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  • The conservation of subterranean cultural heritage: is it a technical problem or a political problem? C. Saiz-Jimenez The rock-cut tomb-chapels of Hery and Djehuty on the West Bank of Luxor: history, environment and conservation J.M. Galan Excavations and conservation problems in the Roman Necropolis along Via Triumphalis in the Vatican G. Spinola Problems of colour preservation in the Etruscan necropolises of Tuscany (Italy): the painted tombs of Chiusi (Siena) and Sovana, Sorano (Grosseto) M.A. Turchetti, M. Salvini, G. Giachi, P. Pallecchi & P. Tiano A study for monitoring and conservation in the Roman Catacombs of St. Callistus and Domitilla, Rome (Italy) L. Bruno, S. Belleza, C. Urzi & F. De Leo The conservation of the Carmona Necropolis (Sevilla, Spain) A. Fernandez-Cortes, J. Elez, S. Cuezva, J.C. Canaveras, D. Benavente, M.A. Rogerio, C. Saiz-Jimenez & S. Sanchez-Moral Methodological approach to monitor Roman catacombs: experience in the Catacombs of St. Mark, Marcellian and Damasus, Rome, Italy D. Tapete, F. Fratini, B. Mazzei, E. Cantisani, C. Riminesi, R. Manganelli Del Fa, B. Sacchi, O.A. Cuzman, L. Scaletti, M.G. Patrizi & P. Tiano Identification of lime-based mural painting techniques in catacombs using well-established criteria of stratigraphic investigation D. Tapete, R. Piovesan, E. Cantisani, F. Fratini, C. Mazzoli & L. Maritan New species description, biomineralization processes and biocleaning applications of Roman catacombs-living bacteria C. Urzi, F. De Leo, L. Bruno, D. Pangallo & L. Krakova The mural execution technique of the "dei Fornai" cubicle revealed by laser cleaning R. Senserrich-Espunes, B. Mazzei, M.G. Patrizi, S. Bracci, M. Realini, B. Sacchi & G. Bartolozzi Indoors diversity in phototrophic biofilms at St. Paul's Catacombs (Malta) A. Gomez-Bolea, I. Alvaro, E. Llop, S. Sammut & M. Hernandez-Marine Detection of urban subsurface pollution by rapid multiparametric surveys in 16th century Paranhos spring water tunnel (Porto, Portugal) A. Fernandez-Cortes, E. Sanz-Rubio, A. Sanchez-Malo, S. Cuezva, E. Garcia-Anton, S. Sanchez-Moral, M.J. Afonso, H.I. Chamine & B. Hermosin Is the presence of bacterial communities related to the urban contamination sources of the 16th century Paranhos spring water tunnel? A.M. Garcia-Sanchez, A.Z. Miller, V. Jurado, A. Dionisio, V.S.F. Muralha, M.J. Afonso & H.I. Chamine Microbe-mineral interactions in a Portuguese geo-archaeological site A.Z. Miller, A. Dionisio, M.E. Lopes, M.J. Afonso & H.I. Chamine "La vie en rose": a review of the rosy discoloration of subsurface monuments G. Pinar, J. Ettenauer & K. Sterflinger NanoGraphene Oxide: a new material for a non-invasive and non-destructive strategy to remove biofilms from rock surfaces L. Bruno, L. Quici, I. Ficorella & F. Valentini Round table on conservation of necropolises, catacombs and tombs J.M. Galan, G. Spinola, M. Turchetti, L. Bruno & A. Fernandez-Cortes Microclimatic monitoring in Altamira Cave: Two decades of scientific projects for its conservation S. Sanchez-Moral, S. Cuezva, E. Garcia-Anton, A. Fernandez-Cortes, J. Elez, D. Benavente & J.C. Canaveras, V. Jurado, M.A. Rogerio-Candelera & C. Saiz-Jimenez Altamira and its future J.A. Lasheras, C. de las Heras & A. Prada The conservation of Lascaux Cave, France J.-M. Geneste & M. Mauriac The conservation of Chauvet Cave, France. The conservation, research organization and the diffusion of knowledge of a cave inaccessible to the public J.-M. Geneste & M. Bardisa The conservation of prehistoric caves in Cantabria, Spain R. Ontanon, V. Bayarri, J. Herrera & R. Gutierrez The conservation of the Nerja Cave: preserving anthropogenic impact in a tourist cave Y. del Rosal, C. Linan & M. Hernandez-Marine Cueva del Tesoro, Rincon de la Victoria, Malaga: a treasure of biodiversity V. Jurado, A. Novakova , M. Hernandez-Marine & C. Saiz-Jimenez Contribution of culture-independent methods to cave aerobiology: the case of Lascaux Cave P.M. Martin-Sanchez & C. Saiz-Jimenez Are fungi a real threat for the conservation of Altamira Cave? A. Novakova, V. Jurado & C. Saiz-Jimenez Pathogenic microorganisms related to human visits in Altamira Cave, Spain V. Jurado & L. Laiz, S. Sanchez-Moral & C. Saiz-Jimenez Microscopic fungi isolated from cave air and sediments in the Nerja Cave - preliminary results A. Novakova, V. Hubka & C. Saiz-Jimenez Human impact on show caves: chewing gum stuck to the walls I. Dominguez-Monino, V. Jurado, M.A. Rogerio-Candelera & B. Hermosin Lampenflora as an accompaniment of mass cave tourism, problems and solutions for Postojnska jama, Slovenia J. Mulec Microorganisms and the natural heritage of Dinaric karst - a review L. Pasic & J. Mulaomerovic Needle-fiber calcite in Kapova Cave (the Southern Urals, Russia): influence on Upper Paleolithic wall paintings and genesis problems O.Y. Chervyatsova, Y.V. Dublyansky, S.S. Potapov, A.S. Pakhunov, L.V. Leonova, S.P. Glavatskikh, V.S. Zhitenev Raman Microscopy and IR Imaging of the Palaeolithic Paintings from Kapova Cave, Southern Ural, Russia A.S. Pakhunov, N.N. Brandt & A.Y. Chikishev Applications of Raman and Infrared spectroscopies to the research and conservation of subterranean cultural heritage C. Capel Ferron, S.E. Jorge Villar, F.J. Medianero Soto, J.T. Lopez Navarrete & V. Hernandez Round table on conservation of caves J.C. Canaveras, S. Sanchez-Moral, J.A. Lasheras, J.-M. Geneste, R. Ontanon, Y. del Rosal & M. Hernandez-Marine Colour plate section.
