Primitive art is inseparable from primitive consciousness and can be correctly understood only with the correct socio-cultural context. This book examines the ancient art of Siberia as part of the integral whole of ancient society.

The distinguished Russian archeologist Aleksei P. Okladnikov's study reveals how a field archeologist goes about determining and writing prehistory. Over the course of his career, Okladnikov and his wife Vera Zaporozhskaya travelled across Siberia from the Lena River in the north to the Amur River in the south excavating archaeological sites. During that time Aleksei and Vera found and interpreted the rock art of the vast region from the Paleolithic Era to the present day. Relying on petroglyphs and pictographs left on cliffs and boulders, Okladnikov lays out in detail and straightforward language the prehistory of Siberia by "reading" these artifacts. This book permits the past to be told in its own words: the art portrayed on the cliffs of Siberia.

Taking a fresh look at the poetry and visual art of the Hellenistic age, from the death of Alexander the Great in 323 B.C. to the Romans' defeat of Cleopatra in 30 B.C., Graham Zanker makes enlightening discoveries about the assumptions and conventions of Hellenistic poets and artists and their audiences.
Zanker's exciting new interpretations closely compare poetry and art for the light each sheds on the other. He finds, for example, an exuberant expansion of subject matter in the Hellenistic periods in both literature and art, as styles and iconographic traditions reserved for grander concepts in earlier eras were applied to themes, motifs, and subjects that were emphatically less grand.

Using the example of prehistoric paintings discovered in the late 19th century in Spain and France 'Cave Art, Perception and Knowledge' inquires into epistemic questions related to images, depicting and perception to which this rich material has given rise. The book traces the outline of the doxa of cave art studies.

As the most important ancient cultural relics in prehistory, rock art have become a direct basis for the reproduction of human history and ideological process. Since the late 1970s, Yinshan rock art have been found in large quantities. In this study, 2842 Yinshan rock art are collected, sorted and classified systematically. The distribution characteristics of rock art in each area and the distribution and change rules of main rock art types are summarized. This book also places Yinshan rock art into the overall framework of Chinese rock art for analysis in order to provide a more comprehensive understanding of the overall characteristics and status of Yinshan rock art, and showcases researches on the chronology are.

In this volume, contributors show how stylistic and iconographic analyses of Mississippian imagery provide new perspectives on the beliefs, narratives, public ceremonies, ritual regimes, and expressions of power in the communities that created the artwork. Exploring various methodological and theoretical approaches to pre-Columbian visual culture, these essays reconstruct dynamic accounts of Native American history across the U.S. Southeast. These case studies offer innovative examples of how to use style to identify and compare artifacts, how symbols can be interpreted in the absence of writing, and how to situate and historicize Mississippian imagery. They examine designs carved into shell, copper, stone, and wood or incised into ceramic vessels, from spider iconography to owl effigies and depictions of the cosmos. They discuss how these symbols intersect with memory, myths, social hierarchies, religious traditions, and other spheres of Native American life in the past and present. The tools modeled in this volume will open new horizons for learning about the culture and worldviews of past peoples.

This unique guide provides an artistic and archaeological journey deep into human history, exploring the petroglyphic and pictographic forms of rock art produced by the earliest humans to contemporary peoples around the world. * Summarizes the diversity of views on ancient rock art from leading international scholars * Includes new discoveries and research, illustrated with over 160 images (including 30 color plates) from major rock art sites around the world * Examines key work of noted authorities (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and outlines new directions for rock art research * Is broadly international in scope, identifying rock art from North and South America, Australia, the Pacific, Africa, India, Siberia and Europe * Represents new approaches in the archaeological study of rock art, exploring issues that include gender, shamanism, landscape, identity, indigeneity, heritage and tourism, as well as technological and methodological advances in rock art analyses

