Thesis (M.Sc. (Geography))--University of Pretoria, 2009. / Includes bibliographical references

A dissertation submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts. Johannesburg, 1996 / South African and American public rock art sites are in a predicament. In both countries, there is a lack of an adequate, theoretically informed but practically implementable, conceptual approach to presenting these sites. This lack leads to the reproduction of stereotypes of rock art and the indigenous people who made it. This thesis suggests a way of rectifying the present situation. It is argued that any suggested reconstruction of public rock art sites must recognise that they are implicated in identity-formation. Following this premise, a strategy, entitled metaphoric pilgrimage, is suggested, developed and applied to four rock art sites - two in South Africa and two in America.

M.Sc. Rock Art Studies (by research) in the Rock Art Research Institute, School of Geography, Archaeology and Environmental Studies (GAES), Faculty of Science University of the Witwatersrand. Johannesburg, 2016. / Northern Sotho, Khoekhoe, and San rock art occur together in many shelters across South Africa’s Limpopo province. In some cases, specimens of the rock art of these traditions can be seen to be painted directly over one another. By studying such occurrences on the Makgabeng plateau, this project assesses whether the superimposition of rock art among different painting traditions can reveal new insights regarding the painters and their relationships with ‘others’. By looking at how the social life of the rock art is manipulated through superimposition, this study aims to uncover how this manner of consumption reflects upon the nature of the interaction among people of different painting traditions. / LG2017

The diploma thesis deals with the memory of the Icelandic rock through a series of abstract paintings anchored in the aesthetics of process painting. The author paints the paintings on the basis of a synthesis of personal experience, a metaphorical conception of geological processes and drawing from a digital photographic master, and observes the relationship between the painter and his painting in the sense of building a painting as an entity with subjective needs. At the same time, the work examines the overlaps and possibilities of abstract painting to stimulate an imagination that changes the resulting meaning and content in relation to its creator or viewer.

Lenka Suková Abstract of Dissertation 1 THE ROCK ART OF NORTHEAST AFRICA: A CASE STUDY OF THE ROCK PAINTINGS FROM THE CZECHOSLOVAK CONCESSION IN LOWER NUBIA Lenka Suková ABSTRACT OF DISSERTATION The study I hereby submit as a dissertation is part of my long-term project aimed at a critical evaluation of the rock-art and archaeological evidence gathered in two sections of the Nile Valley in Lower Nubia by the Czechoslovak expedition working in the framework of the UNESCO-organised salvage campaign. The study, published in 2011 as a separate monograph, is concerned only with occurrences of rock paintings and coloured (incrusted) petroglyphs in the two research area. The nine shelters treated herein constitute only 0.64 % in the whole corpus from the Czechoslovak concession predominated by petroglyphs - just as in most of Northeast Africa - of varied themes, styles, and dates. Nevertheless, this painted corpus is a valuable collection that, as opposed to petroglyphs, represents works that were more demanding from the technical point of view and require detailed analysis of technical aspects, is more amenable to stylistic analysis, and, last but not least, the colour scheme itself plays part in interpretation (for instance, in the case of white, probably linen kilts or tunics in two of the shelters - 17 R XIII,...

Fundação de Apoio a Pesquisa e à Inovação Tecnológica do Estado de Sergipe - FAPITEC/SE / People visiting a place with rock art invariably experience, at some point, different relationships and feelings between body-painting-stone. Materialized rock art invades us, our body is crossed by the visibility of the invisible, by what it is not said. The objectives of this study follow this line. I immersed myself in the colors of the rock paintings of the Archaeological Complex of Lagoa da Velha, located in Morro do Chapéu, Bahia. I wanted to perceive the existence of criteria of intentionality in the use of colors in the rock painting, as well as possible interrelations between these colors, the landscape and the body, considering the painting as a result / product of the interaction between the artists and the landscape. In this study, I sought to understand the different relationships between color and body during the aesthetic experience, both in production and perception of rock paintings, in a phenomenological perspective, showing its sensory dimension. Through a committed approach and a first-person narrative, I tried to study the paintings and their insertion in the landscape, from the relationships and connections between motives, panels and scenes. It was also under investigation, to observe how these elements can show the intention and preferences of the people who produced them, and impact on the people who see them. / As pessoas que vivenciaram um lugar com arte rupestre, em algum momento, experimentaram diferentes relações e sensações entre corpo-pintura-pedra. A arte rupestre materializada nos invade, nosso corpo é atravessado pela visibilidade do invisível, do não dito. O objeto deste estudo segue este caminho. Nele, mergulho nas cores das pinturas rupestres do Complexo Arqueológico Lagoa da Velha, localizado no município de Morro do Chapéu, estado da Bahia. Busquei perceber a existência de critérios de intencionalidade no uso das cores na arte rupestre e as possíveis inter-relações entre essas cores, a paisagem e o corpo, considerando a pintura como resultado/produto da interação entre artistas e paisagem. Neste volume busquei perceber as diferentes relações entre cores e corpo na experiência estética, tanto na produção quanto na recepção das pinturas rupestres, em uma perspectiva fenomenológica, evidenciando sua dimensão sensorial. A partir de uma abordagem engajada e através de uma narrativa em primeira pessoa, procurei perceber as pinturas e sua inserção na paisagem a partir das relações e conexões entre motivos, conjuntos e cenas. Também foi objeto desta pesquisa, observar o modo como esses elementos podem revelar intencionalidades e preferências das pessoas que os produziram, bem como agir sobre as pessoas que os percebem.