Rock art research

This report presents a critique of established cultural heritage practices in Western Australia, focusing on the control of the process by corporate proponents and its effects on rock art and stone arrangements. The moderating roles of scholarly societies in questions of ethics are reviewed, and the report concludes with a constructive proposal to end practices that have facilitated large-scale destruction of cultural heritage sites.

In light of global trends in human population growth and urbanization, burgeoning cultural heritage tourism industries, and climate change, cultural heritage places in nearly every corner of the world are significantly threatened, and will remain so into the foreseeable future. Rock art sites are some of the most imperiled, with their exposed contexts posing unique challenges to conservation. Consequently, effective management of publically accessible rock art sites necessitates a sustainable approach that weighs visitation in regard to cultural significance and site stability. This essay integrates rock art stability and sustainability assessment methodologies at the Painted Rock Petroglyph Site in southwestern Arizona. The study specifically applies the Rock Art Stability Index (RASI) to evaluate the natural and anthropogenic weathering forces impacting the site, and the Heritage Asset Sensitivity Gauge (HASG) to assess site sustainability under existing management practices in relation to current and forecasted rates of visitation. A spatial analysis of aggregated RASI data shows that visitor foot traffic has had some of the most profound impacts to the petroglyphs. Unrestricted access to the site area is also highly correlated with the presence and location of vandalism and graffiti, and visitor-related trampling has adversely affected the site’s surface artifact assemblage. Application of the HASG projects that, while existing management practices are fairly sustainable, they become less so under forecasted increases in visitation. Further, the HASG appraises the site’s cultural significance as outweighing its market appeal, indicating management efforts should prioritize conservation over tourism-related development.

In the Hunter Valley of New South Wales, Australia, a deeply worrying trend has emerged where the approval of major mining projects is predicated on the rescinding of areas previously set aside to conserve environmental, including heritage, values. Here, I want to explore the juxtaposition of a landmark dual listing for the well-known and highly culturally significant rock art site of Baiame Cave, against the devastating impacts on community well-being posed by the extension of the Mt Thorley Walkworth Mine. The long-awaited judicial recognition of place attachment and the acknowledgment of negative consequences for community well-being via landscape-scale transformations from mining at the village of Bul-ga appear at odds with the almost simultaneous dual listing of the nearby Baiame Cave as an Aboriginal Place and a place of State Significance (inscribed on the NSW Heritage List). This case study adds to a burgeoning global literature on the complex impacts mining and other large-scale industrial activities have on indigenous heritage. The frightening example given here should serve to raise scrutiny for legislative processes and decision-making frameworks governing heritage protection everywhere.

Esta tesis concentra los resultados del análisis de las representaciones rupestres prehispánicas documentadas en el Parque Provincial Ischigualasto y su área de amortiguación, ubicado en el noreste de la provincia de San Juan. A partir de investigaciones previas, éstas y otras evidencias documentadas en el área fueron referidas a ocupaciones esporádicas de baja densidad correspondientes a los últimos 2000 años y, en particular, a los Períodos Agroalfarero Medio y Tardío.

Many early visitors and researchers noted and commented upon petroglyphs. Except for the PhD thesis of Georgia Lee, little attention was paid to the island’s rock art to understand Rapa Nui civilization, even if more than four thousand petroglyphs and four thousand cupules were recorded. The engravings are located in every sector of the island and present a large iconography. This rock art is likely to give us information not only on the mental and spiritual functioning of those who made them, by analysing the graphic content, but also on their social functioning. The study of chronology, location, technique of carving and variation of the iconography could help us to understand the evolution of these “artistic” creations and see if it could

This is a commentary on a paper about grooved markings found on sandstone surfaces in the Pennine upland of Yorkshire, United Kingdom, of other single examples in Scotland and the U.S.A., and of numerous unsuccessful attempts to secure an archaeological or geological explanation for them. The author explains the unexplained phenomenon.

Oppe på høyfjellet  på Skurdalsporten i Meråker ligger tre bergflater som er oversådd med korsfigurer. De første korsfigurene ble oppdaget  på 1980-tallet, og ble da antatt å være spor etter pilegrimstrafikk gjennom området i middelalderen. Så langt har man funnet greske kors, latinske kors/t-kors, patrialkalkors/erkebispekors og Andreaskors her, men siden feltene i dag er overvokst med skorpelav, kan det finnes enda flere uregistrerte korsformer her.

