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,...

This volume represents the first systematic attempt to compare the rock paintings and rock engravings southern Africa. It demonstrates that these two categories have less in common than has hitherto been recognised. For example, whilst the majority of rock paintings show human beings, more than 90 per cent of the engravings consist of geometric motifs. / Dieser Band repräsentiert den ersten systematischen Versuch, die Felsmalereien und Felsgravuren des südlichen Afrikas zu vergleichen. Er belegt, dass diese beiden Kategorien weniger gemeinsam haben, als bis jetzt angenommen wurde. Zum Beispiel zeigt die Mehrheit der Felsmalerien Menschen, während mehr als 90% der Gravuren aus geometrischen Motiven bestehen.

Det finns två huvudområden för hällristningar i Västmanlands län med nära relation till de forntida strandlinjerna. I båda dessa områden finns det fornborgar som hittills inte har daterats. Syftet är att datera Näsborgen och Kastena Skans i östra och västra Västmanland genom att använda geografiska informationssystemet QGIS och forntida strandlinjedata hämtad från Sveriges Geologiska Undersökning (SGU). Dessutom betraktas fornborgarna ur ett landskapsperspektiv och deras relation till hällristningar och skärvstenshögar som styrker en bronsåldersdatering för dessa fornborgar. Analysen använder tidigare bekräftade bronsåldersdateringar av tre fornborgar i Uppland som referens för Västmanlands fornborgar och överblickar andra närliggande fornborgar. Både Näsborgen och Kastena Skans konstateras vara konstruerade under bronsåldern. / There are two main areas of rock art in Västmanland county with a close relation to the ancient shorelines. In both areas, there are hillforts that have not yet been dated. The aim is to date Näsborgen and Kastena Skans in eastern and western Västmanland by using the geographic information system QGIS and ancient shoreline data obtained from Geological Survey of Sweden (SGU). Additionally, the hillforts are considered from a landscape perspective and their relation to rock art sites and heaps of fire-cracked stones, which support Bronze Age datings for these hillforts. The analysis uses previously confirmed Bronze Age datings of three hillforts in Uppland as a reference for the hillforts in Västmanland and provides an overview of other nearby hillforts. Both Näsborgen and Kastena Skans are determined to have been constructed during the Bronze Age.

This research focuses on a rock art recording process as a possible social development project from a Communication for Participatory Development perspective. The study is part of and builds on the wider National Heritage Council-funded Biesje Poort: KhoiSan rock art recording project. The wider project’s overall objective is “to alert and assist the local authority to the presence of a KhoiSan Heritage resource/s in their area of jurisdiction and assist in developing its educational and tourism potential” (NHC/Lange 2010, proposal). One of the project’s secondary objectives is to transfer skills in the recording and representation of the rock engravings and broader cultural landscape via GPS mapping to members of a present day KhoiSan community in the Northern Cape, as well as to young researchers from a variety of educational institutions in South Africa. My research explores and documents the role of participatory communication in the project including its promotion of skills transference, empowerment, and the level of participation amongst all participants. In doing so, the research investigates the dialogue, power relations and research negotiation between members of the multicultural and multidisciplinary research team. Data is gathered via participant observation and face-to-face interviews that is then analysed against participatory development communication principles as outlined in models such as Communication for Participatory Development (Kincaid & Figueroa, 2009), and strategies such as Participatory Action Research (PAR). Findings generated from this study reveal that in spite of all challenges encountered by participants the intended project objectives were met. This study further provides an insight into other possible research outcomes that could be achieved by implementing a participatory communication research with multicultural and multidisciplinary participants. Taking into account the possible influence that this research’s contextual dynamics could have exerted on the outcomes, recommendations have been made that further research be undertaken on a broader scale to provide more definitive evidence of using this approach. Further recommendations are made that dialogue, and skills acquisition or transference, be at the heart of every participatory communication. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2012.

