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NEW: The Cutting Edge: Khoe-San rock-markings at the Gestoptefontein-Driekuil engraving complex, North West Province, South Africa by Jeremy Charles Hollmann. xx+394 pages; illustrated throughout in colour and black & white. Available both in print and Open Access. 40 2017 Cambridge Monographs in African Archaeology 97. ISBN 9781784917036. £60.00 (No VAT). Book contents pageBuy Now

This book addresses the rock engravings on the wonderstone hills just outside Ottosdal, North West province, South Africa. Wonderstone is remarkable rock that is smooth, shiny and very easy to mark. The wonderstone occurs only on two adjacent farms, Gestoptefontein and Driekuil, and thus the rock art on the wonderstone outcrops is referred to as the Gestoptefontein- Driekuil complex (GDC). This rock art is now the only remaining trace of what must once have been a much larger complex of engravings. Sadly, much of the rock art has been destroyed in the course of mining activities, with very few records. The largest remaining outcrop is still threatened by potential mining activities. The study attempts to bring this disastrous and unacceptable situation to the attention of the public and the heritage authorities, who have so far failed to respond to applications to grant the sites protection. It therefore has two main aims: to locate and record as much of the rock art as possible and to understand the significance of the outcrops in the lives of the people who made them.

Based on the rock art itself, as well as what little historical evidence is available, it is argued that the rock art was made by Khoe-San people during the performance of important ceremonies and other activities. The rock art has two main components: engravings of referential motifs and a gestural, or performative, element. The referential motifs depict a range of things: anthropomorphs and zoomorphs, decorative designs, items of clothing, as well as ornaments and decorations. The gestural markings were made by rubbing, cutting and hammering the soft wonderstone, probably in the course of a range of activities that people carried out on the outcrops.

This book is also available to download in PDF format in our Open Access section.
Le massif de Lovo, sur les traces du royaume de Kongo Volume 1 by Geoffroy Heimlich. xiv+196; illustrated throughout in colour and black & white with 76 plates in colour. French text. 500+ page annex volume available online as a free-to-download PDF. Available both in print and Open Access. Cambridge Monographs in African Archaeology 95. ISBN 9781784916343. £34.00 (No VAT). Book contents pageBuy Now

Unlike the Sahara or Southern Africa, the rock art of Central Africa is still largely unknown today. Despite being reported as early as the 16th century by Diego del Santissimo Sacramento, the rock art of the Kongo Central, an area encompassing parts of modern day Angola, Cabinda, the Republic of the Congo, Democratic Republic of the Congo, and Gabon, has never been widely researched and its age remains uncertain.

Populated by the Ndibu, one of the Kongo subgroups, the Lovo massif is in the north of the ancient kingdom of Kongo. Even though this kingdom has, since 1500 AD, been one of the best documented in Africa, from historical sources as well as ethnographic and anthropological sources for the more recent periods, it remains largely unrecognized archaeologically. With 102 sites inventoried (including 16 ornate caves), it contains the largest concentration of rock art sites in the region, representing more than 5000 rock art images.

Crossing ethnological, historical, archaeological and mythological points of view, this book illustrates that rock art played an important part in Kongo culture. Like historical sources or oral traditions, it can provide historians with important documentation and contribute significantly to the reconstruction of Africa's past.

French description: À la différence des arts rupestres du Sahara ou d’Afrique australe, ceux d’Afrique centrale restent encore aujourd’hui largement méconnus. Bien que signalé dès le XVIe par Diego del Santissimo Sacramento, l’art rupestre du Kongo Central n’a jamais fait l’objet d’une recherche de grande ampleur et son âge reste toujours incertain. Peuplé par les Ndibu, un des sous-groupes kongo, le massif de Lovo se trouve dans le nord de l’ancien royaume de Kongo. Même si ce royaume est, à partir de 1500, l’un des mieux documentés de toute l’Afrique tant par les sources historiques que par les sources ethnographiques et anthropologiques pour les périodes plus récentes, il reste largement méconnu sur le plan archéologique. Avec 102 sites inventoriés (dont 16 grottes ornées), il contient la plus importante concentration de sites rupestres de toute la région, ce qui représente plus de 5000 images rupestres. En croisant les points de vue ethnologique, historique, archéologique et mythologique, j’ai pu montrer que l’art rupestre a bel et bien une part importante dans la culture kongo. Au même titre que les sources historiques ou les traditions orales, il peut apporter aux historiens une documentation de premier plan et contribuer à reconstruire le passé de l’Afrique.