Pilegrimsleden fra Skurdalsporten til Nidaros har i motsetning til leden fra Gauldalen og over Vassfjellet  ingen nærliggende arkeologiske funn som kan knytte lokaliteten til pilegrimstrafikken. Trekker vi imidlertid linjene østover til det norrländske landskapet finnes mange bevis på pilegrimstrafikkens eksistens og olavskultens stilling. Det at leden ble lagt gjennom dette landskapet, kan oppfattes som et politisk styrt forsøk på å skape et tyngdepunkt i Norden gjennom innføring av skatt til Nidaros også i Mellan-Norrland.  Gjennom Norges innføring av lover som skulle verne om pilegrimene, og opprettelsen av overnattingssteder, ser vi det samme bildet (Ekroll in prep.).

Korset var pilegrimenes mektigste symbol. Ved å etterlate seg et merke i form av et innrisset kors eller en korsfigur kunne man på en enkel måte kommunisere for omverdenen at man var på pilegrimsreise. Å merke landskapet med kors kan oppfattes som en ritualisering eller kristning av stedet, der man sikret seg mot «ukristne» makter, spesielt i utmarka.

In the present article, we aim to describe a large part of the paintings adorning thirty-four shelters in Oummat Chegag. The surviving rock art of this massif, known mainly thanks to the freehand drawings of Captain Cauneille, has remained unfairly neglected. The vast number of images and their previously unsuspected archaeological interest constitute an important body of rock art within the area of Zemmour and in South Morocco. These documents validate the analysis of Joaquim Soler Subils, who emphasized the stylistic analogies between the painted sites of these regions, and provide new factors to be taken into account for the establishment of a classification and a chronology of the different styles.
Nous présentons une large part des peintures ornant trente-quatre abris d’Oummat Chegag. Les vestiges rupestres de ce massif, connus essentiellement par les dessins à main levée du Capitaine Cauneille, sont restés injustement sous-estimés. L’abondance des figurations et leur intérêt archéologique insoupçonné en font un ensemble important de l’art rupestre du Zemmour et du Sud-Marocain. Confirmant l’analyse de Joaquim Soler Subils, qui a mis l’accent sur les analogies stylistiques entre les sites peints de ces régions, ces documents fournissent des nouveaux éléments de discussion pour l’établissement d’une classification et d’une chronologie des différents styles.

Se analiza  iconografía de una serie de estelas grabadas, descontextualizadas  pero con probable sitio de hallazgo cercano a la frontera con Argentina. De alli que  su filiación seria la CULTURA YAVI.  Las imagenes grabadas confirman el aserto.

Rock art has been poorly investigated in Croatia and in the southeast of Europe. The CRORA (CROatian Rock Art) project was launched in 2009 and aims to systematically catalogue, valorize, and present rock art in Croatia. This project has identified 122 parietal art sites (rock art engravings and paintings) in Croatia, dated from the Palaeolithic to the Modern age, were recorded,  demonstrating that this region, with its abundance of karst phenomena, has great potential region for the further systematic survey and study of rock art.
A dozen rock art paintings sites were identified in the frame of this investigative effort - most located in small rock shelters facing river valleys - that exhibit numerous similarities with the schematic rock art found in parts od Italy, France, Portugal and Spain dated to the period from the Neolithic to the dawn of the Bronze Age. Similar sites have also been identified in Slovenia and Bosnia-Herzegovina. These new discoveries in Croatia and in the adjacent regions of the eastern Adriatic coast broaden our knowledge of the phenomenon of schematic rock art and open an completely new area for its study.

