a rubbing

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This is a rubbing I made of a wonderful image embedded in the cover of a book I found in the library a few days ago. Indian Rock Carvings of the Pacific Northwest by Edward Meade (1971) has numerous black and white photographs of petroglyphs made by the many First Nations peoples along the west coast from Oregon to British Columbia and Alaska. The above image was found on the west coast of Vancouver Island.

At Nootka are two human figures of a male and female. The unique features of these carvings is that the outline of the figures is achieved by double pecked lines, a technique found elsewhere only at one site, in Washington.

By the way, this is my 500th post and this blog is one year and nine months old today. Thanks to all my readers and new friends who’ve made the ride so fantastic, and inspire me to keep on going! Happy October!

Kiwi Stonehenge

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Checking through my old bookmarks, I came across an old BBC article about the opening last February of a Stonehenge in New Zealand.

“For millennia people have gazed in awe at Stonehenge, often totally unaware of how structures such as this were used. Stonehenge Aotearoa is not a replica of the ruin on Salisbury Plain in England. It is a complete and working structure designed and built for its precise location in the Wairarapa region of New Zealand. The henge stones, viewed from the centre, mark the daily rise and set positions of the sun, moon and bright stars. The henge also forms a Polynesian star compass marking the bearings taken by Polynesian sailors to and from Aotearoa.” – from the website for Stonehenge Aotearoa. Have a look at the dramatic pictures.

A must-see when we go to New Zealand one day with our Kiwi friends!

Pekka Kivikäs

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As my readers know, I’m nuts about prehistoric art, particularly that of northern Europe. One site that I check periodically is Arkeo.net**, a Finnish portal for archaeology fans. Recently I spotted a notice about some new books (PDF) that have come out.

I’m particularly keen on the two books by Pekka Kivikäs. “Rocks, Landscapes and Rock Paintings”, written in both English and Finnish, is about Finland’s pictographs, based on his many years of research. The other book “Ruotsin Pyyntikulttuurin Kalliokuvat Suomalaisin Silmin” (Sweden’s Prehistoric Rock Paintings Through a Finn’s Eyes), is based on the author’s 12 years of visits to Swedish sites. I’ve been hoping to get my hands on some of his books which have gone out of print, so I’ve eagerly ordered these two new ones from Akateeminen Kirjakauppa, a major bookstore in Helsinki which takes online orders and credit card payment. I can hardly wait.

Kivikäs was the subject of a very early post I wrote when starting this blog. I’ll repeat this quote:

The art teacher Pekka Kivikäs has become well-known for his work as an active documenter and publisher of Finnish rock paintings… the book is aimed at the wide circle of readers interested in the ancient culture of Finno-Ugric regions…Kivikäs considers rock art the silent message of man from behind the thousands of years….

Rereading this now, I’m struck by “silent message”, considering that my current working print series is titled “Silent Messengers”!

In 1999, Kivikäs’ home city of Jyväskylä honoured him and his life’s work by establishing the Kivikäs Prehistoric Centre. It features his immense research material of mostly Finland’s prehistoric rock paintings and continues the work of research, documentation, education and tours to the rock art sites. If I had known of this centre when visiting Jyväskylä in 2000, I sure would have gone there. Next time.

Unfortunately the website is only in Finnish because there’s some interesting reading about the history of the place, but have a look at the photos. My Finnish readers may enjoy it. The Centre is located on a historic 1763 property in the newer Kuokkola Manor, which was built in 1904 for the Swedish-Finnish businessman Julius Johnson.

A bit off the subject, I found it fascinating that the Manor was designed by a woman architect who was a classmate of the famous Eliel Saarinen amongst others. Wivi Lönn (1872-1966) (PDF in English) was the first Finnish woman to start an architectural agency. She gained the qualifications of architect in the 1890s during an era when women were only allowed entry into construction education programmes by dispensation. She had a long and successful career despite some overshadowing by male colleagues. Her last creation was at the age of 78, and she died at the age of 94.

