From Central Asia to South Africa: In Search of Inspiration in Rock Art Studies
PDF

Keywords

South Africa
Central Asia
rock art
interpretation

How to Cite

Rozwadowski, A. (2017). From Central Asia to South Africa: In Search of Inspiration in Rock Art Studies. Werkwinkel, 12(1), 19–33. https://doi.org/10.1515/werk-2017-0002

Abstract

The paper describes the story of discovering South African rock art as an inspiration for research in completely different part of the globe, namely in Central Asia and Siberia. It refers to those aspect of African research which proved to importantly develop the understanding of rock art in Asia. Several aspects are addressed. First, it points to importance of rethinking of relationship between art, myth and ethnography, which in South Africa additionally resulted in reconsidering the ontology of rock images and the very idea of reading of rock art. From the latter viewpoint particularly inspiring appeared the idea of three-dimensionality of rock art ‘text’. The second issue of South African ‘origin,’ which notably inspired research all over the world, concerns a new theorizing of shamanism. The paper then discusses how and to what extent this new theory add to the research on the rock art in Siberia and Central Asia.

https://doi.org/10.1515/werk-2017-0002
PDF

References

Bernard, Alan J. 2004. “Coat of Arms and the Body Politic: Khoisan Imagery and South African National Identity.” Ethnos 69(1): 5-22.

Clottes, Jean. 2016. What is Paleolithic Art? Cave Paintings and the Dawn of Human Creativity. Chicago & London: University of Chicago Press.

Clottes, Jean, and J. David Lewis-Williams. 1998. The Shamans of Prehistory: Trance and Magic in the Painted Caves. NewYork: Harry N. Abrams.

Coulson, David, and Alec Campbell. 2001. African Rock Art: Paintings and Engravings on Stone. New York: Harry N. Abrams.

Deacon, Janet. 1999. “South African Rock Art.” Evolutionary Anthropology 8: 48-64.

Dowson, Thomas A. 1998. “Rain in Bushman Belief, Politics and History: The Rock-art of Rain-Making in the South-Eastern Mountains, Southern Africa.” The Archaeology of Rock-Art. Eds. C. Chippindale, and P.S.C. Tacon. Cambridge: Cambridge University Press. 73-89.

Duval, Melanie, and Benjamin Smith. 2014. “Seeking Sustainable Rock Art Tourism: The Example of the Maloti-Drakensberg Park World Heritage Site.” South African Archaeological Bulletin 69: 34-48.

Garlake, Peter. 1995. The Hunter’s Vision: The Prehistoric Art of Zimbabwe. Seattle: University of Washington Press.

Grzelczyk, Maciej. 2015. “Rock Paintings from Poro Banguma I and Banguma I from the Usandawe Area (Kondoa District, Tanzania).” Bollettino del Centro Camuno di Studi Preistorici 39: 21-26.

Grzelczyk, Maciej. 2016. “State of Preservation of Rock Art Sites in Usandawe Area, Tanzania.” Bollettino del Centro Camuno di Studi Preistorici 41: 138-142.

Grzelczyk, Maciej, and Andrzej Rozwadowski. 2017. “Sztuka naskalna regionu Kondoa w Tanzanii. Gdzie archeologia spotyka się z etnologią.” Sztuka naskalna: polskie doświadczenia badawcze. Ed. A. Rozwadowski. Warszawa-Toruń: Polski Instytut Studiów nad Sztuką Świata. 51-72.

Hampson, Jamie. 2013. “The Materiality of Rock Art and Quartz: A Case Study from Mpumalanga Province, South Africa.” Cambridge Archaeological Journal 23(3): 363-372.

Hollmann, Jeremy C. 2005. “‘Swift-people’: Therianthropes and Bird Symbolism in Hunter-Gatherer Rock-Paintings, Western and Eastern Cape Provinces, South Africa.” South African Archaeological Society, Goodwin Series 9: 21-33.

Hromnik, Cyril A. 2001. “!Ke e: ׀xarra ke - the Qena Motto in the South African Coat of Arms.” Quarterly Bulletin of the National Library of South Africa 56(2): 65-72.

