Rock art can be useful as a factor in reclaiming Indigenous identities. One example of this phenomenon is work by contemporary artists who explore and integrate rock art in their creations. The author considers how and why a selection of artists in Siberia/Central Asia and Canada use these ancient images.

La agricultura fue una actividad fundamental de las comunidades aldeanas de las tierras altas de Arica en los Andes centro sur, durante el período Intermedio tardío (1100-1450 dC), hasta convertirse en uno de los principales propósitos de la expansión inca en la región en los siglos quince y dieciséis. Este trabajo presenta el hallazgo, en la cuenca alta del Valle de Azapa, de maquetas o infraestructuras agrícolas grabadas en miniatura. Caracterizamos sus formas y soportes, examinamos su distribución en los territorios tardíos de la región y las contrastamos a macroescala regional con evidencias similares. Finalmente, discutimos su vínculo con el flujo de conocimientos y experiencias relativos al manejo del agua y la topografía, junto con la ritualización del paisaje agrícola en tiempos incas.

The development of freestanding stone sculpture by the Olmec people of Mesoamerica's Gulf lowlands has long been considered one of the defining artistic achievements of the Formative period. However, by the Middle Formative period the production of freestanding sculpture was often eclipsed by the contemporaneous creation of rock art outside the Gulf lowlands. In this article I argue that Gulf Olmec sculptors and audiences occasionally co-opted the aesthetic and ritual treatments of rock art at topographic shrines to construct and reinforce the sacred geographies of primary site cores. In so doing, Olmec elites converted the ideological power of the wild and the animate earth into a form of political capital.

Rock art of the Middle and Upper Orinoco River in South America is characterised by some of the largest and most enigmatic engravings in the world, including snakes exceeding 40m in length. Here, the authors map the geographic distribution of giant snake motifs and assess the visibility of this serpentine imagery within the Orinoco landscape and Indigenous myths. Occupying prominent outcrops that were visible from great distances, the authors argue that the rock art provided physical reference points for cosmogonic myths, acting as border agents that structured the environment and were central to Indigenous placemaking along the rivers of lowland South America.

En este trabajo se presenta el estudio de los sitios con arte rupestre del faldeo oriental de la Sierra de Velasco y occidental de la Sierra de La Punta (norte de la provincia de La Rioja, Argentina). Los objetivos son definir la diversidad de representaciones a nivel local, evaluar la circulación de información a escala regional y examinar su rol en la conformación de paisajes sociales, durante los últimos 2.000 años. Para ello se realiza un análisis de los repertorios iconográficos y de los vínculos entre imágenes y contextos de emplazamiento. Los resultados sugieren que los sitios rupestres distribuidos en altitudes contrastantes implicaron diferentes prácticas sociales. Los emplazamientos pedemontanos, integrados a los espacios residenciales y productivos, se habrían conformado en torno a prácticas domésticas y simbólicas recurrentes, mientras que aquellos situados en las serranías de La Punta estarían vinculados con el uso de vías naturales de circulación. Esta segregación espacial involucra, a su vez, distintas temporalidades para la producción y el consumo de arte rupestre.

Este trabajo se propone avanzar en la comprensión de los procesos históricos de pintado del sitio arqueológico de Oyola (Sierra El Alto-Ancasti, Catamarca, Argentina). En particular, se evalúan similitudes y diferencias en la composición material de las mezclas pigmentarias para entrever la existencia de antiguas recetas pictóricas en la confección de las pinturas rupestres negras. Para ello se realizaron análisis microestratigráficos de 28 motivos mediante microscopía electrónica de barrido con análisis elemental por espectroscopía dispersiva en energía de rayos X (MEB-EDS), y microespectroscopía Raman (RS). Su estudio comparativo señaló el uso alternativo de dos pigmentos negros (carbón vegetal y óxidos de manganeso) combinados, en algunos casos, con un aditivo (sulfato de calcio). De esta forma, fue posible conocer ciertos aspectos de las recetas pictóricas que orientaron la preparación de las mezclas pigmentarias negras, aproximándonos a algunas de las tradiciones y saberes retomados. Para alcanzar una comprensión histórica de dichas recetas, se evaluó la distribución espacial, temporal y algunas características formales de los motivos rupestres realizados con ellas. Al no identificarse tendencias claras, se propone una definición menos normativa de receta pictórica que resalta los aspectos compartidos entre distintos episodios de pintado sin perder de vista las posibilidades creativas de cada evento.

