Rock Art (Archaeology)

This book is part of a bigger project covering several sites in the drainages of the Río Moche and Río Virú of northern Peru. This present study (62 pages and about 180 illustrations) offers a review and inventory of the three rock art sites in the direct neighbourhood of Cerro Blanco; a prominent knoll in the Huacapongo Valley (part of the Virú Drainage). It is also attempted to put the imagery into a proper chronological and regional context.

Capítulo 1 -El regreso a la ciudad sagrada Charlesman (9 años, traje azul con detalles dorados y capa roja), acompañado de su perro Max (un mestizo ágil, con un collar brillante que le permite comunicarse con Charlesman) y su tía Janet Estelar, llegan al Cusco. • Ambiente: Plaza de Armas de Cusco, con catedrales coloniales, balcones de madera y calles de piedra. • La gente aplaude al ver a Charlesman, pero pronto un extraño temblor sacude el suelo. • Los muros incaicos parecen crujir, presagiando una amenaza ancestral. El trío viaja a Machu Picchu. • Ambiente: Escaleras de piedra, terrazas verdes, llamas pastando, neblina mágica rodeando las montañas. • En medio de la ciudadela inca aparecen los Hombres de Llama, criaturas mitad humano y mitad llama, con ojos rojos encendidos como brasas. • Atacan con fuego y escupitajos ardientes. • Janet Estelar se estira como un lazo y los contiene, pero descubre que detrás de ellos hay un líder aún más peligroso.

Arqueología 30(3), 13037 / septiembre-diciembre (2024) 1 "…En el lugar donde está el lago Musters había un gran mallín con abundante pasto y animales para cazar". Antiguos niveles del lago Musters y sus implicancias arqueológicas en el bajo de Sarmiento (provincia del Chubut, Argentina) ARTÍCULO

El arte rupestre en zonas costeras marítimas es un hecho ampliamente registrado en diferentes regiones del mundo. La Patagonia argentina constituye una excepción dado que la gran mayoría de los sitios está ubicada en ambientes mesetarios y cordilleranos. En este trabajo se describe detalladamente un hallazgo que podría revestir un hito en los estudios

Despite their rarity in the overall rock art corpus, depictions of wagons and chariots are one of the most significant iconographic themes in the protohistoric rock art heritage of the Valle Camonica. Following a brief review of previous studies, this contribution provides an updated overview of all the attestations in the camunian area which, thanks to the aid of a distribution map, forms a clearly defined set of territorial data. The work then continues with an in-depth study of the four-wheeled wagons, introducing new evidence from ongoing research
at the Dos dell’Arca site (Capo di Ponte, BS). The four-wheeled wagon, also known as a “parade cart” and mainly found in early Iron Age funerary contexts, is then analysed from an iconographicperspective. Multiple graphic and real-life examples from national and international contexts arecompared to provide a contemporary and reasoned set of possible interpretations of the significance of this motif within the protohistoric figurative tradition of the Valle Camonica.

The Côa Valley Archaeological Park, created by Decree-Law no. 117/97, of May 14th, was the fi rst archaeological park in Portugal. Its main guidelines were the study, preservation and dissemination of the rock art of the Côa Valley, as well as its archaeological and natural heritage. However, there is still no management plan that allows for integrated management of the various heritages that exist in the archaeological park. This article aims to summarize the legal framework, based on the application of national and international regulations, which protects and legitimizes the park's heritage; to discuss some perspectives for better management and enjoyment of this space and to refl ect on the current lack of a land use plan for the Park.

The present work aims to make known, with more depth, the rock art sites of
Late prehistory of the Carrazeda de Ansiães Plateau, mostly known in the bibliography.
The Carrazeda de Ansiães Plateau is a rich territory from the archaeological
point of view. However, inexplicably, there were never implemented here research
projects based on systematic study, on the ground that looked about the prehistoric
settlement.
Following the assumptions of Landscape Archaeology, we have done a job of
relocation of the known sites and the prospection of their surroundings. In the
case of rock-art sites we’ve performed descriptions that included the topographic
relationship of the sites with the territory, having added to our characterization
the graphical component, based on partial decals. We aimed to establish the relationship
of rock-art sites with other archaeological sites, in the pursuit of the
settlement on the Carrazeda de Ansiães Plateau during Late prehistory (IV, III
and eventually, II mil. BC).
The study of the graphics of the rock-art sites allowed us to outline their graphic
characteristics, formalisms, associations and to draw the main lines of force
with regard to the identi cation of the cosmological “universes” of the communities
of the Carrazeda de Ansiães Plateau during Late prehistory.
We also highlight the christian markings of most of the rock engraved sites
and the chronological and cultural relationship of the plateau with the neighbouring
areas during Late prehistory.