Riassunto (il progetto CROatian Rock Art e la scoperta di arte rupestre schematica in Croazia)
L'arte rupestre è stata poco studiata in Croazia e nel sud-est dell'Europa. Il progetto CRORA (CROatian Rock Art) è stato lanciato nel 2009 e mira a catalogare, valorizzare e presentare sistematicamente l'arte rupestre in Croazia. Questo progetto ha permesso di documentare un totale di 122 siti, con incisioni e pitture, databili dal Paleolitico all'Età Moderna, dimostrando come questa zona, nonostante i suoi numerosi fenomeni carsici, abbia un grande potenziale per ulteriori indagini sistematiche e studi sull'arte rupestre.
Nell'ambito di questo sforzo investigativo sono stati identificati una dozzina di siti con pitture rupestri, per lo più in piccoli ripari rocciosi lungo i solchi fluviali, che mostrano numerose somiglianze con l'arte rupestre schematica di Italia, Francia, Portogallo e Spagna, databili dal Neolitico agli albori dell'età del Bronzo. Siti simili sono stati individuati anche in Slovenia e Bosnia-Erzegovina. Queste nuove scoperte in Croazia e nelle regioni adiacenti della costa adriatica orientale ampliano la nostra conoscenza del fenomeno dell'arte rupestre schematica e aprono un'area completamente nuova per il suo studio di questo fenomeno.

Full text of the 2018 chapter "Ethnogeologies of Rock Art? Some considerations derived from Amazonianist Ethnographies", published in the volume "Archaeologies of Rock Art - South American Perspectives" Edited by A. Troncoso, F. Armstrong, and G. Nash. The chapter brings the possibility of studying rock art through and with an articulation with Indigenous geological knowledge in Amazonia, as a particular way of connecting archaeology, geology and ethonography of rock art, thus pontentially providing innovative insights to Amazonian rock art research. Texto Completo do capitulo "Ethnogeologies of Rock Art? Some considerations derived from Amazonianist Ethnographies" publicado em 2018 no livro "Archaeologies of Rock Art - South American Perspectives" Editado by, A. Troncoso, F. Armstrong, and G. Nash. O capítulo trata de uma aproximação para o estudo da arte rupestre através das conhecimentos geológicos indígenas  e aponta que esta pode ser uma abordagem para unir a etnografia, a geologia e a arqueologia da arte rupestre na Amazônia.

The Grolier Codex is discussed in the context of the archaeoastronomy of the ancient Americas on pages 98-99 of the March 1990 National Geographic Magazine article "America's Ancient Skywatchers" by John B. Carlson. One of four known ancient Maya books, the Grolier Codex depicts different manifestations of the planet Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. A numbered photographic arrangement of the Grolier Codex depictes the author's discovery that Codex pages 10 and 11 are actually two parts of the same "page 10".  Carlson clarifies the identities of Venus deities depicted in the Grolier Codex from a comparison of images from the Cacaxtla murals and links the images of the Grolier Codex with ancient Maya astronomically timed ritual warfare and sacrifice. (Grolier Codex photographs: Enrico Ferorelli; Other photos: Bob Sacha)

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

The discovery of petroglyph sites in the Blue Tier mountains of north-eastern Tasmania is reported, which raises two specific issues. The occurrence of aligned cupules is identified as a distinctive characteristic of Tasmanian rock art, and evidence for ritual use of mountain peaks is recognised for the first time in Australia. Dating evidence presented suggests that the Blue Tier sites were used in the second half of the Holocene, and cupules are identified as the most common rock art motif of Tasmania. Also briefly raised are the implications of the ‘mountain sanctuaries’ reported here to the interpretation of Tasmanian ethnography and cosmology.

The main purpose of this article is to make a comparative interpretation of petroglyphs and rock paintings and to try to date them considering many criteria. Anatolian geography has always been the focal point with its historical culture and inventory. However, there is not much research on this subject in this geography, which is very rich in petroglyph and rock paintings. There are many similar petroglyphs and rock paintings in neighboring regions of Anatolia (Armenia, Georgia, Azerbaijan, Iran, Nakhchivan). Mostly all dating and evaluations are interpreted according to their typological similarities with other geographies. In this article, we will try to create some analyzes and hypotheses from both the Anatolian and other geographies and using our data.

