دانلود کتاب Powerful Pictures: Rock Art Research Histories Around the World

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Title Page\nCopyright page\nContents Page\nList of Figures and Tables\n Figure 2.1. The eastern Trans-Pecos (or ‘Big Bend’) region of west Texas delineated by the Pecos River and state boundary to the north, the Rio Grande to the south, and archaeologically defined cultural areas – the Lower Pecos (east) and Jornada Mogollon\n Figure 2.2. Charles Peabody and Mitre Peak, west Texas. Courtesy of Blackwell Publishing.\n Figure 2.3. Forrest Kirkland’s watercolours of the rock art at Meyers Springs, Texas.\n Figure 2.4. Another example of the stunning rock art in west Texas, at Hueco Tanks, c. 20 cm wide. Courtesy of J. McCulloch.\n Figure 3.1. William Henry Holmes (1878) illustration of petroglyph panel at Waterflow, New Mexico.\n Figure 3.2. Kidder and Guernsey (1919) illustrated examples of mountain sheep from different sites in the Kayenta, Arizona, region to show the range of variation of this iconic figure.\n Figure 3.3. Watercolour painting by Ann Axtell Morris of Pictograph Cave in Canyon de Chelly, Arizona, circa 1923–1927. (American Museum of Natural History)\n Figure 3.4. Artist Agnes Sims (1949) created woodcuts illustrating petroglyphs at fourteenth- to seventeenth-century pueblos in the Galisteo Basin near Santa Fe, New Mexico, and compared them to personages that still appear in Hopi and Zuni ceremonies. Sh\n Figure 3.5. Harold S. and Mary-Russell Ferrell Colton noted similarities between petroglyphs at the Willow Springs, Arizona, site and Hopi use of clan signatures on historic legal documents (Colton 1946; Colton and Colton 1931). Drawing on the Coltons’ wo\n Figure 4.1. Female figure at the Peterborough Petroglyhs, Ontario. Tracing by Dagmara Zawadzka after Vastokas and Vastokas 1973, plate 13.\n Figure 4.2. Images at the Kennedy Island site in Ontario painted over quartz veins. Photo by Dagmara Zawadzka.\n Figure 4.3. Effigy formations known as Grandmother and Grandfather Rocks near the Mystery Rock Pictograph site on Lake Obabika, Ontario. Photo by Dagmara Zawadzka.\n Figure 4.4. Profile view of the Agawa Bay cliff on Lake Superior, Ontario. Photo by Dagmara Zawadzka.\n Figure 6.1. Carl Georg Brunius (1792–1869) in 1842 after a drawing by Magnus Körner. At the time he was 50 years old. Copyright expired.\n Figure 6.2. Brunius’ trailblazing thesis from 1818. Now in Antikvarisk Topografiskt Arkiv in Stockholm, Bruniussamlingen Bd LXVI, published with their kind permission.\n Figure 6.3. Places in northern Europe mentioned in this paper. 1. Northern Bohuslän, 2. Scania, 3. Blekinge, 4. Öland, 5. Tjust. Authors map.\n Figure 6.4. Example of early rock art documentations from northern Europe. Top left, Backa in Brastad in Bohuslän (Brastad 1) by Alfsøn 1627; top right, Gladhammar by in Tjust (Gladhammar 22) by Rhezelius 1634; middle left, Möckleryd (Torhamn 11) in Bleki\n Figure 6.5. Portraits of people mentioned in this paper; top left, Count Lars von Engeström; top right, Sven Lagerbring; below left, Nils Henric Sjöborg, and; below right, Gomer Brunius. Various sources, all copyrights expired.\n Figure 6.6. Example of Brunius field documentations. This one from Aspelund or Tossenäng from the vicarage estate in Tanum parish, Tanum 505. N.B. This picture has been redrawn after the original field documentation (cf. Figure 7). The scale on original d\n Figure 6.7. Example of Brunius field documentations, here Brastad 1, the so-called ‘Shoemaker,’ cf. Figure 4. This documentation was probably made in 1838 when we know Brunius visited Brastad (see Brunius 1839). Source: Pl. XXXVI in the preserved manuscri\n Figure 6.8. Example of ‘raw’ and ‘brutish’ rock engravings from the black panels in Bohuslän, this one at Kolstads Utmark (Tanum 273 at Varlös, also Brunius 1868: Pl. V). The scale on original documentation is 1/24. Source: Brunius 1818, Pl. XV, now in An\n Figure 6.9. Example rock engravings from the black panels in Bohuslän showing people taking omens from birds (Tanum 9 at Vitlycke). Source: Brunius 1868, Pl. XV. The scale on original documentation is 1/24.