Natural history
Natural history - Australia Natural History Animals Plants Environment - Biodiversity Sites Technology Art - Rock art Art - Rock art - Painting Natuurlijke historie |
| Soggetto genere / forma | Periodicals. |
| ISSN | 2208-6277 |
| Formato | Materiale a stampa |
| Livello bibliografico | Periodico |
| Lingua di pubblicazione | eng |
| Record Nr. | UNINA-9910222220603321 |
| [Melbourne], : Field Naturalists Club of Victoria | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Soggetto topico
-
Art - Rock art
(6)
- Animals (2)
- Art - Rock art - Painting (2)
- Indigenous knowledge (2)
- Natural history (2)