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Dear All,
The winter months always tend to be quiet for British rock art, and this is reflected in the current (brief) issue which includes no
new discoveries and little news from Britain. This will therefore be the the last April issue of Rock Articles; beginning with the
October issue (no. 20) we will switch to an annual publication and will focus more on British activities although always with an
eye on any wider developments that may be of interest. Enjoy the summer conferences and fieldwork - I hope to see some of
you in Ilkley or Valcamonica!
Kate
April 2018
kesharpe@outlook.com
Contents:
• New British discoveries: snowy pics but nothing new ............................................................................... 1
• BRAG in Ilkley (Advert) ............................................................................................................................. 2
• World rock art on the web: international news and links ........................................................................... 3
• Made of stone but built on sand – what now for rock art research? Andy Curtis ................................. 4
• Wot - no cups? Kate Sharpe ...................................................................................................................... 5
• A new view of carved landscapes: GIS and the study of rock art Jack Brannon ................................... 6
• Rock art reads: new publications .............................................................................................................. 7
• After the flood. Documenting the engravings of the Tagus Valley Sara Garcês ................................... 8
• Fieldwork in Valcamonica (Advert) ........................................................................................................ 11
• Inspired by rock art: cup and ring stitch! ................................................................................................ 12
• Rock art abstracts: headlines from the journals ...................................................................................... 13
• Dates for your diary ............................................................................................................................... 14
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Issue No. 19: Spring 2018
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Issue No. 19: Spring 2018
Source: www.abc.net.au/news/science/2018-02-23/how-to-paint-like-a-neanderthal/9466162
See video at: https://www.dur.ac.uk/news/newsitem/?itemno=33778
Full paper: Hoffmann, DL et al. 2018. U-Th dating of carbonate crusts reveals
Neandertal origin of Iberian cave art, Science 23, 359(6378), 912—5 Image: CD Standish, AW Pike and DL Hoffman
DOI: 10.1126/science.aap7778
Indigenous owners 'left out' of rock art site's world heritage listing talks
The Burrup peninsula in north-west Western Australia is a nationally listed heritage
site containing more than 1m petroglyphs, or rock carvings, across 36,857ha of the
peninsula and surrounding Dampier archipelago. The Murujuga Aboriginal Council
(MAC) has joint management of the Murujuga national park, which covers areas of
the peninsula. The final report of the Senate committee, ordered to examine
potential damage to the site by a nearby industrial estate, was released on
Wednesday 21 March. Spokespeople from MAC told the committee that both the
organisation and its council of elders had not been substantially consulted on the
idea of pursuing a world heritage listing of the site for close to a decade.
Read more at: https://www.theguardian.com/australia-news/2018/mar/22/indigenous-owners- Image: Graeme Robertson for the Guardian
left-out-of-rock-art-sites-world-heritage-listing-talks
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Issue No. 19: Spring 2018
Made of stone but built on sand – what now for rock art research?
Andy Curtis*
Wot - no cups?
Kate Sharpe
We are used to seeing the familiar cup-and-ring motif with all its variations, and the ubiquitous cup mark appears in scatters,
in patterns, and in splendid isolation. But rings without cups are more unusual and tend to be associated with the megalithic art
of the Boyne Valley. A rapid survey of various gazetteers shows that there is, however, a small but significant corpus of rock art
which has no cups present – only concentric rings. Motifs range from a single ring to at least ten concentric rings at Copt Howe
in Cumbria. They are found in central and lowland Scotland, in northern Northumberland, and across Cumbria. Further
examples are also recorded in southern England in Dorset but ring-marks appear to be less common in the rock art regions of
north of Scotland and West and North Yorkshire. A significant number of the ring-marked panels are associated with
monuments, especially cists, or are ‘portable’ slabs and have been moved or re-used; many have truncated motifs. Here is a
selection compiled from sources including the BRAC website, the ERA website, and Canmore:
Lilburn Burial b, Maryport, Cumbria Lamancha, Scottish Borders Winterborne Came, Dorset
Northumberland
Houxty Cottage, Knowlton Southern Henge, Wester Yardhouses, South Burr Torr, Derbyshire
Northumberland Dorset Lanarckshire
Morwick, Northumberland Carr Hill, Northumberland Castleton 10, Stirling Tilicoulty, Clackmannanshire
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Issue No. 19: Spring 2018
A new view of carved landscapes: GIS and the study of rock art
John Brannon, Durham University
Wider use of Geographical Information Systems (GIS) in the study of rock art has great potential to improve our understanding
of these sites. Almost everyone has used a GIS in everyday life, for example with Google Maps or a car Sat Nav. In archaeology
and the study of rock art, software, usually ArcGIS, is used to produce models and maps using a programmed set of
parameters. Free GIS software is also available (eg QGIS https://qgis.org/en/site/ ).