A arqueologia no Amapá desperta atenção de pesquisadores e curiosos desde o século XIX. No entanto, chama a atenção a pouca relevância que estudos de arte rupestre tiveram no Amapá, especialmente se comparamos com regiões vizinhas, como Pará e Guiana Francesa. O que trazemos neste trabalho é um levantamento atualizado deste tipo de sítio arqueológico, abarcando registros que foram realizados majoritariamente em pesquisas de campo, mas que também compreendem referências já publicadas. Além destes, também incluímos dois relatos breves coletados entre povos indígenas, para os quais ainda não temos registros mais detalhados. A síntese aqui apresentada é uma contribuição para a ampliação do conhecimento sobre um quadro mais amplo da arqueologia desta região.

The article presents some results of exploration of the historical cemetery in Kolyvan (Altai Krai) for the purpose of searching and assessing the current state of tombstones depicted by Tomsk architect Andrey Shilovsky during his stay in this locality in 1919. Kolyvan is a small village with a unique history dating back almost 300 years. In 1729, the first Akinfiy Demidov’s copper smelter in Altai was founded here and the beginning of mining production of this region was laid in this place. In 1802, on the site of a copper smelter the Kolyvan polishing factory was built and became the only stone-cutting art center in Siberia. The factory belonged to the Russian Emperor’s family and provided His Imperial Majesty with luxury items made from Altai stones, which were used for decorating of palace interiors and as a diplomatic gifts, thereby serving to maintain the prestige of the monarchy. Participants and creators of this great past are buried at the Kolyvan cemetery, so it is very important to study and preserve the historical tombstones here for the future generation. The necropolis can also become another point of attraction for tourists who annually visit natural and historical sites in Kolyvan and its environs in large numbers, and serve as a means for popularizing the local history. It was founded around 1772, but the earliest known tombstone for today dates back to 1835. In 1919, Tomsk architect Andrei Shilovsky visited Kolyvan, where he made more than 20 drawings of burials. More than 100 years later, in August 2023, the authors of this article found 7 tombstones depicted by the architect: the granite slab on the grave of the Kolyvan polishing factory manager Mikhal Laulin; the heavily damaged family burial of another manager of polishing factory Karl Ch. Wetzel, which included four monuments; the tombstone of the stone carver Antoniy Golovkin and his wife Evdokiya; and the partially lost monument at the grave of Paraskeva Ivacheva. Her son Pavel Ivachev, graduate of the Imperial Academy of Arts, was the manager of the Kolyvan polishing factory from 1894 to 1902 and also the chief foreman of the Peterhof lapidary factory from 1902 to 1910. Through to the drawings of Andrei Shilovsky and his descriptions to each of them, it became known how the monuments originally looked and what details were lost. The search for tombstones from the architect’s artworks will continue in 2024, but it is already identified those of them that were irretrievably destroyed. The next publication about the Kolyvan necropolis will be devoted to them. The artworks of Andrey Shilovskiy are published for the first time.

“Luz de Pedernal” narra la fuerza y la determinación del hombre por vivir con esplendor la vida coti-diana. Enmarca la decadencia del arte a principios del siglo XXI. Toma como punto de partida las acti-vidades de la ciudad y el campo para reflexionar so-bre el tallado de un jaguar en la obsidiana, sobre la enarbolacion de los edificios en Tenochtitlan. “Luz de Pedernal” significa con los colores de la naturale-za las acciones y las palabras de la especie humana.

Este trabajo tiene como objetivo, el análisis de una figura en particular, que por el tipo de características que presenta, se considera inédita en la bibliografía arqueológica, es la representación de un personaje con atributos de ave (hombre-ave), que se encuentra distribuido en escasas cerámicas incisas de la cultura de La Aguada. Se analiza las características del mismo, referente al lugar que ocupa en el soporte, su distribución, vestimenta, tipo de adornos y de armas que presenta, así como su temática. También se consulta la iconografía de otros objetos del arte mobiliar y de manifestaciones rupestres que tengan relación con este tipo de figura. A través de este entrecruzamiento de datos, se intenta determinar la importancia y función que tuvo el hombre-ave para esta cultura. 
Palabras clave: Cultura de La Aguada, Noroeste argentino, Hombre jaguar, Hombre Ave.

Ambiguity becomes harmful when it affects core definitions of knowledge-related terms, imposing cognitive strain and semantic fatigue, especially in transdisciplinary contexts. However, meaning variation in complex engrams such as theories can still encourage critique and innovation. The proposal here is to stabilize basic definitions through a standardised, transdisciplinary English nomenclature. Creative, unregulated language in the arts should remain untouched, but disambiguated and enriched English ought to serve as the foundation of knowledge-related vocabulary, supported by terminological databases that ensure precision, consistency, and accessibility across all domains.

