Autor(en)

Lewis-Williams, J.D.:

Verlag / Jahr

Amsterdam : Institut voor Pre- en Protohistorische Archeologie, 1992.

Format / Einband

Pappband. 36 S. ; Ill.

Sprache

Englisch

Gewicht

ca. 550 g

Bestell-Nr

1209229

Bemerkungen

Vorbesitz Dr. H. J. Koloß, vormals Völkerkundemuseum Berlin. - Gutes Exemplar. - Veertiende Kroon-Voordracht gehoaden voor de Stichting Nederlands Museum. - One of the most striking and daunting features of southern African Bushman (San) rock art is the complexity of many panels. Artists often added layer after layer with seeming disregard for the work of their predecessors. In some sites the oldest layers are no longer clear, the paint blurring into an obscure red background to the more recent additions. Yet in other cases only two images, one painted on top of the other, appear in an otherwise unpainted expanse of rock face: there seems to be no reason why the images could, not have been placed next to each other. - The earliest reaction of rock art researchers to the painting of depictions on top of one another derived from Western notions of art and vandalism. Stow (1905: 26-7), for instance, believed that artists would not'deface'the works of a predecessor'as long as any recollection of him was preserved', but, once that memory had faded, a subsequent artist 'unceremoniously painted over the efforts of those who preceded him'. Following Stow, numerous writers took over-painting as evidence for a considerable time lapse between painting episodes and used the phenomenon to construct stylistic sequences in the same way that Breuil (1979: 37-38) exploited 'direct supenmposition of figures' to construct his two-cycle chronology of Upper Palaeolithic art.

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EUR 28,00

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