  • (source: Nielsen Book Data)
In recent years, a debate has arisen concerning the convenience of conserving subterranean cultural heritage and the necessary management models. There is often pressure from local authorities more interested in using the cultural heritage sites in order to develop the economy and the tourism industry rather than in the conservation of the cultural heritage itself. This has caused the managing bodies to reconsider reopening of sites closed due to serious conservation problems. This proceedings volume contains selected papers presented at the International Workshop "The Conservation of Subterranean Cultural Heritage", held 25-27 March 2014, in Seville, Spain. The workshop was organized by the Spanish Network of Science and Technology for the Conservation of Cultural Heritage (TechnoHeritage). The objective of the workshop was to promote an interdisciplinary forum for discussion of all aspects of the conservation of subterranean cultural heritage, providing at the same time an up-to-date, comprehensive overview of the most recent investigations. This book covers a wide range of scientific dimensions of the conservation and management of caves and necropolises. This state-of-the-art book will be of particular interest to archaeologists, historians, conservationists, cultural heritage specialists, architects, engineers and local and governmental policy-makers. Richly illustrated and including a 16-page full-colour plate section.
(source: Nielsen Book Data)
  • The conservation of subterranean cultural heritage: is it a technical problem or a political problem? C. Saiz-Jimenez The rock-cut tomb-chapels of Hery and Djehuty on the West Bank of Luxor: history, environment and conservation J.M. Galan Excavations and conservation problems in the Roman Necropolis along Via Triumphalis in the Vatican G. Spinola Problems of colour preservation in the Etruscan necropolises of Tuscany (Italy): the painted tombs of Chiusi (Siena) and Sovana, Sorano (Grosseto) M.A. Turchetti, M. Salvini, G. Giachi, P. Pallecchi & P. Tiano A study for monitoring and conservation in the Roman Catacombs of St. Callistus and Domitilla, Rome (Italy) L. Bruno, S. Belleza, C. Urzi & F. De Leo The conservation of the Carmona Necropolis (Sevilla, Spain) A. Fernandez-Cortes, J. Elez, S. Cuezva, J.C. Canaveras, D. Benavente, M.A. Rogerio, C. Saiz-Jimenez & S. Sanchez-Moral Methodological approach to monitor Roman catacombs: experience in the Catacombs of St. Mark, Marcellian and Damasus, Rome, Italy D. Tapete, F. Fratini, B. Mazzei, E. Cantisani, C. Riminesi, R. Manganelli Del Fa, B. Sacchi, O.A. Cuzman, L. Scaletti, M.G. Patrizi & P. Tiano Identification of lime-based mural painting techniques in catacombs using well-established criteria of stratigraphic investigation D. Tapete, R. Piovesan, E. Cantisani, F. Fratini, C. Mazzoli & L. Maritan New species description, biomineralization processes and biocleaning applications of Roman catacombs-living bacteria C. Urzi, F. De Leo, L. Bruno, D. Pangallo & L. Krakova The mural execution technique of the "dei Fornai" cubicle revealed by laser cleaning R. Senserrich-Espunes, B. Mazzei, M.G. Patrizi, S. Bracci, M. Realini, B. Sacchi & G. Bartolozzi Indoors diversity in phototrophic biofilms at St. Paul's Catacombs (Malta) A. Gomez-Bolea, I. Alvaro, E. Llop, S. Sammut & M. Hernandez-Marine Detection of urban subsurface pollution by rapid multiparametric surveys in 16th century Paranhos spring water tunnel (Porto, Portugal) A. Fernandez-Cortes, E. Sanz-Rubio, A. Sanchez-Malo, S. Cuezva, E. Garcia-Anton, S. Sanchez-Moral, M.J. Afonso, H.I. Chamine & B. Hermosin Is the presence of bacterial communities related to the urban contamination sources of the 16th century Paranhos spring water tunnel? A.M. Garcia-Sanchez, A.Z. Miller, V. Jurado, A. Dionisio, V.S.F. Muralha, M.J. Afonso & H.I. Chamine Microbe-mineral interactions in a Portuguese geo-archaeological site A.Z. Miller, A. Dionisio, M.E. Lopes, M.J. Afonso & H.I. Chamine "La vie en rose": a review of the rosy discoloration of subsurface monuments G. Pinar, J. Ettenauer & K. Sterflinger NanoGraphene Oxide: a new material for a non-invasive and non-destructive strategy to remove biofilms from rock surfaces L. Bruno, L. Quici, I. Ficorella & F. Valentini Round table on conservation of necropolises, catacombs and tombs J.M. Galan, G. Spinola, M. Turchetti, L. Bruno & A. Fernandez-Cortes Microclimatic monitoring in Altamira Cave: Two decades of scientific projects for its conservation S. Sanchez-Moral, S. Cuezva, E. Garcia-Anton, A. Fernandez-Cortes, J. Elez, D. Benavente & J.C. Canaveras, V. Jurado, M.A. Rogerio-Candelera & C. Saiz-Jimenez Altamira and its future J.A. Lasheras, C. de las Heras & A. Prada The conservation of Lascaux Cave, France J.-M. Geneste & M. Mauriac The conservation of Chauvet Cave, France. The conservation, research organization and the diffusion of knowledge of a cave inaccessible to the public J.-M. Geneste & M. Bardisa The conservation of prehistoric caves in Cantabria, Spain R. Ontanon, V. Bayarri, J. Herrera & R. Gutierrez The conservation of the Nerja Cave: preserving anthropogenic impact in a tourist cave Y. del Rosal, C. Linan & M. Hernandez-Marine Cueva del Tesoro, Rincon de la Victoria, Malaga: a treasure of biodiversity V. Jurado, A. Novakova , M. Hernandez-Marine & C. Saiz-Jimenez Contribution of culture-independent methods to cave aerobiology: the case of Lascaux Cave P.M. Martin-Sanchez & C. Saiz-Jimenez Are fungi a real threat for the conservation of Altamira Cave? A. Novakova, V. Jurado & C. Saiz-Jimenez Pathogenic microorganisms related to human visits in Altamira Cave, Spain V. Jurado & L. Laiz, S. Sanchez-Moral & C. Saiz-Jimenez Microscopic fungi isolated from cave air and sediments in the Nerja Cave - preliminary results A. Novakova, V. Hubka & C. Saiz-Jimenez Human impact on show caves: chewing gum stuck to the walls I. Dominguez-Monino, V. Jurado, M.A. Rogerio-Candelera & B. Hermosin Lampenflora as an accompaniment of mass cave tourism, problems and solutions for Postojnska jama, Slovenia J. Mulec Microorganisms and the natural heritage of Dinaric karst - a review L. Pasic & J. Mulaomerovic Needle-fiber calcite in Kapova Cave (the Southern Urals, Russia): influence on Upper Paleolithic wall paintings and genesis problems O.Y. Chervyatsova, Y.V. Dublyansky, S.S. Potapov, A.S. Pakhunov, L.V. Leonova, S.P. Glavatskikh, V.S. Zhitenev Raman Microscopy and IR Imaging of the Palaeolithic Paintings from Kapova Cave, Southern Ural, Russia A.S. Pakhunov, N.N. Brandt & A.Y. Chikishev Applications of Raman and Infrared spectroscopies to the research and conservation of subterranean cultural heritage C. Capel Ferron, S.E. Jorge Villar, F.J. Medianero Soto, J.T. Lopez Navarrete & V. Hernandez Round table on conservation of caves J.C. Canaveras, S. Sanchez-Moral, J.A. Lasheras, J.-M. Geneste, R. Ontanon, Y. del Rosal & M. Hernandez-Marine Colour plate section.