The location of most rock art in the open landscape has led to much of the interpretation surrounding these sites focussing on
spatial evidence. GIS allows researchers to assess directionality, relationships with monuments or landscape features, and can
be used to calculate the viewshed of rock art sites and can simultaneously analyse as many sites as the computing power will
allow. Using only field observations, the task would require far greater time and effort. From the results produced in GIS we can
determine which are statistically significant, and so form a stronger interpretation of rock art within a landscape.
My undergraduate research focused on rock art sites in both Barningham Moor and the Upper Tyne area of Northumberland,
using cumulative viewshed analyses to understand key features within the landscape. My MA research at Durham University will
develop this work, using GIS techniques to analyse how societies and individuals interacted with these sites.
When using GIS to conduct viewshed analysis, the
background elevation model is divided into cells, the
size of which are determined by the resolution of the
model (a 5 m resolution would create cells of 5 m 2).
The simplest form of viewshed analysis is created with
a single viewpoint (eg a rock art site). From here, the
software calculates the visibility of every cell within the
defined area (usually the size of the background map)
giving a binary result of either 0 – not visible, or 1 –
visible. While this approach allows us to easily
highlight key locations of visibility (see Figure 1 for
example), it is limited in its use for archaeological
interpretation; a simple site visit and high-quality
panoramic photographs of the views would probably
produce similar results.
Cumulative viewshed analysis involves the sum of two
or more binary viewshed analyses. The result for each
cell is an integer ranging from 0 (no viewpoints visible)
to a theoretical maximum of the total number of
viewpoints in the analysis (all viewpoints are visible).
The results can be manipulated and displayed in many
ways, most often as stretched values (see Figure 2).
Figure 1: Single viewshed analysis
Conolly, J. and Lake, M. 2006. Geographical information systems in archaeology. Cambridge: CUP.
Fairen-Jimenez, S. 2007. British Neolithic rock art in its landscape, Journal of Field Archaeology, 32(3): 283–95.
Freedman, D., Jones, A. and Riggott, P. 2011. Rock art and the Kilmartin landscape, in A.M. Jones, D. Freedman, B. O'Connor, H.
Lamdin-Whymark, R.Tipping & A. Watson (ed.) An animate landscape: rock art and the prehistory of Kilmartin, Argyll, Scotland: 222–
50. Oxford: Windgather Press.
Gillings, M. 2015. Mapping invisibility: GIS approaches to the analysis of hiding and seclusion, Journal of Archaeological Science 62: 1-14.
Wheatley, D. 1995. Cumulative viewshed analysis: a GIS-based method for investigating intervisibility, and its archaeological
application, in G.R. Lock and G. Stancic (ed.) Archaeology and GIS: a European perspective: 171–86. London: Taylor & Francis.
Wheatley, D. and Gillings, M. 2013. Spatial technology and archaeology: the archaeological applications of GIS. London: Taylor & Francis.
Winterbottom, S. J. and Long, D. 2006. From abstract digital models to rich virtual environments: landscape contexts in Kilmartin Glen,
Scotland, Journal of Archaeological Science 33(10):1356–67.
If you would like to submit an article to Rock Articles, please contact me at kesharpe@outlook.com.
Feature articles. Contributions are invited for articles on all aspects of Rock Art in Britain and Ireland, including recording
techniques, interpretation, management, presentation, education, and conservation. We are keen to hear about any community
projects, heritage initiatives, new techniques, new research, and to provide a forum for anyone with an interest in rock art.
Perhaps you have been to a conference and could write a report, or have participated in a workshop or training event? Articles
should be 750-1000 words and should include at least two images (for which you should have permission).
New Discoveries. If you have identified any new rock art and would like to feature your find in the New Discoveries section of
Rock Articles, get in touch, with a photograph of your find. Please note that grid references will not be included in Rock Articles.
Finds should be reported to and verified by the relevant local authority HER officer.
British Rock Art News. Do you have some news about your project, or an update on a particular panel that you can fit into
less than 200 words? Why not share it RA readers?
Inspired by Rock Art? Rock art often inspires creative responses. Have cup and ring marks fired your imagination? If so we’d
love to see your work!