Biographie: Expert au comité de l’ICOMOS pour l’art rupestre (CAR) et pour la gestion du patrimoine archéologique (ICAHM), Geoffroy Heimlich est docteur en archéologie auprès de l’Université Libre de Bruxelles et en histoire auprès de l’Université Paris 1 Panthéon-Sorbonne. Sous la codirection de Pierre de Maret et Jean-Loïc Le Quellec, sa recherche doctorale a porté sur l’art rupestre du Kongo Central, en République démocratique du Congo. Il est actuellement chercheur associé, en France, à l’Institut des mondes africains (IMAF) et, en Belgique, au Centre de recherches en archéologie et patrimoine (CReA-Patrimoine) de l’Université Libre de Bruxelles et au Musée royal de l’Afrique centrale de Tervuren, ainsi qu’en Afrique du Sud, Honorary research fellow au Rock Art Research Institute de l’Université de Witwatersrand, à Johannesburg. Depuis 2016, il est également directeur de la mission archéologique « Lovo » du Ministère français des Affaires étrangères, en République démocratique du Congo et en Angola.

This book is also available to download in PDF format in our Open Access section.

Working with the Past: Towards an Archaeology of Recycling edited by Dragoş Gheorghiu and Phil Mason. viii+134 pages; illustrated throughout with 21 plates in colour. 346 2017. Available both in printed and e-versions. Printed ISBN 9781784916299. £25.00 (No VAT). Epublication ISBN 9781784916305. £19.00 (Inc. UK VAT) Book contents pageBuy Now

Recycling is a basic anthropological process of humankind. The reutilization of materials or of ideas from the Past is a process determined by various natural or cultural causes. Recycling can be motivated by a crisis or by a complex symbolic cause like the incorporation of the Past into the Present.

What archaeology has not insisted upon is the dimensional scale of the process, which operates from the micro-scale of the recycling of the ancestors’ material, up to the macro-scale of the landscape.

It is well known that there are direct relations between artefacts and landscapes in what concerns the materiality and mobility of objects. An additional relation between artefact and landscape may be the process of recycling. In many ways artefact and landscape can be considered as one aspect of material culture, perceived at a different scale, since both have the same materiality and suffer the same process of reutilisation.

This book invites archaeologists to approach the significant process of recycling within the archaeological record at two different levels: of artefacts and of landscape.
L’arte rupestre dell’età dei metalli nella penisola italiana: localizzazione dei siti in rapporto al territorio, simbologie e possibilità interpretative edited by Renata Grifoni Cremonesi & Anna Maria Tosatti. 276 pages; illustrated throughout in colour and black & white. Italian text. Available both in print and Open Access.ISBN 9781784915568. £38.00 (No VAT). Book contents pageBuy Now

This volume presents the proceedings of the conference “L’arte rupestre dell’età dei metalli nella penisola italiana: localizzazione dei siti in rapporto al territorio, simbologie e possibilità interpretative” that took place in Pisa at the Cantiere delle Navi di Pisa under the aegis of the Soprintendenza Archeologica della Toscana and of the University of Pisa on 15th June 2015. The addressed issues were related to the Post-Pleistocene rock art along the Apennine ridge; in recent years more and more evidence has been identified, which is different from the magnificent evidence found in the Alps such as, for example, the well-known Monte Bego and Val Camonica. This evidence, despite various and peculiar features, can be all related to the iconographic field whose main expressions are anthropomorphic figures, weapons, daggers, halberds and several other symbols, all similarly stylised. A peculiarity of these manifestations is their location in small shelters inappropriate for habitation or in places suitable for supervising mountain and territory roads, bearing comparison to evidence from Western Mediterranean coastal areas. An interpretative possibility has emerged: these sites could have been not only ceremonial places, but also spaces linked to the socio-economic fields or perhaps to the power of communities that occupied these territories.