  • (source: Nielsen Book Data)
In recent years, a debate has arisen concerning the convenience of conserving subterranean cultural heritage and the necessary management models. There is often pressure from local authorities more interested in using the cultural heritage sites in order to develop the economy and the tourism industry rather than in the conservation of the cultural heritage itself. This has caused the managing bodies to reconsider reopening of sites closed due to serious conservation problems. This proceedings volume contains selected papers presented at the International Workshop "The Conservation of Subterranean Cultural Heritage", held 25-27 March 2014, in Seville, Spain. The workshop was organized by the Spanish Network of Science and Technology for the Conservation of Cultural Heritage (TechnoHeritage). The objective of the workshop was to promote an interdisciplinary forum for discussion of all aspects of the conservation of subterranean cultural heritage, providing at the same time an up-to-date, comprehensive overview of the most recent investigations. This book covers a wide range of scientific dimensions of the conservation and management of caves and necropolises. This state-of-the-art book will be of particular interest to archaeologists, historians, conservationists, cultural heritage specialists, architects, engineers and local and governmental policy-makers. Richly illustrated and including a 16-page full-colour plate section.
(source: Nielsen Book Data)
Book
3 v. : ill., map ; 21-30 cm
  • Vol. 1. Interpretation
  • v. 2. Supplement
  • v. 3. Plates
  • Vol. 1. Interpretation
  • v. 2. Supplement
  • v. 3. Plates
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ND2829 .A4 S3 2013 F V.1 Unknown
ND2829 .A4 S3 2013 F V.2 Unknown
ND2829 .A4 S3 2013 F V.3 Unknown
Book
113 p. : ill., maps ; 25 cm.
Since the discovery of Britains first Ice Age cave art in 2003, the site of Creswell Crags has gained international recognition as one of Britains leading Palaeolithic sites. This accessible volume explores the history of research on the site and draws together and interprets the findings, paying particular attention to the cave art. Documenting the early fieldwork at the site it uncovers antiquarian discoveries such as the famous horse engraving, excavations in the 1920s that saw our understanding of our early ancestors take shape, discusses the demise of the Neanderthals and the emergence of Modern Man, and looks at how Creswell Crags grew as a heritage attraction of potential World Heritage Status. The book also challenges the term Creswellian, an isolated British culture that occupied the fringe lands of western Europe, and instead offers hard evidence for viewing Creswell Crags and its inhabitants as being part of a vast Ice Age world.
(source: Nielsen Book Data)
Since the discovery of Britains first Ice Age cave art in 2003, the site of Creswell Crags has gained international recognition as one of Britains leading Palaeolithic sites. This accessible volume explores the history of research on the site and draws together and interprets the findings, paying particular attention to the cave art. Documenting the early fieldwork at the site it uncovers antiquarian discoveries such as the famous horse engraving, excavations in the 1920s that saw our understanding of our early ancestors take shape, discusses the demise of the Neanderthals and the emergence of Modern Man, and looks at how Creswell Crags grew as a heritage attraction of potential World Heritage Status. The book also challenges the term Creswellian, an isolated British culture that occupied the fringe lands of western Europe, and instead offers hard evidence for viewing Creswell Crags and its inhabitants as being part of a vast Ice Age world.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GN772.22 .G7 B47 2012 Unknown
Book
248 p. : ill. (chiefly col.), maps ; 21 cm.
  • Preface Cave art Maps ENGLAND Church Hole and Robin Hood's Cave FRANCE La Chaire a Calvin Font de Gaume Les Combarelles Cap Blanc Abri Pataud and Cave Pataud (Abri Movius) Rouffignac Bernifal Abri du Poisson (and Laugerie Haute) Bara-Bahau Villars Abri Reverdit (Castel-Merle) Lascaux II Musee National de Prehistoire (Les Eyzies) Cougnac Grotte des Merveilles Pech-Merle Pair Non Pair Musee d'Aquitaine Isturitz and Oxocelhaya Gargas Bedeilhac Niaux Parc de la Prehistoire Musee d'Archeologie Nationale SPAIN Covalanas Altamira II Chufin El Castillo Las Monedas Hornos de la Pena El Pendo Salitre II (Sopena) El Pindal El Buxu Tito Bustillo La Loja La Pena de Candamo (and Interpretation Centre) Los Casares La Pileta Ardales (Cueva de Dona Trinidad) Ambrosio Siega Verde Domingo Garcia (Cerro de San Isidro) Museo Arqueologico Nacional PORTUGAL Escoural Coa Valley ITALY Levanzo (Grotta del Genovese) Grotta dei Puntali - Carini (PA) Grotta del Caviglione e Balzi Rossi Riparo de Romito Acknowledgments Index.
  • (source: Nielsen Book Data)
The decorated Ice Age caves are some of mankind's greatest artistic achievements, and there is no substitute for seeing the caves themselves. There you can see the art - paintings, engravings, bas-reliefs or drawings - in its original, natural setting, and stand where the artists did 30,000-10,000 years ago. For speleologists and holidaymakers alike - indeed anyone who wants to add a visit to a cave to their itinerary - here is an essential handbook. The first guide to all the decorated Ice Age caves in Europe that are open to the public, Cave Art covers more than 50 caves in England, France, Spain, Portugal and Italy, as well as relevant museums and centres. This second edition has been fully revised and includes three additional caves and four new facsimiles.
