{"product_id":"rock-art-in-old-world-idd882","title":"Rock Art in the Old World","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eIDD882\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/fr\/book-author\/edited%20by%20michel%20lorblanchet\" class=\"underlined\" title=\"Edited by: Michel Lorblanchet\"\u003eEdited by: Michel Lorblanchet\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/fr\/book-publisher\/indira%20gandhi%20national%20centre%20for%20the%20arts%20and%20aryan%20books%20international\" class=\"underlined\" title=\"Indira Gandhi National Centre for the Arts and Aryan Books International\"\u003eIndira Gandhi National Centre for the Arts and Aryan Books International\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2001\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e8185503001\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e570(Color Illus: 24, B \u0026amp; W Illus: 85 with Figures)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003eHardcover\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e11.5\" X 8.7\"\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003cb\u003eAbout the Book:\u003c\/b\u003e\u003cp\u003e \u003ci\u003eRock Art in the Old World\u003c\/i\u003e is an invaluable documentation of what is probably the first manifestation of the creative urge of man. It consists of selected papers from the World Congress of Rock Art held in Darwing in 1988. For the first time rock art of very broad geographical regions covering the continents of Africa, Asia and Europe have been dealt within one book. Little known traditions such as the panorama of Chinese art and that of the former Chinese art and that of the former Sovient Union have been studied. Samples of rock art identified only recently have been described.\u003c\/p\u003e\n\u003cp\u003e The papers presented in this volume are convincing proof of the importance of the study of Rock Art, both for archaeology as also ethnology and lifestyle studies. The vast spectrum shows that although there has been a history of research on Rock Art, as a young discipline it is exploring various avenues of growth. Several of the papers indicate the extensive research carried out in India.\u003c\/p\u003e\n\u003cp\u003e The Indira Gandhi National Centre for the Arts (IGNCA) is a premier institution pursuing Rock Art research in a universal context. One important component of its programme is the establishment of the gallery of primeval sight called Adi Drsya, dedicated to everything that is understood by the word palaeo-art. This unique volume is the first in the IGNCA series of Rock Art Studies. It is meant for wide ranging specialists and students interested in human history and art.\u003c\/p\u003e\n\u003cp\u003e \u003cb\u003eAbout the Author:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cb\u003eMichel Lorblanchet\u003c\/b\u003e (b. 1937) is an eminent French archaeologist known for his work in palaeolithic rock art. He has been a Research Consultant at the Australian Institute of Aboriginal Studies at Canberra. He has also been in charge of setting up the Museum and Rock Art Centre linked to the famous palaeolithic cave of Pech Merle in Southwestern France. Among his known publications is \u003ci\u003eThe Aboriginals and Rock Art in the Grampians, Victoria (Australia)\u003c\/i\u003e brought out in collaboration with Dr. P.J. Coutts. Currently he is working for the Centre National de la Recherche Scientifique (CNRS) and is involved in the study of the French palaeolithic rock art.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eCONTENTS\u003c\/b\u003e\u003c\/center\u003e \u003col type=\"I\"\u003e Foreword\u003cp\u003e Robert G. Bednarik * Olivier Guillaume * Kapila Vatsyayan\u003c\/p\u003e\n\u003cp\u003e Introduction\u003c\/p\u003e\n\u003cp\u003e Michel Lorblanchet\u003c\/p\u003e\n\u003cp\u003e \u003cb\u003eAFRICA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cli\u003eRock Art and Cultural Evolution in the Prehistory of the Sahara\u003cbr\u003e\u003ci\u003eFabrizio Mori\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe \"Chariot Period\" of the Rock Art Chronology in the Sahara and the Maghreb: A Critical Reappraisal of the Traditional Views\u003cbr\u003e\u003ci\u003eAlfred Muzzolini\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eKenya Rock Art Studies and the Need for a Discipline\u003cbr\u003e\u003ci\u003eOsaga Odak\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eCup-Marks Patterns as an Interpretation Strategy in some Southern Kenyan Petroglyphs\u003cbr\u003e\u003ci\u003eOsaga