This book is also available to download in PDF format in our Open Access section.
Myths about Rock Art by Robert G. Bednarik. ii+218 pages; illustrated throughout in colour and black & white. 278 2016. Available both in printed and e-versions. Printed ISBN 9781784914745. £30.00 (No VAT). Epublication ISBN 9781784914752. £19.00 (Inc. UK VAT) Book contents pageBuy Now

Rather than considering the myths supposedly depicted in the world’s rock art, this book examines the myths archaeologists and others have created about the meanings and significance of rock art. This vast body of opinions dominates our concepts of the principal surviving cultural manifestations of early worldviews. Here these constructs are subjected to detailed analysis and are found to consist largely of misinterpretations. From the misidentification of natural rock markings as rock art to mistaken interpretations, from sensationalist claims to pareidolic elucidations of iconographies, the book presents numerous examples of myths researchers have created about pre-Historic ‘art’. The claims about a connection between rock art and the neuropathologies of its producers are assessed, and the neuroscience of rock art interpretation is reviewed. The book presents a comprehensive catalogue of falsities claimed about palaeoart, and it endeavours to explain how these arose, and how they can be guarded against by recourse to basic principles of science. It therefore represents a key resource in the scientific study of rock art.

About the Author:
Robert G. Bednarik is the Convener and Editor-in-Chief of the International Federation of Rock Art Organisations and is affiliated with Hebei Normal University, China. His principal research interests are the origins of the human ability to create constructs of reality, the evolution of humans, and in a variety of fields providing supplementary information in that quest, including the world’s rock art. He has produced more than 1350 academic publications.
Archaeology with Art edited by Helen Chittock and Joana Valdez-Tullett. xx+176 pages; illustrated in black & white throughout with 7 colour plates. 293 2016. Available both in printed and e-versions. Printed ISBN 9781784914929. £30.00 (No VAT). Epublication ISBN 9781784914936. £19.00 (Inc. UK VAT) Book contents pageBuy Now

Archaeology with Art is the result of a 2013 Theoretical Archaeology Group (TAG) conference session that aimed to merge the perspectives of artists and archaeologists on making art. It explores the relationship between archaeology and art practice, the interactions between materials and practitioners, and the processes that result in the objects and images we call ‘art’. The book offers new approaches to the study of creative practices in archaeology, ranging from experimental investigations to philosophical explorations and contains a diverse set of papers that use insights from contemporary art practice to examine the making of past artworks.

About the editors:
Joana Valdez-Tullett is an archaeologist currently finishing a PhD thesis at the University of Southampton, funded by the Portuguese Foundation for Science and Technology (FCT). She has been studying prehistoric art since 2003 in several countries and is currently interested in the social and cultural connections of late prehistoric Atlantic façade, which led to the widespread phenomenon of Atlantic Rock Art.

Helen Chittock is an archaeologist, who has recently finished writing a PhD thesis on decorative practices in Iron Age Britain as the holder of an AHRCfunded Collaborative Doctoral award with the British Museum and University of Southampton. Her wider research interests encompass the study of Celtic Art across northwest Europe.
The White Lady and Atlantis: Ophir and Great Zimbabwe Investigation of an archaeological myth by Jean-Loïc Le Quellec. x+320 pages; highly illustrated in colour throughout. 291 2016. ISBN 9781784914707. £45.00 (No VAT). Book contents pageBuy Now

This meticulous investigation, based around a famous rock image, the ‘White Lady’, makes it possible to take stock of the mythical presuppositions that infuse a great deal of scientific research, especially in the case of rock art studies. It also highlights the existence of some surprising bridges between scholarly works and literary or artistic productions (novels, films, comic strips, adventure tales).

The examination of the abbé Breuil’s archives and correspondence shows that the primary motivation of the work he carried out in southern Africa like that of his pupil Henri Lhote in the Tassili was the search for ancient, vanished ‘white’ colonies which were established, in prehistory, in the heart of the dark continent. Both Breuil and Lhote found paintings on African rocks that, in their view, depicted ‘white women’ who were immediately interpreted as goddesses or queens of the ancient kingdoms of which they believed they had found the vestiges. In doing this, they were reviving and nourishing two myths at the same time: that of a Saharan Atlantis for Henri Lhote and, for the abbé, that of the identification of the great ruins of Zimbabwe with the mythical city of Ophir from which, according to the Bible, King Solomon derived his fabulous wealth.

