Gwion Gwion rock paintings - Knowledge (XXG)

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stomach paunches. The question of gender representation in Gwion Gwion art was illuminated recently by the discovery that figures are depicted as if they are facing into the rock face. This perspective has been overlooked until now because of the Western bias toward images that "face out", but also because the "facing in" perspective is more evident in depictions with excellent delineation of body contours, such as the rare Classic Realistic style, which is also earliest in superposition studies. If one appreciates the "facing in" perspective, it becomes evident that the many attributions of "paunches" are incorrect, both because they can now be seen to be located at the rear of these figures, but also because it is anatomically incorrect to attribute the belly to gluteal structures located more inferiorly. Furthermore, the figures are ornamented with a diversity of objects such as belts, headdresses, bags and tassels, while other material culture is sometimes depicted, such as

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explicitly been recorded as saying that men had taken over roles they once performed in ceremonies. This is supported by many completely different languages having a similar word for women shamans (e.g., udaghan, udagan, utygan), while the term for male shamans is distinct in each language. Michaelson considered it significant that while few women are depicted in Gwion Gwion art, Tassel figures which appear to be leading ceremonies (the oldest art) clearly have breasts, in contrast to later art which depicts males in the leading roles. Pettigrew identifies elements of Gwion Gwion art with symbols used by

200:. While Bradshaw initially described the colour of the art as having shades of pale blue and yellow, most figures have a deep purple-red hue, mulberry colour or a red to yellow-brown colour. However, Donaldson notes that there are rare examples of multi-coloured figures that retain some yellow and white pigment. The height of the art is variable; most are between 40 and 50 centimetres (16 and 20 in) in length with some examples up to 2 metres (6 ft 7 in) in height. 738:, an expert on Indigenous Australian rock art, puts it bluntly, "Shamaniacs rule the world at present...It's just another orthodoxy basking in its five minutes of sunshine." Grahame Walsh considered the idea of women shamans in the Gwion Gwion culture "preposterous". Pointing out that women Gwion Gwion images tend to have extremely prominent breasts, Walsh says that the smaller breasts identified by Michaelson are probably chest-band decorations. 387: 22: 569:

Wandjina art depicting cloud and rain spirits 3,800 to 4,000 years ago coincides with the end of the "mega-drought" and a return of the rain which gave the region its current climate. The research paper's lead author, Hamish McGowan, suggests further investigation into the resulting cultural collapse and the possibility that another ethnic group supplanted the Gwion Gwion artists. The chair in Kimberley rock art at the

126: 506:. After around 10,000 years of stable climatic conditions, temperatures began cooling and winds became stronger, leading to the beginning of an ice-age. During the glacial maximum, 25,000 to 15,000 years ago, the sea level was some 140 metres (460 ft) below its present level, with the coastline extending 400 kilometres (250 mi) further to the north-west. Australia was connected to 401: 184: 490: 204:

planning. Some faces of the figures are painted with anatomically correct features with enough detail to be considered portraits. Due to the fine detail and control found in the images, such as strands of hair painted in thicknesses of 1–2 millimetres (0.039–0.079 in), it has been suggested that feather

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Anthropologist Robert Layton notes that researchers such as Ian Crawford, who worked in the region in 1969, and Patricia Vinnicombe, who worked in the region in the 1980s, were both told similar creation stories regarding the Gwion-type art. Since 1980, more systematic work has been done in an effort

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is believed to have become extinct 45,000–46,000 years ago, this suggests a similar age for the associated Gwion Gwion art. Archaeologist Kim Akerman however believes that the megafauna may have persisted later in wetter areas of the continent as suggested by Wells, and has suggested an age of 15,000

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is found; in contrast with Wandjina art, which has a limited distribution restricted to isolated sites. Unlike Wandjina, Gwion Gwion art is rarely found on ceilings, rather vertical rock surfaces are used, high up in escarpments in shallower rock shelters with small overhangs and with irregular rocky

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The distribution and stylistic range of these paintings is quite distinctive, and contrasts with the Wandjina tradition. While more common in some areas, such as the sandstone regions of the west and central Kimberley, isolated examples have also been found in several scattered locations in the east,

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and boomerangs. These are difficult to place in the style sequence as they are the only figures that are not superimposed over a painting from another period. Also, no other style is superimposed over them and they are the only style that has not been defaced. Stylistically, they are believed to fall

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bias. The figures and their existence as an artistic tradition was questioned; articles and books on these works were not published until the 1950s. The rediscovery of the original mural after more than a century has shown that Bradshaw had a remarkable gift for reproduction without photography, and

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the name of the bird found in the creation story originally heard by Schultz in 1938. Aboriginal people are also more open in telling foreigners stories regarding the images. These stories often relate to spirits who created dances which are still performed today and feature similar apparel found in

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Work undertaken by amateur archaeologist Grahame Walsh, who began work there in 1977 and returned to record and locate new sites up until his death in 2007. The results of this work produced a database of 1.5 million rock art images and recordings of 1,500 new rock art sites. He expanded his records

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art. Around 15,000 years ago, the archaeological record shows that Aboriginals in the Kimberleys began using stone points in place of multi-barbed spears, but there is no record of this change of technology in the Gwion Gwion paintings. The most recent paintings still depict the use of multi-barbed

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have markedly close similarities. He also noted that the worldwide pattern of shamanism suggests a common heritage that radiated outward from North Africa about 50,000 years ago; it may have originated as a woman's role which over time has been taken over by men. Aboriginal women in Australia have