A new Magdalenian sculpture from La Viña rock-shelter (La Manzaneda, Asturias) Antonio JUANEDA GAVELAS 1 RESUMEN Se presenta en este trabajo, una escultura ósea inédita, localizada en superficie, en el abrigo de La Viña, durante su descubrimiento en 1978. Tallada en asta de cérvido (bulto redondo), representa una hermosa cabeza de caballo de rasgos marcadamente naturalistas. Según lo conservado, esta escultura pudo ser utilizada como colgante, aunque sin descartar que pudiera haber formado parte de un objeto mayor (¿propulsor?). Por sus rasgos tecno-morfológicos y estilísticos, la escultura presenta claros paralelos con otros ejemplares procedentes de yacimientos del Pirineo francés y pertenecientes al Magdaleniense Medio. Durante las posteriores excavaciones realizadas en el propio abrigo de La Viña, se localizó un nivel fechado en torno al 13.700 cal. BC y con presencia de abundantes restos de arte mobiliar característico del citado momento cultural. Parece muy probable que la escultura que aquí se presenta y, por las razones que se exponen en este trabajo, proceda de este nivel.

The ideas of researchers about the spiritual culture of the Mesolithic and Neolithic eras of Northern Eurasia are based mainly on the results of the study of prehistoric art, represented by two types of monuments of the material culture of prehistoric communities: rock art and portable art. This chapter is a review of modern studies of this large corpus of finds, divided into three main geographical areas: the East European Plain, the Middle Trans-Urals and the Cis-Baikal.

En este trabajo damos a conocer dos nuevas estaciones paleolíticas con arte figurativo exterior, situadas en el valle del Nora (Asturias): El Sofoxó I y Las Mestas II. Por sus rasgos tecno-estilísticos, estas representaciones parietales podrían encuadrarse en un contexto gráfico pre-magdaleniense, tal vez de cronología solutrense, similar al de otras representaciones exteriores pertenecientes al II Horizonte Gráfico del Nalón. Estas dos cavidades se suman así, a las 13 estaciones existentes en la cuenca media del Nalón, con grabados figurativos exteriores profundos. En este trabajo se aborda, igualmente, la ocupación prehistórica en este valle, basándose en el registro arqueológico procedente del Museo Arqueológico de Asturias y en los datos obtenidos por nosotros durante las prospecciones realizadas en 1978, en las cuevas del

In the 2012 campaign have been explored five of the six small huts of the village, while the sixth (hut no. 2), entirely excavated in previous campaigns, has been the object of limited tests outside. In the hut 1, current excavation has brought to light a floor of rough stones of medium and small size, in which is embedded a small quadrangular stone structure, perhaps a hearth (?).The hut 3, also quadrangular, had a similar hearth made on the floor, and another elliptical structure realized with orthostatic stones partially sunken in a central area of the hut (a grave?). The hut 4, only partially preserved, also shows the presence of a small quadrangular structure of stones sunken below the floor level. The huts 5 and 6, contiguous, showed the presence of a pavement stones arranged with a certain care; in the hut 6 is present a probable posthole in a central position, while in the hut 5 has been brought to light the usual quadrangular stone structure sunken below the floor level. Th...

Cette question hante les chercheurs depuis de nombreuses années. Devant le nombre important de gravures rupestres de marelles diverses et variées dans de nombreux pays aux côtés de nombreux autres symboles très anciens, en France, Suisse, Italie, Espagne et Portugal, où de nombreux cas existent, on peut se poser la question. Toutefois toutes ces études finissent par conclure que les marelles sont historiques.

Les plus anciens des ces symboles datables sont antiques : romains et pour un ou deux cas grecs. Dés l'empire romain on a des exemple d'utilisation de ce jeux. Dans leur grande majorité ceux qui sont connus et daté sont du moyen âge ou de la renaissance, mais jusqu'au XIXe siècle on a des utilisations significatives de ces jeux.

Pourtant des indices s’accumulent pour montrer l’existence de symboles avec des formes proches de ces marelles pour des périodes antérieures. Faisons donc un nouveau point complémentaire de celui que nous avions fait en 2021 sur ce sujet pour voir où en sont nos recherches les plus récentes et quelles sont les pistes pour avancer dans ces recherches.

This paper aims to provide a new view on the origin of the border between the East and the West. This border, perceived in the modern age as a civilisational watershed, originated in the process of defining the contrastive group identity of Greekness/Hellenicity during and after the Persian wars of the early fifth century BCE. In this paper it will be argued that, well before the fifth century, a border dividing the Aegean and western Anatolia from the rest of western Asia emerged in relation to the Phrygian political identity during the early first millennium BCE. I will first review the question of group identity in the eastern Aegean, with particular reference to the Homeric poems and the "Homeric society"; I will then discuss the question of political borders in the Iliad; finally, I will briefly present selected archaeological and epigraphic evidence from central Anatolia, providing visibility for the activation of a border between the east and the west at least 200 years before the Persian wars. It will be argued that after an early-ninthcentury identity based on an entanglement between northeast Aegean communities and post-Hittite canton states of south-and east-central Anatolia, the nature of the political identity of the second half of the ninth century, and then the eighth century-up to the charismatic kingship of Mida-fostered the activation of a contrastive political border with central Anatolia. The latter eventually evolved into a frontier moving eastwards, consequently causing the disappearance of the post-Hittite canton states from the archaeological record-and from the perspective of the Aegean and western Anatolian world, the eastern limit of their mental map as represented in Homer's Iliad.

