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Recipient of the Jo Anne Stolaroff Cotsen Prize The product of ten years of fieldwork at Little Lake Ranch in the Rose Valley, the southern gateway to the Owens Valley, this book presents the results of intensive rock art analyses carried out by the interdisciplinary research team of the UCLA Rock Art Archive. The research attempts to establish a connective web of associations to break down traditional but artificial barriers between rock art and the rest of archaeology. Through time-honored methods of stylistic analysis, the focus is on recent breakthroughs in the analysis of meaning and religion in the context of landscape attributes and ecological opportunities. Regional or ethnic differences suggested by the rock art record has made it possible to create a flexible analytical framework containing previously unpublished or overlooked archaeological excavation and object data. This book describes the occurrence, concentration, distribution, and formal variation of pecked and painted motifs. Scratched, pecked, and painted patterns are analyzed separately. Full-color illustrations throughout enhance the physical appeal of this beautiful book.
This book describes in word and illustration the results of an exciting quest on the part of its authors to discover and record Indian rock paintings of Northern Ontario and Minnesota. Numerous drawings were made from these pictographs at a hundred different sites; the originals range in age from four to five hundred years to a thousand, and were done with the simplest materials: fingers for brushes, fine clay impregnated with ferrous oxide giving the characteristic red paint. Where an overhanging rock protected a vertical face from dripping water or on dry, naked rock faces the Indians recorded the forest life with which they lived in intimate association—deer, caribou, rabbit, heron, trout, canoes, animal tracks—and also abstractions which puzzle and intrigue the modern viewer. Many of the paintings could only have been done from a canoe or a convenient rock ledge. Selwyn Dewdney travelled many thousands of miles by canoe to make the drawings of the pictographs which illustrate every page of this fascinating and attractive book. He provides also a general analysis of the materials used by the Indians, of their subject-matter and the artistic rendering given to it, and his artist's journal records in detail the sites he visited, the paintings he found at each, the comparisons among them that came to mind, the references to rock paintings in early literature of the Northwest. Kenneth E. Kidd contributes a valuable essay on the anthropological background of the area, linking the rock paintings with early cave art in, for example, France and Spain, describing the life of the Indians in the Shield country, and commenting on what the pictographs reveal of their makers' attitudes to their external world and of their thinking. This is a book which will appeal to a wide audience: to those interested in primitive art forms and in Canadian art in general, to all students of the early history of North America, to travellers who in increasing numbers follow the canoe trails of the Shield lakes and rivers.
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.
From the high plains of Canada to caves in the southeastern United States, images etched into and painted on stone by ancient Native Americans have aroused in observers the desire to understand their origins and meanings. Rock paintings and engravings can be found in nearly every state and province, and each region has its own distinctive story of discovery and evolving investigation of the rock art record. Rock art in the twenty-first century enjoys a large and growing popularity fueled by scholarly research and public interest alike. This book explores the history of rock art research in North America and is the only volume in the past twenty-five years to provide coverage of the subject on a continental scale. Written by contributors active in rock art research, it examines sites that provide a cross-section of regions and topics and complements existing books on rock art by offering new information, insights, and approaches to research. The first part of the volume explores different regional approaches to the study of rock art, including a set of varied responses to a single site as well as an overview of broader regional research investigations. It tells how Writing-on-Stone in southern Alberta, Canada, reflects changing thought about rock art from the 1870s to today; it describes the role of avocational archaeologists in the Mississippi Valley, where rock art styles differ on each side of the river; it explores discoveries in southwestern mountains and southeastern caves; and it integrates the investigation of cupules along Georgia’s Yellow River into a full study of a site and its context. The book also compares the differences between rock art research in the United States and France: from the outset, rock art was of only marginal interest to most U.S. archaeologists, while French prehistorians considered cave art an integral part of archaeological research. The book’s second part is concerned with working with the images today and includes coverage of gender interests, government sponsorship, the role of amateurs in research, and chronometric studies. Much has changed in our understanding of rock art since Cotton Mather first wrote in 1714 of a strange inscription on a Massachusetts boulder, and the cutting-edge contributions in this volume tell us much about both the ancient place of these enduring images and their modern meanings. Discovering North American Rock Art distills today’s most authoritative knowledge of the field and is an essential volume for both specialists and hobbyists.
