Damage to prehistoric cave drawings, like other cultural objects, is inevitable. This claim was widely accepted among researchers and observers of prehistoric culture in Indonesia. Even more so for images in karst caves with a medium for painting in the form of limestone surfaces that have dynamic properties. The life cycle of this rock type is influenced by natural processes, mainly by water factors such as dissolution and sedimentation. In addition, the sun, temperature fluctuations, and wind also accelerate the weathering rate, which causes many changes in the structure of the rock both thoroughly and massively, and partially. The belief in damage to prehistoric cave drawings in the Maros-Pangkep Karst Area has long been echoed by researchers and conservationists, but very few of these circles can prove how the damage process occurred, even to prove how fast the damage is. However, the development of image conditions can be measured by a simpler method to determine the speed of damage. This article offers a method that can be applied to cases of prehistoric cave image damage so that changes can be identified, in particular the volume of damage.
Since the recent discovery of Late Pleistocene rock art in Island Southeast Asia was announced, evidence for symbolic behaviour in the region has become a focus of international archaeological interest. South Sulawesi is one region that hold much evidence for this important human activity. In addition to the cave paintings, several engraved stone artefacts have also been recovered in the same area, nearly all of which date back to the Late Pleistocene. However, while cave use by ‘hunter-gatherer’ societies continued into the Holocene period, archaeological evidence for symbolic expression during this Toalean period is extremely rare. Here, we report for the first time on engraved stone artefacts from the Middle Holocene period, associated with six human burials. Of ten incised artefacts recovered, eight are stone flakes and two are stone plaquettes, all made of hematite material. Our study suggests that unlike comparative Pleistocene engraved stones, the incisions on the Cappalombo artefacts are more likely the result of use-wear that occurs from producing red pigment powder than portable artworks. As no Toalean-age cave art has yet been identified, it is suspected that pigment powder was applied to the corpses as part of a burial practice or perhaps smeared on the body of the person/s performing the ceremony itself as part of a symbolic ritualistic activity. Sejak penemuan gambar cadas Pleistosen Akhir terbaru diumumkan di Pulau Asia Tenggara, bukti perilaku simbolis di wilayah tersebut telah menjadi fokus kajian arkeologis internasional. Sulawesi Selatan adalah salah satu wilayah yang menyimpan banyak bukti aktivitas manusia yang penting ini. Selain lukisan gua, beberapa artefak batu berukir juga telah ditemukan di daerah yang sama, hampir semuanya berasal dari Pleistosen Akhir. Namun, ketika penggunaan gua oleh masyarakat 'pemburu-pengumpul' berlanjut hingga periode Holosen, bukti arkeologis untuk ekspresi simbolis selama periode Toalean ini sangat langka. Di sini, kami melaporkan untuk pertama kalinya tentang artefak batu berukir dari periode Holosen Tengah, yang terkait dengan enam penguburan manusia. Dari sepuluh artefak gores yang ditemukan, delapan berupa serpihan batu dan dua berupa plakat batu, semuanya terbuat dari bahan hematit. Studi kami menunjukkan bahwa tidak seperti batu terukir Pleistosen, sayatan pada artefak Cappalombo lebih mungkin hasil dari penggunaan yang terjadi dari memproduksi bubuk pigmen merah daripada karya seni portabel. Karena seni gua periode Toalean belum dapat diidentifikasi, diduga bubuk pigmen dioleskan pada mayat sebagai bagian dari praktik penguburan atau mungkin dioleskan pada tubuh orang yang melakukan upacara itu sendiri sebagai bagian dari aktifitas ritual simbolis.
Pottery has given impact both on people’s lives in the past, ranging from prehistoric time to the present. This research aims to reveal cultural aspects of people in the past such as social, economic, art, religion, language and behavior. The data were collected through random sampling method, then analized typologically refers to the formulation of E.Edward Mc.Kinnon in Buku Panduan Keramik (ceramic guide book). The finding of pottery fragments at Delubang and Toroan Site includes two types of textures namely coarse and fine pottery fragments. The parts of pottery are base, body, rim/lip which are parts of pots, jars and plates. The findings show technology which marked the beginning of neolithic culture at this site, reminiscent of the race Mongolid which regarded as a disseminator of culture of pottery in the area of Indonesia. Gerabah telah memberikan pengaruh secara kompleks terhadap kehidupan masyarakat pada masa lalu, mulai dari masa prasejarah sampai sekarang. Penelitian ini bertujuan untuk mengetahui aspek-aspek budaya kehidupan manusia masa lalu seperti; sosial, ekonomi, seni, religi, bahasa dan pola tingkah laku. Pengumpulan data dengan menggunakan random sampling yang kemudian dianalisis secara tipologi mengacu pada rumusan E. Edward Mc.Kinnon dalam Buku Panduan Keramik. Temuan fragmen gerabah di Situs Delubang dan Toroan, meliputi dua jenis tekstur yaitu fragmen gerabah kasar dan halus. Jenis fragmen gerabah yang ditemukan adalah dasar, badan, tepian/bibir dengan bentuk yang bervariasi seperti periuk, tempayan, dan piring. Hal ini menunjukan teknologi yang menandakan dimulainya budaya neolitik pada situs ini, mengingatkan mengenai ras Mongolid yang dianggap sebagai penyebar budaya gerabah di wilayah Indonesia.
Leang Bulu Sipong I Pangkep Regency is one of the prehistoric caves in the Maros-Pangkep karst area of South Sulawesi Province, which contains remnants of past human culture. One of the archaeological remains is the cave paintings. Prehistoric cave locations that are very close to the cement (factory) industry caused concern about the cave threats. This paper aims to provide an overview of the remains of paintings in Leang Bulu Sipong I and the existing conditions of the paintings. In addition, this paper also illustrates the monitoring efforts that have been carried out by the authorities in the preservation of prehistoric caves in the Maros-Pangkep area. The method used is descriptive-analytic through the stages of desktop study and field observation. The results showed that Leang Bulu Sipong I Pangkep had varied and interesting cave paintings consisting of handstamp, fauna painting, and human-like paintings with hunting scenes, but unfortunately, the condition of the painting is currently experiencing peeling which is quite alarming. The efforts that have been made related to maintaining sustainability are periodic monitoring and cave closure for general visitors.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.