The Ajanta Caves, a UNESCO World Heritage site in Maharashtra, India, are among the finest expressions of early Buddhist art and architecture in South Asia. Dating from the 2nd century BCE to the 6th century CE, these rock-cut caves are adorned with vibrant murals and sculptures that narrate scenes from the Buddha's life, Jataka tales, and pivotal historical episodes. One of the most compelling representations within this artistic corpus is found in Cave 17, where a mural depicts the legendary "Coming of Sinhala"-the arrival of Prince Vijaya in Sri Lanka. This scene, rooted in the origin myth of the Sinhalese people as recorded in the Mahavamsa, signifies more than a historical narrative; it illustrates the cultural and religious continuum between India and Sri Lanka during the formative periods of Buddhist history. The murals at Ajanta reflect a confluence of regional styles and influences, including those from the Satavahana, Vakataka, Gupta, and Chalukya periods, as well as artistic traditions from Sri Lanka and Central Asia. The depiction of Prince Vijaya amidst elephants and riders in Cave 17 highlights the integration of political myth into Buddhist visual storytelling, serving both religious and cultural functions. Furthermore, striking parallels exist between the paintings of Ajanta and those of Sigiriya in Sri Lanka. Both sites, known for their refined aesthetic, dynamic figures, and use of mineral pigments, suggest a shared artistic dialogue across the Bay of Bengal. These similarities reinforce the idea of an interconnected Buddhist world in the early medieval period. Thus, the Ajanta murals-especially the "Coming of Sinhala"-offer not only a glimpse into ancient Indian artistry but also into the enduring Indo-Sri Lankan cultural and historical relationship. They remain invaluable to understanding how myth, migration, and Buddhism interwove to shape civilizational identities across South Asia.

АХЕЙСКАЯ ГРЕЦИЯ И ЦЕНТРАЛЬНАЯ АЗИЯ (Вповь к постановке nроБЛе.мы)* Археологические исследования последних двух десятилетий в Центральной Азии, особенно в Бактрии (Северный Афганистан) и Маргиане (Восточная Туркмения), привели к открытию здесь ранее совершенно не известной цивили зации древневосточного типа. Исследователям удалось установить, что этот бактрийско-маргианский центр имеет достаточно отчетливые соответствия в Юго-Западном Иране (Элам), а в опосредованной форме в Месопотамии и Сирии 1 . В настоящей статье автор пытается сопоставить между собой элементы сходства, прослеживающиеся на печатях и амулетах Бактрии и Маргианы, на которых встречаются не только отдельные рисунки, но целые композиции, представляющие собой своего рода «цитаты» или «конспекты» мифов, распространенных у создавшего их народа. Некоторые такие ц0вествовательные композиции на амул~тах и печатях Бактрии и Маргианы находят параллели в глиптике сиро-анатолийского региона и даже Эrейского миРCi. Прежде чем обратиться к новейшим материалам, позволяющим проследить любопытные параллели между ахейской Грецией, сиро-анатолийским регионом и Центральной Азией, отметим, что П. Амье первым указал на сходство изобра жений части амулетов и печатей Бактрии с материалами из Сирии, а Д. Коллон прямо угверждает, что некоторые маргианские амулеты были инспирированы одновременными печатями Сирии 2 . Так, на хеттских цилиндрических печатях II тыс. до н.э. едва ли не самыми популярными персонажами выступают крылатые люди с птичьими головами, нередко в коленопреклоненной позе. Точно такие птицы-люди в колено преклоненной позе имеются на амулетах Бактрии и Марги~ны, причем неко торые из них, подобно анатолийским из КарагуюкаЗ, опоясаны по талии двойным пояском, что, по-видимому, исключает элемент случайного совпадения. Близкое изображение птице-человека в коленопреклоненной позе обнаружено на Кипре 4 , что можно было бы рассматривать как импорт из Малой Азии, если бы не один каменный амулет из Бактрии, на котором изображена коленопреклоненная же-нщина с открытой грудьюстилистическая деталь, характерная для греческого, но не восточного искусства (рис. 1, 1). В сиро-хеттской глиптике достаточно широко был распространен мотив «хозяина» или «хозяйки» животного мира, представляющий часто композицию, на которой по обе стороны от человека симметрично располагается пара животных. Столь же популярны были эти мотивы и в эгейском искусстве 5 , где они, однако, появляюТСЦ не ранее мик~нского времени. Не являются они редкостью и для бактрийt:ких печатей и амулетов, где подобные композиции также построены по' принципу СИММ,етрии, как и сиро-хеттские и крито-* При обсуждении статьи многие положения и аргументы автора вызвали несогласие и острую критику у ряда членов редколлегии. Однако, учитывая важность проблематики и желая еще раз npивлечь внимание к этой сложной проблеме, статью решили опубликовать в этом номере, так как автор статьи обсуждал высказываемые идеи с В.П. Алексеевым.