With hindsight we can now see very clearly that their theories were merely a clumsy reflection of the ideas of their time, particularly in the colonial context of the Sahara and in the apartheid of South Africa. Without their knowledge, these two scholars’ scientific production was used to justify the white presence in Africa, and it was widely manipulated to that end. And yet recent studies have demonstrated that the ‘White Lady’ who so fascinated the abbé Breuil was in reality neither white nor even a woman. One question remains: if such an interpenetration of science and myth in the service of politics was possible in the mid-20th century, could it happen today?
Art and Architecture in Neolithic Orkney Process, Temporality and Context by Antonia Thomas. xvi+258 pages; illustrated throughout in colour and black & white. 272 University of the Highlands and Islands Archaeology Institute Research Series 1. Available both in printed and e-versions. Printed ISBN 9781784914332. £45.00 (No VAT). Epublication ISBN 9781784914349. £19.00 (Inc. UK VAT) Book contents pageBuy Now

The Neolithic sites of Orkney include an impressive number of stone-built tombs, ceremonial monuments and – uniquely for northern Europe – contemporary dwellings. Many of these buildings survive in a remarkable state of preservation, allowing an understanding of the relationship between architectural space and the process of construction that is rarely achievable. Until recently, however, relatively little has been known about the decoration of these sites.

This book addresses that gap to offer a groundbreaking analysis of Neolithic art and architecture in Orkney. Focussing upon the incredible collection of hundreds of decorated stones being revealed by the current excavations at the Ness of Brodgar, it details the results of the author’s original fieldwork both there and at the contemporary sites of Maeshowe and Skara Brae, all within the Heart of Neolithic Orkney World Heritage Site.

It provides the first major discussion of Orkney’s Neolithic carvings, and uses these as a springboard to challenge many of the traditional assumptions relating to Neolithic art and architecture. By foregrounding the architectural context of mark-making, this book explores how both buildings and carvings emerge though the embodied social practice of working stone, and how this relates to the wider context of life in Neolithic Orkney.

Reviews:

‘Art and Architecture in Neolithic Orkney is a handsome volume; it is well illustrated and clearly set out. It is designed to be read from cover to cover but in fact there is a lot of detail here and it also makes for an excellent ‘dipping’ book. The main thrust, as you might guess, is to provide an overview of the amazing suite of decorated stones found within the structures of Neolithic Orkney through detailed studies of these three key sites. Within each site, particular case studies are set out. It is a comprehensive piece of work, taking us first through a history of the archaeological study of art, and then providing a brief guide to the Neolithic art of Britain and Ireland.
…There is a lot to take in. There is a lot to think about. It is a book that will linger and enrich any exploration of the remains of Neolithic Orkney. The ‘art’ itself is just wonderful, it was clearly an integral part of the lives of our Neolithic ancestors.’
–Caroline Wickham‐Jones (The Orcadian, November 10th, 2016)

'The book offers a compelling account of a little-known aspect of the Orcadian Neolithic, and will make a significant contribution to understanding the artistic endeavour of communities that settled this island archipelago some 5,000-6,000 years ago, fusing architecture with art.' –George Nash (Current Archaeology, Issue 326, May 2017)
Rock Art of the Vindhyas: An Archaeological Survey Documentation and Analysis of the Rock Art of Mirzapur District, Uttar Pradesh by Ajay Pratap. xiv+172; highly illustrated throughout with 68 colour plates. 244 2016. Available both in printed and e-versions. Printed ISBN 9781784912451. £45.00 (No VAT). Epublication ISBN 9781784912468. £19.00 (Inc. UK VAT) Book contents pageBuy Now

Rock paintings and petroglyphs are a record of human memories. No doubt, this function defines in essence all archaeological objects. Yet some objects such as tools, beyond their symbolic value, are clearly fashioned for their utility. How does rock art as an object fashioned by human hands then differ from tools? What utility does it have beyond its symbolic value? The Vindhyan corpus of rock paintings has provided us with a very valuable opportunity to be answering such questions.
Archival Theory, Chronology and Interpretation of Rock Art in the Western Cape, South Africa by Siyakha Mguni. vi+156 pages; illustrated throughout in colour and black & white. Available both in print and Open Access. Cambridge Monographs in African Archaeology 93. ISBN 9781784914462. £40.00 (No VAT). Book contents pageBuy Now