(source: Nielsen Book Data)
  • Preface Cave art Maps ENGLAND Church Hole and Robin Hood's Cave FRANCE La Chaire a Calvin Font de Gaume Les Combarelles Cap Blanc Abri Pataud and Cave Pataud (Abri Movius) Rouffignac Bernifal Abri du Poisson (and Laugerie Haute) Bara-Bahau Villars Abri Reverdit (Castel-Merle) Lascaux II Musee National de Prehistoire (Les Eyzies) Cougnac Grotte des Merveilles Pech-Merle Pair Non Pair Musee d'Aquitaine Isturitz and Oxocelhaya Gargas Bedeilhac Niaux Parc de la Prehistoire Musee d'Archeologie Nationale SPAIN Covalanas Altamira II Chufin El Castillo Las Monedas Hornos de la Pena El Pendo Salitre II (Sopena) El Pindal El Buxu Tito Bustillo La Loja La Pena de Candamo (and Interpretation Centre) Los Casares La Pileta Ardales (Cueva de Dona Trinidad) Ambrosio Siega Verde Domingo Garcia (Cerro de San Isidro) Museo Arqueologico Nacional PORTUGAL Escoural Coa Valley ITALY Levanzo (Grotta del Genovese) Grotta dei Puntali - Carini (PA) Grotta del Caviglione e Balzi Rossi Riparo de Romito Acknowledgments Index.
  • (source: Nielsen Book Data)
The decorated Ice Age caves are some of mankind's greatest artistic achievements, and there is no substitute for seeing the caves themselves. There you can see the art - paintings, engravings, bas-reliefs or drawings - in its original, natural setting, and stand where the artists did 30,000-10,000 years ago. For speleologists and holidaymakers alike - indeed anyone who wants to add a visit to a cave to their itinerary - here is an essential handbook. The first guide to all the decorated Ice Age caves in Europe that are open to the public, Cave Art covers more than 50 caves in England, France, Spain, Portugal and Italy, as well as relevant museums and centres. This second edition has been fully revised and includes three additional caves and four new facsimiles.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
GN803 .B336 2012 Unknown
Book
xii, 169 pages : illustrations ; 22 cm
  • Acknowledgements Outside Cave Opening Doxa Caves Doxa Caves Caves and Doxa Outside - Again Notes References Index - Names and Caves.
  • (source: Nielsen Book Data)
In the late 19th century in northern Spain and southern France prehistoric mural paintings and engravings were discovered. Cave Art, Perception and Knowledge inquires into epistemic questions related to images, depicting and perception that this rich and much debated material has given rise to. Focusing respectively on the historical and scientific circumstances and controversies and on the epistemic and perceptual problems and questions the discovery of these paintings and engravings gave rise to, the book traces the outline of the doxa of cave art studies. It criticizes the different ways of trying to make sense of the cave art. Furthermore it suggests, with the help of both Cornelius Castoriadis's concept of technique and Ernst Cassirer's notion of symbolic form, a yet untried way out of the hermeneutical impasse where the interpretation of the paleolithic pictures finds itself today.
(source: Nielsen Book Data)
  • Acknowledgements Outside Cave Opening Doxa Caves Doxa Caves Caves and Doxa Outside - Again Notes References Index - Names and Caves.
  • (source: Nielsen Book Data)
In the late 19th century in northern Spain and southern France prehistoric mural paintings and engravings were discovered. Cave Art, Perception and Knowledge inquires into epistemic questions related to images, depicting and perception that this rich and much debated material has given rise to. Focusing respectively on the historical and scientific circumstances and controversies and on the epistemic and perceptual problems and questions the discovery of these paintings and engravings gave rise to, the book traces the outline of the doxa of cave art studies. It criticizes the different ways of trying to make sense of the cave art. Furthermore it suggests, with the help of both Cornelius Castoriadis's concept of technique and Ernst Cassirer's notion of symbolic form, a yet untried way out of the hermeneutical impasse where the interpretation of the paleolithic pictures finds itself today.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
N5310.5 .S7 R67 2012 Unknown

6. Avalokitesvara [2011]

Book
14 unnumbered pages : all black and white illustrations ; 48 cm
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Locked Stacks, Large
TR655 .C656 2011 F In-library use

7. San rock art [2011]

Book
157 p. : ill., map ; 18 cm.
The new Jacana series of pocket guides is meant for those who are looking for a brief but lively introduction to a wide range of relevant topics of South African history, politics and biography. Written by some of the leading experts in their fields, the individual volumes are informative and accessible, inexpensive yet well produced, slim enough to put in your pocket and carry with you to read.
(source: Nielsen Book Data)
The new Jacana series of pocket guides is meant for those who are looking for a brief but lively introduction to a wide range of relevant topics of South African history, politics and biography. Written by some of the leading experts in their fields, the individual volumes are informative and accessible, inexpensive yet well produced, slim enough to put in your pocket and carry with you to read.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
DT1058 .S36 L482 2011 Unknown
Book
xviii, 516 p. : ill. (some col.), maps (some col.) ; 28 cm.
The Mogao grottoes, a World Heritage Site near Dunhuang in western China, are located along the ancient caravan routes--collectively known as the Silk Road--that once linked China with the West. Founded by Buddhist monks in the late fourth century, Mogao grew gradually over the following millennium, as monks, local rulers, and travelers carved hundreds of cave temples into a mile-long rock cliff and adorned them with vibrant murals portraying Buddhist scripture, Silk Road rulers, and detailed scenes of everyday life. The sixty-five papers address such topics as the principles and practices of wall paintings conservation; site and visitor management; scientific research, particularly in the environmental and geotechnical aspects of conservation; and relevant historical and art historical research.
(source: Nielsen Book Data)
The Mogao grottoes, a World Heritage Site near Dunhuang in western China, are located along the ancient caravan routes--collectively known as the Silk Road--that once linked China with the West. Founded by Buddhist monks in the late fourth century, Mogao grew gradually over the following millennium, as monks, local rulers, and travelers carved hundreds of cave temples into a mile-long rock cliff and adorned them with vibrant murals portraying Buddhist scripture, Silk Road rulers, and detailed scenes of everyday life. The sixty-five papers address such topics as the principles and practices of wall paintings conservation; site and visitor management; scientific research, particularly in the environmental and geotechnical aspects of conservation; and relevant historical and art historical research.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND2849 .D86 I58 2004 Unknown
Book
xix, 222 p., 8 p. of plates : ill. (some col.), maps ; 25 cm.
  • Freshly plowed fields in the Vézère Valley
  • Font de Gaume
  • Millions of years ago
  • Neanderthals and Homo sapiens
  • Combarelles
  • Venus figures, blades, beads, and bone
  • Rouffignac
  • Laurel leaves and needles
  • Cap Blanc
  • Art at its peak
  • Bernifal.