Guide to Rock Art Sites of the Owens Valley
Honoring Jane Buikstra's pioneering work in the development of bioarchaeological research, the essays in this volume stem from a symposium held at the annual meeting of the Society for American Archaeology. Multiple generations of Buikstra's former doctoral students and other colleagues gathered to discuss the impact of her mentorship. The essays are remarkable for their breadth, in terms of both the topics discussed and the geographical range they cover. The contributions highlight the dynamism of bioarchaeology, which owes so much to the strong foundations laid down over the last few decades. The volume documents the degree to which bioarchaeological approaches have become normalized and integrated into anthropological research: bioarchaeology has moved out of the appendix and into the interpretation of archaeological data. New perspectives have emerged, partly in response to theoretical changes within anthropology, but also as a result of the engagement of the broader discipline with bioarchaeology.
For over half a millennium, the megalithic ruins of Tiwanaku in the highlands of the Andes mountains have stood as proxy for the desires and ambitions of various empires and political agendas; in the last hundred years, scholars have attempted to answer the question "What was Tiwanaku?" by examining these shattered remains from a distant preliterate past. This volume contains twelve papers from senior scholars, whose contributions discuss subjects from the farthest points of the southern Andes, where the iconic artifacts of Tiwanaku appear as offerings to the departed, to the heralded ruins weathered by time and burdened by centuries of interpretation and speculation. Visions of Tiwanaku stays true to its name by providing a platform for each scholar to present an informed view on the nature of this enigmatic place that seems so familiar, yet continues to elude understanding by falling outside our established models for early cities and states.
Pearson brings a cogent, well-argued case for the understanding of much prehistoric art as shamanistic practice. Using the theoretical premises of cognitive archaeology and a careful examination of rock art worldwide, Pearson is able to dismiss other theories of why ancient peoples produced art_totemism, art-for-art's sake, structuralism, hunting magic. Then examining both ethnographic and neuropsychological evidence, he makes a strong case for the use of shamanistic ritual and hallucinogenic substances as the genesis of much prehistoric art. Bolstered with examples from contemporary cultures and archaeological sites around the world, Pearson's thesis should be of interest not only to archaeologists, but art historians, psychologists, cultural anthropologist, and the general public.
This volume, the second in a series of studies on the archaeology of the Titicaca Basin, serves as an excellent springboard for broader discussions of the roles of ritual, authority, coercion, and the intensification of resources and trade for the development of archaic states worldwide. Over the last hundred years, scholars have painstakingly pieced together fragments of the incredible cultural history of the Titicaca Basin, an area that encompasses over 50,000 km2, achieving a basic understanding of settlement patterns and chronology. While large-scale surveys will need to continue and areas will need to be revisited to further refine chronologies and knowledge of site-formation processes, the maturation of the field now allows archaeologists to fruitfully invest energy in single locations and specialized topics.
The statue-stelae of Early Iron Age Daunia (north Apulia, Italy), a group of stone slabs, are each incised to represent the garb and accoutrements of a person. They detail the clothing and adornment worn by men and women in full regalia, plus, through additional figurative images drawn on the robes, show ritual practices, everyday activities, and scenes of local legend. As such, they offer an unparalleled window into the lives of a proto-historic people, providing a rich source of self-representation for what is otherwise a fairly poorly understood society. Grounded in the scholarship of post-colonial and gender archaeology, this book pays full respect to the agency of indigenous communities and the important role of women. It considers the stelae not through a Hellenic lens, but in the Italo-Adriatic context to which they belong. This is the first time an in-depth, holistic study of the Daunian stelae has been undertaken, and the first presentation of the material in English.