A investigação da arte rupestre pós-glaciar foi dominada ao longo do século XX por perspectivas que privilegiavam a análise, descrição e classificação de motivos individuais e seu tratamento estatístico, muitas vezes considerada como fim em si mesmo, um pouco à imagem da abordagem feita ao estudo de artefactos. O olhar retinha-se quase exclusivamente sobre as imagens inscritas nas superfícies rochosas, e só recentemente se lançou sobre a paisagem, incorporando arquitecturas, outras materialidades (e imaterialidades), estimulando desta forma, a procura dos contextos sociais, culturais e simbólicos

A partir del análisis de distribución y gradientes de variación en un conjunto de motivos geométricos documentados en el arte rupestre del Norte Semiárido de Chile como "círculos con apéndices exteriores paralelos" e identificados en las Sierras Centrales de Argentina, se explora la circulación de información mediante flujos visuales a escala macrorregional. Asimismo, se indaga en los mecanismos de replicación iconográfica como aproximación a los fenómenos de transmisión cultural, mediante sendos esquemas clasificatorios que proveen información diferencial, a la vez que se discute la posible direccionalidad implicada en tales procesos de selección y reproducción de imágenes a larga distancia. Palabras claves: procesos de copia, flujos visuales, circulación de información, direccionalidad, arte rupestre. Based on the analysis of distribution and variation gradients in a set of geometric motifs documented in the rock art of the Semi-arid North of Chile as "circles with parallel external appendages", and also identified in the central Sierras de Argentina, this study explores the circulation of information through visual flows on a macroregional scale. As an approach to cultural transmission phenomena, it examines the mechanisms of iconographic replication, using various classification schemes that provide differential information, while also discussing the possible directionality involved in such long-distance processes of image selection and reproduction.

Drawing on archaeological evidence, early ethnographic accounts, and historical documents, this article offers initial reflections on the possible past uses and meanings of a set of black drawings found deep within a cave in what is now known as the Sierra Mixe of Oaxaca, Mexico. Following this investigative approach, it explores the role of rock art as an interface between orality, imagery, and text in the context of ancient Mesoamerica. To understand the possible ontological perceptions of the creators of these images in the past, it is suggested that this imagery functioned as inscriptions in a dialogue with spatially related unfired figures modelled in clay, which are exceptionally well-preserved in this subterranean space. An interplay of media on various supports is proposed, wherein two-dimensional images and three-dimensional figures may have been used as a combined system for transmitting and circulating intergenerational cultural knowledge, serving as an anchor for collective memory. In this context, rock imagery played a role in a broader communication system in Mesoamerica.

Through our research at Bahía Yendegaia on the Beagle Channel in southernmost Patagonia—the ancestral territory of the Yagán people—we discovered the first rock art site on Tierra del Fuego Island. The geometric visual images found at Yendegaia Rockshelter present motifs and compositions analogous to those recorded at other sites on the southern archipelago associated with the marine hunter-gatherer tradition. They also show graphic similarities to the rock art paintings attributed to terrestrial hunter-gatherer populations from the Pali Aike volcanic field, located on the north side of the Strait of Magellan in mainland Patagonia. Both, however, display quantitative differences, which suggest that they emerged from different visual traditions but from the same field of graphic solutions. Navigational technology enabled the canoe-faring Fuegian people to have long-distance mobility and to maintain a flow of social information mediated via visual imagery expressed in material forms, ...

Recibido 21 de junio 2012. Aceptado 22 de julio 2013 El objetivo de este trabajo es caracterizar el registro arqueológico correspondiente al momento de mayor intensidad de utilización humana de tres cañadones de la margen norte del río Santa Cruz, comprendido entre ca. 1700 y 1100 años AP. Se busca dar cuenta de las actividades desarrolladas e informar acerca de evidencias de movilidad y/o intercambio a escala intra e interregional. Los materiales recuperados en estratigrafía apuntan a la realización de actividades iniciales y finales de talla, y a la existencia de evidencias de utilización de tecnología de hojas y/o soportes laminares, lo que sugiere una alta movilidad y el traslado hacia estos espacios para la realización de actividades específicas. La presencia de pigmentos en el momento de mayor intensidad de ocupación de este espacio sugiere que, al menos, parte del arte rupestre podría haber sido realizado en este período. La existencia de materias primas procedentes de espacios localizados a más de 150 km al norte y las semejanzas en motivos y técnicas rupestres entre esos espacios sustentaría la existencia de movilidad y/o de redes de interacción a escalas espaciales amplias. Las razones podrían relacionarse con variaciones en la disponibilidad de agua y/o con la vinculación de espacios con recursos que resultaran de interés para los antiguos pobladores.

