Unusual painted anthropomorph in Lembata island extends our understanding of rock art diversity in Indonesia

Abstract

We report new finds of two painted rock art sites in Lembata Island in Indonesia, one depicting a 'boat', the other an anthropomorph. The style of the anthropomorph is quite distinct from the small dynamic painted anthropomorphs common elsewhere in eastern In-donesia. Based on similarities with figures on Moko drums we hypothesise that this painting dates to the last millennium CE. This find extends our knowledge of the diversity of anthro-pomorph figures in Indonesian rock art, and indicates continuity in the expression of relationships and obligations to the ancestors through different mediums in the Sunda Islands.

Full text

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Rock Art Research 2018 - Volume 35, Number 1, pp. 79-84. S. O’CONNOR et al.
KEYWORDS: Indonesia – Lembata – Painted rock art – Anthropomorph – Moko drum
UNUSUAL PAINTED ANTHROPOMORPH IN LEMBATA
ISLAND EXTENDS OUR UNDERSTANDING OF
ROCK ART DIVERSITY IN INDONESIA
Sue O’Connor, Mahirta, Shimona Kealy, Julien Louys,
Hendri A. F. Kaharudin, Antony Lebuan and Stuart Hawkins
Abstract. 

 -

-
      -

Introduction
  

     
   
  
      



   

   


       
Figure 1. Map of Nusa Tenggara with inset of Lembata Island showing location of sites (red triangles) and villages
(black squares).

Rock Art Research 2018 - Volume 35, Number 1, pp. 79-84. S. O’CONNOR et al.
80
     
      
      
  


Location of painting sites
   

 
      
  
  

   
    



Nali rock art site



    
   
   
     
   


        







    






     

   
   



     
    



Figure 2. Overview of the Nali rock art site.
Figure 3. Nali anthropomorph.

81
Rock Art Research 2018 - Volume 35, Number 1, pp. 79-84. S. O’CONNOR et al.
       

Figure 4. Tene Koro site overview showing location of ‘boat’ image.
Figure 5. Tene Koro ‘boat’ with red pigment background and enhancement
showing mast and steering oar in white pigment.
Tene Koro rock art site



   

   
    
     



  


    


    


   

   
   


  
    
    
   
    
     
    

 


  


    

Discussion

    
  
  
    
    
  
  
 
   
       
  
  
 

Rock Art Research 2018 - Volume 35, Number 1, pp. 79-84. S. O’CONNOR et al.
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

      
  
 

   



      
     
  

 

    

  

  
   



     


   


   
  
    





     
      
    
   


     




    terminus post
quem


    
    



    




 

 
Figure 6. Lewohala Moko drum showing anthropomorph with central
protrusion from head.
Figure 7. Lewohala ancestral village with Ilelewotolok volcano in
background.

83
Rock Art Research 2018 - Volume 35, Number 1, pp. 79-84. S. O’CONNOR et al.





   
     
    
 
   


  
     
     
   
  

       
     




         

   
    
     

        
 










      
   

     

Conclusion


 

  




    
      


      
   


Acknowledgements
      
    

 

    
   
       
     

 RAR








sue.oconnor@anu.edu.au



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

Figure 8. Moko drum and other objects in Lewohala sacred house.

Rock Art Research 2018 - Volume 35, Number 1, pp. 79-84. S. O’CONNOR et al.
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REFERENCES
      
      
Bijdragen tot de taal-, land- en volkenkunde /
Journal of the Humanities and Social Sciences of Southeast
Asia 



Nature

IPPA Bulletin


 State of the art: regional
rock art studies in Australia and Melanesia  
  

       
        
World Archaeology 

Trails of bronze drums across early southeast
Asia: exchange routes and connected cultural spheres

The people of Alor



 . Studies in
Conservation
       
     
Asian Perspectives

  Peta geologi lembar
Lomblen, Nusatenggara Timur 


      
   The
International Journal of Nautical Archaeology


Asian Perspectives 
      
 
    

Cambridge Archaeological Journal
   
      The
Asia Pacic Journal of Anthropology   

 
  
     Sacred darkness: a
global perspective on the ritual use of landscape

RAR 35-1250