A região de Diamantina, em Minas Gerais, guarda um amplo acervo de grafismos rupestres e ricos conjuntos artefatuais e estruturas atribuíveis aos últimos 1.500 anos de ocupação humana. Esta pesquisa investiga os dois conjuntos de registros arqueológicos: o horizonte recente e as pinturas rupestres. Numa análise que procura congregar estudos intra e intersítios, os dois conjuntos são explorados, em busca de identificar sistemas de ocupação e construção da paisagem. Nas ocupações recentes, vêem-se coleções líticas bastante variadas, em sítios de atributos diferentes, que se pretende conectar por meio do emprego das noções de organização tecnológica e cadeia operatória. No que tange aos grafismos rupestres, esta pesquisa investe na identificação de estilos e no reconhecimento das relações cronológicas entre esses. São analisadas também as formas de interação diacrônica entre figuras e as formas de sua composição gráfica. / The region of Diamantina, in Minas Gerais, has a large rock paintings assemblage and rich artefactual assemblages, and structures from the last 1.500 years of human occupation. This research explores the both archaeological features: the occupations of the later pre-colonial period and the rock art. Trying to put together intra and inter-site studies, we intent to identify systems of landscape building. In the later human occupation, there are many lithic artifacts, in different kinds of sites, that are studied here with the use of two basic concepts: technological organization and chaine operatoir. The rock art is explored through stylistic and chronological approaches. We also explore the ways of diachronical interactions and graphic construction among the paintings.

Este trabalho apresenta os resultados de uma pesquisa voltada à contextualização arqueológica do fenômeno da confecção das gravuras rupestres pré-coloniais na bacia do baixo rio Urubu (Estado do Amazonas). Com o objetivo de caracterizar o registro rupestre regional, foi desenvolvida uma pesquisa intensiva no sítio AM-IT-31 Caretas, portador da maior densidade e variabilidade formal de arte rupestre da área de estudo. O sítio foi abordado a partir do controle espacial dos petróglifos e dos demais vestígios arqueológicos. Sua documentação foi realizada de forma integral e sistemática e foi organizada em um banco de dados relacional, possibilitando a articulação entre diferentes classes de evidências. Para caracterizar a arte rupestre do ponto de vista de sua inserção na paisagem arqueológica, foi investigada a relação crono-cultural com o sítio cerâmico em matriz de terra preta AM-IT-30 Pedra Chata, espacialmente associado. A cronologia das gravuras foi relacionada à dinâmica de sedimentação fluvial; com três datações foi estabelecida a idade mínima dos petróglifos e foi proposto um modelo paleoambiental hipotético para inferir sua antiguidade máxima. Os resultados, embora preliminares, atribuem a formação do sítio ao Holoceno Recente, no âmbito das ocupações ceramistas da região. A análise do registro gráfico tem evidenciado elementos de homogeneidade, tanto no tema como também na apresentação gráfica dos petróglifos, que remetem a uma substancial coerência interna, apesar da variabilidade formal. / This thesis presents the results of research seeking to archaeologically contextualize the precolonial production of engraved rock art in the Lower Urubu River drainage (Amazonas State, Brazil). With the objective of characterizing the rock art of this region, I carried out an intensive research project at the site AM-IT-31 Caretas, which has the highest density and formal variability of rock art in the entire area. Spatial control of both the petroglyphs and other archaeological remains at the site was established to permit their complete and systematic documentation. The records were organized in a relational database, allowing for the analysis of the relationships between different sets of evidence. In order to characterize the placement of rock art within the archaeological landscape, I studied its chronological and cultural relationships with the adjoining archaeological site AM-IT-30 Pedra Chata where ceramics occur in a matrix of \"dark earth\". The chronology of the engravings has been correlated to the fluvial dynamics. Thanks to three dates a minimum age has been proposed for the petroglyphs and a paleoenviromental model suggests their maximum age. Preliminary results point to site formation during the late Holocene in synchrony with ceramic period occupations. The analysis of petroglyphs indicates some homogeneity in regard to themes and graphic representation. This suggest a internal consistency in design despite some formal variability.