Odak\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Painting Sites near the Southern Perimeter Road in Southeastern Lesotho\u003cbr\u003e\u003ci\u003eLucas G.A. Smits\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eGonoa and the Prehistory of Tibesti\u003cbr\u003e\u003ci\u003eKarl Heinz Striedter\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Art Research on the Djado Plateau (Niger):\u003cbr\u003eA Preliminary Report on Arkana\u003cbr\u003e\u003ci\u003eKarl Heinz Striedter\u003c\/i\u003e\u003cp\u003e \u003cb\u003eASIA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Paintings of Pachmarhi Hills\u003cbr\u003e\u003ci\u003eMeenakshi Dubey\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eArchaic Petroglyphs of Ladakh and Zanskar\u003cbr\u003e\u003ci\u003eHenri-Paul Francfort, Daniel Klodzinski \u0026amp; Georges Mascle\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eOstrich Eggshell Objects and Engraved Pieces:\u003cbr\u003eNew Evidence for Upper Palaeolithic Art and Ornaments in India\u003cbr\u003e\u003ci\u003eGiriraj Kumar, Geeta Narvare \u0026amp; Ramesh Pancholi\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003ePreliminary Report on Ultrastructure of Struthio Eggshells from Upper Palaeolithic Sites of India\u003cbr\u003e\u003ci\u003eAshok Sahni\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Art Studies in India\u003cbr\u003e\u003ci\u003eYashodhar Mathpal\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Art in India\u003cbr\u003e\u003ci\u003eErwin Neumayer\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eCentral Indian Rock Art\u003cbr\u003e\u003ci\u003eShyam K. Pandey\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eSignificance of Chandravati Engraved Core in the Light of Prehistoric Art in India\u003cbr\u003e\u003ci\u003eVishwarao Sonawane\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Paintings of Mirzapur in Uttar Pradesh\u003cbr\u003e\u003ci\u003eRakesh Tewari\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eDecorative Intricate Patterns in Indian Rock Art\u003cbr\u003e\u003ci\u003eGajendra S. Tyagi\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Painting in India\u003cbr\u003e\u003ci\u003e\u003ca href=\"\/fr\/article\/vishnu\"\u003eVishnu\u003c\/a\u003e S. Wakankar\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Art of Sri Lanka\u003cbr\u003e\u003ci\u003eBilinda D. Nandadeva\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Art in Thailand\u003cbr\u003e\u003ci\u003eMargaret Bullen\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eDiscovery of Rock Art in China\u003cbr\u003e\u003ci\u003eChen Zao Fu\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003ePraying Figures in Zuojiang River Valley\u003cbr\u003e\u003ci\u003eChen Zao Fu\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe Annotated Rock Art of Southern Jordan\u003cbr\u003e\u003ci\u003eWilliam Jobling\u003c\/i\u003e\u003cp\u003e \u003cb\u003eEUROPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eOpen Air Rock Art in the Palaeolithic\u003cbr\u003e\u003ci\u003ePaul G. Bahn\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eCrisis in Traditional Ideas about European Rock Art: the Questions of Diffusion and Convergence\u003cbr\u003e\u003ci\u003eAntonio Beltran\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe Bull: Myth and Representation\u003cbr\u003e\u003ci\u003eMargarita Bru\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Art of the White Sea\u003cbr\u003e\u003ci\u003eArsen Faradzhev\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe \"Venus\" of Laussel in the Light of Ethnomusicology\u003cbr\u003e\u003ci\u003eDirk Huyge\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eFinger Markings in Pech Merie and their Place in Prehistoric Art\u003cbr\u003e\u003ci\u003eMichel Lorblanchet\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eRock Art in Soviet Eurasia\u003cbr\u003e\u003ci\u003eMiroslav Ksica\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003ePost-Palaeolithic Painting in Western Alps\u003cbr\u003e\u003ci\u003eDario Seglie, Piero Ricchiard, Mauro Cinquetti, Georges Nelh \u0026amp; Guiseppe Vicino\u003c\/i\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eFontainebleau Rock Art: An Overview\u003cbr\u003e\u003ci\u003eChristian Wagneus \u0026amp; Janine Wgneur\u003c\/i\u003e\u003cp\u003eList of Contributors\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cbr\u003e\u003chr noshade size=\"1\" color=\"black\"\u003e\n\u003ccenter\u003eFree Shipping. 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