Laue, Ghilraen, Tara Turkington, and Benjamin Smith. 2002. “Presenting South African Rock Art to the World: Two Major New Public Rock Art Site Developments for 2002.” The Digging Stick 18(3): 5-7.

Leroi-Gourhan, Andre. 1968. The Art of Prehistoric Man in Western Europe. London: Thames and Hudson.

Lewis-Williams, James David. 1972. “The Syntax and Function of the Giant’s Castle Rock-Paintings.” South African Archaeological Bulletin 27: 49-65.

Lewis-Williams, James David. 1974. “Superpositioning in a Sample of Rock Paintings from the Barkly East District.” South African Archaeological Bulletin 29: 93-103.

Lewis-Williams, James David. 1980. “Ethnography and Iconography: Aspects of Southern San Thought and Art.” Man 15: 467-482.

Lewis-Williams, James David. 1981a. Believing and Seeing: Symbolic Meanings in Southern San Rock Paintings. London and San Francisco: Academic Press.

Lewis-Williams, James David. 1981b. “The Thin Red Line: Southern San Notions and Rock Paintings of Supernatural Potency.” South African Archaeological Bulletin 36: 5-13.

Lewis-Williams, James David. 1983a. “Introductory essay: science and rock art.” South African Archaeological Society, Goodwin Series 4: 3-13.

Lewis-Williams, James David. 1983b. The Rock Art of Southern Africa. Cambridge: Cambridge University Press.

Lewis-Williams, James David. 1984. “Ideological Continuities in Prehistoric Southern Africa: The Evidence of Rock Art.” Past and Present in Hunter-Gatherer Studies. Ed. C. Schrire. New York: Academic Press. 225-252.

Lewis-Williams, James David. 1985. “The San Artistic Achievement.” African Arts 18(3): 54-59.

Lewis-Williams, James David. 1986. “The Last Testament of the Southern San.” South African Archaeological Bulletin 41: 10-11.

Lewis-Williams, James David. 1987a. “Beyond Style and Portrait: A Comparison of Tanzanian and Southern African Rock Art.” Contemporary Studies on Khoisan, Part 2 (Quellen zur Khoisan-Forschung 5.2). Eds. R. Vossen, and K. Keuthmann. Hamburg: Helmut Buske Verlag. 93-139.

Lewis-Williams, James David. 1987b. “Paintings and Power: Ethnography and Rock Art in Southern Africa.” The Past and Future of !Kung Ethnography: Critical Refl ections and Symbolic Perspectives. Eds. M. Biesele, R. Gordon, and R. Lee. Hamburg: Helmut Buske Verlag. 231-253.

Lewis-Williams, James David. 1988a. Reality and Non-Reality in San Rock Art. 25th Raymond Dart Lecture. Johannesburg: Witwatersrand University Press.

Lewis-Williams, James David. 1988b. The World of Man and the World of Spirit: An Interpretation of the Linton Rock Paintings. Margaret Shaw Lecture 2. Cape Town: South African Museum.

Lewis-Williams, James David. 1992. “Ethnographic Evidence Relating to ‘Trancing’ and ‘Shamans’ among Northern Bushmen.” South African Archaeological Bulletin 47: 56-60.

Lewis-Williams, James David. 1995. “Seeing and Construing: The Making and ‘Meaning’ of a Southern African Rock Art Motif.” Cambridge Archaeological Journal 5(1): 3-23.

Lewis-Williams, James David. 1997a. “Agency, Art, and Altered Consciousness: A Motif in French (Quercy) Upper Palaeolithic Parietal Art.” Antiquity 71(274): 810-830.

Lewis-Williams, James David. 1997b. “Harnessing the Brain: Vision and Shamanism in Upper Palaeolithic Western Europe.” Beyond Art: Pleistocene Image and Symbol. Eds. M.W. Conkey, O. Soffer, D. Stratmann, and N.G. Jablonski. Berkeley: University of California Press. 321-342.

Lewis-Williams, James David. 2000a. Discovering Southern African Rock Art. Cape Town and Johannesburg: David Philip.

Lewis-Williams, James David. 2000b. Stories the Float from Afar: Ancestral Folklore of the San of Southern Africa. Cape Town: David Philip.

