A Companion to Rock Art by Jo McDonald, Peter Veth

By Jo McDonald, Peter Veth

This distinctive consultant presents an inventive and archaeological trip deep into human background, exploring the petroglyphic and pictographic types of rock paintings produced through the earliest people to modern peoples round the world.
-Summarizes the range of perspectives on old rock artwork from prime foreign scholars
-Includes new discoveries and examine, illustrated with over a hundred and sixty photos (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 greatly overseas in scope, opting for rock artwork from North and South the US, Australia, the Pacific, Africa, India, Siberia and Europe
-Represents new methods within the archaeological examine of rock paintings, exploring matters that come with gender, shamanism, panorama, identification, indigeneity, historical past 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

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Rock art research: that all rock art is about shamanism. This need to step back, to clarify, and perhaps to reclaim a specific – not a wholesale – approach to interpretation of some, but not all, rock art can be viewed as one kind of possible positive marginalizing that challenges and reveals weaknesses in the wider, near disciplinary trend in rock art research that so much of rock art can be best understood through the lens of shamanic practices. Indeed, the literature resonates, sometimes with unprofessional vitriol, with the ways in which some rock art researchers have pursued the shamanistic interpretation of rock art.

How old is it? How do we record it? RESEARCH ISSUES AND NEW DIRECTIONS 5 The fact that rock art can signal information at many levels, and has agency between culture groups in the same time and space and intergenerationally, appears as a recurrent theme; as does its role in ideational, sensory, social organizational, religious, hierarchical, territorial, and economic domains. The information content of rock art, when viewed within its larger archaeological or anthropological context, can inform on multiple aspects of past behavioral systems; and we think this volume demonstrates that this is a watershed time in terms of rock art’s emergence into the archaeological mainstream: Meg Conkey’s comments in the Foreword reinforce this point.

These approaches are arguably based on a more thorough understanding of where archaeology fits between hard science and the humanities, but there is also more critical (and self-critical) use of ethnographic and ethnohistorical sources in ways that avoid analogic and teleological traps. A number of chapters demonstrate the use of pattern recognition and deploy statistical approaches in more sophisticated ways and ask questions at multiple scales. The continued refinements in dating technology and image enhancement set new benchmarks in how we approach the very basis of making sense of rock art.

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