\n Figure 6.10. Brunius own rock inscription in Latin honouring his father Gomer, Tanum 178. N.B. the fragmented anthropomorphic human figure, down to the left, and the cup marks on the top of the panel. Frottage made by Underslös museum. Source: Swedish Roc\n Figure 7.1. Motifs at Cachão da Rapa after Jerónimo Contador de Argote (1738: 233).\n Figure 7.2. Los Letreros. a. Engraving of the shelter and plan of motif location by Góngora (1868, Figs. 79–80); b–d. Motifs published by Góngora (1868, Figs. 81–82, 85–87).\n Figure 7.3. Comparisons of a selection of motifs found in schematic art and others found at the Mesolithic site of Mas d’Azil (Obermaier 1925, pl. xxiii).\n Figure 7.4. Table of the main chronological theories by author at the Symposium on the Rock Art of the Western Mediterranean and the Sahara in Burg Wartenstein (Austria), 1960 (based on Ripoll Perelló 1964a: xi).\n Figure 7.5. Machroschematic art. a–d. Pla de Petracos Shelters V, IV, VII and VIII; e. Tollos (Hernández Pérez and Centre d’Estudis Contestans 1983, Figs. 2–6)\n Figure 8.1. Map of the expeditions Frobenius and his team undertook in Africa and Europe before 1937 (copyright Frobenius-Institut, Frankfurt am Main; reproduced with kind permission)\n Figure 8.2a and 8.2b. ‘En-face’ lion, looking at the viewer (Frobenius 1933: 68 and 97) (copyright Frobenius-Institut, Frankfurt am Main; reproduced with kind permission)\n Figure 8.3. ‘Middle Paleolithic cultural structure in northern Africa’ (Frobenius 1933: 103) (copyright Frobenius-Institut, Frankfurt am Main; reproduced with kind permission)\n Figure 8.4. Comparison of European and southern African rock art styles (Frobenius 1936a: 17) (copyright Frobenius-Institut, Frankfurt am Main; reproduced with kind permission)\n Figure 8.5. Frobenius explaining Saharan rock art during his exhibition in Rome 1933 (copyright: Bundesarchiv; reproduced with kind permission)\n Figure 9.1. After Dowson 1994: Figures 2, 4 and 5.\n Figure 9.2. ‘The death of the postcranial body’ marked what Blundell saw as the increased importance of facial features for post-contact ritual specialists. Image courtesy South African Rock Art Digital Archive, www.sarada.co.za. 2b Figures of comparable\n Figure 9.3. After Campbell 1987, people wearing brimmed hats float next to trance-related horse images with fringed streamer tails. Image courtesy SARADA.\n Figure 9.4. The capture of a manifestation of !khwa, the rain snake or water snake. Image by author and Jeremy Hollmann.\n Figure 9.5a. Shield-bearing warrior in the Maloti-Drakensberg. Image courtesy SARADA.\n Figure 9.5b. Bull sacrifice of the ‘first fruits’ festival. Image courtesy Jeremy Hollmann.\n Figure 9.6. Eland antelope painted in the poster-like manner associated with the ‘Disconnect’. Image by author.\n Figure 9.8. ‘Magical arts’ of the Korana raiders. Image SARADA, courtesy Sven Ouzman.\n Figure 9.10. AmaTola ‘Bushmen’ in trance dance postures, acquiring horse and baboon features in ritualised affirmation of their raiding economy and the desire for supernatural protection. Image by author.\n Figure 11.1. Map showing painted and engraved sites recoded by the Archaeological survey (after Van Riet Lowe 1952, place names have been updated to reflect current names).