Lewis-Williams, James David. 2001a. “Brainstorming Images: Neuropsychology and Rock Art Research.” Handbook of Rock Art Research. Ed. D. Whitley. Walnut Creek: AltaMira Press. 332-357.

Lewis-Williams, James David. 2001b. “Monolithism and Polysemy: Scylla and Charybdis in Rock Art Research.” Theoretical Perspectives in Rock Art Research. Ed. K. Helskog. Oslo: Novus forlag. 23-39.

Lewis-Williams, James David. 2002. The Mind in the Cave: Consciousness and the Origins of Art. London: Thames and Hudson.

Lewis-Williams, James David. 2003. Images of Mystery: Rock Art of the Drakensberg. Paris: Éditions du Seuil.

Lewis-Williams, James David. 2006. “Debating Rock Art: Myth and Ritual, Theories and Facts.” South African Archaeological Bulletin 61: 105-114.

Lewis-Williams, James David, and Sam Challis. 2011. Deciphering Ancient Minds: The Mystery of San Bushmen Rock Art. London: Thames and Hudson.

Lewis-Williams, James David, and Thomas A. Dowson. 1988. “The Signs of All Times. Entoptic Phenomena in Upper Paleolithic Art.” Current Anthropology 29(2): 201-245.

Lewis-Williams, James David, and Thomas A. Dowson. 1989. Images of Power. Understanding Bushman Rock Art. Johannesburg: Southern Book Publishers.

Lewis-Williams, James David, and Thomas A. Dowson. 1990. “Through the Veil: San Rock Paintings and the Rock Face.” South African Archaeological Bulletin 45: 5-16.

Lewis-Williams, James David, and Johannes H.N. Loubser. 1986. “Deceptive Appearances: A Critique of Southern African Rock Art Studies.” Advances in World Archaeology 5: 251-289.

Lewis-Williams, James David, Geoffrey Blundell, Sam Challis, and Jamie Hampson. 2000. “Threads of Light: Re-examining a Motif in Southern African San Rock Art.” South African Archaeological Bulletin 55: 123-136.

McGranaghan, Mark, Sam Challis, and James David Lewis-Williams. 2013. “Joseph Millerd Orpen’s ‘A Glimpse into the Mythology of the Maluti Bushmen’: A Contextual Introduction and Republished Text.” Southern African Humanities 25: 137-66.

Mguni, Siyakha. 2012. “Five Years of Southern African Rock Art Research.” Rock Art Studies. News of the World IV. Eds. P. Bahn, N. Franklin, and M. Strecker. Oxford: Oxbow Books. 99-112.

Morris, David. 2010. “Snake and Veil: The Rock Engravings of Driekopseiland, Northern Cape, South Africa.” Seeing and Knowing: Rock Art With and Without Ethnography. Eds. G. Blundell, C. Chippindale, and B. Smith. Walnut Creek: Left Coast Press. 37-53.

Morris, David. 2014. “Wildebeest Kuil Rock Art Centre, South Africa: Controversy and Renown, Successes, and Shortcomings.” Public Archaeology 13(1-3): 187-199.

Orpen, Joseph Millerd. 1874. “A Glimpse into the Mythology of the Maluti Bushmen.” Cape Monthly Magazine 9(49): 1-13.

Rozwadowski, Andrzej. 2001a. “From Semiotics to Phenomenology: Central Asian Petroglyphs and the Indo-Iranian Mythology.” Theoretical Perspectives in Rock Art Research. Ed. K. Helskog. Oslo: Novus Press. 155-174.

Rozwadowski, Andrzej. 2001b. “The Petroglyphs of Central Asian from the Viewpoint of the Indo-Iranian Hypothesis.” Indo-European Studies Bulletin 9(2): 9-19.

Rozwadowski, Andrzej. 2001c. “Sun Gods or Shamans? Interpreting the ‘Solar-Headed’ Petroglyphs of Central Asia.” The Archaeology of Shamanism. Ed. N. Price. London and New York: Routledge. 65-86.

Rozwadowski, Andrzej. 2002a. “Crossing the Crack: Flying to the Cloud. Indo-Iranians, Shamanism and Central Asian Rock Art.” Bolletino del Centro Camuno di Studi Preistorici 33: 97-105.