Well-written and eminently accessible, this book explores and celebrates the Upper Palaeolithic art of the Dordogne, admirably conveying the author's enthusiasm for her subject. Desdemaines-Hugon's text reads as a personalised guided tour to five famous sites, all of which are still open to the public: Font de Gaume, Combralles, Cap Blanc, Rouffignac and Bernifal. The descriptions are beautifully done, marrying the art with its setting, and portable and decorative arts are also covered, giving the reader a real feel for the sophistication of Cro-magnon culture, as well as insights as to its development.
(source: Nielsen Book Data)
  • Freshly plowed fields in the Vézère Valley
  • Font de Gaume
  • Millions of years ago
  • Neanderthals and Homo sapiens
  • Combarelles
  • Venus figures, blades, beads, and bone
  • Rouffignac
  • Laurel leaves and needles
  • Cap Blanc
  • Art at its peak
  • Bernifal.
Well-written and eminently accessible, this book explores and celebrates the Upper Palaeolithic art of the Dordogne, admirably conveying the author's enthusiasm for her subject. Desdemaines-Hugon's text reads as a personalised guided tour to five famous sites, all of which are still open to the public: Font de Gaume, Combralles, Cap Blanc, Rouffignac and Bernifal. The descriptions are beautifully done, marrying the art with its setting, and portable and decorative arts are also covered, giving the reader a real feel for the sophistication of Cro-magnon culture, as well as insights as to its development.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N5310.5 .F7 D47 2010 Unknown
Book
xiv, 242 p., [8] p. of plates : ill. (some col.) ; 24 cm.
  • Preface. Acknowledgments. 1. The Adventure of Niaux. 2. The Greatest Mystery. 3. The Neanderthal Enigma. 4. The Roots of Language. 5. Abbe Breuil. 6. Font-de-Gaume and Combarelles. 7. The Tale of a Missing Dog. 8. The Sign of the Bull and the Legend of the Minotaur. 9. Rouffignac and Pech Merle. 10. The Discovery of Lascaux. 11. The Enigma of the Pit. 12. The Groundbreaking Work of Annette Laming-Emperaire. 13. Prehistoric Objets d'Art. 14. The Sign of the Hand. 15. The Legend of the White Lady. 16. Shamans of the Tundra. 17. Stonehenge and Signs in the Sky. 18. The Mediterranean, Australia, and Patagonia. 19. Leroi-Gourhan's Theory. 20. The Relationship between Signs and Animals. 21. The Chauvet Cave. Notes. References. Illustration Credits. Index.
  • (source: Nielsen Book Data)
What France's ancient cave drawings may reveal about the origin of language, art, and human thought - insights into one of the greatest mysteries in anthropology. They roam deep underground in the recesses of French (and some Spanish) caves: Bulls and bison. Horses and stags. Rhinos, bears, human-like creatures, and more. Painted, drawn, or engraved, these incredible images are 32,000 years old, yet they seem full of personality and life. Who were the artists? How did they make these paintings miles into labyrinthine caves with only stone candles to light the way? Why did the artists make them and what do they mean? What about the undecipherable signs accompanying the art? Popular science writer Amir Aczel examines the cave drawings and the theories scientists have put forward to explain them, including religious iconography, hunting trophies, and a leap in human brain development. Drawing on years of research and his own visits to Paleolithic caves, Aczel takes us underground on an unforgettable journey of discovery at the crossroads of art, science, and history in the quest to solve the mysteries of this Stone Age art and deepen our understanding of human evolution. Amir D. Aczel (Brookline, MA) is a research fellow in the history of science at Boston University and former visiting scholar at Harvard University. He is the author of 14 books, including "Fermat's Last Theorem" (978-0-385-31946-1), "Descartes' Secret Notebook" (978-0-7679-2034-6), and "The Jesuit and the Skull" (978-1-59448-956-3). He has appeared on the "CBS Evening News", CNN, CNBC, and "ABC's Nightline", as well as "NPR's Weekend Edition" and "Morning Edition".
(source: Nielsen Book Data)
  • Preface. Acknowledgments. 1. The Adventure of Niaux. 2. The Greatest Mystery. 3. The Neanderthal Enigma. 4. The Roots of Language. 5. Abbe Breuil. 6. Font-de-Gaume and Combarelles. 7. The Tale of a Missing Dog. 8. The Sign of the Bull and the Legend of the Minotaur. 9. Rouffignac and Pech Merle. 10. The Discovery of Lascaux. 11. The Enigma of the Pit. 12. The Groundbreaking Work of Annette Laming-Emperaire. 13. Prehistoric Objets d'Art. 14. The Sign of the Hand. 15. The Legend of the White Lady. 16. Shamans of the Tundra. 17. Stonehenge and Signs in the Sky. 18. The Mediterranean, Australia, and Patagonia. 19. Leroi-Gourhan's Theory. 20. The Relationship between Signs and Animals. 21. The Chauvet Cave. Notes. References. Illustration Credits. Index.
  • (source: Nielsen Book Data)
What France's ancient cave drawings may reveal about the origin of language, art, and human thought - insights into one of the greatest mysteries in anthropology. They roam deep underground in the recesses of French (and some Spanish) caves: Bulls and bison. Horses and stags. Rhinos, bears, human-like creatures, and more. Painted, drawn, or engraved, these incredible images are 32,000 years old, yet they seem full of personality and life. Who were the artists? How did they make these paintings miles into labyrinthine caves with only stone candles to light the way? Why did the artists make them and what do they mean? What about the undecipherable signs accompanying the art? Popular science writer Amir Aczel examines the cave drawings and the theories scientists have put forward to explain them, including religious iconography, hunting trophies, and a leap in human brain development. Drawing on years of research and his own visits to Paleolithic caves, Aczel takes us underground on an unforgettable journey of discovery at the crossroads of art, science, and history in the quest to solve the mysteries of this Stone Age art and deepen our understanding of human evolution. Amir D. Aczel (Brookline, MA) is a research fellow in the history of science at Boston University and former visiting scholar at Harvard University. He is the author of 14 books, including "Fermat's Last Theorem" (978-0-385-31946-1), "Descartes' Secret Notebook" (978-0-7679-2034-6), and "The Jesuit and the Skull" (978-1-59448-956-3). He has appeared on the "CBS Evening News", CNN, CNBC, and "ABC's Nightline", as well as "NPR's Weekend Edition" and "Morning Edition".
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GN771 .A28 2009 Unknown
Book
322 p., [8] p. of plates : ill. (some col.) ; 24 cm.