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Artistically, Gwion Gwion are unusually advanced both in technique and style. Image processing has revealed that the outline of the figures are often painted first, then filled in. Engraving in the rock often follows the outlines of figures and may have served as a preliminary sketch which implies

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by Welch. These figures are depicted in a stationary pose and painted with red pigment. Segments of their bodies are missing, such as their waists, arms and feet, the result of different colour pigments, such as whites and yellows, fading over time. The material culture depicted with these figures

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Aboriginal people also criticised Grahame Walsh, arguing that he failed to hear their explanations of the significance that the paintings had in their culture. Crawford records being told by an Aboriginal elder in 1969 that the Gwion Gwion were "rubbish paintings", a quote that Walsh would repeat

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interest in Peninsula region, research in the coastal area brought with it an awareness of Aboriginal art and culture. However, attention to the Gwion Gwion art was sporadic. Several researchers who encountered the Gwion-type of paintings during expeditions to the region were members of the 1938

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nests have been built over paintings, and it gives a minimum age rather than an actual age of the painting. The results of this have revealed some inconsistency with Walsh's chronology. Experimental OSL dates from a wasp nest overlaying a tassel Gwion Gwion figure has given a Pleistocene date of

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may have been used as a technique to apply the paint to the rock walls; an imprint of a feather found at one site may support this possibility. No evidence has yet been found of any corrections or changes in composition during or after painting, while evidence of restoration has been found. In a

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The Gwion Gwion paintings predominantly depict human silhouette figures that appear to be suspended in the air or in a dynamic style that suggests running, hunting or dancing. While gender is rarely portrayed in the paintings, limb, arm and shoulder muscles are often well defined in addition to

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The discontinuity in artistic styles between the earlier Gwion Gwion and the current Wandjina has been attributed to the severe drought phase that followed the collapse of the wet season in 5,500 BP. The Gwion Gwion style art ended around this time, possibly within 500 years. The emergence of

285:. This represented only the second example of megafauna depicted by the Indigenous inhabitants of Australia. The image has a "clothes peg" Gwion Gwion superimposed over the thorax, while a "Tassel" Gwion Gwion crosses the forearm of the animal. In 2009, a second image was found that depicts a 212:

With the exception of Elegant Action figures which have been left undamaged for unknown reasons, all Gwion Gwion paintings exhibit possible vandalism, which may indicate ritual mutilation or defacing. Superpositioning of images, another form of vandalism, is common throughout the Kimberley.

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Research concerning Gwion Gwion art is controversial and little consensus has been reached. Debate has primarily concerned Walsh's interpretations regarding the origins, dating and ethnicity of the Gwion Gwion artists, and his rejection of Aboriginal people as being their descendants. The

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since 2009 as part of the government's fire prevention strategy has caused paint to peel from over 5,000 of the 8,742 known examples of Gwion Gwion art. A survey by archaeologist Lee Scott-Virtue has determined that up to 30 per cent of the rock art had been completely destroyed by fire.

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Peter Veth criticised the research paper for claiming that simultaneous changes in climate patterns and art styles indicates the collapse of a culture. Veth suggested that a climate change coinciding with the change from Gwion Gwion to Wandjina art is coincidence, pointing out that the

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and amongst Australian rock art researchers. A 2020 study estimates that most of the anthropomorphic figures were created 12,000 years ago, based on analysis of painted-over wasps' nests. These aspects have been debated since the works were seen, and recorded, in 1891 by pastoralist

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The Gwion Gwion are not the region's earliest paintings. The earlier art consists of crude animal drawings that are believed to be up to 40,000 years old. The Gwion Gwion have nothing in common with this earlier art and first appeared following the peak of the most recent

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some 70,000 years ago, by reed boat across the Indian Ocean, provisioning themselves with the fruit of the baobab tree. The Australian archaeological community has generally not accepted such claims and believes that Gwion Gwion are indigenous works. For example, Dr

544:. It is believed that no more than 15% of Australia supported trees of any kind. While some tree cover remained in the southeast of Australia, the vegetation of the wetter coastal areas in this region was semi-arid savannah. Tasmania was covered primarily by cold 121:

Based on stylistic characteristics, Walsh categorised two individual styles of Gwion paintings, which he named "Tassel" and "Sash" for dominant clothing features. He also identified two variants, which he named "Elegant Action figures" and "Clothes Peg figures".

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Research undertaken in relation to Aboriginal knowledge has also increased. This has primarily been seen in Aboriginal names being applied to the paintings, reflecting the specific Aboriginal languages used in the areas where they are found. For example, the

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Scholars have generally rejected the idea that Gwion Gwion art was painted by anyone other than Aboriginal people. Statistical analysis undertaken by Michael Barry has concluded that the Gwion Gwion art shares no stylistic attributes with prehistoric

613:, only to be displaced by the ancestors of present-day Aboriginal people. Walsh based this interpretation on the sophistication of Gwion Gwion art when compared to other art in the Kimberley region, such as the much later Wandjina styles. 266:

is "likely to be only about 3,000 years old." Using the AMS results from accreted paint layers containing carbon associated with another figure, gives a date of 3,880 BP making Gwion Gwion art contemporaneous with, and no older than,

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claims in the Kimberley. The ongoing disagreements regarding the age of the art and debate about whether it was created by non-Indigenous people makes Gwion Gwion rock art one of Australian archaeology's most contentious topics.