\n Table 11.1. Summary of regional differences as outlined by Burkitt (1928), Bleek (1932), van Riet Lowe (1952), Rudner and Rudner (1970) and Willcox (1984). I have tried to align similar regions as much as possible.\n Figure 11.2. Rock painting and engraving areas as proposed by the Rudners (after Rudner and Rudner 1970: 266).\n Figure 11.3. Division of the subcontinent into six regions by Willcox (after Willcox 1984: 128).\n Figure 12.1. Grey’s Figure from March 29th Cave. Image courtesy of Auckland Libraries Heritage Collections GMS 136.3\n Figure 12.2. (Left) Wandjina. (Right) Dendroglyph of an Argula, ‘the spotted devil of the Wahgomeralis’. Explorer (Gunn) 1886\n Figure 12.3. Laurell’s sketch of the Wandjina Wandada at Mt. Barnett. Image courtesy of Kim Akerman.\n Figure 12.4. Roy Collison and Charles Price Conigrave with a ground figure of a crocodile. Image courtesy of Kim Akerman.\n Figure 12.5. Two Wandjinas from Nyimundum Rock. Love 1930, Plate 2.\n Figure 13.1. Kimberley Region Western Australia (Michael P Rainsbury)\n Figure 13.2. Winged Figure (DRNP).\n Figure 13.3. Gwion Figures (DRNP). (Sketch by Chris Henderson 1988.)\n Figure 13.4. Joc Schmiechen, Lee Scott-Virtue, Mike Donaldson, David Welch.\n Figure 13.5. Grahame L Walsh 1944–2007 (The Australian, August 24, 2007).\n Figure 14.1. Tree, Puthur Malai\n Figure 14.2. Jain Tirthankar, Kidaripatti\n Figure 14.3. Bird-headed man, Kidaripatti\n Figure 14.4. Man riding a horse, Anaipatti\n Figure 16.1. Key sites and geographic localities mentioned in the text. 1 – Besovy Sledki, Zalavruga; 2 – Kanozero; 3 – Kapova Cave (Shul’gan-Tash); 4 – Irbitskiy Pisanyi Kamen’; 5 – Tom’ rock art site; 6 – Boyarskaya Pisanitsa; 7 – Sagan-Zaba, Aya Bays;\n Figure 16.2. Tom’ rock art site. Photo I. Ponomareva.\n Figure 16.3. Shishkino rock art site. Photo I. Ponomareva.\n Figure 16.4. Sikachi-Alyan. Photo I. Ponomareva.\nChapter 1\n Joakim Goldhahn, Jamie Hampson, and Sam Challis\n Why the history of rock art research matters\nChapter 2\n Jamie Hampson\n The history of rock art research in west Texas, North America, and beyond\nChapter 3\n Kelley Hays-Gilpin and Dennis Gilpin\n Reclaiming connections: Ethnography, archaeology, and images on stone in the southwestern United States\nChapter 4\n Dagmara Zawadzka\n Rock art, landscapes and materiality in the Canadian Shield\nChapter 5\n Félix Alejandro Lerma Rodríguez\n On the history of rock art research in Mexico and Central America\nChapter 6\n Joakim Goldhahn\n ‘To alleviate the night-black darkness that conceals our most ancient times:’ Carl Georg Brunius’ trailblazing rock art thesis from 1818\nChapter 7\n History of the study of schematic rock art in Spain\n Margarita Díaz-Andreu\nChapter 8\n Leo Frobenius’ contribution to global rock art research\n Richard Kuba and Martin Porr\nChapter 9\n History debunked: Endeavours in rewriting the San past from the Indigenous rock art archive\n Sam Challis\nChapter 10\n David M. Witelson\n Rock art and archaeology? The problem of ‘integration’ in southern African Later Stone Age research\nChapter 11\n A history of research into regional difference in southern African rock paintings\n Ghilraen Laue\nChapter 12\n Explorers and researchers: Kimberley rock art discoveries 1838–1938\n Michael P. Rainsbury\nChapter 13\n Discovering and researching Gwion (Bradshaw) art in the Kimberley, Western Australia\n Joc Schmiechen\nChapter 14\n Rock art research in Madurai, Tamil Nadu, India\n Sujitha Pillai\nChapter 15\n Historical overview of Mongolian rock art studies\n Tseren Byambasuren\nChapter 16\n A history of rock art research in Russia\n Irina Ponomareva\n Contributors