Events and opportunities. Are you running an event that might be of interest to RA readers? Let us know about any talks,
conferences, or guided walks. Maybe you are looking for participants for a community project? Advertise here and use the RA
network to spread the word.
Submission deadline for Rock Articles No. 20: 14th Sept 2018
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Issue No. 19: Spring 2018
After the flood: documenting the submerged engravings of the Tagus Valley
Sara Garcês
The Tagus Valley Rock Art Complex is located in central Portugal), along 40 km of both sides of the Tagus River and three
tributaries: the Ocreza, Ponsul and Erges. Twelve rock art sites are scattered throughout the four municipalities of Mação, Vila
Velha de Ródão, Nisa and Castelo Branco. Engravings recently discovered on the Erges River are stylistically similar to those on
the Tagus so are also included in the Tagus Rock Art Complex which now comprises a total of 6988 engravings across 1636
rocks (see Figure 1).
Current methodology
The processing of the latex moulds required several phases, each carried
out with as much care as possible due to the previous storage conditions of
some of the moulds (which resulted in scratches, wear, talcum powder,
fungi, etc.). The 2D drawings were generated from the latex moulds for ten
sites and also for a set of moulds with no recorded location. Laboratory
protocols for the paper documentation of every aspect of each mould
included:
1) Production of plastic sheets for direct tracing. Each sheet measured 84 x
59 cm with 2 cm margins (approximate size of an A1 sheet);
2) Positioning each plastic sheet on the mould following a strict sequence: if
more than one sheet was needed, these were always placed from left to Figure 3: Direct tracing using artificial light
right, top to bottom and each sheet overlapped about 2 cm of the previous
one so that some part of the tracing is repeated in both. This facilitated the combination of different sheets in the image
processing step;
3) Direct tracing of the engravings using coloured permanent markers. The whole process of tracing was done in a dark room,
using oblique artificial light focussed such that the engravings appeared. The flickering light, when placed on the mould, created
a shadow in the relief of the engravings, allowing complete visualisation.
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Issue No. 19: Spring 2018
All the plastic sheets were digitised and processed using Adobe Photoshop © software. The digital processing involved the
organisation and compilation of the sheets for each mould, the creation of each individual image, the counting of figures, and
the representation of the overlays with different colours.
Direct tracing was also carried out at three sites with out-of-water engravings (Ocreza, Gardete and São Simão). The
methodology followed the same protocol and these drawings were compared to the moulds of the same panels to compile the
largest amount of information on each rock. Professional photographic documentation was undertaken for all the moulds.
Typology
After compilation of data for all the rock art of the Tagus Valley, it was necessary to develop a typology (Figure 4) that
represented the very complex characteristics of this group. The 6988 figures identified on the 1636 panels were organised into
the following major categories. The number of figures is given with the percentage of the total in parentheses:
• Anthropomorphic figures: 235 (3.36%)
• Zoomorphic figures: 325 (4.65%)
• Open Linear Structures: 1229 (17.59%) - lines, bundles, wavy lines, zig-zags, figures in the shape of angles; horseshoe, ox horns
shape, semicircle, meander, stems shape figures, U shape figures, double U shape figures, U-shaped with dash in the middle
• Closed Linear Structures: 3852 (55.12%) - many types of circles, concentric circles with nos. of rings, halter-shaped figures,
several types of geometric figures, e.g. squares, rectangles, triangles, double triangles, etc.
• ‘Others’: 1679 (2.42%)- weapons, asterisk shape, crosier shape figures, shields, idol shape figures, footprints, sun-shape figures,
eye-shape figures, cup marks, sets of cup marks, net-shape figures and cup-shape figures
• Pecking ‘clouds’: 1105 (15.81%)
• Inscriptions (from several chronologies): 26 (0.37%)
• Indeterminate figures: 45 (0.64%)
• Religious figures: 2 (0.02%)
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Issue No. 19: Spring 2018
The Tagus Valley documentation was developed within the ‘Ruptejo’ research project and was carried out with the institutional and financial support of the
Museum of Prehistoric Rock Art and the Sacred Tagus Valley of Mação; Algarve Archaeological Association; Geosciences Center of Coimbra University;
Earth and Memory Institute (ITM - Mação); Polytechnic Institute of Tomar (IPT – Portugal) and Foundation for Science and Technology (FCT - Portugal).
