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  2. Rock Art in the Landscapes of Motion: Proceedings of a session of the 20th International Rock Art Congress IFRAO 2018 in Valcamonica, Italy

Rock Art in the Landscapes of Motion: Proceedings of a session of the 20th International Rock Art Congress IFRAO 2018 in Valcamonica, Italy

Paweł L. Polkowski and Frank Förster
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  • Overview

  • Contents

This volume presents a collection of papers focusing on the dynamic relationship between rock art, movement and the surrounding landscape. The contributors offer a wide range of theoretical perspectives from broad geographical and chronological contexts, encompassing case studies from three continents, and spanning a timeline from the European Palaeolithic to the Colonial Period of South America. The diverse approaches and contexts converge over themes of movement, motion and mobility - all inherent to rock art and its production.
  • Front cover
  • Title page
  • Copyright page
  • Of Related Interest
  • Contents
  • Foreword
  • 1. Of Theoretical Trains and Moving Stations:
    • 1.1. Raison d’être, or an introduction to the introduction
    • 1.2. Theoretical landscape, or landscape theorised
      • 1.2.1. Towards a landscape paradigm?
      • 1.2.2. Many landscapes, manifold approaches. . .
      • 1.2.3. A place for ‘place’
      • 1.2.4. Landscape: what is next?
    • 1.3. Archaeologies of movement, mobility, and motion
      • 1.3.1. The notion of motion
      • 1.3.2. Archaeologies of movement
      • 1.3.3. General mobilisation
      • 1.3.4. Moving landscapes
    • 1.4. Rock art in the landscapes of motion
      • 1.4.1. Making landscapes
      • 1.4.2. “Drawings on rocks, the most enduring monuments”
      • 1.4.3. Fixed, but truly immobile?
      • 1.4.4. Epilogue: rock art in the landscapes of motion
      • 1.4.5. A short outline of the contributions to this volume
    • Acknowledgements
    • Bibliography
  • 2. Between Arrest and Movement: ‘Mobile’ and ‘Stationary’ People and Their Rock Art in the Western Desert of Egypt (Third Millennium BC)
    • 2.1. Introduction
      • 2.1.1. Rock art and epigraphy in Egypt
      • 2.1.2. Scope and range of the studied material
      • 2.1.3. The Western Desert of Egypt: selected aspects
      • 2.1.4. The Dakhla region and the far south-west
    • 2.2. Case study 1: Dakhla Oasis
    • 2.3. Case study 2: Abu Ballas Trail
    • 2.4. Recapitulation and final discussion
    • Acknowledgements
    • References
  • 3. Off the Move: On the Phenomenon of Rock Images
    • 3.1. Introduction
    • 3.2. Confronting the phenomenon of rock images
    • 3.3. Things to do with rock images
    • 3.4. Paradox of frozen movement
    • 3.5. Sedentary images
    • 3.6. Conclusion
    • Acknowledgements
    • References
  • 4. Movement, Time and Rhythm Among Hunter-Gatherers:
    • 4.1. Introduction
    • 4.2. Analysis of rock art and rhythm
    • 4.3. Body and space
      • 4.3.1. Participants and chronology
      • 4.3.2. Interaction and social organisation
      • 4.3.3. Settlement patterns
    • 4.4. Environment: site, size, configuration, connection, and setting
    • 4.5. Development of action: flow of movement, progression, energy and pauses in moving along Calabozos
    • 4.6. ‘Rhythms’ of making petroglyphs at Calabozos: body structure, position in space, space of action, movement path, time and energy
    • 4.7. Movement, rhythm and time among hunter-gatherers
    • 4.8. Difference and commonality: a rhythmical interpretation of Guaiquivilo rock art
    • Acknowledgments
    • References
  • 5. Post-Paleolithic Rock Art and Landscape: A Case Study of Mount Coto de Sabroso, Guimarães (Northwest Portugal)
    • 5.1. Introduction
    • 5.2. Location and environment
    • 5.3. History of research at Mount Coto de Sabroso
    • 5.4. Archaeological context
    • 5.5. Theoretical approach and praxis
      • 5.5.1. Praxis
        • 5.5.1.1. Survey and study of the rock art engravings
        • 5.5.1.2. Photography
        • 5.5.1.3. Geographical survey
        • 5.5.1.4. Photogrammetry and 3D modeling
    • 5.6. Data
    • 5.7. Discussion of data and interpretation
      • 5.7.1. The engravings at the top of the mount
      • 5.7.2. The engravings at the base of the mount
    • 5.8. Iconography and chronology
    • 5.9. Final considerations
    • Acknowledgments
    • References
  • 6. In the Middle of Nowhere: Geoglyphs, Caravan Routes, Social Conflict, and the Visual Demarcation of Travel Routes Across the Northern Chilean Atacama Desert
    • 6.1. Introduction
    • 6.2. Conceptual framework
    • 6.3. Study area
    • 6.4. Materials and methods
      • 6.4.1. Formal analysis of the motifs
      • 6.4.2. Survey techniques and spatial analysis
    • 6.5. Results: geoglyphs in the Lluta Valley of northern Chile
      • 6.5.1. Locational characteristics of geoglyphs
      • 6.5.2. Technical and formal characteristics of motifs
        • 6.5.2.1. Anthropomorphs
        • 6.5.2.2. Zoomorphs
        • 6.5.2.3. Objects
        • 6.5.2.4. Non-iconic motifs
    • 6.6. Discussion
    • 6.7. Conclusions
    • Acknowledgements
    • References
  • 7. Patterns of Movement. Rock Art, Rough-Outs,
    • 7.1. Introduction
    • 7.2. New rock art in Lakeland
    • 7.3. Dating and context
    • 7.4. Rock art and movement
    • 7.5. Rock art and rough-outs
    • 7.6. The axe factor: moving mountains
    • 7.7. Routeways in a mountain landscape
    • 7.8. Discussion
    • Acknowledgements
    • References
  • 8. Bronze Age Footprints and Shoeprints, Celestial Cults and Pilgrimages in the Northwest Iberian Peninsula
    • 8.1. Introduction
    • 8.2. Geographical setting
    • 8.3. Data
    • 8.4. Chronology
    • 8.5. Interpretation
    • Acknowledgements
    • References
  • 9. Rock Art on the Inka Pilgrimage Route in the Titicaca Basin
    • 9.1. Introduction and historical background
      • 9.1.1. Inka history through the lens of archaeology
      • 9.1.2. Inka history through the lens of ethnohistory
      • 9.1.3. Inka arrival in the Titicaca Basin
      • 9.1.4. Inka rock art as wak’as
    • 9.2. The rock art sites
    • 9.3. Discussion
      • 9.3.1. Rock art among the Lupaqa and Inka
      • 9.3.2. Rock art today
    • 9.4. Conclusions
    • References
  • Contributors
  • Back cover
Citable Link
Published: 2022
Publisher: BAR Publishing
ISBN(s)
  • 9781407359892 (paper)
  • 9781407359908 (ebook)
BAR Number: S3092
Series
  • International
Subject
  • Ethnoarchaeology / Anthropology
  • Landscape Archaeology
  • Central and South America and the Caribbean
  • Western Europe and Britain
  • Africa
  • Central and Eastern Europe
  • Egypt and Sudan
  • Rock-Art / Semiotics
  • Prehistory (general titles only)
  • Hunter-Gatherers / Hunting
  • Neolithic / Chalcolithic
  • Multiperiod
  • Bronze Age and Iron Age
  • British Isles
  • Late Antiquity and Byzantium
  • Central and South Asia
  • Excavation / Fieldwork / Survey
  • Art / Sculpture / Gems / Seals
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