  • Preface-- Foreword-- The World#s Earliest Cave Art-- Inside Chauvet-- The Dating Game-- Finding Coa-- The Myth of Ecstasy & the Origins of Religion -- Entry into the Volp Caves-- Creativity & the Emotional Life of the Shamans-- Art Beyond Belief: Creativity & Religion in Perspective-- Endnotes.
  • (source: Nielsen Book Data)
The magnificent prehistoric art discovered in caves throughout France and Spain raises many questions about early human culture. What do these superbly rendered paintings of horses, bison, and enigmatic human figures and symbols mean? How can we explain the sudden flourishing of artistic creativity at such a high level? And in what ways does this artwork reflect the underlying belief system, worldview, and life of the people who created it? In this fascinating discussion of ancient art and religion, Dr David S Whitley - one of the world's leading experts on cave paintings - guides the reader in an exploration of these intriguing questions, while sharing his firsthand experiences in visiting these exquisite, breath-taking sites.To grasp what drove these ancient artists to create these masterpieces, and to understand the origin of myth and religion, as Whitley explains, is to appreciate what makes us human. Moreover, he broadens our understanding of the genesis of creativity and myth by proposing a radically new and original theory that weds two seemingly warring camps from separate disciplines. On the one hand, archaeologists specialising in prehistoric cave paintings have argued that the visionary rituals of shamans led to the creation of this expressive art. They consider shamanism to be the earliest known form of religion. By contrast, evolutionary psychologists view the emergence of religious beliefs as a normal expression of the human mind. In their eyes, the wild and ecstatic trances of shamans were a form of aberrant behaviour.Far from being typical representatives of ancient religion, shamans were exceptions to the normal rule of early religion. Whitley resolves the controversy by interweaving the archaeological evidence with the latest findings of cutting-edge neuroscience. He thereby rewrites our understanding of shamanism and its connection with artistic creativity, myth, and religion. Combining a colourful narrative describing Whitley's personal explorations at key archaeological sites with robust scientific research, "Cave Paintings and the Human Spirit" makes for engrossing reading. It provides a profound and poignant perspective on what it means to be human.
(source: Nielsen Book Data)
  • Preface-- Foreword-- The World#s Earliest Cave Art-- Inside Chauvet-- The Dating Game-- Finding Coa-- The Myth of Ecstasy & the Origins of Religion -- Entry into the Volp Caves-- Creativity & the Emotional Life of the Shamans-- Art Beyond Belief: Creativity & Religion in Perspective-- Endnotes.
  • (source: Nielsen Book Data)
The magnificent prehistoric art discovered in caves throughout France and Spain raises many questions about early human culture. What do these superbly rendered paintings of horses, bison, and enigmatic human figures and symbols mean? How can we explain the sudden flourishing of artistic creativity at such a high level? And in what ways does this artwork reflect the underlying belief system, worldview, and life of the people who created it? In this fascinating discussion of ancient art and religion, Dr David S Whitley - one of the world's leading experts on cave paintings - guides the reader in an exploration of these intriguing questions, while sharing his firsthand experiences in visiting these exquisite, breath-taking sites.To grasp what drove these ancient artists to create these masterpieces, and to understand the origin of myth and religion, as Whitley explains, is to appreciate what makes us human. Moreover, he broadens our understanding of the genesis of creativity and myth by proposing a radically new and original theory that weds two seemingly warring camps from separate disciplines. On the one hand, archaeologists specialising in prehistoric cave paintings have argued that the visionary rituals of shamans led to the creation of this expressive art. They consider shamanism to be the earliest known form of religion. By contrast, evolutionary psychologists view the emergence of religious beliefs as a normal expression of the human mind. In their eyes, the wild and ecstatic trances of shamans were a form of aberrant behaviour.Far from being typical representatives of ancient religion, shamans were exceptions to the normal rule of early religion. Whitley resolves the controversy by interweaving the archaeological evidence with the latest findings of cutting-edge neuroscience. He thereby rewrites our understanding of shamanism and its connection with artistic creativity, myth, and religion. Combining a colourful narrative describing Whitley's personal explorations at key archaeological sites with robust scientific research, "Cave Paintings and the Human Spirit" makes for engrossing reading. It provides a profound and poignant perspective on what it means to be human.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GN803 .W495 2009 Unknown
Book
xix, 332 p. : ill., maps ; 29 cm.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N5310 .E57 2009 Unknown

13. Cave art [2008]

Book
326 p. : col. ill., maps ; 29 cm.
  • The book is arranged chronologically and geographically, by caves. It is divided into four parts. The first three chapters correspond to three major periods of time, each named after a famous cave: Time of Chauvet (35 000 - 22 000 BP), Time of Lascaux (22 000 - 17 000 BP) and Time of Niaux (17 000 - 11 000 BP Within each chapter, the first section is devoted to the emblematic cave of that period, which often yielded spectacular finds, and is followed by a guided tour of other caves of that same period. In total 85 caves are explored. The last chapter examines examples of similar prehistoric artistic expressions around the world after the ice age.Time of Chauvet 35 000 - 22 000 BPTime of Lascaux 22 000 - 17 000 BPTime of Niaux 17 000 - 11 000 BPAfter the Ice Age 11 000 -.
  • (source: Nielsen Book Data)
Ever since they were discovered over a hundred years ago, the paintings and rock engravings deep in the caves of Europe have captured the public imagination, provoking wonder and amazement at their great age, their technical mastery and their sheer beauty. Some of the oldest art known to man turns out to be highly accomplished, and also to have been made in extremely difficult conditions in absurdly inaccessible locations. These facts have presented a puzzle and a challenge that have never ceased to exercise the imagination of both scholars and the wider public. This interest is kept alive by the beauty, vivacity and realism of these mammoths, bison, horses and other animals, which have the same power and freshness to modern eyes that they must have had for their creators. Jean Clottes' book is the first one to provide a simple, accessible, orderly and easy to use pictorial introduction to this remarkable art.A concise introduction tells the story of the discovery of the caves, and gives a clear outline of current knowledge and research. It also discusses the modern debates about the meaning and purpose of the art, and sets these debates in the wider context of prehistory. The author also raises questions about this art in relation to modern sensibilities - why do we find it so compelling? The core of the book is a carefully selected and organized sequence of 300 images, presenting the finest examples of cave art, including not only the most famous caves such as Lascaux, Altamira, Pech-Merle and Niaux, but also dozens of others that have yielded remarkable finds. A wonderful range of animals is presented, as well as the mysterious abstract signs, and the puzzlingly crude and schematized representations of human beings. Some examples of portable art and sculpture are also included in order to make important comparisons and links.