Le programme pour la conservation des gravures rupestres de Cerdagne, du Capcir et du Haut-Conflent et des données archéologiques associées, débuté en 2010 et inscrit au rang des orientations prioritaires 2013-2015 de la Sous-Direction de l’Archéologie (ministère de la Culture et de la Communication) au titre des « actions portant sur l’expertise, la coordination scientifique et technique et les travaux de recherche » a été poursuivi par l’équipe en 2015. En 2015, ce sont 10 zones à gravures ..

Изучение палимпсестов является важным направлением в исследованиях наскального искусства, т. к. позволяет получить информацию об относительной датировке изображений, перекрывающих друг друга. В некоторых случаях можно датировать целые стилистические традиции, распространенные на определенной территории. Палимпсест пункта Цагаан-Салаа IV (Монгольский Алтай) является одной из самых сложных многофигурных композиций комплекса местонахождений наскального искусства Бага-Ойгур и Цагаан-Салаа. На этой плоскости представлены фигуры, относящиеся к разным стилистическим традициям. Нашей задачей было по возможности точно реконструировать последовательность создания наскальных изображений этого палимпсеста. В ходе исследования были применены методы трасологического и сравнительно-стилистического анализа, документирование осуществлялось по методу фотограмметрии, результаты наблюдений при помощи микроскопа фиксировались в полевых условиях в технике прорисовки на прозрачную пленку. Удалось установи...

Machine Learning for the recognition and analysis of prehistoric rock art and pottery is a promising
area of research that could reveal new insights into cultural heritage and identity. Deep Learning (a
form of Artificial Intelligence) can now be used to train powerful models to automatically recognise
pottery and rock art images, overcoming resource constraints such as time, manpower, and lack of
funding. This article provides a preliminary overview and proof of concept by providing Machine
Learning approaches based on current advancements in Deep Learning to train a model to recognise
images of pottery and prehistoric rock art. These methods can process large amounts of data quickly
and accurately, revealing new patterns and relationships. Although ML can be a complex undertaking,
new tools make it accessible to the archaeological practitioner who is not an AI expert.
แมีชี่ชีี่นเลิ่ร์นนิงสีำาหรับัการจดจำาแล่ะวิเค้ราะห์ศิิล่ปัะหินยุค้ก่อนปัระวัติศิาสีตร์แล่ะเค้ร􀄙ืองปัั้นดินเผู้าเปั็นพื􀄚นท􀄙ีที􀄙มีีแนว
โน้มีขีองการวิจัยท􀄙สีี ามีารถ้ำเปัิดเผู้ยขี้อมี้ล่เชีิ่งล่่กใหมี่ๆ เก􀄙ยี วกบัั มีรดกทางวัฒนธรรมีแล่ะเอกลั่กษณ์ ตอนน􀄚สีี ามีารถ้ำใชี่้
การเรียนร้เชีิ่งล่่ก (ปััญญาปัระดิษฐ์ร้ปัแบับัหน􀄙่ง) เพ􀄙อื ฝัึ่กโมีเดล่ที􀄙ทรงพลั่งให้จดจาำ ภาพศิิล่ปัะเค้ร􀄙อื งปัั้นดินเผู้าแล่ะหิน
โดยอัตโนมีัติ เอาชี่นะขี้อจำากัดด้านทรัพยากร เชี่่น เวล่า กำาลั่งค้น แล่ะการขีาดเงินทุน บัทค้วามีนี􀄚แสีดงภาพรวมีเบัื􀄚อง
ต้นแล่ะการพิสี้จน์แนวคิ้ดโดยให้แนวทางการเรียนร้ขีองเค้ร􀄙ืองตามีค้วามีก้าวหน้าในปััจจุบัันขีองการเรียนร้เชีิ่งล่่กเพื􀄙อฝัึ่ก
โมีเดล่ให้จดจาำ ภาพขีองเค้ร􀄙อื งปัั้นดินเผู้าแล่ะศิิล่ปัะบันหินยุค้ก่อนปัระวัตศิิ าสีตร์ วิธีการเหล่่านี􀄚สีามีารถ้ำปัระมีวล่ผู้ล่ขี้อมี้ล่
จำานวนมีากได้อย่างรวดเร็วแล่ะแมี่นยำา เผู้ยให้เห็นร้ปัแบับัแล่ะค้วามีสีัมีพันธ์ใหมี่ๆ แมี้ว่า ML จะเปั็นงานที􀄙ซึั่บัซึ่้อน แต่
เค้ร􀄙อื งมีือใหมี่ๆ ทำาใหผู้้ ้ปัฏบัิ ัติงานทางโบัราณค้ดีท􀄙ีไมี่ใชี่่ผู้้เชีี่􀄙ยวชี่าญด้าน AI สีามีารถ้ำเขี้าถ้ำง่ ได้

