Format: Paper presentations with discussion
Convenors:
Prof. Manoj Kumar Singh, University of Delhi, India, mksinghanthro@rediffmail.com
Prof. Luiz Oosterbeek, Polytechnic Institute of Tomar, Portugal, loost@ipt.pt
Ms Sudeshna Biswas, University of Delhi, India, sbiswas@anthro.du.ac.in
Rock art is a significant embodiment of human cognition regarding the natural world and the perceived realities of human existence. It is fundamental in comprehending our ancestors’ cultural practices, lifestyles, and cognitive frameworks. Consequently, this aspect assumes significance in studying and researching humanity’s historical cultural practices. It addresses the quotidian aspects of life and provides extensive commentary on the natural landscapes that existed in the past. Moreover, it highlights the myriad discoveries and inventions that have emerged at various stages of human development, collectively reflecting the indomitable spirit of human adaptation, innovation and transformation.
This panel invites emerging scholars and established experts in rock art research to present their studies, predominantly derived from their original fieldwork experiences. We encourage contributions that encompass a diverse array of paradigms related to rock art from various global contexts. This would give the audience a broader perspective on the current developments in this field. We anticipate engaging in a thorough discussion of the contemporary scenarios and methodologies in rock art research, particularly the utilisation of digital technologies and AI aimed at enhancing this field of study. Furthermore, we seek to address the challenges of the sustainability of preserving rock art sites. We welcome dialogue on strategies to overcome these contemporary issues.
Papers:
Rock Art of Gopisur-Satkunda, Madhya Pradesh, Central India: Cognition and Perceptions of Art through the Lens of Anthropology
Sudeshna Biswas, Dept of Anthropology, Faculty of Science, University of Delhi, Delhi, India
Rock art is an omnipresent expression found worldwide, serving as a consistent and tangible reflection of past human societies and their cultural practices. The holistic framework of rock art encompasses environmental, social, and cognitive dimensions. These paintings redefine our ancestors’ structure of the mind and perceptions and reflect surreal psyche-nature interaction. India exhibits a diverse collection of rock shelters with various pictographs and petroglyphs nationwide. Central India is renowned for its distinctive geomorphological characteristics. This region’s unique topographical features include an extensive collection of rock paintings, collectively constituting one of the area’s noteworthy features and principal archives of such artistic pursuits. It also hosts the renowned Bhimbetka World Heritage Site, esteemed for its extensive rock art assemblage, holding significant cultural and historical importance. The following study presents an understanding of the rock art of Gopisur-Satkunda, conducted by the author in a primary rock art site. The paper looks at art using the cognitive associations and interpretations from an anthropological perspective. It explains the aesthetics, decorations, patterns, and style of art and how these concepts can decipher the psycho-social view of art through an in-depth exploration of the evocative depictions of rock art discovered in the region. Since the site has not been studied and explored in greater detail, this paper will provide novel insights into the area through an anthropological lens.
Rock Art and Time: How Digital Technologies are Changing Approaches to Interpretation and Dating
Assoc. Prof. Malahat Farajova, Dept of History of Art and Theory, Azerbaijan State University of Culture and Art, Azerbaijan
Long-term study of petroglyphs in Gobustan by the author investigates the spiritual culture of ancient settlers from the end of the Upper Palaeolithic–early Mesolithic through to the Middle Ages. The author focuses on the study of hunting-magic representations of ancient Gobustan men, who are especially brightly presented in rock images. Use of the latest technologies and 3D programs have identified new rock art motifs. During the research, an opportunity to recreate the real world of ancient hunters and fishers of Gobustan has also opened. In this paper the author comes to a conclusion that the main subject of art amongst the ancient hunters of Gobustan was animals (aurochs, deer and other images of animals) who, along with figures of archaic hunters and images of boats, remained the main characters on rock images of Gobustan through many millennia.