(source: Nielsen Book Data)
  • The book is arranged chronologically and geographically, by caves. It is divided into four parts. The first three chapters correspond to three major periods of time, each named after a famous cave: Time of Chauvet (35 000 - 22 000 BP), Time of Lascaux (22 000 - 17 000 BP) and Time of Niaux (17 000 - 11 000 BP Within each chapter, the first section is devoted to the emblematic cave of that period, which often yielded spectacular finds, and is followed by a guided tour of other caves of that same period. In total 85 caves are explored. The last chapter examines examples of similar prehistoric artistic expressions around the world after the ice age.Time of Chauvet 35 000 - 22 000 BPTime of Lascaux 22 000 - 17 000 BPTime of Niaux 17 000 - 11 000 BPAfter the Ice Age 11 000 -.
  • (source: Nielsen Book Data)
Ever since they were discovered over a hundred years ago, the paintings and rock engravings deep in the caves of Europe have captured the public imagination, provoking wonder and amazement at their great age, their technical mastery and their sheer beauty. Some of the oldest art known to man turns out to be highly accomplished, and also to have been made in extremely difficult conditions in absurdly inaccessible locations. These facts have presented a puzzle and a challenge that have never ceased to exercise the imagination of both scholars and the wider public. This interest is kept alive by the beauty, vivacity and realism of these mammoths, bison, horses and other animals, which have the same power and freshness to modern eyes that they must have had for their creators. Jean Clottes' book is the first one to provide a simple, accessible, orderly and easy to use pictorial introduction to this remarkable art.A concise introduction tells the story of the discovery of the caves, and gives a clear outline of current knowledge and research. It also discusses the modern debates about the meaning and purpose of the art, and sets these debates in the wider context of prehistory. The author also raises questions about this art in relation to modern sensibilities - why do we find it so compelling? The core of the book is a carefully selected and organized sequence of 300 images, presenting the finest examples of cave art, including not only the most famous caves such as Lascaux, Altamira, Pech-Merle and Niaux, but also dozens of others that have yielded remarkable finds. A wonderful range of animals is presented, as well as the mysterious abstract signs, and the puzzlingly crude and schematized representations of human beings. Some examples of portable art and sculpture are also included in order to make important comparisons and links.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N5310.5 .E8 C56 2008 Unknown
Book
xxiii, 247 p. : ill. (some col.) ; 29 cm.
  • Elements : a graphic ice age vocabulary
  • Basic structures : a graphic ice age syntax
  • Illusion : making the imagined seem real
  • Analogy : finding likeness in the unlike
  • Ambiguity : playing with multiple meanings
  • Paradox : reconciling the irreconcilable.
  • Elements : a graphic ice age vocabulary
  • Basic structures : a graphic ice age syntax
  • Illusion : making the imagined seem real
  • Analogy : finding likeness in the unlike
  • Ambiguity : playing with multiple meanings
  • Paradox : reconciling the irreconcilable.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N5310 .A47 2008 Unknown
Book
xv, 292 p., [8] p. of plates : ill. (some col.), maps ; 25 cm.
  • 1. Prologue-- 2. The historical background to the discovery of cave art at Creswell Crags-- 3. The Palaeolithic rock art of Creswell Crags: prelude to a systematic study-- 4. Verification of the age of the Palaeolithic cave art at Creswell Crags-- 5. 3D laser scanning at Church Hole, Creswell Crags-- 6. Zoological perspectives on the Late Glacial-- 7. Cave archaeology and palaeontology in the Creswell region-- 8. The Stone Age archaeology of Church Hole, Creswell Crags-- 9. Cultural context and form of some of the Creswell images: an interpretative model-- 10. The engravings of Gouy: France's northernmost decorated cave-- 11. Palaeolithic art in isolation: the case of Sicily and Sardinia-- 12. The horse in the Palaeolithic parietal art of the Quercy: outline of a stylistic study-- 13. A topographical approach to parietal figures: the monumental sculptures of the Roc-aux-Sorciers (Vienne, France)-- 14. Dating Magdalenian art in North Spain: the current situation-- 15. Rock art and the Coa Valley Archaeological Park: a case study in the preservation of Portugal's prehistoric rupestral heritage-- 16. Rewriting the history books: the Magdalenian art of Creswell Crags.
  • (source: Nielsen Book Data)
Cave art is a subject of perennial interest among archaeologists. Until recently it was assumed that it was largely restricted to southern France and northern Iberia, although in recent years new discoveries have demonstrated that it originally had a much wider distribution. The discovery in 2003 of the UK's first examples of cave art, in two caves at Creswell Crags on the Derbyshire/Nottinghamshire border, was the most surprising illustration of this. The discoverers (the editors of the book) brought together in 2004 a number of Palaeolithic archaeologists and rock art specialists from across the world to study the Creswell art and debate its significance, and its similarities and contrasts with contemporary Late Pleistocene ('Ice Age') art on the Continent. This comprehensively illustrated book presents the Creswell art itself, the archaeology of the caves and the region, and the wider context of the Upper Palaeolithic era in Britain, as well as a number of up-to-date studies of Palaeolithic cave art in Spain, Portugal, France, and Italy which serve to contextualize the British examples.
(source: Nielsen Book Data)
  • 1. Prologue-- 2. The historical background to the discovery of cave art at Creswell Crags-- 3. The Palaeolithic rock art of Creswell Crags: prelude to a systematic study-- 4. Verification of the age of the Palaeolithic cave art at Creswell Crags-- 5. 3D laser scanning at Church Hole, Creswell Crags-- 6. Zoological perspectives on the Late Glacial-- 7. Cave archaeology and palaeontology in the Creswell region-- 8. The Stone Age archaeology of Church Hole, Creswell Crags-- 9. Cultural context and form of some of the Creswell images: an interpretative model-- 10. The engravings of Gouy: France's northernmost decorated cave-- 11. Palaeolithic art in isolation: the case of Sicily and Sardinia-- 12. The horse in the Palaeolithic parietal art of the Quercy: outline of a stylistic study-- 13. A topographical approach to parietal figures: the monumental sculptures of the Roc-aux-Sorciers (Vienne, France)-- 14. Dating Magdalenian art in North Spain: the current situation-- 15. Rock art and the Coa Valley Archaeological Park: a case study in the preservation of Portugal's prehistoric rupestral heritage-- 16. Rewriting the history books: the Magdalenian art of Creswell Crags.