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Sash: while similar in appearance to the Tassel figures, the Sash body is depicted more robustly and the accoutrements depicted are slightly different: a three-pointed sash or bags attached to the figures' belts begin to be

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of the Kimberley does not show a break in occupation, and that stylistic changes in Aboriginal art have occurred elsewhere in Australia. Additionally, the migration of a new ethnic group into the area is unsupported by the

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The fossil record of climate and vegetation at the last glacial maximum is sparse, but still clear enough to provide an overview. When the Kimberley region was first occupied circa 40,000 years ago, the region consisted of

476:"Long ago Kujon a black bird, painted on the rocks. He struck his bill against the stones so that it Bleed, and with the blood he painted. He painted no animals, only human-shaped figures which probably represent spirits." 1435: 548:

and alpine grasslands, with snow pines at lower altitudes. There is evidence that there may have been a significant reduction in Australian Aboriginal populations during this time. It appears there were scattered

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in a press release stated, "No archaeological evidence exists which suggests that the early colonisation of Australia was by anyone other than the ancestors of contemporary Aboriginal people", the release quoted

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detailed study of 66 panels, approximately 9% of the images have clearly been vandalized. Some were scratched with stones, some damaged by thrown stones, and some have been broken by hammering with large rocks.

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expedition. Agnes Schultz noted that unlike with Wandjina art, Aboriginal people showed little interest in the Gwion Gwion paintings, although they recognised them as depictions of bush spirits or D'imi.

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Rainsbury, Michael P (2013) Mr Bradshaw's drawings': reassessing Joseph Bradshaw's sketches. Rock Art Research: The Journal of the Australian Rock Art Research Association (AURA) 2012 Volume 30 243-253

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interacting with an "elegant action" Gwion Gwion who is in the act of spearing or fending the animal off with a multibarbed spear. Much smaller and less detailed than the 2008 find, it may depict a

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Media coverage has at times emphasised his claims of mysterious races. Pettigrew suggests that the Gwion Gwion paintings depict people with 'peppercorn curls' and small stature that characterise

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briefly commented on the figures while undertaking a survey of Australian rock art that he would publish in 1936. Davidson noted that Bradshaw's encounter with this art was brief and lacked any

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artists to convey their experience with hallucinogens, and others that seem to show hallucinatory elements. From this he infers that psilocybin-induced trances were a feature of both cultures.

254:. The academic community generally accepts 5,000 BP for the end of the artistic style. If the date ranges are correct, this may demonstrate that the Gwion Gwion tradition was produced for many 1978: 1302: 134:

Tassel figures: identified by their characteristic tassels hanging from their arms and waists, various other accessories can be recognised, such as arm bands, conical headdresses and

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interpretations; furthermore, as Bradshaw's sketches of the art were at this time the only visual evidence, Davidson argued that they could be inaccurate and possibly drawn from a

1301:. Rock art of forgotten people. An interdisciplinary workshop about rock art in the Kimberley region, Australia. Delmenhorst, Germany: Hanse-Wissenschaftskolleg. pp. 32–43. 629:

argued that the aesthetics of the art did not support claims for a non-Aboriginal origin when comparison is made to the aesthetic value of contemporary Aboriginal art. The

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and amateur researchers have continued to suggest exotic origins for the Gwion Gwion rock paintings, although these interpretations are considered fringe by reviewers.

61:. Key traditional owners have published their own account of the meaning of the images. However the identity of the artists and the age of the art are contended within 2283: 1615: 499: 1431:"'Alien abductions', Kimberley Aboriginal rock-paintings, and the speculation about human origins: on some investments in cultural tourism in the northern Kimberley" 4041: 3782: 3378: 1540:

Pettigrew, Jack; Callistemon, Chloe; Weiler, Astrid; Gorbushina, Anna; Krumbein, Wolfgang; Weiler, Reto (2010), "Living Pigments in Australian Bradshaw Rock Art",

609:, a time before Aboriginal people populated Australia. He suggested that the art may be the product of an ethnic group who had likely arrived in Australia from 145:

Elegant Action figures: quite different from the Tassel and Sash figures, these figures are almost always shown running, kneeling or hunting with multi-barbed

532:, was covered by vast grasslands, while woodlands and semi-arid scrub covered the shelf joining New Guinea to Australia. Southeast of the Kimberley, from the 3997: 3506: 676:

overseas. Moreover, Barry argues that stylistically, Gwion Gwion art has more in common with art found elsewhere in Australia, such as figures painted in

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In many cases, Tassel and Sash figures appear to be involved in either dancing, ecstatic behaviour, or both which, according to a study by Michaelson

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is an adjective usually used to describe someone who is too old or too young to be active in the local culture. Another use is meaning something is

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The Gwion or Bradshaw art style of Australia's Kimberley region is undoubtedly among the earliest rock art in the country – but is it Pleistocene?

