Paper short abstract:

This paper explores anthropological and archaeological evidence relating to questions about variability respecting concerns with permanency of rock art.

Paper long abstract:

Throughout the world and transgressing all the major prehistoric periods painted forms dominate. Their degree of permanency may be similar to that of the carved form - petroglyphs. Both forms have their origins firmly rooted in the Early Upper Palaeolithic (if not earlier) and each occupy different parts of the landscape. The painted form, usually an 'indoor' phenomenon is located in caves and rock-shelters and can be considered a stylistic statement that within the hands of a skilful artist would take only monuments to produce. The carved form, on the other hand, would take much longer, however the design concept and initial planning of the panel for both artistic forms would have been probably similar.

Interestingly, the anthropological evidence shows over-painting, retouching and superimposition to be common within most of the core rock-art areas of the World. In this contemporary world where Western influences are commonplace, artists feel the desire to change and reform the visual narrative and the painted form is the obvious medium to do this. In both the prehistoric and modern Worlds, rock-art sites constitute special places and the imagery that is produced within these places reflect a unique narrative that is both rhetorical and visually striking. Based on the degree of permanency of the painted form within the anthropological record, did prehistoric artists value their art in such a way to consider it permanent; allowing the rules of grammar to extend beyond their lifetime? This paper will explore these and other issues of permanency within rock-art.