  • (source: Nielsen Book Data)
Cave art is a subject of perennial interest among archaeologists. Until recently it was assumed that it was largely restricted to southern France and northern Iberia, although in recent years new discoveries have demonstrated that it originally had a much wider distribution. The discovery in 2003 of the UK's first examples of cave art, in two caves at Creswell Crags on the Derbyshire/Nottinghamshire border, was the most surprising illustration of this. The discoverers (the editors of the book) brought together in 2004 a number of Palaeolithic archaeologists and rock art specialists from across the world to study the Creswell art and debate its significance, and its similarities and contrasts with contemporary Late Pleistocene ('Ice Age') art on the Continent. This comprehensively illustrated book presents the Creswell art itself, the archaeology of the caves and the region, and the wider context of the Upper Palaeolithic era in Britain, as well as a number of up-to-date studies of Palaeolithic cave art in Spain, Portugal, France, and Italy which serve to contextualize the British examples.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GN772.22 .G7 P34 2007 Unknown
Book
266 p. : col. ill., map ; 30 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
F2519.3 .A7 J67 2006 F Unknown
Book
278 p., [8] p. of plates : ill. (some col.), map ; 22 cm.
In his new book, Gregory Curtis introduces us to the spectacular cave paintings of France and Spain--to the men and women who rediscovered them, to the varied theories about their origins, to their remarkable beauty and their continuing fascination. He takes us with him on his own journey of discovery, making us see the astonishing sophistication and power of the paintings, telling us what is known about their creators, the Cro-Magnon people who settled the area some 40,000 years ago. Beginning in 1879 with Marcelino Sanz de Sautuola, who found the astonishing paintings on the ceiling of a cave at Altamira, Curtis takes us among the scholars of prehistory, the archaeologists, the art historians who devoted their lives to studying and writing about the paintings. Among them: the famous Abbe Henri Breuil, who lay on his back in damp caves lit only by a lantern held patiently aloft by his faithful--and silent--female assistant, to produce the exquisite tracings that are the most reproduced renderings of the art; Max Raphael, the art historian who first understood that the animals on the walls were not single portraits but part of larger compositions; the beautiful Annette Lamming-Emperaire, resistance fighter turned archaeologist, whose doctoral thesis was so important that all theory since has flowed from her work; Jean Clottes and others still working as new caves and information come to light. In his own search for the caves' meaning, Curtis takes us through the major theories--that the art was part of fertility or hunting rituals, or used for religious or shamanistic purposes, or was clan mythology--examining the ways in which ethnography, archaeology, and religion have influenced the thinking about the cave paintings over time. "The Cave Painters" is rich in detail, personalities, and history--and permeated with the mystery at the core of this art created so many thousands of years ago by human beings who had developed, perhaps for the first time, both the ability for abstract thought and a profound and beautiful way to express it.
(source: Nielsen Book Data)
In his new book, Gregory Curtis introduces us to the spectacular cave paintings of France and Spain--to the men and women who rediscovered them, to the varied theories about their origins, to their remarkable beauty and their continuing fascination. He takes us with him on his own journey of discovery, making us see the astonishing sophistication and power of the paintings, telling us what is known about their creators, the Cro-Magnon people who settled the area some 40,000 years ago. Beginning in 1879 with Marcelino Sanz de Sautuola, who found the astonishing paintings on the ceiling of a cave at Altamira, Curtis takes us among the scholars of prehistory, the archaeologists, the art historians who devoted their lives to studying and writing about the paintings. Among them: the famous Abbe Henri Breuil, who lay on his back in damp caves lit only by a lantern held patiently aloft by his faithful--and silent--female assistant, to produce the exquisite tracings that are the most reproduced renderings of the art; Max Raphael, the art historian who first understood that the animals on the walls were not single portraits but part of larger compositions; the beautiful Annette Lamming-Emperaire, resistance fighter turned archaeologist, whose doctoral thesis was so important that all theory since has flowed from her work; Jean Clottes and others still working as new caves and information come to light. In his own search for the caves' meaning, Curtis takes us through the major theories--that the art was part of fertility or hunting rituals, or used for religious or shamanistic purposes, or was clan mythology--examining the ways in which ethnography, archaeology, and religion have influenced the thinking about the cave paintings over time. "The Cave Painters" is rich in detail, personalities, and history--and permeated with the mystery at the core of this art created so many thousands of years ago by human beings who had developed, perhaps for the first time, both the ability for abstract thought and a profound and beautiful way to express it.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N5310.5 .F7 C87 2006 Unknown
Book
xv, 192 p. : ill., maps ; 30 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GN818 .B84 B48 2006 F Unknown
Book
xii, 507 p. : ill. ; 27 cm.
A richly illustrated study provides the most comprehensive representation of Paleolithic art ever published and offers a radical new way of interpreting the art and artifacts of these prehistoric cultures.
(source: Nielsen Book Data)
A richly illustrated study provides the most comprehensive representation of Paleolithic art ever published and offers a radical new way of interpreting the art and artifacts of these prehistoric cultures.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GN772 .G87 2005 Unknown
Book
xv, 249 p. : ill. ; 23 cm.
  • Rock art and gender on the margins
  • Recognizing sex and gender
  • Engendering and degendering paleolithic Europe's cave paintings
  • Regendering fertility shrines in the West
  • Separate spheres: who made rock art?
  • Life cycles and puberty rites
  • "Maidens" and flute players in the southwest
  • Sacred landscapes and social landscapes
  • Women, men, ritual, and rock art
  • Shamans with history
  • Taking rock art seriously.
A significant contribution to the relatively unexplored field of gender in rock art, this volume contains information for those interested in past gender systems. Hays-Gilpin argues that art is both a product of its physical and social environment and a tool of influence in shaping behavior and ideas within a society. Rock art is often one of the strongest lines of evidence available to scholars in understanding ritual practices, gender roles, and ideological constructs of prehistoric peoples.
(source: Nielsen Book Data)
  • Rock art and gender on the margins
  • Recognizing sex and gender
  • Engendering and degendering paleolithic Europe's cave paintings
  • Regendering fertility shrines in the West
  • Separate spheres: who made rock art?
  • Life cycles and puberty rites
  • "Maidens" and flute players in the southwest
  • Sacred landscapes and social landscapes
  • Women, men, ritual, and rock art
  • Shamans with history
  • Taking rock art seriously.
A significant contribution to the relatively unexplored field of gender in rock art, this volume contains information for those interested in past gender systems. Hays-Gilpin argues that art is both a product of its physical and social environment and a tool of influence in shaping behavior and ideas within a society. Rock art is often one of the strongest lines of evidence available to scholars in understanding ritual practices, gender roles, and ideological constructs of prehistoric peoples.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GN799 .P4 H38 2004 Unknown

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