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in which the modern vegetation types and human populations were able to survive. With the end of the ice-age, the Kimberley region settled into a

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Drawings of Gwion Gwion rock paintings in the Kimberley region of Western Australia depicting the four traditional styles (resized for comparison)

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that demonstrated that Gwion Gwion art is found early in the Kimberley rock art sequence. He proposed that the art dated to a period prior to the

1988: 942: 4143: 1293: 107:. Many of the ancient rock paintings maintain vivid colours because they have been colonised by bacteria and fungi, such as the black fungus, 4148: 630: 592:

implications of his interpretations generated considerable criticism beginning in the mid-1990s due to its continuing potential to undermine

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Since the mid-1990s, scientific dating methods have been used to determine the ages of the Gwion Gwion paintings. The methods have included

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escarpment. Bradshaw recognised that this style of painting was unique when compared to the Wandjina style. In a subsequent address to the

2171:(2012). "Rock Art, Aboriginal Culture, and Identity: The Wanjina Paintings of Northwest Australia". In McDonald, J.J.; Veth, M.M. (eds.). 558: 1148: 2074: 1945: 892:. compiled by Kim Doohan. Derby, Western Australia: Dambimangari Aboriginal Corporation and Wunambal Gaambera Aboriginal Corporation. 3407: 2313: 1373:"An initial investigation into aspects of preservation potential of the Bradshaw rock-art system, Kimberley, northwestern Australia" 1047: 1021: 897: 875: 234: 890:

Nyara pari kala niragu (Gaambera), gadawara ngyaran-gada (Wunambal), inganinja gubadjoongana (Woddordda) = we are coming to see you

802:; Levchenko, Vladimir A.; Heaney, Pauline; Veth, Peter; Harper, Sam; Ouzman, Sven; Myers, Cecilia; Green, Helen (1 February 2020). 3501: 439:, he commented on the fine detail, the colours, such as brown, yellow and pale blue, and he compared it aesthetically to that of 540:

the land, including the western and southern margins of the now exposed continental shelves, was covered by extreme deserts and

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However, only a small number of researchers believe that shamanism has been part of the culture of Indigenous Australians.

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Biro, P.P.; Ebersole, T. W.; Felder, M. A. J.; Jensen, I. B.; Michaelsen, P.; Smith, M. W.; Von Liptak, P. (June 2001).

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approximately 90 kilometres (56 mi) wide. Rainfall decreased by 40% to 50% depending on region, while the lower CO

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Coukell, Allan (May 2001). "Could mysterious figures lurking in Australian rock art be the world's oldest shamans?".

74:, the rock art is referred to and known by many different names in the local languages, the most common of which are 2497: 1899:

Dodson, J.R. (September 2001). "Holocene vegetation change in the Mediterranean-type climate regions of Australia".

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Journals of Two Expeditions of Discovery in North-West and Western Australia, during the Years 1837, 38, and 39

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Rock art in the Kimberley region was first recorded by colonial explorer and future South Australian governor,

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Barry, Michael; John Peter, White (2004), "'Exotic Bradshaws' or Australian 'Gwion': an archaeological test",

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Recent advances in dating methods may shed light on the age of the paintings and gain a more accurate result.

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Map showing the probable extent of land at the time of the last glacial maximum 25,000 to 15,000 years ago

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Tacon, Paul; Mulvaney, Ken; Fullagar, Richard; Head, Lesley (1999), "Bradshaws' – an eastern province?",

1042:(Gwion Gwion: Secret and Sacred Pathways of the Ngarinyin Aboriginal People of Australia), Könemann 2000 3841: 3777: 3651: 3344: 3270: 3039: 2977: 2853: 2801: 2794: 2340: 2070: 1983: 773: 1277:

Crawford, Ian (1977). "The relationship of Bradshaw art in north-west Kimberley". In Ucko, P.J. (ed.).

4058: 4053: 4036: 4031: 4009: 3799: 3513: 3366: 3258: 3162: 2955: 2640: 2610: 2439: 2382: 1908: 1871: 817: 432: 223: 361:. Australian rock art researcher David Welch notes that these words are probably different regional 4097: 3708: 3567: 3400: 2933: 2806: 2687: 2662: 1491: 1460: 1377: 1060: 626: 533: 465: 391: 358: 338: 4048: 3951: 3853: 3666: 3061: 2848: 2578: 2544: 1924: 1838: 961: 888:

Mangolamara, Sylvester; Lily Karadada; Janet Oobagooma; Donny Woolagoodja; Jack Karadada (2018).

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continually in support of his own theory that the art was not of Aboriginal origin. In the local

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Pettigrew, Jack (24 August 2011). "Iconography in Bradshaw rock art: breaking the circularity".

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Walsh, Grahame L.; Morwood, M.J. (1996). "Bradshaws: Ancient Paintings of Northwest Australia".

175:, and at the far eastern border of the Kimberley. The art is primarily painted where a suitable 1574:

Welch, David (2007). "Bradshaw art of the Kimberley". In Donaldson, M; Kenneally, K.F. (eds.).

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that Davidson's criticisms were unfounded in the absence of the original. With the growth of

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are also depicted in contemporary art works produced for sale in the Kimberley; one notable

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Hanbury-Tenison, Robin (28 July 2006), "An earlier start – Lost World of the Kimberley ",

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levels (half pre-industrial levels) meant that vegetation required twice as much water to

109: 96: 262:, Alan Watchman posits that the red paint used on a tasselled Gwion Gwion image near the 2244: 1912: 1875: 1704:

Lost World of the Kimberley: Extraordinary New Glimpses of Australia's Ice Age Ancestors

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Welch, David (1993). "Early 'naturalistic' human figures in the Kimberley Australia".