Rozwadowski, Andrzej. 2002b. “Disappearing in the Cliffs: Shamanistic Aspects of Indo-Iranian Mythology as a Context for Interpreting Central Asian Petroglyphs.” Spirits and Stones: Shamanism and Rock Art in Central Asia and Siberia. Eds. A. Rozwadowski, and M.M. Kośko. Poznań: Instytut Wschodni UAM. 49-79.

Rozwadowski, Andrzej. 2003. Indoirańczycy – sztuka i mitologia. Petroglify Azji Środkowej. Poznań: Wydawnictwo Naukowe UAM.

Rozwadowski, Andrzej. 2004. Symbols through Time: Interpreting the Rock Art of Central Asia. Poznań: Institute of Eastern Studies, Adam Mickiewicz University.

Rozwadowski, Andrzej. 2009. Obrazy z przeszłości. Hermeneutyka sztuki naskalnej. Poznań: Wydawnictwo Naukowe UAM.

Rozwadowski, Andrzej. 2012a. “Shamanism in Indigenous Context: Interpreting the Rock Art in Siberia.” A Companion to Rock Art. Eds. J. McDonald, and P. Veth. Chichester: John Wiley & Sons. 455-471.

Rozwadowski, Andrzej. 2012b. “Shamanism, Rock Art and History: Implications from a Central Asian Case Study.” Working with Rock Art: Recording, Presenting and Understanding Rock Art Using Indigenous Knowledge. Eds. B.W. Smith, K. Helskog, and D. Morris. Johannesburg: Wits University Press. 192-204.

Rozwadowski, Andrzej. 2015. “Historic and Proto-Historic Shamanic Rock Art in Siberia: A View from the Altai.” Quaderns de Prehistoria i Arqueologia de Castello 33: 189-198.

Rozwadowski, Andrzej. 2017a. Rock, Cracks and Drums: In Search of Ancient Shamanism in Siberia and Central Asia. Budapest: Molnar and Kelemen Oriental Publishers.

Rozwadowski, Andrzej. 2017b. “Travelling through the Rock to the Otherworld: The Shamanic ‘Grammar of Mind’ within the Rock Art of Siberia.” Cambridge Archaeological Journal. Online: <https://doi.org/10.1017/S095977431700004X>.

Smith, Benjamin W. 2006. “Reading Rock Art and Writing Genetic History: Regionalism, Ethnicity and the Rock Art of Southern Africa.” The Prehistory of Africa: Tracing the Linage of Modern Man. Ed. H. Soodyall. Johannesburg and Cape Town: Jonathan Ball Publishers. 76-96.

Smith, Benjamin W. 2013. “Rock Art Research in Africa.” The Oxford Handbook of African Archaeology. Eds. P. Mitchell, and P. Lane. Oxford: Oxford University Press. 145-161.

Smith, Benjamin, and Melanie Duval. 2012. “Préservation et développement touristique des sites d’art rupestre de l’uKhahlamba-Drakensberg, Afrique du Sud: enjeux, obstacles et incidences sur le vivre-ensemble.” Academics Papers: International Conference on ‘Living with World Heritage in Africa.’ Eds. C. Kpadonou, D. Neuba, H. Boko-Koudakossi, I. Odiaua, M.W. Mapesa, P. Abungu, S. Van Damme, and Y. Diedhiou. Pretoria: African World Heritage Fund (AWHF) and Department of Arts and Culture, South Africa. 188-199.

Smith, Benjamin W., and Sven Ouzman. 2004. “Taking Stock: Identifying Khoekhoen Herder Rock Art in Southern Africa.” Current Anthropology 45(4): 499-527.

Smith, Benjamin, James David Lewis-Williams, Geoffrey Blundell, and Christopher Chippindale. 2000. “Archaeology and Symbolism in the New South African Coat of Arms.” Antiquity 74: 467-468.

Ucko, Peter J., and Andree Rosenfeld. 1967. Paleolithic Cave Art. London: McGraw Hill.

Vinnicombe, Patricia. 1967. “Rock-Painting Analysis.” South African Archaeological Bulletin 88: 129-141.

Vinnicombe, Patricia. 1976. People of the Eland: Rock Paintings of the Drakensberg Bushmen as a Refl ection of their Life and Thought. Pietermaritzburg: University of Natal Press.