This dissertation applies the contextual approach, as outlined by Patrick Carmichael, to the rock art of the Nasca Valley (Grande River System, Department of Ica, Peru). This approach uses different sources of information so as to construct a basic, indigenous framework within which to view and interpret the subject matter of an art object for which there is no written information due to its age. In this dissertation, I used information about the local environment and archaeology, as well as the art historical methods of formal and iconographic analyses. Comparative information was provided through ethnographic analogy to Andean myths and practices. Data for this study was gathered in a rock art survey that was carried out during the spring of 2000. This survey covered the lower part of the Nasca valley, downriver from the site of Cahuachi and southwest from the Nasca Pampa, site of the greatest concentration of geoglyphs in the south coast. Information about the location, orientation, and the relationship to archaeological and natural features, gathered in the survey, are examined in order to provide informed hypotheses about Nasca Valley rock art's function and use. The study reveals that rock art sites may have marked points of transition in the natural and cultural landscape. A concern for water is also suggested by the location and orientation of the rock art, and petroglyphs that display evidence of liquid pouring may also relate to local water sources. Using a study of form and iconography, rock art motifs in the Grande River System are separated into types and groups according to similarities to datable, portable art and to geoglyphs, providing a tentative time frame for their making. In the Nasca Valley, one period of petroglyph making activity is contemporary to Paracas Cavernas and another dates to the Early Intermediate Period (Nasca). On the upper valleys such as Palpa, Aja, and Santa Cruz, petroglyph-making activity seems to be largely associated to Paracas Necropolis and there does not seem to be Nasca rock art at those locations. With this contextual information at hand, I provide a re-evaluation of the Nasca Mythical Killer Whale motif, which is depicted in two Nasca Valley rock art sites. I propose using a new name for this motif: The Aquatic Composite Being. The location and iconography of this motif's petroglyphs provide additional information that contributes to our understanding of the meaning of this motif in Nasca art. / text

The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region. / Magister Artium - MA (Anthropology/Sociology)

The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa.

The search for a reliable and non-invasive technique for the dating of rock art has produced an array of different, localised, and limited techniques. This is one of them. Still in its experimental stage, the recognition of quartz microdebitage produced by the pecking of engravings is the aim of this project. This investigation aims to establish whether microdebitage from rock engravings can be distinguished from other sediments. Analysis of microdebitage from rock engraving experiments was used to determine the difference between experimental and naturally derived particles. This research discusses methodology, and applications for the recognition of quartz grain features, derived from experimental and natural material from Mutawintji National Park (Broken Hill, NSW, Australia) and the Sydney region (NSW Australia). A three-step process was devised for this research: What features occur on non-cultural quartz grains? What features occur on rock engraving quartz grains? Are they different? Can rock engraving quartz microdebitage be identified under natural conditions? Microdebitage from rock engravings was examined using optical and scanning electron microscopy to identify diagnostic attributes, with the objective of assessing the potential of microdebitage for spatial and temporal archaeological investigation. Characteristics of the quartz grains in the microdebitage were compared with quartz from differing environments. The observation of diagnostic features on quartz grains made it possible to discriminate between microdebitage from rock engravings and the natural soil background. This knowledge may be applied to excavated material from archaeological sites, for identifying episodes of rock engraving and other lithic activity in temporal relation to other evidence of cultural activity.

Thesis (M. Sc.)--University of Sydney, 2000. / Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 353-373).

The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region.

Magister Artium - MA / The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa. / South Africa

Thesis (M.A.)--Memorial University of Newfoundland, 2005. / Bibliography: leaves 112-115.

Thesis (Ph. D.)--University of Washington, 2001. / Vita. Includes bibliographical references (leaves 556-597).