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The art consists primarily of human figures ornamented with accessories such as bags,

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Contemporary and prehistoric rock paintings in Central and Northern North Kimberley

460: 455: 350: 176: 172: 3929: 1486: 1455: 804:"12,000-Year-old Aboriginal rock art from the Kimberley region, Western Australia" 708:) are commonly depicted with Tassel and Sash figures that appear to be in motion. 1839:

Last Glacial Maximum habitat change and its effects on the grey-headed flying fox

3919: 3909: 3865: 3860: 3812: 3750: 3686: 3587: 3432: 3354: 3275: 3263: 3056: 3024: 3009: 2999: 2970: 2928: 2843: 2811: 2759: 2692: 2529: 2404: 1642: 1382: 799: 716: 677: 580: 575: 529: 409: 400: 104: 62: 1361:(2000) Bradshaw Art of the Kimberley. Toowong: Takarakka Nowan Kas Publications 605:

According to Walsh, Gwion Gwion art was associated with a period he called the

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Appropriated Pasts: Indigenous Peoples and the Colonial Culture of Archaeology

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Australia: The Land Where Time Began: A biography of the Australian continent

1679:"Joseph Bradshaw – Getting Lost in the Kimberley and The Art Named After Him" 1656: 1430: 1072: 3971: 3870: 3762: 3740: 3725: 3540: 3323: 3308: 3233: 3216: 3134: 3019: 2950: 2945: 2868: 2747: 2635: 2561: 2328: 2318: 2079: 1229:

Welch, David (1990). "The bichrome art period in the Kimberley, Australia".

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Gwion Gwion: Chemins Secrets Et Sacrés Des Ngarinyin, Aborigènes D'Australie

957: 723: 610: 428: 290: 193: 135: 115: 2153: 1920: 1487:"Interaction between humans and megafauna depicted in Australian rock art?" 943:"Mysterious Australian rock art may depict the chaos following rising seas" 916:(November 2006). "The appropriation of Indigenous images: a review essay". 847: 829: 472:

When pressed, the expedition's Aboriginal guide explained their creation:

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Elkin, Adolphus Peter (1930). "Rock Paintings of North-West Australia".

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Clothes Peg figures: were named by Walsh after their resemblance to old

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groups; he speculates that African people travelled, shortly after the

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McGowan, Hamish; Marx, Samuel; Moss, Patrick; Hammond, Andrew (2012).

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Australian Institute of Aboriginal and Torres Strait Islander Studies

697: 639: 545: 517: 83: 2238: 528:. The Kimberley region, including the adjacent exposed continental 3941: 3661: 3545: 3395: 3349: 3211: 3066: 3014: 2960: 2590: 2556: 1561:

Rock Art of the Cobar Pediplain in Central Western New South Wales

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Aboriginal Australian and Tasmanian Rock Carvings and Paintings

1616:"'Negligent' burning in WA's north threatening rock art, homes" 1281:. Australian Institute of Aboriginal Studies. pp. 357–369. 1007:

Aboriginal Australian and Tasmanian Rock Carvings and Paintings

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The pigments originally applied may have initiated an ongoing,

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Environmental Sciences Division, Oak Ridge National Laboratory

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to identify more Gwion Gwion rock art sites in the Kimberley.

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While searching for suitable pastoral land in the then remote

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Backburning has since largely destroyed the original painting.

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area of the Kimberley. Drawn by Joseph Bradshaw in April 1891

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Gwion Gwion figures superimposed over a kangaroo and snake.

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Bradshaw rock paintings, Bradshaw rock art, Bradshaw figures

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the paintings, such as headdresses, boomerangs and string.

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for example, non-venomous snakes are all considered to be

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Indigenous Australian rock art in the later Wandjina style

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Bradshaw Paintings of the Kimberley, North West Australia

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Bradshaws: ancient rock paintings of north-west Australia

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Researching, preserving and promoting Kimberley rock art

138:. This style is the earliest, most detailed and largest. 510:, and the Kimberley was separated from southeast Asia ( 301:

and archaeologists who have examined the image. As the

226:, which is dated between 26,500 and 20,000 years ago. 1651:. Vol. 1. London: T. and W. Boone. p. 263. 1103:

Donaldson, Mike (September 2010). Clottes, J. (ed.).

1292:

Scott-Virtue, Lee; Goodgame, Dean (5 October 2012).

275:

In 2008, rock art depicting what is thought to be a

99:

and style sequences of the paintings to establish a

25:

Gwion Gwion (Tassel) figures wearing ornate costumes

3985: 3798: 3625: 3472: 3337: 3301: 3150: 3107: 2897: 2728: 2701: 2626: 2543: 2448: 2373: 638:: "such interpretations are based on and encourage 118:relationship between black fungi and red bacteria. 941: 53:) are one of the two major regional traditions of 281:was discovered on the north-western coast of the 412:as early as 1838. This rock art is now known as 1183:"Ancient rock art's colours come from microbes" 474: 1979:"Did mega-drought destroy Aboriginal culture?" 1112:. L'art pléistocène en Australie (Pré-Actes). 565:rains to weaken or fail for some 1,500 years. 2277: 1841:James Cook University, Townsville, Queensland 1563:. Australian Institute of Aboriginal Studies. 8: 2175:. Malden: Wiley Blackwell. pp. 476–477. 981:"Australian rock art dated using wasp nests" 427:documented an unusual type of rock art on a 665:while in contrast, venomous snakes are all 3469: 3452: 3104: 3091: 2549: 2370: 2357: 2284: 2270: 2262: 2038:"Workshop to address contentious rock-art" 1741:Memoirs of the National Museum of Victoria 1609: 1607: 1480: 1478: 1204: 1202: 1200: 1198: 1196: 1194: 1192: 187:The Kimberley region of Western Australia. 2075:"Evidence of pre-aboriginal Australians?" 1943:Australasia during The Last 150,000 Years 1883: 1808:. Cambridge University Press. p. 84. 1752: 1454:Akerman, Kim; Willing, Tim (March 2009). 1224: 1222: 837: 756:Department of Fire and Emergency Services 150:between the Sash and Clothes Peg figures. 2127: 2125: 2065: 2063: 1730: 1728: 1295:Stylistic variations of Bradshaw Figures 1162: 1160: 1158: 1034: 1032: 1030: 385: 297:is more likely, a position supported by 20: 1851: 1849: 1847: 1248: 1246: 1244: 790: 719:in which he argued that Aboriginal and 2032: 2030: 1737:"North–west Australian rock paintings" 1429:Redmond, Anthony (22 September 2002). 1272: 1270: 1268: 1133: 1131: 1098: 1096: 1094: 1092: 1090: 1088: 1086: 1084: 1082: 2010: 2008: 2006: 1717:Davidson, Sutherland Daniel (2011) . 1424: 1422: 987:. Australian Broadcasting Corporation 631:Australian Archaeological Association 561:event in the mid Holocene caused the 316:has proposed dating the art by using 59:Kimberley region of Western Australia 7: 1806:Australian Rock Art: A New Synthesis 1706:. Allen & Unwin. pp. 18–19. 1578:. Kimberley Society. pp. 39–56. 1328:"Bradshaw Rock Art of the Kimberley" 1067:. Fribourg: Anthropos. p. 555. 859: 857: 180:floors not suitable for occupation. 2134:Clinical and Experimental Optometry 1149:Australian Broadcasting Corporation 306:to 22,000 years for the paintings. 157:, but they are also referred to as 1791:10.1002/j.1834-4461.1930.tb01649.x 1614:Holland, Steve (2 December 2014). 1308:from the original on 26 March 2021 979:Weule, Genelle (6 February 2020). 863:McNiven, Ian and Russell, Lynette 14: 3408:Megalithic architectural elements 1977:Egan, Joanna (18 December 2012). 1963:Last Glacial Maximum in Australia 688:Depictions of shamanistic rituals 349:used by Aboriginal people in the 235:optically stimulated luminescence 2146:10.1111/j.1444-0938.2011.00648.x 798:Finch, Damien; Gleadow, Andrew; 752:Department of Parks and Wildlife 700:rituals or creation ceremonies. 4027:Evolutionary origin of religion 2046:University of Western Australia 1721:. Hesperian Press. p. 133. 704:leaves (which can be used as a 571:University of Western Australia 2239:Kimberley Foundation Australia 2116:10.1080/03122417.1996.12094417 1485:Akerman, Kim (December 2009). 1014:American Philosophical Society 162:includes multi-barbed spears, 1: 4144:Kimberley (Western Australia) 3640:Art of the Middle Paleolithic 3170:British megalith architecture 2233:The Times Literary Supplement 2207:The Times Literary Supplement 2188:Australian Aboriginal Studies 233:radiocarbon dating (AMS) and 231:accelerator mass spectrometry 16:Rock art in Western Australia 4149:Art of the Upper Paleolithic 3635:Art of the Upper Paleolithic 3175:Nordic megalith architecture 2251:"Rock star of the Kimberley" 1863:Geophysical Research Letters 1559:McCarthy, Frederick (1975). 1416:1997:44; cf. Michaelson 2000 1005:Davidson, Daniel Sutherland 559:El Niño–Southern Oscillation 382:Colonial discovery and study 1116:(published 2012). p. 4 320:extracted from colonies of 224:Pleistocene glacial maximum 4165: 3783:British Isles and Brittany 3704:Gwion Gwion rock paintings 1171:. Geneva: Édition Limitée. 