Conceptual Depiction of Elements in Indian Rock Art: A Subtle Reference to Human Migration
Dr Jinu Koshy, Dept of Ancient History and Archaeology, University of Madras, India
Malar Koshy, Dept of Sanskrit and Indian Culture, Sri Chandrasekharendra Saraswathi Viswa Mahavidyalaya, India
Don Wesley M, Dept of History and Archaeology, Acharya Nagarjuna University, India
V. Pradeep, Archaeological Survey of India, Chennai, India
J. John Juvan, Dept of Sanskrit and Indian Culture, Sri Chandrasekharendra Saraswathi Viswa Mahavidyalaya, India
Rock art is one of the oldest forms of human expression and is graphically represented across various geographical landscapes in India, it not only illustrates the day-to-day activities of early humans but also summarises complex conceptual elements, offering a window into the minds of our ancient ancestors. The present research is concerned with the conceptual depiction of elements on rockshelters in the mesa formation at the Uppalapadu-Chennakkapalle complex situated in Kurnool district, Andhra Pradesh, India. This complex has yielded a total of 272 rockshelters with rock art dating from the Mesolithic to Historical periods. The rockshelters with the rock art have revealed a lot of information on how our ancestors have visualised the surroundings, which in turn reflects their cognitive ability. The initial data analysis has led to the formulation of a hypothesis suggesting the possible westward migration of humans from Australia to India during the terminal phase of the Late Pleistocene epoch.
Rock Art in Southern Norway – Challenges and Solutions
Ghattas J. Sayej, Dept of Archaeology, Cultural Heritage and Tourism, Agder County Council, Kristiansand, Norway
For more than a century, prehistoric rock art in the county of Farsund in southern Norway has fascinated archaeologists, who uncovered and documented dozens of sites. The painted moose at the site of Forbergodden is the oldest and has a painted red figure on a steep inaccessible cliff. This kind of rock art dates back to the Neolithic period, approximately 6000 BCE. The second type of rock art, which is more common in the county, is the petroglyphs and the bowl pits. There are dozens of such sites, the most popular of which are Penne, Kviljo and Lunde. These sites are found on the edge of an open landscape and consist mainly of ship figures and bowl pits. These sites are dated back to the bronze age, approximately 3500 BCE. To have a better interpretation and understanding of how prehistoric artists thought, we need to see these sites and the surrounding landscape from different perspectives. While conducting our rock art project between 2017 and 2024, we saw a huge impact on rock art sites from climatic changes and harsh weather. The painted moose is almost invisible and many of the petroglyphs and bowl pits sites are covered by lichens, mosses, algae and other types of vegetation which make them almost impossible to see. In this paper, I will present what we have done to make the sites more visible and accessible to visitors, and I will show how digital technology can be useful in this regard.
Himalayan Glyphs: Mapping Cultural Exchange Through the Rock Art of Himachal Pradesh
Ekta Singh, Chitrakoot School of Liberal Arts, Shoolini University, Solan, Himachal Pradesh, India
The rock art of Himachal Pradesh, spanning the Trans-Himalayan districts of Kinnaur and Spiti, offers profound insights into the symbolic and cultural exchanges facilitated by ancient trade networks. These petroglyphs and pictographs, often etched or painted on natural rock surfaces, showcase motifs such as mascoid designs, hunting scenes, anthropomorphic figures, and geometric patterns. Such emblems serve as cultural ‘currency’, reflecting religious beliefs, societal values, and artistic influences.
Situated along key routes connecting Tibet, Central Asia, and the Indian subcontinent, these rock art sites highlight the integration of symbols across diverse regions. The motifs suggest interactions with nomadic pastoralists, traders, and monastic communities who traversed these networks, carrying not only goods but also ideologies and artistic traditions. A cross-comparative analysis reveals parallels with the Siberian Bronze Age, Central Asian petroglyphic styles, and Indian artistic idioms, underscoring the region’s role as a cultural conduit.
Tracing Prehistoric Signatures: Negative Hand Impressions in the Rock Art of Chhattisgarh, India
Shimon Prakash, Adi Drishya (Rock Art) Division, Indira Gandhi National Centre for the Arts, New Delhi, India
Mohd Zakir Khan, School of Studies in Ancient Indian History Culture and Archaeology, Pt. Ravishankar Shukla University, India
Negative hand impressions (stencils), one of the rarest and most significant forms of rock art, has fascinated scholars around the globe. Created using blowing techniques, these rare works of art are often regarded as symbolic expressions of hominins’ personal identity or signature. A noteworthy example of this practice, dating back approximately 37,000 years, was recently found in Indonesia. However, such evidence is sparse in the global archaeological record. In India, particularly in Chhattisgarh, such motifs have been identified from several rock shelters.