O Carste de Lagoa Santa e a Serra do Cipó, que compõem a área da pesquisa, abrangem parte da Região Metropolitana de Belo Horizonte-RMBH, centro do estado de Minas Gerais. Possuem inúmeros sítios arqueológicos em abrigos sob rocha calcária e de quartzito, com diversos tipos de grafismos rupestres; pintados, picoteados e incisos. Boa parte desses grafismos é atribuída à Tradição Planalto, elaborada nessa região, pelo menos, a partir do Holoceno Médio. Inúmeros conjuntos estilísticos sucessórios e temáticos atribuídos a essa tradição foram identificados e reorganizados, buscando, sempre que possível, realizar analogias e correspondências entre as duas regiões componentes. Foram ainda identificadas outras unidades ou expressões gráficas não-Planalto em níveis picturais, intermediários e recentes, que, em alguns casos, indicam possíveis influências de outras regiões do país. Também foram propostas para os conjuntos de figuras picoteadas, variações estilísticas que congregam repertórios temáticos peculiares. As incisões rasas, por sua vez, apresentam dimensões e visibilidades variadas, inclusive miniaturas que não haviam sido consideradas em estudos anteriores. A observação de padrões de exploração de utilização do espaço internos dos abrigos para a execução das figuras, levando em consideração os diferentes suportes rochosos, a interação das figurações com as preexistentes, além da distribuição das expressões gráficas de alta e baixa visibilidade nos sítios e na paisagem, foram fundamentais para a proposição de panorama crono-estilístico mais detalhado, levando em consideração as alterações, diferenças e similaridades estilísticas ao longo do tempo. / The Lagoa Santa Carste and the Serra do Cipó, comprises the research area, covering part of the metropolitan region of Belo Horizonte-RMBH, center of Minas Gerais state. Numerous archaeological sites have shelters in limestone and quartzite, with various types of rock art, painted perforated and incised. Much of this artwork is attributed to the Tradição Planalto, stablished in this region, at least from the Middle Holocene. Several sets stylistic and thematic succession assigned to this tradition have been identified and rearranged, seeking, where possible make analogies and correspondences between the two regions components. Other units or non-Planalto Intermediate and recent pictorial expressions levels were identified which, in some cases, indicated possible influences of traditions from other regions of the country. Combinations of dotted figures, stylistic variations that bring unique themed repertoires have also been proposed. The shallow incisions in turn, have varying sizes and visibility, including miniatures that had not been considered in previous studies. The observation of pattern of use of the internal space of shelters for the execution of the figures, taking into account the different rock media, the interaction of figurations with the background, beyond the distribution of graphic expressions of high and low visibility sites and landscapes, were fundamental to the proposed landscape of chrono-stylistic more detailed, taking into account the changes, stylistic differences and similarities over time.