750:by the Western Australian 448:Daniel Sutherland Davidson 437:Royal Geographical Society 423:area in 1891, pastoralist 237:(OSL). This was used when 31:Gwion Gwion rock paintings 3468: 3451: 3103: 3090: 2552: 2369: 2356: 2299: 1754:10.24199/j.mmv.1956.20.01 1576:Rock art of the Kimberley 769:Indigenous Australian art 563:Australian summer monsoon 1948:26 February 2013 at the 1185:. BBC. 27 December 2010. 746:Aerial fire-bombing and 555:tropical monsoon climate 324:which have replaced the 57:found in the north-west 4015:Evolutionary musicology 3418:Oldest extant buildings 3345:Archaeological features 2864:Prepared-core technique 2226:Lost World of Kimberley 1804:Layton, Robert (1991). 1735:Schultz, Agnes (1956). 1167:Walsh, Grahame (1994). 958:10.1126/science.abb1842 601:Exotic or local artists 446:American archaeologist 378:artist is Kevin Waina. 372:Bradshaws (Gwion Gwion) 3977:Unchambered long cairn 3825:Mound Builders culture 3158:Neolithic architecture 2293:Prehistoric technology 2104:Australian Archaeology 2071:Hanbury-Tenison, Robin 2017:Australian Archaeology 1921:10.1191/09596830195690 1279:Form in Indigenous Art 985:ABC News (ABC Science) 830:10.1126/sciadv.aay3922 494: 478: 405: 397: 345:. Other terms include 188: 130: 26: 4139:Rock art in Australia 3652:List of Stone Age art 2854:Microblade technology 2802:Langdale axe industry 2400:Ard / plough 2173:Companion to Rock Art 1984:Australian Geographic 774:List of Stone Age art 500:open tropical forests 492: 403: 389: 186: 159:Straight Part Figures 128: 24: 4059:Prehistoric medicine 4054:Prehistoric counting 4037:Prehistoric religion 4032:Paleolithic religion 4010:Behavioral modernity 3367:Causewayed enclosure 3259:Abri de la Madeleine 2383:Neolithic Revolution 1885:10.1029/2012GL053916 1385:on 24 September 2015 1061:Worms, Ernest Ailred 332:Indigenous knowledge 4098:Prehistoric warfare 2844:Magdalenian culture 2807:Levallois technique 2738:Earliest toolmaking 2245:Bradshaw Foundation 1991:on 20 December 2012 1913:2001Holoc..11..673D 1876:2012GeoRL..3922702M 1512:Roberts et al. 2001 822:2020SciA....6.3922F 534:Gulf of Carpentaria 466:Frobenius Institute 392:Prince Regent River 359:Prince Regent River 328:in some paintings. 155:wooden clothes pegs 45:(also known as the 4049:Origin of language 4042:Spiritual drug use 3952:Rectangular dolmen 3854:Dartmoor kistvaens 3667:Carved stone balls 3379:Circular enclosure 3338:Other architecture 3281:Alp pile dwellings 2869:Solutrean industry 2780:Gravettian culture 2430:Secondary products 2169:Woolagoodja, Donny 1334:on 3 November 2018 1151:. 15 October 2002. 682:popular historians 651:Indigenous English 495: 406: 398: 189: 131: 72:traditional owners 27: 4126: 4125: 4122: 4121: 4118: 4117: 4071:Prehistoric music 4020:music archaeology 3677:Cup and ring mark 3502:Clothing/textiles 3447: 3446: 3443: 3442: 3086: 3085: 3082: 3081: 2889:Yubetsu technique 2874:Striking platform 2839:Lithic technology 2724: 2723: 2709:Game drive system 2628:Projectile points 2520:Mortar and pestle 2167:Blundell, Valda; 2048:. 14 October 2010 1837:J.G. Luly et al. 1821:Rock Art Research 1686:Kimberley society 1677:Clement, Cathie. 1407:Watchman 1997: 42 1395:HighBeam Research 1255:Rock Art Research 1231:Rock Art Research 940:(February 2020). 938:Finkel, Elizabeth 919:Rock Art Research 715:cited studies by 706:psychoactive drug 86:and headdresses. 4156: 4086:Divje Babe flute 3993:Archaeoastronomy 3736:Petrosomatoglyph 3470: 3453: 3302:Water management 3105: 3092: 2995:Denticulate tool 2817:Lithic reduction 2550: 2371: 2358: 2286: 2279: 2272: 2263: 2211: 2210: 2202: 2196: 2195: 2183: 2177: 2176: 2164: 2158: 2157: 2129: 2120: 2119: 2099: 2093: 2092: 2090: 2088: 2073:(26 July 2006). 2067: 2058: 2057: 2055: 2053: 2034: 2025: 2024: 2012: 2001: 2000: 1998: 1996: 1987:. Archived from 1974: 1968: 1959: 1953: 1939: 1933: 1932: 1896: 1890: 1889: 1887: 1853: 1842: 1835: 1829: 1828: 1816: 1810: 1809: 1801: 1795: 1794: 1774: 1768: 1765: 1759: 1758: 1756: 1732: 1723: 1722: 1714: 1708: 1707: 1700:Bradshaw, Joseph 1696: 1690: 1689: 1683: 1674: 1668: 1667: 1665: 1663: 1639: 1633: 1632: 1630: 1628: 1611: 1602: 1601: 1599: 1597: 1586: 1580: 1579: 1571: 1565: 1564: 1556: 1550: 1549: 1537: 1531: 1528: 1522: 1519: 1513: 1510: 1504: 1503: 1501: 1499: 1482: 1473: 1472: 1470: 1468: 1451: 1445: 1444: 1426: 1417: 1414: 1408: 1405: 1399: 1398: 1392: 1390: 1381:. Archived from 1368: 1362: 1359: 1353: 1350: 1344: 1343: 1341: 1339: 1330:. Archived from 1324: 1318: 1317: 1315: 1313: 1307: 1300: 1289: 1283: 1282: 1274: 1263: 1262: 1250: 1239: 1238: 1226: 1217: 1216: 1206: 1187: 1186: 1179: 1173: 1172: 1164: 1153: 1152: 1144:Australian Story 1135: 1126: 1125: 1123: 1121: 1111: 1100: 1077: 