An extensive survey was conducted in the Chhatibahar, Hathimada, and Rakshadwari sites in Korba District, as well as the Ongana and Sokhmuda sites in Raigarh District. During documentation, both positive and negative hand impressions were recorded. With over 100 negative hand impressions, such findings extend our knowledge of prehistoric rock art, as well as the cognitive and social development of hominins. Further, these findings also contribute to the growing evidence of negative hand impressions in India.
This paper offers a comprehensive examination of the anatomy of the hand impressions made by prehistoric hominins by making comparisons across the different sites and explores the makers of negative hand impressions, investigating their potential roaming routes and ritual practices.
Beyond the Hunt: Analysing Hunter-Gatherer Depictions in Central Indian Prehistoric Rock Art
Mohd Zakir Khan, Adi Drishya Division, Indira Gandhi National Centre for the Arts, New Delhi, India
Dr Sultan Salahuddin, Assistant Professor, Dept of History, Government College Shadora, India
Rock art serves as an important source for comprehending the cognitive traits of hominins, reflecting their ability to communicate visually and think symbolically. Prehistoric people most likely used rock art and lithic tools as media to transmit knowledge from one generation to the next. Central India possesses a few of the most significant late Pleistocene rock art sites on the Indian subcontinent, with depictions covering various prehistoric periods and themes, offering insights into their lives and interaction with nature. This study explores representations of hunter-gatherer populations in Central Indian rock art through the example of sites such as Barajharia, Ongana, Singhanpur, Kabra Pahad, Nanon, and Satdhara. The outline of the study undertakes prehistoric travel, from the representation of gatherers to hunters. It features animals, probably depicting the species that were hunted or utilised for sustenance and the tools that were used for hunting, and their comparison to the lithic assemblages found near these shelters. Further, it elucidates the adaptive techniques and advanced cognition of hominins, as well as their survival tactics. These findings contribute to the discourse around human-environment interaction and prehistoric art and also act as an important nexus in the sequence of events that represent human.
The Painted Past: Exploring the Diversity of Rock Art Themes in Binaiki Tola, Narsinghpur District, Madhya Pradesh and their Contemporary Cultural Resonance
Shubham Kewaliya, Assistant Professor, Dept of History, Shaheed Bhagat Singh College, University of Delhi, India
Simran Sambhi, Exploration Officer, Directorate of Archaeology, Government of Assam, India
The Narsinghpur district of Madhya Pradesh has reported and yielded various sites representing the Middle Pleistocene to the Holocene period. Geomorphologically, alluvium, Gondwana sandstone, Bijawar, and basaltic lava flow from the Deccan Trap underlie the district. The principal affluents of the river Narmada in the district are the rivers Sher and Shakkar. The Satpuras to the south belong to the Gondwana formation, which belongs to the older and middle Mesozoic and upper Palaeozoic formations, mainly of sandstones and shales. Fresh investigations have yielded the discovery of the rock art site of Binaiki Tola, part of the Satpura Range, on the banks of the river Shakkar. Owing to a newspaper report, survey and documentation has yielded ten painted rock shelters which are part of the Satpura Range. The depictions mainly include animal and human figures and share similarity with the rock art site of Panchmarhi in the Satpura. This paper attempts to provides a glimpse into how rock art sites serve as lens in understanding the cognitive approach behind local utilisation of raw materials and the subsequent material culture, thereby arriving at a more nuanced understanding of the themes depicted by incorporating ethnographic study at the site of Binaiki Tola.
