Riders on the storm: Rock art in the Atacama Desert (Northern Chile)

Gallardo, Francisco; Castro, Victória; Miranda, Pablo V.

doi:10.1080/00438243.1999.9980443

Cited by 16 publications

(9 citation statements)

References 6 publications

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“…an early-medieval cross (Moreland 1999) to appropriated equestrian imagery in Chilean rock art (Gallardo, Castro, and Miranda 1999), pearls traded between Amerindians and Europeans in the 15 th century (Saunders 1999), and an embroidered beaded bag linked to the North American fur trade (Peers 1999), amongst others. Nevertheless, all papers sought to address "the links between people and things" and "the ways meanings and values are accumulated and transformed" (Marshall and Gosden 1999, 172).…”

Section: Object Biographiesmentioning

confidence: 99%

Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures

Ebert

2018

Journal of Material Culture

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Conservation and History (IAKH) for generously providing me with funding to undertake further research trips. I would also like to acknowledge the Kaia and Torfinn Tobiassens Fond for covering the cost of an additional research trip to Germany. Countless people have supported and guided me throughout the PhD period. I would like to thank my amazing supervisors Lotte Hedeager and Michael Rief for guidance, advice and support during the second half of my stipend period. I am grateful to the Museum of Cultural History at the University of Oslo for granting access to the sculptures, and particularly to Torunn Klokkernes and Anne Lene Melheim for granting approval for analysis. Many thanks to conservators Eivind Bratlie and Kaja Kollandsrud for their trust, allowing me to use their conservation atelier, giving me a helping hand when handling the sculptures, and generously sharing their knowledge about the museum collection with me. I am thankful to the Getty Conservation Institute for hosting me during my research stay in Los Angeles, and for the warm welcome offered to me by Tom Learner, Michael Schilling and Gary Mattison. In particular, I would like to thank Joy Mazurek for generously sharing her time, knowledge and expertise in GC-MS, and Herant Khanjian for his support with FTIR. Special thanks are due to my fellow PhD colleague Kristin Kausland, whose strength, knowledge and friendship helped me significantly during difficult times. I would like to thank Per Ditlef Fredriksen as Head of Research for keeping an open door for me and providing me with advice and a listening ear. I am grateful to Duncan Slarke for friendship and technical support, as well as for being my anchor of sanity within Conservation Studies. Our amazing librarian Lisa Benson deserves mention for having gone out of her way in helping me get hold of literature. I would like to thank Unn Plahter for useful constructive criticism during my midway evaluation. I am grateful to Calin Steindal at the Saving Oseberg project for extensive technical support with SEM-EDS. I would also like to thank Aoife Daly for undertaking dendrochronology, and Bjørnar Slensvik and Heidi Debreczeny Wilkinson at the Norwegian Geotechnical Institute for use of the CT scanner. Thanks are also due to Steinar Kristensen for advice on photogrammetry, Jan Brendalsmo for sharing his knowledge about Norwegian church history, and Rebecca Cannell for advice with map-making. The following individuals have generously shared their knowledge and expertise

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Section: Object Biographiesmentioning

confidence: 99%

Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures

Ebert

2018

Journal of Material Culture

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“…These leaders possessed knowledge that enabled them to mediate relations between the powerful divinities and the everyday world. Among the modern-day indigenous communities of northern Chile, this task is officiated by the yatiri, 'he who knows the customs', a figure who leads the ceremonies that bring together the entire community (Castro 1988;Gallardo et al 1999).…”

Section: Social Context Of the Cogged Iconmentioning

confidence: 99%

Emblems, Leadership, Social Interaction and Early Social Complexity: The Ancient Formative Period (1500 bc–ad 100) in the Desert of Northern Chile

Gallardo

Cabello²

2015

CAJ

Self Cite

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Social complexity is synonymous with inequality, a political form whose origin is associated with a reduction in residential mobility, the intensification of production, craft specialization, long-distance exchange, public architecture, the proliferation of prestige goods and ceremonial feasts. Archaeological evidence of these processes, however, is insufficient without the identification of practices related to prehistoric leadership. In the early Andean area, this social distinction was deposited in emblems or insignias of authority, objects of visual prestige whose value resided in myths and divinities. Similar arrangements of material culture, around the first millennium before Christ, appear contextually related with the first village-based communities in Northern Chile.

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“…Sus formas retienen aspectos de la anatomía corporal, los efectos de animación son generalizados y casi la totalidad de ellos son mostrados de semiperfil. Por lo general, llevan prendas de atuendo y armas (Gallardo 2001;Gallardo y Vilches 1996) (Figura 5A).…”

Section: La Pintura Rupestre Y Sus Unidadesunclassified

Elementos Arqueosemióticos Y Pinturas Rupestres en El Desierto De Atacama (Norte De Chile)

R¹,

Gallardo²

2015

Chungará (Arica)

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El fracaso de los enfoques semiológicos aplicados al arte rupestre tiene su origen en el intento de atribuirle un carácter fonémico, es decir, la reducción de la expresión visual a su contenido o expresión verbal. En tanto que la mayoría de los casos rupestres el significado es inaccesible, es claro que el punto de partida debe necesariamente descansar en el significante. En el presente artículo exploramos en una nueva vía de análisis, que apela a un lenguaje intersemiótico que se nutre tanto de la semiótica como de la arqueología. Fundados en este diálogo o arqueosemiótica, consideramos aquí los estilos de arte rupestre como un sistema, como una configuración de significantes distintivos organizados en relaciones, vínculos que constituyen una estructura visual culturalmente significativa. Estas soluciones definen la arquitectura de modos de ver determinados histórica y socialmente, arreglos que distinguen a dos estilos de pintura rupestre de la región atacameña que nos sirven de casos de estudio: los estilos Confluencia (Formativo Temprano 4.000-2.400 a.p.) y Cueva Blanca (Formativo Tardío 2.400-1.600 a.p.).Palabras claves: arqueosemiótica, estilo, arte rupestre, modos de ver, período Formativo, desierto de Atacama. Semiological perspectives applied to rock art have been unsuccessful. This failure results from attributing a phonemic nature to it, that is to say, from reducing its visual expression to its content. While in most rock art what is signified is no longer accessible, it is

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Riders on the storm: Rock art in the Atacama Desert (Northern Chile)

Cited by 16 publications

References 6 publications

Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures

Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures

Emblems, Leadership, Social Interaction and Early Social Complexity: The Ancient Formative Period (1500 bc–ad 100) in the Desert of Northern Chile

Elementos Arqueosemióticos Y Pinturas Rupestres en El Desierto De Atacama (Norte De Chile)

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