Le sujet traité dans le cadre de cette thèse de doctorat porte sur les sites d'art rupestre du Burkina Faso autant pour ce qui est de l'analyse scientifique de leur contenu graphique que pour leur sauvegarde et leur valorisation. Les populations anciennement installées, suivant l'état actuel des connaissances, ont immortalisé leur vécu à travers de magnifiques témoignages picturaux sur des formations rocheuses dans l'ensemble Nord et Ouest du pays. Le Nord, zone sahélienne, compte des sites de gravures rupestres découverts à Pobe-Mengao, à Arbinda et à Markoye. L'Ouest, une région à végétation relativement dense du pays, abrite des sites de gravures et de peintures à Borodougou, aux environs de Toussiana, à Kawara, à Douna, à Tamassari et à Neguéni. Le choix d'étude systématique des rupestres de Pobe-Mengao et de Toussiana s'est imposé dans notre démarche eu égard à l'état actuel des connaissances sur l'art rupestre burkinabé. L'art rupestre de ces deux localités est traité sous un angle archéologique (typologie, distribution, analyse quantitative et qualitative, chronologie) et dans une optique historique ou ethnographique (enquêtes de terrain auprès des populations qui avoisinent les œuvres rupestres, le rapport entre les sites rupestres et les populations actuelles). La combinaison des deux approches ont permis de rassembler d'importantes informations sur ces traces anciennes particulières. En plus de l'analyse et la connaissance de ces trésors fragiles, inestimables et non renouvelables, le présent travail fait une ouverture pour leur sauvegarde et mise en valeur que nul n’ignore l'apport dans la dynamique territoriale et le développement culturel d'un pays. / This thesis focuses on the rock art sites of Burkina Faso, as much in terms of the scientific analysis of their graphic content as their protection and promotion. Early populations have immortalized themselves through magnificent pictorial evidences on the rock formations found in the north and west of the country. The north, part of the Sahelian region, includes the rock engraving sites discovered in Pobe-Mengao, Arbinda and Markoye. The west, an area of relatively dense vegetation, includes rock engravings and paintings found in Borodougou, on the outskirts of Toussiana, in Kawara, Douna, Tamassari and Negueni. Given the present understanding of Burkinabe rock art, the systematic study of the Pobe-Mengao and Toussiana sites has become essential to this research. The rock art found in these two regions is studied from an archaeological perspective (typology, distribution, quantitative and qualitative analysis, chronology) as well as a historical and ethnographical point of view (field surveys conducted among the people living near the rock art sites, the relation between these sites and the current populations). Combining these two approaches has enabled collection of important information pertaining to these unique ancient traces. In addition to the analysis and understanding of these priceless and irreplaceable fragile treasures, this study marks the opening of their protection and promotion which no doubt holds an important bearing upon the territorial dynamics and cultural development of the country.

This thesis presents a holistic study of connections in the Altai Mountains of the eastern Eurasian Steppe, as shown by rock-art. Currently divided by four countries, pecked images (petroglyphs) and painted images from the 2^nd-1^st millennium BCE have been subjected to very separate research traditions, exacerbated by language barriers. This thesis focusses on the entire Altai Mountain range as a study area, integrating research published in Chinese and Russian, with supplementary literature in Kazakh and Mongolian consulted. To demonstrate the potential for connectivity and, consequently, movement, a map of accessibility was generated, showing that there are various optimal routes for movement throughout the Altai. The locations of rock-art sites relative to these routes indicate that movement was a key feature contributing to the creation of rock-art. Examining topographic features in the vicinity of rock-art sites of three regions (Mongolia, Russia, PRC) highlighted an association between watercourses and sites, whilst studying the micro-landscape within panels found that the creators of rock-art were not representing the tangible spatial relationship of figures to the landscape. More broadly, similarities between motifs at rock-art sites, as well as on portable art, demonstrate that the people making them, regardless of whether they were aware of it or not, were part of a wider understanding of how to depict subjects. Evidence of this understanding can be found even in regions with very different cultural backgrounds to the Steppe, such as the Chinese Central Plains, demonstrating that groups outside of the Steppe were aware of and using this way of representing. By combining analysis of motifs with that of the landscape, this thesis demonstrates that rock-art as a practice was inherently linked with to the landscape, whereas content and style are more indicative of a wide-ranging belief system amongst Steppe pastoralists, which was expressed aesthetically.

This archaeological community-engaged research focuses on locating, recording, photographing, and classifying, rock art (pictographs and petroglyphs) designs within Heiltsuk and Wuikinuxv Nations’ territories. The two areas are on the Central Coast of British Columbia, Canada: River’s Inlet/Owikeno Lake (Wuikinuxv Territory, near Oweekeno village), and Roscoe Inlet (Heiltsuk Territory, near Bella Bella). By listening to stories and visiting rock art locations its deep history and significance can begin to be comprehended. Throughout this research 58 rock art sites were visited and over 900 designs were categorized into nine types. Within this context I consider the feasibility and benefits of digital contrast adjustment of photographs using DStretch, a plugin created for ImageJ, that renders visible faint traces of pigment which can not be seen with the naked eye. Additionally, the potential of underwater archaeology (scuba diving) for the discovery and recording of rock art sites is explored. / Graduate / 0324