UPDATE: In the comments below, Blogisisko pointed to an article in English about women architects in Finland in the Early 20th Century**, in which Wivi Lönn is included. She’s also written a post about her, with some photos coming soon.

Virtual Finland** is a wonderful resource on everything about Finland and I read it frequently. This time I did not delve into it, as I was really focusing on Pekka Kivikäs. Funny how easily one gets off the subject, especially when one finds such an interesting tidbit.

**the Virtual Finland and Arkeo links no longer exist, I’m sad to note.

Vaseaux Lake pictographs

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My own art work is keeping me preoccupied these days, especially with the exhibition coming up in November, so today I’m being a lazy blogger. May I point you to a link provided once again by reader Bill Knight in a recent comment.

Have a look at the pictographs of Vaseux Lake in the southern interior of British Columbia. They are beautiful examples of the rock paintings of the native peoples of these areas dating back about 1800 to 2000 years.

Best of all, I love what Bill wrote about his thoughts about ancient rock art:
I would like to edge closer to this mystery, communion and communication practice. To write upon the earth itself, that act is a focus for contemplation. It is to submit to the relative permanence of great stone mountains and bluffs, while facing how brief and transient a human life is. Painful perhaps, but sustaining as well.

I believe even contemporary stone sculpture carving disregards the rock’s age and connection to the great vast ages and spaces, favoring an involvement with distractions of process, illusion and conceit of design. Sculpture is worked out of quarry-stone with predictable and regular physical characteristics. The rock becomes stone; a material, a sort of plastic substance.

[…] There is an interesting difference, though between “rock” and “stone”. I had never heard of the term “rock art” before coming to your site.

Thank you, Bill, for expressing a feeling that I’ve long had about my strange attraction for rock art. (Oh, and the “rock art” term isn’t mine of course – it’s generally used by most people to speak about ancient petroglyphs, pictographs, petroforms, standing stones or megaliths, etc.)
(Edited Sept.22)

Rock art in Northern Australia

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Early rock painting at Ubirr, Northern Australia
From MMOA’s Timeline of Art History

The Metropolitan Museum of Art’s Timeline of Art History has a section on the history of art in Australia. Most fascinating for me was reading about the “X-ray” style in Arnhem Land rock art. This style of Australian Aboriginal art is fairly familiar in contemporary work, but I did not know it was called “X-ray” and that it is so ancient, reflecting an unbroken continuity with the ancient X-ray tradition.

The “X-ray” tradition in Aboriginal art is thought to have developed around 2000 B.C. and continues to the present day. As its name implies, the X-ray style depicts animals or human figures in which the internal organs and bone structures are clearly visible. X-ray art includes sacred images of ancestral supernatural beings as well as secular works depicting fish and animals that were important food sources. In many instances, the paintings show fish and game species from the local area. Through the creation of X-ray art, Aboriginal painters express their ongoing relationships with the natural and supernatural worlds… X-ray paintings occur primarily in the shallow caves and rock shelters in the western part of Arnhem Land in northern Australia.

Have a look at the great images.

One of the best known galleries of X-ray painting is at Ubirr, some of which may be from as far back as 40,000 B.C.! More beautiful images here.

(via bellebyrd )
An earlier post about Australian Rock Art.

Rock Art of SW Texas

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Photos: Jim Zintgraff

This is an exciting find: The Rock Art Foundation has a very impressive website to promote the conservation and study of the Native American Rock Art in the Lower Pecos region of Southwest Texas. I did not know that Texas has one of the largest and most diverse bodies of rock art in the New World.

The Foundation offers guided tours to provide both an aesthetic and educational opportunity to the public. For us armchair travellers, the website “gallery” is a very good virtual tour with its numerous beautiful photos of the many pictographs and a few petroglyphs along with detailed descriptions of their possible meanings. The brilliant colours make me suspect that the photos have been enhanced, as we all know that pictographs fade and petroglyphs weather and thus become hard to see. Still I think these are marvellous, and an appetizer for the very tempting CD-Rom of over 250 images that I just might order for myself.