Our understanding of the human past is very limited. The mute evidence from excavation - the dusty pot shards, fragments of bone, slight variations in soil colour and texture - encourages abstraction and detachment. Reconstruction art offers a different way into the past, bringing archaeology to life and at times influencing and informing archaeologist's ideas. At its best it delivers something vivid, vital and memorable. Illustrating the Past explores the history of reconstruction art and archaeology. It looks at how attitudes have swung from the scientific and technical to a freer more imaginative way of seeing and back again. Through the exploration of seven artists' work, the reader is shown how the artist's way of seeing illustrates the past and sometimes how it has changed the way the past is seen. Illustrators working in archaeology are often anonymous and yet the picture that summarises an excavation can be the idea that endures. As well as drawing on her specialist knowledge, Judith Dobie uses conversation and correspondence to build a picture of how these artists' personalities, interests and backgrounds influences their art. Case studies featuring working sketches demonstrate how reconstruction artists deliver understanding and can change the interpretation of a site. This book celebrates and acknowledges reconstruction art within the field of archaeology.

Along the Atlantic seaboard, from Scotland to Spain, are numerous rock carvings made four to five thousand years ago, whose interpretation poses a major challenge to the archaeologist.
Richard Bradley discusses the cultural settings of the rock carvings, the ways in which they can be interpreted in relation to ancient land use, the creation of ritual monuments and the burial of the dead. Integrating this fascinating yet little-known material into the mainstream of prehistoric studies, IRock Art and the Prehistory of Atlantic Europe demonstrates that these carvings played a fundamental role inthe organization of the prehistoric landscape.

Along the Atlantic seaboard, from Scotland to Spain, are numerous rock carvings made four to five thousand years ago, whose interpretation poses a major challenge to the archaeologist.
In the first full-length treatment of the subject, based largely on new fieldwork, Richard Bradley argues that these carvings should be interpreted as a series of symbolic messages that are shared between monuments, artefacts and natural places in the landscape. He discusses the cultural setting of the rock carvings and the ways in which they can be interpreted in relation to ancient land use, the creation of ritual monuments and the burial of the dead. Integrating this fascinating yet little-known material into the mainstream of prehistoric studies, Richard Bradley demonstrates that these carvings played a fundamental role in the organization of the prehistoric landscape.

Runoko Rashidi is the foremost living scholar in the field of research into Black communities all over the world. He is not the kind of academic who sits in an ivory tower studying manuscripts. In fact, he has met with Black communities in over 100 countries and visited countless museums and historical sites and given thousands of lectures. He has taken beautiful photographs, some of which feature in his other books published by Books of Africa, Black Star, African Star over Asia, Uncovering the African Past and his book for children, Assata-Garvey and Me. This book contains 202 of Runoko's best photographs mainly from museums in Egypt, Europe and America. 118 of the pictures depict the African essence of great Egyptian art from the early dynasties of Kmt down to Roman times. Also included are pictures of Black people in Western Asia and in China; black Buddhas in Vietnam and Thailand; images of Black people in Europe - in Crete and among the Etruscans and Romans; and images of the famous Olmec heads in Mexico. This is a book to treasure, a perfect companion to Runoko's other works.

Anton van Wouw (1862–1945) is probably the most prominent sculptor of his generation and is regarded as the father of South African sculpture. Though mostly revered for his monumental works, it is through his smaller works that Van Wouw reached true heights of sculptural expression. Apart from their their inherent value as treasured works of art, these smaller works also give a historical perspective on the socio-economic and cultural circumstances of South Africa during Van Wouw's lifetime. In this detailed research work, A.E. Duffey provides an authoratative overview of the life and work of a most intriguing figure.

The First Signs is the first-ever exploration of the little-known geometric images that accompany most cave art around the world-the first indications of symbolic meaning, intelligence, and language. Join renowned archaeologist Genevieve von Petzinger on an Indiana Jones-worthy adventure from the open-air rock art sites of northern Portugal to the dark depths of a remote cave in Spain that can only be reached by sliding face-first through the mud. Von Petzinger looks past the beautiful horses, powerful bison, graceful ibex, and faceless humans in the ancient paintings. Instead, she's obsessed with the abstract geometric images that accompany them, the terse symbols that appear more often than any other kinds of figures-signs that have never really been studied or explained until now. Part travel journal, part popular science, part personal narrative, von Petzinger's groundbreaking book starts to crack the code on the first form of graphic communication. It's in her blood, as this talented scientist's grandmother served as a code-breaker at Bletchley. Discernible patterns emerge that point to abstract thought and expression, and for the first time, we can begin to understand the changes that might have been happening inside the minds of our Ice Age ancestors-offering a glimpse of when they became us.