1076: 1057: 1051: 1036: 1025: 1003: 997: 996: 994: 992: 976: 970: 969: 945: 934: 928: 927: 910: 904: 903: 885: 879: 861: 852: 851: 841: 809:Science Advances 795: 736:George Chaloupka 627:Andrée Rosenfeld 299:palaeontologists 260:Geoarchaeologist 249: 245: 4164: 4163: 4159: 4158: 4157: 4155: 4154: 4153: 4129: 4128: 4127: 4114: 3981: 3967:Stone box grave 3937:Megalithic tomb 3842:Cotswold-Severn 3794: 3699:Guardian stones 3627:Prehistoric art 3621: 3464: 3439: 3428:Timber trackway 3333: 3297: 3293:Wattle and daub 3146: 3125:Standing stones 3099: 3078: 2893: 2720: 2697: 2622: 2539: 2449:Food processing 2444: 2393:New World crops 2365: 2352: 2295: 2290: 2220: 2215: 2214: 2204: 2203: 2199: 2185: 2184: 2180: 2166: 2165: 2161: 2131: 2130: 2123: 2101: 2100: 2096: 2086: 2084: 2069: 2068: 2061: 2051: 2049: 2042:University News 2036: 2035: 2028: 2014: 2013: 2004: 1994: 1992: 1976: 1975: 1971: 1960: 1956: 1950:Wayback Machine 1941:Jonathan Adams 1940: 1936: 1898: 1897: 1893: 1855: 1854: 1845: 1836: 1832: 1818: 1817: 1813: 1803: 1802: 1798: 1776: 1775: 1771: 1766: 1762: 1734: 1733: 1726: 1716: 1715: 1711: 1698: 1697: 1693: 1681: 1676: 1675: 1671: 1661: 1659: 1641: 1640: 1636: 1626: 1624: 1613: 1612: 1605: 1595: 1593: 1588: 1587: 1583: 1573: 1572: 1568: 1558: 1557: 1553: 1539: 1538: 1534: 1529: 1525: 1520: 1516: 1511: 1507: 1497: 1495: 1484: 1483: 1476: 1466: 1464: 1453: 1452: 1448: 1428: 1427: 1420: 1415: 1411: 1406: 1402: 1388: 1386: 1370: 1369: 1365: 1360: 1356: 1352:Walsh G. 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4003:lunar calendar 4000: 3989: 3987: 3986:Other cultural 3983: 3982: 3980: 3979: 3974: 3969: 3964: 3959: 3954: 3949: 3944: 3939: 3934: 3933: 3932: 3927: 3917: 3912: 3907: 3906: 3905: 3900: 3890: 3885: 3884: 3883: 3873: 3868: 3863: 3858: 3857: 3856: 3846: 3845: 3844: 3834: 3833: 3832: 3822: 3821: 3820: 3815: 3804: 3802: 3796: 3795: 3793: 3792: 3790:Venus figurine 3787: 3786: 3785: 3780: 3770: 3765: 3760: 3759: 3758: 3753: 3743: 3738: 3733: 3728: 3723: 3721:Megalithic art 3718: 3717: 3716: 3711: 3701: 3696: 3691: 3690: 3689: 3679: 3674: 3672:Cave paintings 3669: 3664: 3659: 3654: 3649: 3648: 3647: 3637: 3631: 3629: 3623: 3622: 3620: 3619: 3618: 3617: 3612: 3602: 3597: 3592: 3591: 3590: 3585: 3580: 3575: 3570: 3565: 3555: 3550: 3549: 3548: 3538: 3537: 3536: 3531: 3521: 3516: 3511: 3510: 3509: 3499: 3494: 3489: 3484: 3478: 3476: 3474:Material goods 3466: 3465: 3456: 3449: 3448: 3445: 3444: 3441: 3440: 3438: 3437: 3436: 3435: 3425: 3420: 3415: 3410: 3405: 3404: 3403: 3393: 3388: 3387: 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Elkin 711:Michaelson 698:shamanistic 678:Arnhem Land 643:stereotypes 581:linguistics 576:archaeology 530:Sahul Shelf 456:Eurocentric 416:style art. 410:George Grey 376:Gwion Gwion 343:Gwion Gwion 105:Pleistocene 76:Gwion Gwion 63:archaeology 4133:Categories 4064:trepanning 3957:Ring cairn 3915:Jar burial 3898:transepted 3830:U.S. sites 3731:Petroglyph 3657:Bird stone 3615:wine press 3288:Stone roof 3271:Roundhouse 3163:long house 3140:Stonehenge 3108:Ceremonial 3052:Stone tool 2879:Tool stone 2849:Metallurgy 2753:Mousterian 2730:Toolmaking 2668:Cumberland 2641:Transverse 2611:Schöningen 2503:Qesem cave 2471:Earth oven 2425:Irrigation 2336:Technology 2304:Prehistory 2023:: 59, 1996 1237:: 110–124. 991:6 February 785:References 702:Eucalyptus 542:sand dunes 508:New Guinea 452:Aboriginal 355:Broome Bay 303:Thylacoleo 295:Thylacoleo 287:Thylacoleo 278:Thylacoleo 194:boomerangs 136:boomerangs 101:chronology 80:Giro Giro. 4108:symbolism 3972:Tor cairn 3930:Grønsalen 3871:Cremation 3763:Sculpture 3741:Pictogram 3726:Petroform 3546:amber use 3514:Cosmetics 3324:Reservoir 3309:Check dam 3239:Pueblitos 3234:Pit-house 3217:Longhouse 3151:Dwellings 3020:Microlith 2951:Bow drill 2946:Bone tool 2939:prismatic 2748:Acheulean 2663:Cresswell 2636:Arrowhead 2562:Boomerang 2478:Granaries 2440:Terracing 2319:Stone Age 1929:128689357 1657:967364794 1542:Antiquity 1530:1985: 228 1492:Antiquity 1461:Antiquity 1389:2 January 1378:Antiquity 1073:604542031 966:213266262 926:(2): 275. 724:shamanism 611:Indonesia 551:"refugia" 504:woodlands 433:Victorian 429:sandstone 421:Roe River 347:giro giro 291:thylacine 283:Kimberley 256:millennia 116:symbiotic 51:Bradshaws 39:Kiro Kiro 3746:Rock art 3709:painting 3682:Geoglyph 3507:timeline 3487:Beadwork 3227:Mehrgarh 3222:Mudbrick 3130:megalith 3005:Fire-saw 2827:debitage 2822:analysis 2790:Hand axe 2770:Cupstone 2348:Glossary 2309:Timeline 2154:21884255 2083:. 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