Since absolute dating of rock art is limited, relative chronologies remain useful in contextualising interpretations of ancient images. This book advocates the archival capacity of rock art and uses archival perspectives to analyse the chronology of paintings in order to formulate a framework for their historicised interpretations. The Western Cape painting sequence is customarily accepted to include the hunter-gatherer phase from c. 10,000 BP, pastoralism from c. 2,000 BP and finally the historical-cum-colonial period several centuries ago. Painting traditions with distinct depiction manners and content are conventionally linked to these broad periods. This study evaluates this schema in order to refine the diverse hunter-gatherer, herder and colonial era painting contexts and histories. Using superimpositions as one analytical tool, the notion of datum aided the referencing and correlation of layered imagery into a relative sequence. Although broad differences separate painting traditions, and these variations are generally indistinguishable within a single tradition, it is clear that the long-spanning hunter-gatherer segment of painting in this region reflects a hitherto unrecognised sub-tradition. Some painted themes such as elephants, fat-tailed sheep, handprints and possibly finger dots occur within various levels of the sequence, which this study views as shared graphic fragments occurring between and across traditions and sub-traditions. Through the archival concept of respect des fonds such observable complexities were clarified as coherent graphic narratives that run through the entire chronological sequence of the Western Cape rock paintings. Probing archaeological, ethnographic and historical sources revealed that while these themes remained fundamentally consistent throughout the stratigraphic sequence as preferred subject matter, their meanings might have transformed subliminally from earlier to later periods, possibly reflecting layered shifts in the socio-economic, cultural and political circumstances of the region. Fundamentally, the framework of image histories shown by the choice and sustenance of specific themes is understood to mean that their significance and specific graphic contexts throughout the chronological sequence are pivoted and mirrored through the long established hunter-gatherer rock paintings which predate periods of contact with other cultures. The resulting sequence and interpretation of these painted themes is a descriptive and organisational template reflecting the original organic character in the creation of the paintings and ordered cultural continuities in the use of animal/human symbolism. This book’s agenda in part involves reviewing the Western Cape’s changing social and historical landscape to show variation in painting over time and to project possible interpretative transformations. Painting sequences and cultural (dis)continuities are thus intricately entwined and can be disentangled through a recursive analytical relationship between archaeology, ethnography and history. This amalgamated analytical approach produces historicised narratives and contextual meanings for the rock paintings.

This book is also available to download in PDF format in our Open Access section.
Palaeoart and Materiality The Scientific Study of Rock Art edited by Robert G. Bednarik, Danae Fiore, Mara Basile, Giriraj Kumar and Tang Huisheng. ii+254 pages; illustrated throughout in black & white with 6 colour plates. 267 2016. Available both in printed and e-versions. Printed ISBN 9781784914295. £40.00 (No VAT). Epublication ISBN 9781784914301. £19.00 (Inc. UK VAT) Book contents pageBuy Now

This book contains a series of selected papers presented at two symposia entitled ‘Scientific study of rock art’, one held in the IFRAO Congress of Rock Art in La Paz, Bolivia, in June 2012, the other held in the IFRAO Congress in Cáceres, Spain, in September 2015; as well as some invited papers from leading rock art scientists. The core topic of the book is the presentation of scientific approaches to the materiality of rock art, ranging from recording and sampling methods to data analyses. These share the fact that they provide means of testing hypotheses and/or of finding trends in the data which can be used as independent sources of evidence to support specific interpretations. The issue of the materiality of visual productions of the distant past, which in archaeological theory has attracted much attention recently and has stimulated much conceptual debate, is addressed through a variety of scientific approaches, including fieldwork methods, laboratory work techniques and/or data analysis protocols. These, in turn, will provide new insights into human agency and people-image engagements through the study of rock art production, display and use.

About the Editors:
Robert G. Bednarik is the Convener and Editor-in-Chief of the International Federation of Rock Art Organisations and is affiliated with Hebei Normal University, China. His principal research interests are the origins of the human ability to create constructs of reality, the evolution of humans, and in a variety of fields providing supplementary information in that quest, including the world’s rock art. He has produced more than 1350 academic publications.