I am once again indebted to reader Bill Knight for his generosity in sharing the wonderful links he manages to unearth. (I think Bill should start a blog, don’t you?) And yes, Bill, I think they may be very useful in my own imagemaking.

Spirit in the Stone

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“Salmon Man” on beach at Quadra Island – drawing by Hilary Stewart

I am slowly savoring Spirit in the Stone by Joy Inglis, a book that was recommended to me by reader Irene from Manitoba and which I recently found in our local library. The back cover describes it best:

Mysterious and impressive, the art of the petroglyph has intrigued people around the world. Petroglyphs played an important part in the rituals and ceremonies of Shamanism – the religion of many early cultures. The rock carvings of the west coast of North America are related in style and content to the rock art of the Far East and to the cave paintings of Europe.

Spirit in the Stone offers a worldwide background for rock carvings in art and religion, with a practical focus on the petroglyphs of Quadra Island, British Columbia. The 11 petroglyph sites (more than 100 carved boulders – ed.) on the island are described, with detailed maps and directions for finding them. West-coast rock art was often connected to the life-cycle of the salmon, the basic resource of coastal peoples, and this book discusses the probable meanings and uses of the awe-inspiring petroglyphs.

The wonderfully evocative drawings by Hilary Stewart, and the Foreword by native Elder Ellen White, will help everyone understand these treasures, and to appreciate the silent magic of ancient rock art.

Joy Inglis, an anthropologist, has worked for 20 years with the Kwagiulth people of Quadra Island, studying the locations and traditional functions of west-coast petroglyphs.

Reading this well-researched and rich little book made me recall a question from Beth in a comment some time ago: “why do you like rock art?” I couldn’t seem to find a satisfactory answer then, though obviously I was attracted to these beautiful, mysterious and very ancient art works with a mysterious feeling of connection between artists over vast periods of time. But I could not quite articulate a deeper reason. Reading this book clarified for me how the Shamanic spirit instilled into the rock art is what makes them even more compelling for me.

Spirit in the Stone, by Joy Inglis, was published by Horsdal and Shubart, in 1998, with 111 pages. ISBN 0920663583. It seems to be out of print now as I’ve only found two used copies on the web, one hugely and perhaps incorrectly overpriced and one Down Under. I’ll keep looking, for I want a copy for myself, as much as I want to go to Quadra Island.

And, here’s a book review.

Lascaux Caves replica

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The Unicorn in the Great Hall of the Bulls, Lascaux Caves

A few days ago I picked up a gorgeous book from the library – Chauvet Cave: The Art of Earliest Times by Jean Clottes, and Paul G. Bahn (translator). I’ve visited the Chauvet Cave website before, so now I look forward to perusing the book, but haven’t yet had time to more than glance at the stunning pictures.

In a bit of synchronicity, I spotted an article and photo today in our local newspaper about another group of caves in the same region: Modern copy brings ancient art into view, originally from the Daily Telegraph, about the Lascaux Caves project.

A replica of the Lascaux caves, home to prehistoric man but out of bounds to his modern descendants, is to go on a world tour to take the art treasures to a wider public. A small team based near the caves in Motignac, south-west France, is creating the replica for an exhibition expected to visit several international cities, including London. Renaud Sanson, the team’s leader and one of the few people allowed inside the caves, said the use of laser techniques and photographic projection meant that the touring replica would be “better than the real thing”. The 17,000-year-old images are considered among the finest surviving examples of palaeolithic art and have been described as the Sistine Chapel of the prehistoric age.

An earlier post about the Lascaux project is at ionarts, translated from French papers and worth reading.

More interesting related links:
Lascaux II and area
Tour info
Pech Merle

I wonder how far we’d still have to travel to see these modern re-creations?

Borneo rock art

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Stone Gallery Photograph by Carsten Peter

I’m really enjoying this month’s issue of the National Geographic magazine, particularly the beautiful article ‘Hands Across Time, Exploring the Rock Art of Borneo’, also found on NG’s website.