Sara Garcês
Geosciences Center, Coimbra University (u. ID73-FCT) Portugal
ITM (Earth and Memory Institute), Portugal
Polytechnic Institute of Tomar (IPT – Portugal)
saragarces.rockart@gmail.com
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Issue No. 19: Spring 2018
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Issue No. 19: Spring 2018
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Issue No. 19: Spring 2018
Rock Art Abstracts: Headlines from recent journal papers. What are researchers currently thinking
about? (Full papers may not be available without subscription)
://www.dur.ac.uk/news/newsitem/?itemno=33778
Human figures blur boundaries The microbiology of rock art in Assessing risk to rock art in
between participants and cosmos Western Australia limestone landscapes in Spain
Images related to religious ideology This article focuses on the major This paper sets out a methodology for
and practice in Rio Grande Tradition influences on the microbiome of rock calculating the potential zone of
and Navajo rock art focus on the art in the Burrup Peninsula and the damage in a karst environment,
interconnectedness of all things. They implications of any environmental defining areas for conservation of
define humanity's intimate link to the change on the rock art itself. Recent cultural heritage. The methodology,
cosmos, and evoke the supernatural expansion of industry may potentially which uses lithological cartography,
strengths of other living beings, along upset the delicate balance of geomorphology and the study of
with animated entities such as rain- environmental conditions that led to fracturing, was applied in the Alkerdi
clouds and the sun. rock varnish formation. caves, Navarre, northern Spain.
Schaafsma, P. 2018. Human images Gleeson, D.B., Matthias, L., Smith Irantzu Álvarez et al. 2018.
and blurring boundaries. The Pueblo B., & Black, J.L. 2018. Rock-art Geological risk assessment for rock
Body in cosmological context: rock art, microbiome: influences on long term art protection in karstic caves (Alkerdi
murals and ceremonial figures, preservation of historic and culturally Caves, Navarre, Spain) Journal of
Cambridge Archaeological Journal 1- important engravings. Microbiology Cultural Heritage.
21. doi:10.1017/S0959774317000968 Australia doi.org/10.1016/j.culher.2018.01.017
Stylistic analysis of Arabian Chilean rock art illuminates New discoveries from Southern
camels marine hunting traditions India
The recently discovered ‘Camel Site’ in Pictographs from the Atacama Desert This paper reviews both petroglyphs
northern Arabia depicts, for the first coast in Chile provide a spectacular and pictograms in the Malaprabha
time, life-sized camelids and equids and expressive representation of river basin, North Karnataka. The art
carved in low- and high-relief. Analysis ancient marine hunting and maritime includes cupules, geometrical lines,
suggests a distinct Arabian tradition, traditions. When combined with rhombus, human figures, historical
which perhaps drew upon Nabataean archaeological evidence, this analysis paintings and many other motifs.
and Parthian influences, perhaps provides important new information They are found on isolated
serving as a boundary marker or a concerning the value and significance sandstone, granite and quartzite
place of veneration. of this rock art to those ancient boulders, as well as on the walls and
Charloux, G., et al. 2018. The art of hunter-gatherers. ceilings of rock shelters.
rock relief in ancient Arabia: new Ballester, B. 2018. El Médano rock Mohana, R. 2018. Rock art in the
evidence from the Jawf Province. art style: Izcuña paintings and the Aihole-Badami-kutakanakeri Series of
Antiquity 92(361), 165-182. marine hunter-gatherers of the the Malaprabha River Basin: some
doi:10.15184/aqy.2017.221 Atacama Desert. Antiquity 92(361), distinctive features. Ancient Asia 9, 1.
132-148. DOI: http://doi.org/10.5334/aa.151
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Issue No. 19: Spring 2018
9th – 10th Jun 2018 British Rock Art Group Annual Conference, Ilkley
See page 2.
Contact: George Nash (George.nash@Bristol.ac.uk) or Aron Mazel (aron.mazel@newcastle.ac.uk)
See http://www.ccsp.it/web/Ifrao2018/IFRAO2018_eng.html
See https://www.e-a-a.org/eaa2018
16th Jul – 4th Aug 2017 Recording Rock Art Fieldwork in Valcamonica. Camuno
Centre for Prehistoric Studies
See details on page 11.
Deadline: vitae and participation form must be sent by June 2018 to: recording.rockart@ccsp.it
Cost: 100 € plus the fee to Camuno Centre for Prehistoric Studies (40 €).
Accommodation: guest house in Nadro at 10 € per night.
Website: www.ccsp.it
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