Between Valleys, Bodies and Rocks: Body Conceptualisations of Diaguita Rock Art in the Valleys of Limarí, Combarbalá and Choapa (Chile)
Francisca Lobos Sanzana, Departamento de Antropología, Universidad de Chile, Chile
During the Late Intermediate Period (1,000-1,450 AD) within the Coquimbo region (Chile), rock art sites appear outside of residential contexts and begin to be associated with Diaguita communities, who produce petroglyphs in what would be public, mobilisation spaces, and, possibly, social congregation. Anthropomorphic motifs also appear in these sites, indicating an importance given both to corporeality as part of this public discourse, as well as to the meeting of different bodies, related in their interaction, frequency and visibility. Considering that a sociopolitical organisation by basins (Elqui-Limarí; and Combarbalá-Choapa) has been proposed for Diaguita, added to the fact that these rock bodies are represented throughout the entire region, this could suppose a variability in the representation and understanding of the bodies within the rock. To evaluate this variability, a regional comparison of the anthropomorphic motifs recognised in the Combarbalá, Choapa and Limarí basins was carried out, based on the premise that these rock bodies respond to a bodyscape. In this way, an approach is sought to the socio-historical conception of bodies and how they are situated in the landscape, but also to highlight the heterogeneity of bodily expressions and their diversification within the Diaguita world.
Study and Dating of Rock Art: East Asia, Southwestern China
Yun Wu, School of history, Wuhan University, Wuhan, China; Yunnan Institute of Cultural Relics and Archaeology, Kunming, China
Qingfeng Shao, School of Geographical Science, Nanjing Normal University, Nanjing, China
Prof. Yasha Zhang, Minzu University of China, China
Southwest China is one of the richest areas globally for biodiversity and diversity of ethnic minorities. Rock art in southwestern China is prominent for its antiquity and diversity, which indicates cultural contact with other regions. The rock art theme in this area includes hunting, gathering, domestication, etc. Following comprehensive dating efforts, the age of Jinsha River rock art has been traced back to the late Palaeolithic period. U-series dating results reveal that the rock paintings in this area were created during at least three periods: 1) ~13,000–13,580 yr B.P., 2) ~10,540–10,830 yr B.P., 3) ~8370–8700yr B.P., these intervals are substantially earlier than the timing of agriculture in Yunnan Province (~4600 yr BP). We have performed comprehensive U-series and AMS 14 C dating of secondary carbonates either overlying or underlying the rock paintings at eight sites in Cangyuan County, southwest China, which date from 3800 to 2700 yr BP., and the age of the Mt. Huashan rock-paintings can be bracketed between 1856±16 and 1728±41 yr BP. According to the High-precision U-series dating results, subjects and styles, we divide the rock painting of southwestern China into two entirely distinguishable periods.
Continuity and Change of Human Figures in South Sulawesi Rock Art from Pleistocene to Holocene
Adhi Agus Oktaviana, Pusat Riset Arkeometri, Organisasi Riset Arkeologi, Bahasa, dan Sastra, Badan Riset dan Inovasi Nasional, Jakarta, Indonesia; Griffith Centre for Social and Cultural Research (GCSCR), Griffith University, Brisbane, Australia
Maxime Aubert, Griffith Centre for Social and Cultural Research (GCSCR), Griffith University, Australia; Geoarchaeology and Archaeometry Research Group, Southern Cross University, Lismore, Australia; Australian Research Centre for Human Evolution, Griffith University, Brisbane, Australia
Yinika L. Perston, Griffith Centre for Social and Cultural Research (GCSCR), Griffith University, Australia
Basran Burhan and Ratno Sardi, Geoarchaeology and Archaeometry Research Group, Southern Cross University, Lismore, Australia
Rustan Lebe, Badan Layanan Umum Museum dan Cagar Budaya, Direktorat Jenderal Kebudayaan, Jakarta, Indonesia
Imran Ilyas and Andi Jusdi, Balai Pelestarian Kebudayaan Wilayah XIX, Makassar, Indonesia
Salmia Yakub, Geoarchaeology and Archaeometry Research Group, Southern Cross University, Lismore, Australia
Suryatman, Departemen Arkeologi, Fakultas Ilmu Budaya, Universitas Hasanuddin, Makassar, Indonesia
Marlon N.R. Ririmasse, Pusat Riset Arkeologi Lingkungan, Maritim, dan Budaya Berkelanjutan, Organisasi Riset Arkeologi, Bahasa, dan Sastra, Badan Riset dan Inovasi Nasional, Jakarta, Indonesia
Adam Brumm, Geoarchaeology and Archaeometry Research Group, Southern Cross University, Lismore, Australia