Discussions of contacts between Britain and Ireland usually focus on monuments and on portable artefacts such as Grooved Ware, Beakers, and metalwork. New research on insular rock art suggests that it originated in the Middle to Late Neolithic period and continued to be used and re-used into the Early Bronze Age. This paper considers its relationship with decorated passage graves and other structures. It argues that the distribution of rock art sheds further light on connections between these islands. Estuaries, bays, and landing places were important, but the siting of pecked motifs indicates other links along three overland routes between the North Sea and the Irish Sea. Certain practices were shared between megalithic tombs and recently excavated rock carvings. It is possible that they expressed similar beliefs at a time when long distance travel was important.

This article presents and analyzes a newly discovered petroglyph from Tetzcotzinco (mun. Texcoco, Mexico) in the form of arranged pecked dots. Based on what is known about Mesoamerican divinatory systems, calendars, and the perception of space, the interpretation takes into account both the encoded numerical values and the layout of the dots. The main argument is that this and similar representations’ function was not limited to simple counting of days or serving as a kind of astronomical marker, in which the arms of the cross indicated, for example, equinoxes, which is by far their most common interpretation in academic literature. Instead, it represented calendrical cycles through the numbers, as suggested by some scholars. Based on this hypothesis, the article explores the possible connection between numbers registered in Tetzcotzinco's “pecked cross” and specific diagrams from indigenous divinatory books. Therefore, the plausible interpretation of the symbolism of this petroglyph is that it either expressed a series of meanings related to the agrarian period(s) and rain god(s) or less-known Mesoamerican calendrical cycles, such as half trecenas or seven- and nine-day periods.

This article presents details of the recent discovery of Palaeolithic cave art in Cova Dones, Valencia. The preliminary results reveal a rich graphic assemblage with features that are unusual for Mediterranean Upper Palaeolithic art and were previously unknown for the Pleistocene in the eastern Iberian coast.

Detailed photogrammetry and 3D laser scanning of rock art, geophysics research and sondage excavations conducted at the Painted Hand Petroglyph Panel, a large rock art site in south-western Colorado, USA, has revealed new information about the cultural situation in the pre-Columbian and historic North American Southwest.

Al-Muqrinat cave was first visited by the Italian researcher Umberto Paradisi in June 1964, after he was told by the locals of its location. Paradisi in turn conducted the first field study in the region. Archaeologist Charles McBurney made some observations on the study particularly with respect to the history of the engravings and the site was referred to as being the first discovery of rock art in the Green Mountain. No further field studies were carried out until 2001, when Libyan student Saad Buhajar investigated the site as part of his master's research. This article is the result of intermittent visits to the cave over a period of 27 years and provides the accurate descriptions of findings including new discoveries.

AMS radiocarbon dating has been widely applied in Palaeolithic art research and its value has been proven over the past three decades. Yet it still suffers from issues that need to be discussed and analysed to improve future sampling strategies and strengthen the interpretation of the results. This study presents new AMS dates for the parietal art in Cueva de Las Chimeneas in northern Spain, describes the quality of the samples, and discusses their reliability. The joint assessment of the dates and its comparison with previously obtained dates as well as stratified and dated portable art makes it possible to put forward a hypothesis about the time of creation of the cave's parietal art and the degree of synchrony or diachrony in its production. Consequently, it is proposed that the cave art at Las Chimeneas was created in the lower Magdalenian, between 19,000 and 17,500 cal bp.

Among the rock art in Arabia, a little-known Neolithic tradition of large, naturalistic camel depictions stands out. Their geographic distribution and stylistic traits suggest close links with the Camel Site reliefs. Four newly documented panels appear to have been carved by the same individual (or group), tracing repeated movements over hundreds of kilometres.

In the Bronze Age, warriors are probably the best-known social class. Evidence for warfare and other violent encounters links them to aggression and bloodshed that could be translated into social status. This made warriors a potential two-fold threat to the social cohesion of their communities: not only did they risk threatening the integrity of communities as agents of death but also they could challenge local authority and cause internal conflict. Here, the author presents evidence that suggests that internal conflict was a major concern for Nordic Bronze Age societies, in that warriors constituted an internal social challenge, and proposes that local communities may have mitigated this threat in rituals such as the sacrifice of weapons and the construction of social narratives through rock art.