Context in source publication
... Tatra Mountains are the highest mountain range in the Carpathians. Approximately one-fifth of their area lies within the territory of Poland. So far, fifty-two sites with petroglyphs have been identified in the Polish part of the Tatra Mountains. These are Historical motifs; the oldest engraved date is 1531. They are generally thought to be marks left by shepherds, miners or so-called treasure hunters who lived there between the 16th and 18th centuries (Stecki 1923;Wiśniewski 1993: 166;Grabowski 2011). They depict geometric patterns (e.g. circles, crossing lines, arrows), signatures of their creators, crosses or human figures (Fig. 4). They are concentrated in large mountain valleys serving as convenient communication routes. By far the greatest concentration of petroglyphs (forty-six sites: a few/dozen motifs at each site) has been found in the Kościeliska valley. These are both open galleries and depictions in rockshelters and caves. Isolated locations ...
Landscape and rock art in Atacama desert
Ward, Graeme K., and Ken Mulvaney, 2018. Archaeology and petroglyphs of Dampier—editors’ introduction. In Archaeology and Petroglyphs of Dampier (Western Australia), an Archaeological Investigation of Skew Valley and Gum Tree Valley, ed. Graeme K. Ward and Ken Mulvaney, pp. 9–45. Technical Reports of the Australian Museum, Online 27: 1–690.
Dampier Archipelago, on the northwestern coast of Australia has perhaps the greatest number and concentration of petroglyphs any where in the world. In this introduction to Lorblanchet’s pioneering investigation of the archaeology of the Dampier petroglyphs, we provide an outline of the region’s history, drawing on records of European exploration a...
Thus far, prehistoric rock art has not been featured in the discourse concerned with the archaeology of Poland due to the absence of finds there belonging to this category. This text presents the very first identified specimens of cup marks in the present-day territory of Poland; all differ significantly in terms of context, which consequently determines the potential for interpreting the finds. The first is a boulder which was put in place as grave-marker at a Wielbark Culture site dated to Late Iron Age. The find appears to overlap with the general pattern of regularities observed in the funerary rituals of the Wielbark communities. The second instance is an isolated boulder with cup marks – most likely positioned ex situ – discovered at Wilcza (Greater Poland). Regarding the latter, available information contributes little to determination of chronology of the cup marks and the original location of the boulder in the landscape, thus obscuring the primary function of the feature. The third boulder yielded the most contextual information; it is situated within a complex of numerous Middle Bronze Age barrows in Smoszew, at a site which constitutes a part of the Bronze Age cultural landscape that has survived in the Krotoszyn Forest in southern Greater Poland. For the authors, this very feature served as a basis for a contextual and chronological analysis of rock art which has hitherto remained unknown in Poland. In light of obtained data, the cup-marked boulder from Smoszew should be approached as an element of the funerary landscape created by the Tumulus Culture community and evidence of broader cultural processes which linked particular regions of Europe in the Bronze Age.