Dr Danae Fiore is a researcher at Consejo Nacional de Investigaciones Cientificas, Argentina, and a lecturer at Universidad de Buenos Aires. Her main interests are focused on the archaeology of rock art, portable art and body art viewed from technological, economic and cognitive perspectives; hunter-gatherer archaeology; archaeological theory and methods; and visual archaeology (the study of indigenous material culture through ethnographic photographs).

Dr Mara Basile is an archaeologist and a researcher at the National Council of Scientific and Technical Research, Argentina. She has been a member of the Archaeological Project Chaschuil Abaucán (www.proyectopacha.com.ar) since 2002. Her main research interest is to delineate the visual languages that circulated in different expressive media over time in the region of Fiambalá (Catamarca, Argentina).

Dr Giriraj Kumar is Professor in Rock Art Science and Indian Culture and Founding Secretary General and Editor, Rock Art Society of India (estd. 1990), carrying out scientific research on early Indian petroglyphs and their dating in collaboration with Australian and other scientists. He published a book on Indian rock art and more than eighty research papers on Stone Age Indian rock art and culture.

Dr Tang Huisheng is the Director of the International Centre of Rock Art Dating and Conservation, Hebei Normal University, China. He also teaches as a Professor at the of Archaeology Department of Nanjing Normal University. His principal interests are the rock art of China and its dating, and the Chinese Neolithic period.


Rock Art Studies: News of the World V edited by Paul Bahn, Natalie Franklin, Matthias Strecker and Ekaterina Devlet. viii+364 pages; highly illustrated throughout with 102 colour plates. 242 2016. Available both in printed and e-versions. Printed ISBN 9781784913533. £70.00 (No VAT). Epublication ISBN 9781784913540. £19.00 (Inc. UK VAT) Book contents pageBuy Now

This is the fifth volume in the series Rock Art Studies: News of the World. Like the previous editions, it covers rock art research and management across the globe over a five-year period, in this case the years 2010 to 2014 inclusive. The current volume once again shows the wide variety of approaches that have been taken in different parts of the world, although one constant has been the impact of new techniques of recording rock art. This is especially evident in the realm of computer enhancement of the frequently faded and weathered rock imagery that is the subject of our study. As has been the case in past volumes, this collection of papers includes all of the latest discoveries, including in areas hitherto not known to contain rock art. The latest dating research reported in this fifth volume, sometimes returning surprisingly early results, serves to extend our knowledge of the age of rock art as well as highlight the limits of current models for its development around the world.
Post-Palaeolithic Filiform Rock Art in Western Europe edited by Fernando Coimbra and Umberto Sansoni. vi+88 pages; illustrated throughout in black and white. 6 papers in English, 1 in French, all papers with abstracts in English and French. Available both in print and Open Access. 235 2016. ISBN 9781784913670. £24.00 (No VAT). Book contents pageBuy Now

Filiform rock art appears as a spontaneous technique, more simple and immediate than pecking, good either for autonomous strands of expression, or for sketches and first drafts regarding works of painting or pecking. According to the order of presentation of the session’s papers during the XVII IUPPS (UISPP) Conference in Burgos, the articles published here are the following: Late prehistoric incised rock art in southern Europe: a contribution for its typology, by Fernando A. Coimbra, where the author presents a preliminary typology of this kind of rock art, divided in two groups (geometric and figurative), approaching not only common themes to several countries, but also some examples that have only a regional character; Filiform rock art in mount Bego (Tende, Maritime Alps, France), by Nicoletta Bianchi, which analyses some cases where pecked carvings overlap filiforms, therefore pre-dating pecked engravings and studies the interaction of the two carvings tradition; Filiform figures in the rock art of Valcamonica from Prehistory to the Roman age, by Umberto Sansoni, Cinzia Bettineschi and Silvana Gavaldo, that provides a general corpus of the figurative incised rock art of Valcamonica with a quantitative and qualitative approach, by considering the typological variety, the long-lasting chronological dating and the strong relation with the local pecked rock art of the Camunian filiforms; Threadlike engravings of historical period on the rocks and plaster of churches and civic buildings. Some comparisons and proposals of interpretation, by Federico Troletti, which presents the incised engravings exclusively of historical time located in some sites of Valcamonica – the area of Campanine di Cimbergo and Monticolo di Darfo; The rock art from Figueiredo (Sertã, Portugal): typology, parallels and chronology, by Fernando A. Coimbra and Sara Garcês, focusing vi on the description of the engravings from three carved rocks with incised motives from the place of Figueiredo, in central Portugal, which were studied during different fieldworks. Two other papers of researchers that couldn’t attend the Conference were also presented: The filiform rock art from Kosovo, by Shemsi Krasniqi, which presents recent findings from Kosovo with a similar typology of figures from other European countries; The filiform rock engravings of the Parete Manzi of Montelapiano (Chieti, Italy), by Tomaso Di Fraia, which analyses the problematic of incised rock art from a rock shelter in the centre of Italy.
Public Images, Private Readings: Multi-Perspective Approaches to the Post-Palaeolithic Rock Art Proceedings of the XVII UISPP World Congress (1–7 September 2014, Burgos, Spain) Volume 5 / Session A11e edited by Ramón Fábregas Valcarce and Carlos Rodríguez-Rellán. vi+70 pages; illustrated throughout in black and white. All papers in English, abstracts in English and French. Available both in print and Open Access. 233 2016. ISBN 9781784912895. £22.00 (No VAT). Book contents pageBuy Now