Résumé - La falaise de Baume Brune s’allonge sur 900m environ, au nord de la plaine drainée par le Calavon et au pied des monts de Vaucluse. On y dénombre 43 abris naturels dont 10 ont été marqués par des figures peintes appartenant à l’iconographie schématique du Néolithique. Les abris peints sont choisis, ici comme ailleurs, selon quatre critères qui sont leur position dominante, leur orientation méridionale, la couleur « rouge » de leurs parois et leur humidité épisodique. Toutefois, si ces critères s’appliquent aux abris peints, ils conviennent aussi à certains abris qui ne portent aucun motif. Ces critères peuvent aussi n’être ni ostensibles, ni évidents sur un abri peint. C’est le cas des concrétions qui trahissent des ruissellements systématiques après les pluies mais qui ne sont pas automatiquement de grand volume. Souligner de rouge ces concrétions sert peut-être à mettre en exergue l’activité hygrophile de ces abris peints. L’iconographie détermine sans doute aussi le choix des supports et à Baume Brune, il semble qu’on a voulu séparer les grands thèmes de l’expression schématique : des abris où serait prépondérante la représentation du personnage ou de l’idole ou du quadrupède. Enfin, dans l’idée que ce sont des sites plus marqués qu’ornés, que ce sont des sites dont la finalité de leur visite n’est peut-être pas de décorer les parois mais aussi d’être le lieu d’autres pratiques dont certaines seraient sonores, une analyse de l’acoustique externe et interne pour l’ensemble de la falaise et des abris a été réalisée. En règle générale, les espaces et les abris marqués de motifs peints sont aussi ceux où l'acoustique est amplifiée grâce aux réflexions du son sur les parois rocheuses.

Cupules have been subjected to interpretation attempts for as long as they have been investigated, and thousands of such attempts have been recorded over the past two centuries. Most of them were presented without any credible supporting evidence and are essentially ethnocentric constructs arrived at by unsophisticated contemplation. They are devoid of any cultural or taphonomic considerations, knowledge of antiquity or technological appreciation, and they are not susceptible to refutation attempts; hence they are not scientifically relevant. Only a minute number of sound ethnographic interpretations are available, and they are always site-specific or culture-specific; therefore no form of generic explanation for cupules can be offered. Such form of interpretation can only be attempted after a massive improvement in the currently very inadequate database we posses of cupules, much of which is distorted by futile interpretation endeavours.

In China, before the beginning of the XXI century, research books and albums of petroglyphs were published in four administrative units at provincial level in the north-west of the county: Inner Mongolia, Ningxia, Xinjiang and Qinghai. Petroglyphs of Inner Mongolia were studied and published by Gai Shanlin, Liang Zhenhua and N. Dalengurib. All four monographs on Ningxia rock art – by Zhou Xinghua, Li Xiangshi and Zhu Cunshi, Xu Cheng and Wei Zhong were published almost simultaneously, at the beginning of the 1990s. Ancient rock art of Xinjiang was published in albums by Zhao Yangfeng, Wang Linshan and Wang Bo and in books by Wang Binghua and Su Beihai. The monograph by Tang Huisheng and Zhang Wenhua was devoted to the description of Qinghai petroglyphs and the problems of their interpretation. Generally, it can be stated that modern Chinese scientific rock art research was born in the first half of the 1980s, when the first articles on rock carvings started to appear in Chinese archaeological periodicals and flourished in the second half of the 1980s and the 1990s, when quite a number of monographs were published.
АННОТАЦИЯ:

The well-known South African artist Walter Battiss (1906–1982) was influenced and inspired by the form and colouring of the San rock art of South Africa. To study these paintings, Battiss travelled widely around South Africa, keeping detailed notes and recording paintings from numerous rock shelters, painting-in the colours of the images on cellophane as he went along. Many of these copies he subsequently redrew in pencil, ink or watercolour.

Mattioli, T., García Atiénzar, G., Barciela González, V. y Díaz-Andreu García, M. 2019. Escuchar con los ojos: la aplicación del GIS al estudio del campo visual y sonoro en los paisajes de arte rupestre de la montaña alicantina. En García Atiénzar, G. y Barciela González, V. (eds.), Sociedades prehistóricas y manifestaciones artísticas. Imágenes, nuevas propuestas e interpretaciones: 285-302. Alicante: Instituto Universitario de Investigación en Arqueología y Patrimonio Histórico de la Universidad de Alicante (INAPH) (Colección Petracos 2).
1. Introducción; 2. El área de estudio: el arte rupestre de la Montaña de Alicante; 3. Modelando la visibilidad y la sonoridad en el arte rupestre de Alicante; 4. Interpretando los resultados del análisis GIS; 5. Discusión: cambiando la percepción del arte rupestre de la montaña alicantina; 6. Conclusión