This poster explores the application of LiDAR technologies in rock art studies within the huntergatherer archaeological complex Cerro Bayo (Argentine Patagonia). It addresses its advantages in both research and outreach endeavours, emphasising the valuable potential within the field of rock art associated with the creation of virtual reality experiences.LiDAR was initially used in Cerro Bayo to assess its precision measuring rock art motifs, and to create (with GIS) planimetric models of different rock shelters. Then, based on the LiDAR surveys, virtual reality environments were created using Unreal Engine 5.4 to be reproduced in a VR Metaquest 2 device. These scenarios incorporate a motion system that enables the movement within the shelters and a built-in measuring system. The model’s textures were also processed with an image enhancement software used in rock art studies (DStretch). This enables the observation of the entire shelter through different colour profiles, improving the visibility of motifs that are challenging to discern on site with the naked eye. Virtual reality settings can exclude physical obstacles, such as dense vegetation, that often complicate fieldwork, and help overcome the restrictions of bidimensional photographic records, specifically in terms of motif placement analysis, thus greatly complementing traditional survey techniques.

Anuario de Arqueología nº 4, año 2012| 7 Esta publicación reúne las conferencias y trabajos presentados en las III Jornadas Rosarinas de Arqueología, realizadas en la ciudad de Rosario los días 18 y 19 de noviembre de 2010. Las mismas fueron organizadas desde el

En este informe se lleva a cabo el desarrollo del segundo parcial de la asignatura Alto Voltaje del semestre 2019-2, el cual con búsqueda de documento e información necesaria para la construcción de un generador de impulsos y evaluar el esfuerzo de aislamiento que tiene una línea. Para esto se requiere el uso de programas softwares los cuales servirán para hacer la representación de estos problemas.

The Sardinian bronzetti represent a unique iconographic body, today consisting of more than 630 representations of anthropomorphic and zoomorphic figures, boats, nuraghi and diverse tools, weapons, vessels and other objects. They were produced from the FBA until the EIA, when contacts with other Mediterranean regions and with Iberia had intensified and pictorial art became a distinctive cultural expression in many regions. Therefore, they provide insights into distinctive local as well as widely shared symbolisms and intercultural contacts through the representations of archetypical figures and characteristic objects (swords, vessels, armoury). The bronzetti were publicly exposed at sanctuaries and often fixed on stone slabs, where they might possibly have been arranged in evocative combinations. The anthropomorphic figurines include women, sometimes as mothers with their babies, persons offering food, shepherds, sexually ambivalent figures, musicians, a “minotaur”, and supernatural fourarmed, four-eyed warriors. The detailed representations of dress, hairstyle, and weapons might have signalled local identity and social coherence. However, over 50% of the figurines, represent warriors, often with horned headgear, armed with sword and shield, or bow and arrow. The statues from Mont’e Prama from the 10th century BC, which thus far represent the oldest stone statuary in the Mediterranean beyond Egypt, the Levant and Anatolia, shared the same warrior theme and many decorative details with the bronze figurines). Some warrior figurines carry pistilliforme swords, a type that was common in the Atlantic Bronze Age and Iberia in the 11th century BC and some of which have also been found on the island. The typological evolution of swords in the FBA followed the same trajectory in Iberia and Sardinia. It is somehow surprising that Sardinians preferred the Iberian-Atlantic weapons to central European types, considering the closer proximity to the Apennine Peninsula and southern France, and to Aegean types, despite their existing eastern contacts. On the other hand, Mycenaean sword types were represented on statue-menhirs in Corsica. There are almost 150 miniature boats, or navicelle, often with a mast and therefore representing sailing vessels. The navicelle are circumstantial evidence that seafaring played a crucial role in FBA Sardinia. Moreover, boats were part of nuragic cosmology: The symbolic complex of the navicelle incorporated horned land animals (bulls, deer, ram) as figureheads, other land animals aboard (pigs, boar, dogs), nuraghe towers and birds as well as ploughing oxen. There was also a number of clay boat-miniatures, some with zoomorphic figureheads, which seem to have been used as lamps or incense- burners at sanctuaries. Largely contemporary clay models of boats are also known from Crete, Cyprus, where they also have animal figureheads of bulls and birds, from Lipari and the Levant. The Byblos hoard (c. 1500–1200 BC) contained several bronze boats, one of which is steered by a monkey, similar to one Sardinian navicella. This indicates that travel and subsequent intercultural contacts were deeply rooted in Sardinian as well as other Mediterranean communities. It is probable that the display of well-known archetypical images like the (horned) warriors or the female and mother-representations and some possibly integrated figures from other regions like the “minotaur” or the monkey on a navicella together with local Sardinian symbols must have enabled strangers who came to the sanctuaries to relate to some shared myths, cosmologies and beliefs. This would be a reference to practices of innovative, more inclusive ritual activities that incorporated guests and newcomers while maintaining local identity, after the ancestor worship at collective megalithic tombs had decreased. The figurines, miniatures and boat models at the sanctuaries could thus be interpreted as a complex of symbolic representations that – amongst many other local and individual levels of meaning –promoted inclusive, shared and sometimes syncretic social practices and rituals that were frequently related to travel and seafaring.