A significant number of Holocene societies throughout the world have resorted at one time or another to the making of paints or carvings on different places (tombs, rock-shelters or caves, openair outcrops). The aim of the session A11e. Public images, private readings: multi-perspective approaches to the post-Palaeolithic rock art, which was held within the XVII World UISPP Congress (Burgos, September 1-7 2014), was to put together the experiences of specialists from different areas of the Iberian Peninsula and the World. The approaches ranged from the archaeological definition of the artistic phenomena and their socioeconomic background to those concerning themselves with the symbolic and ritual nature of those practices, including the definition of the audience to which the graphic manifestations were addressed and the potential role of the latter in the making up of social identities and the enforcement of territorial claims. More empirical issues, such as new recording methodologies and data management or even dating were also considered during this session.

This book is also available to download in PDF format in our Open Access section.
Intellectual and Spiritual Expression of Non-Literate Peoples Proceedings of the XVII UISPP World Congress (1–7 September, Burgos, Spain): Volume 1 / Session A20 edited by Emmanuel Anati. xiv+386 pages; illustrated throughout in black and white. Available both in print and Open Access. 212 2016. ISBN 9781784912819. £55.00 (No VAT). Book contents pageBuy Now

This volume presents the proceedings of the session ‘Intellectual and Spiritual Expression of Non-literate Peoples’ part of the XVII World UISPP Congress, held in Burgos (Spain), the 4th September 2014. The session brought together experts from various disciplines to share experience and scientific approaches for a better understanding of human creativity and behaviour in prehistory.

This book is also available to download in PDF format in our Open Access section.

The Enigmatic World of Ancient Graffiti Rock Art in Chukotka. The Chaunskaya Region, Russia by Margarita Kir’yak (Dikova). Translated by Richard L. Bland. vi+160 pages; illustrated throughout in black & white with 7 colour plates. 194 2015. Available both in printed and e-versions. Printed ISBN 9781784911881. £32.00 (No VAT). Epublication ISBN 9781784911898. £19.00 (Inc. UK VAT) Book contents pageBuy Now

This monograph is devoted to small forms of engraving on stone. It summarizes the archaeological material obtained during the course of excavations at the Rauchuvagytgyn I site (dated to 2500 years ago) in northern Chukotka. The book analyzes the content and semantics of the pictorial resources, and ethnic identification is made. The interpretive part of the study raises issues of an ideological character and brings one closer to the inaccessible realm of ideas and concepts of the ancients. This well-illustrated book is directed primarily toward archaeologists, ethnographers, historians, and fine art experts but will also be of interest to a broad range of readers.