Deep within the cliffside caves of eastern Borneo, 10,000-year-old paintings featuring the hands of the artists themselves may offer clues about ancient migrations. Thus begins an excerpt of the article, well worth reading. Then view the photo gallery.

The interactive image is magical and powerful. Ghostly hands–many decorated with dots, dashes, and other patterns–reach out from the wall of Gua Tewet in the rain forest of eastern Borneo. Dated back to more than 10,000 years ago, the stenciled hands may suggest initiation or shamanistic rituals, perhaps related to prehistoric Aboriginal art in Australia. The French-Indonesian expedition team called hands connected by long curving lines, at right, a “tree of life.” The design may symbolize ties that connect individuals, families, territories, or spirits to each other.

Luc-Henri Fage, the author of this story, wrote on the occasion of this, his ninth expedition:

I’d thought back to my first expedition here 17 years ago. A documentary filmmaker and magazine editor, I had set out on a 700-mile (1,100-kilometer) trek from one end of Kalimantan to the other with a few caving friends. Halfway across the island, taking shelter under a rock, we found ancient charcoal drawings on the ceiling. When I returned to France, I was surprised to learn that no such rock art had ever been reported in Kalimantan. I returned in 1992 with Jean-Michel Chazine, a French archaeologist and specialist in Oceanian prehistory. Two years later we discovered prehistoric paintings in East Kalimantan. In 1995 Pindi Setiawan, an Indonesian anthropologist, joined our team, and together, year after year, we found dozens of caves with paintings throughout the region, some with unique designs hinting at a mysterious forgotten people.

They have found about 1,500 hand prints in 30 caves.

And then there is their marvellous website Le Kalimanthrope, about past expeditions and amazing photos of exquisite prehistoric artwork. Most of it is in French, but the numerous pages of photos with almost 40 photos of Gua Tewet speak for themselves.

Adriel Heisey desert photos

After blogging about cuneiforms last week, I happened to go its source, the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia. I noticed this announcement:

“FROM ABOVE: IMAGES OF A STORIED LAND,”Adriel Heisey’s Aerial Photographs of the American Southwest Desert Offer a Unique Look at Ancient and Modern Landscapes. It looks like a fascinating exhibition, on until October 2, 2005, so if you are in Philadelphia…

Chaco Canyon, Casas Grandes, and the Aztec Ruins National Monument are among the places photographed by Adriel Heisey, whose dramatic pictures are captured from a unique vantage point: his homebuilt, one-man, ultra-light airplane.[…] Heisey’s photographs offer viewers an uncommon opportunity to explore the complicated, curious, and often breathtaking patterns that people have imposed on the land over the years. The ruins of living structures and ritual facilities, remnants of roads, dry rivers and canals, and images carved into desert gravels that are featured in these images carry a wealth of information about how past generations of humans have pursued their basic needs. They mark important transitions such as the move from the migratory life of the hunter/gatherer to the more sedentary village life of early farmers and traders. At the same time, there is a juxtaposition of modern elements – new homes, cars, highways, fences, power lines, and even footprints – that remind the viewer of the unceasing nature of change and the ongoing impact of human interaction with the earth.

Disappointed that the museum website only features one image, I’ve been doing a bit of virtual exploring to learn more about Adriel Heisey. There’s an exhibition catalogue available, and National Geographic also has an article, photos and videos by Heisey on an earlier project, but not too many photos of this exhibition that I could find.

Inspired by the long list of sites photographed by Heisey, I went exploring and found many riches. Here are a few: Ancient Observatories: Chaco Canyon, Casas Grandes, which is also on the World Heritage List, and Aztec Ruins National Monument.

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Una Vida petroglyphs – from Chaco Culture National Historical Park

The American Southwest is an area I’ve never been to, but has numerous fascinating natural and manmade features that I dream of visiting and photographing myself one day, now re-inspired by Heisey. Hmm, I wonder why most archaeological sites seem to be in hot, dry places? (I’m heat intolerant.)

Update August 7.05: Here’s a review Art/Air Show by Edward J. Sozanski including a mention of a slide show of some of Heisey’s work.