El arte rupestre abarca el periodo más extenso de la historia del arte universal, no sólo se extiende a las decenas de miles de años que comprenden el Paleolítico superior, sino que, en numerosos casos de América, África y Oceanía su producción ha continuado hasta nuestros días. Entiendo por arte rupestre a todas aquellas formas de expresión pictórica y gráfica que se realizan sobre un soporte de roca, ya sea en un afloramiento superficial, en una peña o sobre la pared de una cueva, por medio de la aplicación de pigmentos o por medio de técnicas directas o indirectas de grabado, así como por la combinación de procedimientos pictóricos y de grabado. Llamamos pinturas rupestres a aquellas realizadas por la aplicación de una materia pictórica sobre la superficie del soporte de piedra. Por materia pictórica comprendemos un pigmento de color, ya sea de origen mineral o vegetal y un aglutinante o medio que tiene la función de pegar las partículas de pigmento entre sí y al soporte rocoso (Doerner, 1982: 2-5). Prefiero utilizar un concepto general que comprenda las diversas manifestaciones pictóricas y funciones semánticas, a diferencia del concepto: pictogramas, que tiene un sentido más específico y restrictivo que no sería correcto emplear en todos los casos (Figura 1). Los petrograbados: son aquellos realizados por medio de las técnicas de incisión, abrasión, percusión directa o indirecta sobre el soporte de piedra, mismas que se pueden utilizar de manera única o combinada (Figura 2). Además de las pinturas y los grabados sobre piedra, tenemos que tomar en consideración a los denominados geoglifos. Se trata de diseños de gran escala, que pueden llegar a medir más de 100m y que presentan formas abstractas (geométricas y biomórficas), antropomorfas o zoomorfas, muy esquemáticas. Se las puede hallar formando grupos o de manera aislada.

Rjabchikov, Sergei V., 2021. The Rongorongo Script as the Faithful Key to Understanding the Easter Island Culture. Krasnodar: The Sergei Rjabchikov Foundation – Research Centre for Studies of Ancient Civilisations and Cultures. 54 pages.

CONTENTS                                                                                                                                       

Chapter 1. About the Rongorongo Record with the Name of King Hata on a Wooden Artifact from Easter Island
Chapter 2. The Rapanui Myth “The Bloody Big Toe”
Chapter 3. On the Genealogy of the Rapanui Kings (The Miru Group)
Chapter 4. New Rongorongo Records on Pendants Tahonga from Easter Island have been Deciphered
Chapter 5. The Rapanui Princess Ua Iri Tai from the Ruling Group Miru in the Drawings by Pierre Loti in 1872
Chapter 6. The Interpretation of the Drawing “Idol Festival in Easter Island” by Pierre Loti
Chapter 7. The Rapanui Mythology and Script: The Moon Goddess Hina Uri at the Ahu Taha Roa
Chapter 8. The Plot about the Fishery and the Full Moon in the Rapanui Rock Art
Chapter 9. On the Solar Cocks on a Panel Located Inland from the Ahu Raai on Easter Island
Chapter 10. On the Calendar Rongorongo Record on the Wall of the Ana o Keke Cave on Easter Island
Chapter 11. On the Legend of Hetereki Written on the Rongorongo Tablet W from Easter Island
Chapter 12. The Rapanui Myth of the God Hiva Kara Rere in the Rongorongo Script
Chapter 13. The Forgotten Key to the Easter Island Writing System
Chapter 14. The Records in the Esteban Atan Manuscript as the Key to the Rongorongo Script: The Continuation of Our Studies
Chapter 15. The Records in the Esteban Atan Manuscript as the Clue to the Rongorongo Script: The Sources in the Local Songs
Chapter 16. About the Rongorongo Inscription on the Paris Snuffbox
Chapter 17. The European Explorers on Easter Island: The Records on the Santiago Staff

Abstract. Sergei V. Rjabchikov continues his investigation of the rongorongo inscriptions which are the reliable key to the ancient Easter Island (Rapanui) culture. In particular, the author has found the records on the Santiago staff which belonged to the famous Rapanui king Nga Ara about the Holland discovery of the island in 1722, about the Spanish expedition of 1770 and about the British expedition of 1774.