For the study of carved rock art, particular tool materials can only be meaningfully hypothesized, identified, or excluded by combining traceological analyses with an accurate understanding of the physical-mechanical properties of the carved rock as well as knowledge of the available tool materials from an archaeological, material analytical, and experimental point of view. The aim of this study was to identify the tools that were used during the Final Bronze Age-Early Iron Age transition (c. 1200-550 BC) for the carving of western Iberian stelae by comparing the work traces on originals and replications with the same rock supports and the archaeologically identified tool-set. This was achieved by the traceological-technological study and categorisation of the carved lines and motifs, based on the profile sections of the engravings, on a sample of four western Iberian stelae made from granite-aplite, meta-arkoses, and silicate quartz-arenite. All components were replicated according to petrological and metallurgical analyses. This approach, which is based on 3D-scans in combination with GIS and a thorough evaluation of digital data, material analyses, and archaeological data, will be presented here for the first time. The application of GIS and DEM for the analysis of the profile sections of carved ornaments provided analytical and graphical results from 444 profiles, allowing the classification in six different profile typologies. The most striking result is that silicate quartz-arenites cannot be carved with bronze tools and that lithic tools only left superficial traces that are very different from the original stelae from this lithology. Therefore, this particular material, which represents over 20 % of all stelae, could only be carved with hardened steel chisels, while many granitoid and sedimentary rocks could also be carved with lithic tools.

“Luz de Pedernal” narra la fuerza y la determinación del hombre por vivir con esplendor la vida coti-diana. Enmarca la decadencia del arte a principios del siglo XXI. Toma como punto de partida las acti-vidades de la ciudad y el campo para reflexionar so-bre el tallado de un jaguar en la obsidiana, sobre la enarbolacion de los edificios en Tenochtitlan. “Luz de Pedernal” significa con los colores de la naturale-za las acciones y las palabras de la especie humana.

Ourdan rigurosstente prohibidas, sin ia mzorize ión escrita de los titulares delopyricht, bajo las sanciones establecidas en las keyos, la reproducción tordl o parcial de euoora por cualpaier métedo o procedimicnto, comprendidos la reprogrutia y el tralamento informático, y la distribución de ejemplares de clla mediante alquiler o préstamo publicos © 1980 by Cahiers du Cinéma / Gallimard / Seuil. París © 1989 de todas las ediciones en castellano. Ediciones Paidós Ibérica, S. A.

El presente estudio parte de un análisis espacial de distintos soportes rocosos con grabados localizados en el noroeste de Chihuahua y, de manera particular, en 4 sitios arqueológicos tipo Cerros de Trincheras asociados al periodo Arcaico Tardío (1,500 aC) estudiados por Hard y Roney (1998, 1999, 2000). A grandes rasgos, el análisis espacial se desarrolló en 4 mapas elaborados con ArcGis (dirección de pendiente, anillos de proximidad, visibilidad y costo de energía) y, a partir de ello, se propone que el arte rupestre se asocia espacial y simbólicamente al medio físico, más que con materiales o elementos arqueológicos.

Listed as a UNESCO World Heritage Site, the Chauvet-Pont-d'Arc cave is a masterpiece of prehistoric art. This book is a unique visual tour of the oldest decorated cave on the Eurasian continent, presenting the first images created by humankind 38,000 years ago.

Discovered in December 1994 and inscribed on the UNESCO World Heritage List in 2014, the Chauvet-Pont-d'Arc cave is a masterpiece of prehistoric art. Much more than just a decorated cave, it boasts exceptional preservation, breathtaking underground landscapes, and drawings (depicting lions, cave bears, mammoths, horses, bison, etc.) in red and black, as well as engraved forms of unparalleled magnificence, making it a treasure of humanity. This discovery revolutionized perspectives on Paleolithic artistic research. The cave is gradually revealing its secrets, with animal and human tracks and footprints, and dating that pushes the origins of these complex graphic representations and the rituals that accompanied them far back into our past.

In ancient prehistoric times, early humans learned to control fire, thereby transforming their relationship with the world around them. Light played a central role in the advent of humanity, not only as a vital element for survival, but also as a powerful tool for development, enabling the exploration of new environments for which a light source is essential.

В 1987 г. на территории средневековой крепости Алустон, при раскопках церкви, были обнаружены фрагменты штукатурки с полихромной росписью. В статье представлены
предварительные результаты исследований красочного слоя, с определением перечня пигментов,
а также выявлены особенности техники нанесения росписи на стены храма. Предварительные исследования показывают применение традиционной палитры настенной живописи. А высокое качество штукатурки и пигментов показывает, что традиции византийской монументальной живописи
продолжали сохраняться даже конце XIV – начале XV вв.