About the author:
Dr Margarita Kiry’ak is one of the foremost archaeologists of far Northeast Asia (Chukotka). She has been conducting archaeological research in Chukotka for more than 30 years, during which time she has published four books in Russia, Great Britain, and the U.S., and 115 scholarly articles in Russia, the U.S., Italy, and Korea.
Prehistoric Art as Prehistoric Culture Studies in Honour of Professor Rodrigo de Balbín-Behrmann edited by Primitiva Bueno-Ramírez and Paul G. Bahn. x+180 pages; illustrated throughout in colour and black & white. 197 2015. Available both in printed and e-versions. Printed ISBN 9781784912222. £45.00 (No VAT). Epublication ISBN 9781784912239. £19.00 (Inc. UK VAT) Book contents pageBuy Now

Professor Rodrigo de Balbín has played a major role in advancing our knowledge of Palaeolithic art, and the occasion of his retirement provides an excellent opportunity to assess the value of prehistoric art studies as a factor in the study of the culture of those human groups which produced this imagery. The diverse papers in this volume, published in Professor de Balbín’s honour, cover a wide variety of the decorated caves which traditionally defined Palaeolithic art, as well as the open-air art of the period, a subject in which he has done pioneering work at Siega Verde and elsewhere. The result is a new and more realistic assessment of the social and symbolic framework of human groups from 40,000 BP onwards.
Ritual Landscapes and Borders within Rock Art Research Papers in Honour of Professor Kalle Sognnes edited by Heidrun Stebergløkken, Ragnhild Berge, Eva Lindgaard and Helle Vangen Stuedal. Available to download from Open Access page. i-viii, 1-188 pages, illustrated in colour throughout. 190 2015. ISBN 9781784911584. £42.00 (No VAT). Book contents pageBuy Now

Ritual landscapes and borders are recurring themes running through Professor Kalle Sognnes' long research career. This anthology contains 13 articles written by colleagues from his broad network in appreciation of his many contributions to the field of rock art research. The contributions discuss many different kinds of borders: those between landscapes, cultures, traditions, settlements, power relations, symbolism, research traditions, theory and methods.

We are grateful to the Department of Historical studies, NTNU; the Faculty of Humanities; NTNU, The Royal Norwegian Society of Sciences and Letters and The Norwegian Archaeological Society (Norsk arkeologisk selskap) for funding this volume that will add new knowledge to the field and will be of importance to researchers and students of rock art in Scandinavia and abroad.

This book is available to download in e-format in Archaeopress Open Access.
Open Access: To See the Invisible: Karelian Rock Art by Arsen Faradzhev. ISBN 9781784911249. Buy Now

This contribution considers 25 years of discovery of the possible origins and development of the Rock Art Tradition to create Karelian Rock Art images under the open sky through the analysis of different types of intercessions into the horizontal surface of granite rocks.

Karelian petroglyphs are located-at the eastern bank of the Onega Lake and 300 km to the north, close to the southern bank of the White Sea. One of them, the “New Zalavruga,” was discovered by the expedition of U.Savvateev under the Neolithic cultural layer and sterile sand layer in 1963-1968. This is a great and very rare opportunity to obtain direct dating of the end of the tradition to create Karelian Rock Art images around 5-6 ka ago. Therefore, the task was to find the “Invisible” evidences of the tradition’s origins and development similar to both regions via the different use of context.

Exclusive to Open Access. Download the free Open Access PDF here.

Art as Metaphor The Prehistoric Rock-Art of Britain edited by Aron Mazel, George Nash and Clive Waddington. 53 2007. Available both in printed and e-versions. Printed ISBN 9781905739165. £30.00 (No VAT). Epublication ISBN 9781784916022. £17.00 (Inc. UK VAT) Buy Now

Enigmatic, esoteric and fascinating, the rock-art of the British Isles has for a long time been a well-kept secret. However, over the last few decades hundreds of new rock art panels have been discovered and several regional surveys have been carried out. This volume brings together a carefully selected collection of papers that cover British prehistoric rock-art from over 10000 years ago.
World Rock Art: The Primordial Language Third Revised and updated edition by Emmanuel Anati. vi+180 pages; illustrated throughout with drawings and photographs in colour and black and white. 58 2010. ISBN 9781905739318. £19.95 (No VAT). Buy Now

This volume is a basic introduction to rock art studies. It marks the starting point of the new methodology for rock art analysis, based on typology and style, first developed by the author at the Centro Camuno di Studi Preistorici. This book demonstrates the beginnings of a new discipline, the systematic study of world rock art. This edition is a revised and updated version of Anarti’s classic text, first published in English in 1993. Additions have been made and a major new category of rock art has been included.
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