Style and tradition at Sturt's Meadows

Clegg, John

doi:10.1080/00438243.1987.9980037

Cited by 19 publications

(12 citation statements)

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“…This suggests that this type of activity may predate the site's most intensive occupation period, and could be related to the production of the pecked art on the shelter's boulder. Pecked dots are a common component of the Panaramitee (Clegg 1987, Edwards 1971, McDonald 1983. figure 6.13: yengo 1.…”

Section: The Grinding Groovesmentioning

confidence: 99%

“…Motif has been successfully employed at a regional and localised level, investigating a range of stylistic questions (Clegg 1987, Officer 1984, Franklin 1984, Smith 1989. Sackett (1990) cites various examples of how the combination of motifs and compositional features may indicate high levels of ethnically significant patterning (e.g.…”

Section: Introductionmentioning

confidence: 99%

“…The Panaramitee has a more restricted figurative range and concentration on pecked geometric designs (such as circles) and kangaroo and bird tracks (Clegg 1987;Maynard 1979;Franklin 1991Franklin , 2004McDonald 1983McDonald , 1993a. Most Sydney region engravings are figurative (animals, birds, human figures etc.).…”

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confidence: 99%

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Dreamtime Superhighway (TA27) : Sydney Basin Rock Art and Prehistoric Information Exchange

McDonald¹

2008

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Terra Australis reports the results of archaeological and related research within the south and east of Asia, though mainly Australia, New Guinea and island Melanesia -lands that remained terra australis incognita to generations of prehistorians. Its subject is the settlement of the diverse environments in this isolated quarter of the globe by peoples who have maintained their discrete and traditional ways of life into the recent recorded or remembered past and at times into the observable present. List of volumes in Terra AustralisVolume 1: Burrill Lake and Currarong: Coastal Sites in Southern New South Wales. R.J. Lampert (1971) Volume 2: Ol Tumbuna: Archaeological Excavations in the Eastern Central Highlands, Papua New Guinea. J.P. White (1972) Volume 3 vi Dreamtime Superhighway: an analysis of Sydney Basin rock art and prehistoric information exchange FOREWORD I remember the visit with clarity: it was 1991 and my first trip to Australia. One day was spent at Sydney's West Head with the young and enthusiastic Jo McDonald, where we toured some of the rock engraving sites and the painted Great Mackerel rock shelter. I can still see the large flat curving rocks at West Head on which animals had been engraved -fish, kangaroos, a goanna. And, as is so often the case when I visit rock art sites, my imagination gets going as to the 'how's' and 'why's'. I try to run some sort of a show in my head as to the people who produced these, viewed these, and what kinds of significations the images and their makings played in the lives of past peoples. At the time of this visit, Jo McDonald was well into her 1994 dissertationthe work upon which this monograph is based. Already, in that PhD dissertation, she was able to touch on some of the things that my imagination was searching for. Thus, it is with great pleasure and even more enthusiasm that I am writing this Foreword to a revised and thoroughly up-dated monograph based on that initial dissertation research.At the time of the 1994 dissertation, the anthropological and archaeological study of 'rock art' was really emerging into new trends and new prominence. Surely Australia was one of the leaders in the training of students and in the research that contextualized the images and 'art', thanks to such scholars as Andrée Rosenfeld, Robert Layton, and John Clegg among others. By this time, the work of David Lewis-Williams and colleagues in southern Africa had set off numerous studies world-wide into the relationship between the production of rock art images and altered states of consciousness and the role of shamans in image-making practices. But this was not the direction or focus of rock art studies in Australia, and McDonald's original work would not be tempted either. Rather, she carried out an extensive project of contextualizing the rock art in question, and in two different ways. First, she wanted to give us an understanding of the rock art in its archaeological contexts-sheltered or open, dates and chronologies, site types and, in general, what the archaeology c...

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Section: The Grinding Groovesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Dreamtime Superhighway (TA27) : Sydney Basin Rock Art and Prehistoric Information Exchange

McDonald¹

2008

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“…Tracks and geometric motifs dominate most desert assemblages in engraved and pigment assemblages (Clegg 1987;Franklin 2007), demonstrating the continuity of graphic traditions through time that was confirmed by many researchers (Rosenfeld 1993;Ross & Davidson 2006;Smith 2013a). Even recently, Mike Smith (2013a: 228-231) has argued that this continuity supports a short chronology for arid-zone art production (although see Rosenfeld & Smith 2002), partly because dating work identified a Holocene age determination for the circle motif in central Australia (Smith et al 2009).…”

Section: This Was the Desert Orthodoxymentioning

confidence: 71%

Serpents Glen (Karnatukul): New Histories for Deep time Attachment to Country in Australia’s Western Desert

McDonald

2020

Bulletin of the History of Archaeology

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“…Superimposed images can be found at different rock-art locations around the globe (Baracchini & Monney 2018; Boyd & Cox 2016; Bwasiri & Smith 2015; Carden & Prates 2015; Clegg 1987; Davis 1984; Gunn et al 2010; Hollmann 2015; Lewis-Williams 1972; McDonald & Veth 2013; Monney 2003; Pilavaki 2016; Sauvet & Sauvet 1979; van Tilburg & Lee 1987; Walsh 1994; Welch 1990). Superimpositions, also referred to as ‘overlapping’, are employed by rock-art researchers to describe images that are located on top of/under another image.…”

Section: Introductionmentioning

confidence: 99%

From Top Down Under: New Insights into the Social Significance of Superimpositions in the Rock Art of Northern Kimberley, Australia

Motta

2019

CAJ

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Rock-art researchers have long acknowledged the importance of discerning superimposition sequences as a means for exploring chronology. Despite their potential for reconstructing painting events and thus informing on a site's production sequences, the social significance of superimpositions and their associated meanings have been little explored. In the Kimberley Region of northwestern Australia, interpretations of superimpositions as an analytical lens have often lingered on the ‘negative’ connotations of this practice (e.g. to destroy supernatural power embedded in previous paintings and/or to show cultural dominance). As a result, it has been proposed that the overpainting of previous images was tantamount to defacing, leading to the proposition that new images constituted a form of vandalism of older art. In this paper, a sample of rock-art sites from the northwestern and northeastern Kimberley is analysed with the aim of grounding the study of superimpositions in more nuanced practices, leading researchers to contemplate the role they played among populations within the same area. It is argued here that superimpositions brought together past and present experiences that served to reinforce the links between contemporary art production and the inherited landscape.

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Style and tradition at Sturt's Meadows

Cited by 19 publications

References 2 publications

Dreamtime Superhighway (TA27) : Sydney Basin Rock Art and Prehistoric Information Exchange

Dreamtime Superhighway (TA27) : Sydney Basin Rock Art and Prehistoric Information Exchange

Serpents Glen (Karnatukul): New Histories for Deep time Attachment to Country in Australia’s Western Desert

From Top Down Under: New Insights into the Social Significance of Superimpositions in the Rock Art of Northern Kimberley, Australia

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