This paper explores continuity and changes in depictions of human figures in the painted rock art of South Sulawesi, Indonesia, from the Pleistocene into the Holocene. The region is home to some of the world’s oldest known parietal art, with examples dating to over 50,000 years, providing rare insights into early Homo sapienssocieties of Island Southeast Asia. The earliest Late Pleistocene representations include simple stick figures and ‘therianthropes’—part human/part animal beings—suggesting a complex mythological framework. They are often depicted in dynamic scenes and interacting with animals, which may represent early narrative art. By the Holocene, there was a noticeable shift in the complexity and diversity of human depictions, including more detailed and varied figures that are often engaged in communal activities. We speculate that this shift likely reflects broader changes in human societies, which may include the development of more complex social hierarchies and the advent of agriculture. The presentation also describes methodological advancements in dating rock art, such as the application of uranium-series and laser ablation uranium-series techniques. By re-writing our understanding of the chronology of South Sulawesi’s rock art, these methods have also highlighted the region’s importance in the broader context of human prehistory.
Rock Art, Hands Prints & Caves from Borneo & NW PNG: Interpretations & Questions
Jean-Michel Chazine, Centre de Recherche et de Documentation Pluridisciplinaire (CREDO) Aix-Marseille Université (AMU), Centre National de la Recherche Scientifique (CNRS), Marseille, France
Since the unexpected discovery of charcoal rock art in central Kalimantan in 1988, more than 120 caves, including over 40 caves containing paintings, have revealed their diversity in expressions and locations, be it geomorphologic, in the surface space, or in the caves themselves. Although the painting process observed first in East Kalimantan appears similar to all other expressions over the world, and especially neighbouring Australia, practically, some specific items could be observed. In particular the high number of stencilled hands prints: over 2000 altogether, with some caves are containing more than 100 hands. Moreover, the inner locations of paintings, varying from near the ground, up to 14m high, themselves present large variations in impressed designs and dispositions, and set some questions. In a more eastern place at the NW tip of PNG, in Misool’ labyrinthic channels, locations and contents are also puzzling. Therefore, a general explanation at this state of knowledge cannot be presented and all of these variations show that, although a general trend, local or even personal expressions have to be considered. A select choice of samples are still questioning our reflections concerning this part of the deep prehistory of this large area.
Rock Art in the Cottian Alps: Prehistoric Paintings and Engravings
Dario Seglie, Piero Ricchiardi and Giacomo Rosso, CeSMAP, Centre for Studies and Museum of Prehistoric Art, Pinerolo, Italy
Piedmont is bordered to the west by the Alpine chain, which arose due to orogenetic thrusts rising in the Tertiary from the Mediterranean basin. In the Piedmont region, the vigorous post-Oligocene uplift exposed the pre-tertiary basement and swept away most of the sedimentary covers, so that the range today is essentially made of crystalline rocks, eruptive and metamorphic. After around 10,000 years ago these morphological characteristics facilitated, colonisation by humans, who gradually occupied the alpine system up to the high alpine belt.
The presence of human settlements, from the Neolithic, IV millennium BC, in the territory of the Cottian Alps has been documented by a series of archaeological excavations, carried out by CeSMAP. All the rock paintings and engravings of the Western Alps are affected by a progressive degradation attributable to the increase in atmospheric pollution, and in particular by acid rain, which has increased in recent decades. Hence the need for their conservation and the urgency of their protection and study.
The procedures and methods used to construct historical models for understanding this art must take into account the perceptual difficulties, exegetical modesty, precariousness of the theoretical system, epistemological fragmentation and the cognitive relativity towards the phenomenon of rock art, whose immense dimension and total beauty are general categories that we can surely perceive, even if we are aware that the original emotional messages are not recoverable and that it is arduous to lift the temporal barrier between our world and the world of our so far away ancestors.