Keywords: writing, rongorongo, script, hieroglyphic script, folklore, mythology, rock art, petroglyphs, Rapanui, Rapa Nui, Easter Island, Polynesia, Proto Polynesian, Austronesian

FORTHCOMING: Our paper focuses on modern techniques of documentation, such as photogrammetry and laser scanning and later analysis in a virtual environment of the Ancestral Pueblo sites, with sandstone architecture and rock art that are located in several canyons of the central Mesa Verde region, southwestern Colorado, USA. All of the sites roughly date back to the 13th century A.D. and could have functioned as a community of allied sites. The research was conducted over the course of several seasons by the Sand Canyon-Castle Rock Community Archaeological Project led by the Institute of Archaeology at the Jagiellonian University in Kraków. The goal of digitising the Ancestral Puebloan sites was to accurately document and analyse the condition of preservation of the architectural features and rock art. The registered data have been used to generate accurate 2D documentation together with 3D models. The 3D models that were generated have also been used to interpret some barely visible details, for example of the petroglyphs, by varying the position of the light, with the use of Reflectance Transformation Imaging (RTI) software. Another element is the virtual three-dimensional models that we used in a game engine and Digital Elevation Model that encompasses the sites and the associated environment. Also, we briefly discuss the potential and the benefits and disadvantages of using specific methods in the field in the research area, mainly photogrammetry, laser scanning, and RTI analysis.

At Drombeg Stone Circle in County Cork, Ireland, two petroglyphs of prehistoric date are highly significant. One is an ithyphallic image with testicles that is 200 mm long. It is carved high on a tall narrow straight-sided megalith at the portal entrance. The other pecked carving is an open vulva 280 mm long by 160 mm wide on the flat upper surface of a broad recumbent stone.
These distinct gender attributes emphasize the sexual meanings intended for the particular shaped stones upon which they are carved. Other standing stones of the Drombeg Circle have outline shapes that also aptly suggest either the male or female principle.
All 17 megaliths in the circle were intelligently positioned such that the light of the rising sun casts shadows, classifiable as male, that make union with a waiting stone identifiable as female on eight prime dates of the agricultural year. These dates are 45–46 days apart starting with the winter solstice.
It is proposed that this core activity could symbolize the hieros gamos, the sacred marriage between Sky Father and Mother Earth which was a well-loved worldview in all continents.

This book gives clear and concise directions to over 200 rock art sites in the state of Arizona.
  Go out there and discover for yourself these prehistoric images and take the time to try and understand why the ancients left them where they did.
  Be considerate and give these messages the respect they deserve by leaving them as you find them.

The principal purposes of this paper are to report the preliminary results of analytical work conducted in the Kingdom of Saudi Arabia; to evaluate the susceptibility of some Arabian rock art to direct dating techniques; and to evaluate its susceptibility to the application of a variety of other research methods. The authors have together studied more than forty rock art sites in northern, central and southern Saudi Arabia, and they secured preliminary age estimations from ten motifs at seven of these locations. These are the first scientific rock art dating results ever reported in the Middle East. The teams of the Deputy Ministry of Antiquities and Museums included also specialists in epigraphy and indigenous Bedouin custodians. They examined site complexes considered for tourist access in the context of associated resource management issues. In the Najran region of the country’s south, extensive research to test previously proposed stylistic chronologies of the petroglyph traditions of southern Arabia was conducted. These were found to be not only internally inconsistent, they were also decisively refuted by the results of dating work, superimposition sequences and precision colorimetric analyses.

Toro Muerto (valle del río Majes, Arequipa-Perú), es uno de los sitios arqueológicos más grandes del mundo y con mayor cantidad de expresiones petrográficas: en un área de 10 km2 se han registrado 2.584 bloques de rocas grabadas con representaciones geométricas, zoomórficas y antropomórficas. En el 2017, al realizarse las prospecciones de acuerdo con el Proyecto de Investigación Arqueológica Toro Muerto (PIA-TM), en el extremo norte del sitio, se halló una colina con 92 petroglifos aun no estudiados (Sector X). En el 2018, se realizó un registro integral y preciso de todo el yacimiento: cada roca cuenta con fichas, fotografías calibradas, dibujos y algunos modelos 3D de rocas. Asimismo, se realizaron levantamientos geodésicos, fotogrametría del terreno, ortofotos, tecnomorfología y modelo 3D del sector y también excavaciones. El presente artículo trata sobre el estudio y la virtualización integral del patrimonio cultural rupestre del referido sector.