Figure 20 - uploaded by Maarten van Hoek
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Map of Cerro de Coamiles, showing two petroglyphs of the 'Textile Pattern' motif. Drawings © by Maarten van Hoek, based on several sources.
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Although in general complex biomorphic figures in rock art are not suitable to demonstrate diffusion, there is one idiosyncratic anthropomorphic figure the in rock art repertoire of the Americas, which, although it is very rare, has a remarkably wide distribution that might indicate long-distance diffusion. I have labelled this icon the Saluting An...
Citations
... One of the most interesting yet enigmatic rock art symbols found at numerous sites across the world, is the so-called "Venus-Cross"; ideally an equal armed cross, outlined by one or more crosses. Earlier I have discussed this enigmatic symbol in much detail, simultaneously listing numerous spots with rock art images of the "Venus-Cross" (Van Hoek 2018;2024) and yet I am still surprised to find a new site that features the "Venus-Cross". The title reveals that this time a new "Venus-Cross" has been recorded in the Vítor Valley of southern Peru. ...
This short paper discusses a new find of another petroglyph depicting the “Venus-Cross” in the Vítor Valley of Southern Peru. The paper also reviews its distribution within the Majes Rock Art Style (MRAS) and within a much larger area (the Desert Andes). It proves that - for still some unknown reason - the “Venus-Cross” is overrepresented in the Vítor Drainage.
... In various publications I investigated the possibility that certain rock art phenomena diffused across the globe. In particular I focussed on motifs that may have diffused from South America to North America, or vice versa (Van Hoek 2018a;2018b;2018c). In most cases diffusion is only a remote possibility, although some rock art motifs may indeed have travelled over enormous distances. ...
Certain rock art images prove to occur at numerous places in the world, like cupules and zigzags. In most cases this is a matter of parallel invention. However, a number of motifs may have travelled across the globe for short or even enormous distances. This study investigates the distribution of one of the enigmatic rock art features, the serrated edge and explores the possibility that this practice diffused from North America to South America (or vice versa).
This book was written by me to serve as a supplement to a most extensive survey of the Wari Settlement at Quilcapampa in the Sihuas Valley of Southern Peru, the results of which were published in 2021 after many years of meticulous excavation and research, which started in 2013 by the Proyecto de Investigación Arqueológica Quilcapampa La Antigua (PIAQ). Their surveys resulted in the publication of a most informative book called: Jennings, J., W. Yépez Álvarez and S. L. Bautista (eds.). 2021. Quilcapampa. A Wari Enclave in Southern Peru. University Press of Florida (https://upf.com/book.asp?id=9780813066783).
However, my study only deals with the rock art at Quilcapampa, which was discussed in their Chapter 3: “Making Quilcapampa: Trails, Petroglyphs, and the Creation of a Moving Place”, written by Stephen Berquist, Felipe Gonzalez-Macqueen and Justin Jennings.
Besides more general remarks about Quilcapampa rock art, I also focus on specific types of Quilcapampa petroglyphs in my book, like the “Carcancha”, the Quilcapampa Abstract Anthropomorph and in particular on the “Trophy” Head, for which I propose a purpose that differs from the generally accepted theory. The findings of the PIAQ regarding the Plaza at Quilcapampa Settlement (discussed in their Chapter 4) seem confirm my theories that Quilcapampa rock art is firmly related with Apu Ampato.
This paper deals mainly with rock art images of masks that are folded across two rock panels creating 3D masks. In particular the Mogollon 3D masks of Three Rivers in New Mexico, USA, will be discussed. Also the puzzling anomaly regarding the distribution of Mogollon 3D masks and Rio Grande Style 3D masks will be dealt with. Finally, it will be attempted to offer an explanation for the enigmatic 3D masks.
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A copy (PDF) can be downloaded at: Patina; Utah Rock Art Research Association (URARA). Salt Lake City, Utah. https://urara.wildapricot.org/Welcome-to-Patina
The book is available as a PDF (again only) from ResearchGate. It concerns a mainly photographic presentation of the petroglyphs at Quebrada de los Boliches, a major petroglyph site in the north of Peru, surveyed by us in 2011. The study offers a short description (including 5 maps) and briefly reviews the history of the site, while about 109 panels (on 69 boulders with petroglyphs) are illustrated in a total of 126 Figures. Accompanying this study is a short video about the rock art at Quebrada de los Boliches, stressing the fact that this endangered site should be officially protected (available at YouTube https://youtu.be/zlkZLnEZ2CM).
In the area just south of the Anti-Atlas numerous rock art sites have been recorded. However, there are remarkably few rock art panels with cupules in that area. This study describes a surprisingly high number of cupule panels in the Imaoun area, north of the town of Akka in southern Morocco, which represents a true anomaly in this respect.
Although in general complex biomorphic figures in rock art are not suitable to demonstrate diffusion, there is one idiosyncratic anthropomorphic figure the in rock art repertoire of the Americas, which, although it is very rare, has a remarkably wide distribution that might indicate long-distance diffusion. I have labelled this icon the Saluting Anthropomorph.