In order to foster dialogue among various subfields, contributors are drawn from a wide range of domains. Classical archaeology, Aegean prehistory, Near Eastern archaeology, Egyptology, Pre-Columbian South America, and North America are brought together to explore ancient art from multiscalar perspectives and through the lenses of entanglement theory, network thinking, assemblage theory and other recent theoretical developments. Representing a new wave in research on ancient art, considering both the proximal and distributed operations of artworks, Ancient Art Revisited provides broad and inclusive coverage of ancient art and offers a cohesive approach to a fragmented area of study. This book will be suitable for archaeologists, anthropologists and art historians wishing to understand the latest thinking on ancient art.

Creativity is an integral part of human history, yet most studies focus on the modern era, leaving unresolved questions about the formative role that creativity has played in the past. This book explores the fundamental nature of creativity in the European Bronze Age. Considering developments in crafts that we take for granted today, such as pottery, textiles, and metalwork, the volume compares and contrasts various aspects of their development, from the construction of the materials themselves, through the production processes, to the design and effects deployed in finished objects. It explores how creativity is closely related to changes in material culture, how it directs responses to the new and unfamiliar, and how it has resulted in changes to familiar things and practices. Written by an international team of scholars, the case studies in this volume consider wider issues and provide detailed insights into creative solutions found in specific objects.

The 3,000-year-old Ambum Stone, from Papua New Guinea, is the focus of several archaeological stories. The stone itself is an interesting artifact, an important piece of art history that tells us something about the ancient Papuans. The stone is also at the center of controversies over the provenance and ownership of ancient artifacts, as it was excavated on the island of New Guinea, transferred out of the country, and sold on the antiquities market. In telling the story of the Ambum Stone, Brian Egloff raises questions about what can be learned from ancient works of art, about cultural property and the ownership of the past, about the complex and at times shadowy world of art dealers and collectors, and about the role ancient artifacts can play in forming the identities of modern peoples.

The Art of Elam CA. 4200-525 BC offers a view of, and a critical reflection on, the art history of one of the world's first and least-known civilizations, illuminating a significant chapter of our human past. Not unlike a gallery of historical paintings, this comprehensive treatment of the rich heritage of ancient Iran showcases a visual trail of the evolution of human society, with all its leaps and turns, from its origins in the earliest villages of southwest Iran at around 4200 BC to the rise of the Achaemenid Persian empire in CA. 525 BC. Richly illustrated with 1,450 photographs, 190 line drawings, and digital reconstructions of hundreds of artefacts-some of which have never before been published-The Art of Elam goes beyond formal and thematic boundaries to emphasize the religious, political, and social contexts in which art was created and functioned. Such a magisterial study of Elamite art has never been written, making The Art of Elam CA. 4200-525 BC a ground-breaking publication essential to all students of ancient art and to our current understanding of the civilizations of the ancient Near East.

Where do we find the world's very first art? When, and why, did people begin experimenting with different materials, forms and colours? Were our once-cousins, the Neanderthals, also capable of creating art? Prehistorians have been asking these questions of our ancestors for decades, but only very recently, with the development of cutting-edge scientific and archaeological techniques, have we been able to piece together the first chapter in the story of art. Overturning the traditional Eurocentric vision of our artistic origins, which has focused almost exclusively on the Franco-Spanish cave art, Paul Bahn and Michel Lorblanchet take the reader on a search for the earliest art across the whole world. They show that our earliest ancestors were far from being the creatively impoverished primitives of past accounts, and Europe was by no means the only 'cradle' of art; the artistic impulse developed in the human mind wherever it travelled. The long universal history of art mirrors the development of humanity.

Just as modern societies interpret ancient monuments and incorporate them in their political and cultural life, so people in the past often re-used their own monuments and places. Illustrated with plates and photographs and including articles by international specialists, this book should appeal to graduates, academics and anyone curious about the re-use of ancient monuments right up to the present day.