New paper on newly-discovered rock art on Kisar Island, Indonesia by O’Connor et al. published in the Cambridge Archaeology Journal. What’s really interesting in this paper is the fact that the paintings have some similarities with those from East Timor, about 20 km across the sea.
Painted rock art occurs throughout the islands of the Western Pacific and has previously been argued to have motif and design elements in common, indicating that it was created within the context of a shared symbolic system. Here we report five new painted rock-art sites from Kisar Island in eastern Indonesia and investigate the commonalities between this art and the painted art corpus in Timor-Leste, the independent nation that forms the eastern part of the neighbouring island of Timor. We examine the motifs in the Kisar art and suggest that, rather than being Neolithic in age, some of the figurative motifs more likely have a Metal Age origin, which in this region places them within the last 2500 years.
via the Australian National University, 13 December 2017:
A tiny Indonesian island, previously unexplored by archaeologists, has been found to be unusually rich in ancient cave paintings following a study by researchers from The Australian National University (ANU). The team uncovered a total of 28 rock art sites dating from at least 2,500 years ago on the island of Kisar which measures just 81 square kilometres and lies north of Timor-Leste.
Over the past decade, archaeologists have been able to directly date rock art, particularly in Island Southeast Asia at sites in East Kalimantan, East Timor and South Sulawesi. The dates of rock art indicate that modern humans were creating rock art during the Pleistocene, comparable to similar rock art in Europe. In this paper by Aubert et al., the authors note that the presence of these sites and dates now begs the question, did the ability to create rock art move out of Africa with human migrations, or did it erupt independently in different parts of the world? Also within Island Southeast Asia, did rock art develop from a specific place and spread throughout prehistoric Sahul, or did it arise independently among different communities in the region?
Recent technological developments in scientific dating methods and their applications to a broad range of materials have transformed our ability to accurately date rock art. These novel breakthroughs in turn are challenging and, in some instances, dramatically changing our perceptions of the timing and the nature of the development of rock art and other forms of symbolic expression in various parts of the late Pleistocene world. Here we discuss the application of these methods to the dating of rock art in Southeast Asia, with key implications for understanding the pattern of recent human evolution and dispersal outside Africa.
Kepulauan Raja Ampat tak hanya memiliki pantai pasir putih, pesona bawah laut, keragaman biota laut, flora dan fauna hutan tropis yang menakjubkan. Destinasi wisata dunia ini juga memiliki pesona lukisan tebing prasejarah (rock art). Rock art adalah wujud seni yang dituangkan pada batuan yang dapat tertuang dalam bentuk lukisan, dengan media tebing karang. Situs lukisan prasejarah di Raja Ampat dapat dijumpai di Teluk Mayalibit, Teluk Kabui, dan kawasan Misool Selatan.
Motif lukisan tergambar pada permukaan dinding tebing karst dekat permukaan air yang mudah digapai dengan tangan. Selain itu lukisan juga terletak pada permukaan dinding tebing yang lebih tinggi. Motif lukisan tebing ini berupa figur manusia, hewan, cap tangan, geometris, fauna bawah air dan peralatan.
If you’re in Bangkok next week, join the Pint of Science Festival which will be held for the first time in Thailand. Pint of Science brings science to the public by bringing researchers to the the pub. I have a spot on Tuesday, 16 May – the only archaeology presentation! Tickets are free, but registration is required and snacks are included.
Crouching Tiger, Hidden Elephants: The unseen cave paintings of Southeast Asia
Noel Hidalgo Tan (SEAMEO SPAFA)
Step into the world of rock art – filled with carvings of gods, cave paintings and reminders of humankind’s long interaction with the landscape. Like the landscapes of Australia and South Africa, Southeast Asia is home to hundreds of rock art sites even as most of them are unknown or inaccessible. What have archaeologists learned about the past through these ancient images?!
Last week I was in Namibia attending a colloquium on rock art organized by the Getty Conservation Institute. The aim of the colloquium was to share thoughts, ideas and solutions about rock art management, conservation and public engagement with perspectives from around the world, and it was a continuation of earlier discussions which began in Southern Africa and Australia (you can download the papers and results of the earlier colloquiums here).
The participants were a good mix of researchers, site managers, indigenous voices and artists, who each shared unique perspectives and case studies ranging from rock art films, community engagement projects, fund raising. For my presentation, I shared examples of rock art site protection from Southeast Asia, including bits of earlier research on how religious shrines form around rock art sites; the use of social media to engage the public (such as by reading this site, or following this blog on Facebook and Twitter) and highlighted the ongoing Gua Tambun Heritage Awareness Project run by the team at Universiti Sains Malaysia (also a site I had worked on previously). While my presentation was the only one specific to SEA, there were several other participants who have worked or are working in the region as well – a reflection of the growing interest in rock art here.
We also got to visit the world heritage sites of Twyfelfontein and Brandberg, known for rock art that was created by the Bushmen of Southern Africa. The rock art sites are several thousands years old, depicting animals such as giraffes, elephants, rhino and other wildlife. The rock art at Brandberg was mostly paintings, while at Twyfelfontein the rock art was predominantly petroglyphs (carvings) and it was interesting to see the contrast and also the number of sites.
It was my first visit to Africa, and apart from the rock art sites there were also lots of animals to see!
Meetings like these are very useful to keep up to date with international trends, and also challenge one’s self with new perspectives. Australia and South Africa had clear leadership roles in the area of rock art management due to the number of sites in their region and also issues and experience in dealing with indigenous communities and having multiple research projects focused on rock art; in contrast, there aren’t many dedicated rock art scholars in this region, rock art management here depends largely on state intervention and in most cases Southeast Asian rock art has no ancestral connection to the people living in the area today. Still, I learnt a lot and will be applying some ideas to future rock art projects at my day job in SPAFA.
Many thanks to the Getty Conservation Institute for the opportunity to participate in this rock art colloquium, and in particular Neville Agnew, Nicholas Hall and Paul Taçon. There should be a publication from this meeting out hopefully by the end of the year, and I’ll post news about it when it comes out.
From the Proceedings of the National Academy of Science, a new paper highlights discoveries excavated in Sulawesi from 30,000 years ago, showing that humans were engaged in making symbolic artefacts in the form of jewelry, portable art and used ochre (probably for creating rock art which we already know is very old in Sulawesi). The finds suggest a cultural sophistication that we rarely see this early in the archaeological record.
Wallacea, the zone of oceanic islands separating the continental regions of Southeast Asia and Australia, has yielded sparse evidence for the symbolic culture of early modern humans. Here we report evidence for symbolic activity 30,000–22,000 y ago at Leang Bulu Bettue, a cave and rock-shelter site on the Wallacean island of Sulawesi. We describe hitherto undocumented practices of personal ornamentation and portable art, alongside evidence for pigment processing and use in deposits that are the same age as dated rock art in the surrounding karst region. Previously, assemblages of multiple and diverse types of Pleistocene “symbolic” artifacts were entirely unknown from this region. The Leang Bulu Bettue assemblage provides insight into the complexity and diversification of modern human culture during a key period in the global dispersal of our species. It also shows that early inhabitants of Sulawesi fashioned ornaments from body parts of endemic animals, suggesting modern humans integrated exotic faunas and other novel resources into their symbolic world as they colonized the biogeographically unique regions southeast of continental Eurasia.