Luminescence dating of rock art and past environments using mud-wasp nests in northern Australia

Nature ◽  
10.1038/42690 ◽  
1997 ◽  
Vol 387 (6634) ◽  
pp. 696-699 ◽  
Author(s):  
Richard Roberts ◽  
Grahame Walsh ◽  
Andrew Murray ◽  
Jon Olley ◽  
Rhys Jones ◽  
...  
1991 ◽  
Vol 57 (01) ◽  
pp. 163-174 ◽  
Author(s):  
Robert Layton

Rock art associated with modern human populations has a comparable antiquity in Western Europe and Australia (table 1). In Western Europe personal adornment, human and animal statuettes and some carved stone blocks date from the early Aurignacian. In Australia a date of 30,000 BP has been claimed for the origin of the geometric art tradition of the Olary Province of Southern Australia, a date which would make it contemporary with the modern human community at Lake Mungo 150 miles to the east, who were practising deliberate burial (Bowler and Thome 1976, 129,138). This date, however, depends on the cation ratio method, whose calibration is still open to question (Nobbs and Dorn 1988; Clarke 1989; Watchman 1989).Secure dates based on C14 measurements show that both geometric motifs and engraved animal silhouettes in northern Australia are contemporary with the flowering of European Palaeolithic art during the Magdalenian (for Dampier, see Lorblanchet 1988, 286; for Laura, see Rosenfeld 1981, 12, 53).


2017 ◽  
Vol 87 ◽  
pp. 95-107 ◽  
Author(s):  
Rommy Cobden ◽  
Chris Clarkson ◽  
Gilbert J. Price ◽  
Bruno David ◽  
Jean-Michel Geneste ◽  
...  

Antiquity ◽  
1995 ◽  
Vol 69 (265) ◽  
pp. 747-768 ◽  
Author(s):  
M. J. Morwood ◽  
D. R. Hobbs

The wetter tropical zones of northern Australia are linked by their monsoonal climates. Their archaeology shows its own distinctive pattern as well, and rock-art is an important source of evidence and insight. This study focusses on a part of Queensland, setting this local sequence alongside Arnhem Land (reported by the paper of Taçon & Brockwell) and in the northern pattern as a whole.


Archaeometry ◽  
1995 ◽  
Vol 37 (1) ◽  
pp. 151-156 ◽  
Author(s):  
D. E. NELSON ◽  
G. CHALOUPKA ◽  
C. CHIPPINDALE ◽  
M. S. ALDERSON ◽  
J. R. SOUTHON

2014 ◽  
Vol 111 (36) ◽  
pp. 12986-12991 ◽  
Author(s):  
J. L. Pederson ◽  
M. S. Chapot ◽  
S. R. Simms ◽  
R. Sohbati ◽  
T. M. Rittenour ◽  
...  
Keyword(s):  
Rock Art ◽  

Author(s):  
Madeleine Kelly ◽  
Liam M. Brady

Identifying style provinces is a popular topic of enquiry in Australian rock art research. At the core of these studies is the focus on the style or manner of depiction of motifs as a key indicator for determining patterns of motif similarity and difference, and their corresponding spatial distribution. In identifying spatial continuities and discontinuities based on a formal analysis of rock art motifs fixed in place, researchers sometimes limit their ability to understand the relational dimensions associated with past and present graphic systems more broadly. This chapter reviews and critiques the formal, style-based methods of delineating discontinuities in rock art as boundaries and uses Nancy Williams’s work on Yolngu boundaries as a framework to further build on research into spatial discontinuities in rock art as flexible, intersecting, and fluid. In doing so, the authors also draw attention to the role of relational understandings and decorative portable objects in characterizing intersecting style-based discontinuities. Using two case studies from northern Australia, they demonstrate how the spatial and social boundaries expressed in rock art are often much more complex than originally envisaged.


2017 ◽  
Vol 14 ◽  
pp. 340-352 ◽  
Author(s):  
Helen Green ◽  
Andrew Gleadow ◽  
Damien Finch ◽  
Janet Hergt ◽  
Sven Ouzman

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