Calartoco in northern Chile is a heavily disturbed rock art site, because it was crossed by several types of infrastructure. This paper offers a limited view of some of the petroglyph boulders that have been “rescued” near the original, destroyed site.
By Maarten van Hoek
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This short paper reports the unexpected destruction and violation of an important rock art site – El Vagón – in the Moche Drainage of northern Peru. In 2019 I published a full account of this site, based on several surveys by my wife and me. In 2017 there was no destruction visible, but in August 2024 I found (via Google Earth) out that the site had been destroyed by heavy machinery. This short paper discusses the damage, often referring to my earlier publication. It is sad that the site survived from the Formative Period (2000-500 B.C.) up to at least 2022, and was then recklessly and shamefully violated and destroyed in a few days, apparently without any warning or any official archaeological survey. Permission should never have been granted!
By Maarten van Hoek
This short study presents an update of the petroglyphs (focussing on cupules) recorded by my wife Elles and me at the rock art site of Cerro La Cal, Lambayeque, northern Peru. Also a selection of rock art sites featuring cupules in the Desert Andes is included.
By Maarten van Hoek
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This paper describes the several rock art panels recorded by us after 2012 at the rock art site of Cerro Mal Paso in the Chancay Valley of northern Peru. In addition also some other petroglyph- panels at the site have been recorded by other explorers, as well as a few petroglyph panels recorded by others beyond Cerro Mal Paso. The focus of the paper is on a rather enigmatic image, a possible anthropomorphic-zoomorphic figure (lizard or bird?), while this study also offers a tentative explanation of the anthropomorphic-zoomorphic figure.
By Maarten van Hoek
This short note discusses a possible addition of a “Trophy” Head petroglyph at Toro Muerto, southern Peru. Toro Muerto has the biggest concentration of “Trophy” Head petroglyphs in the Desert Andes. This paper suggests that another example can be added to the grand total, but simultaneously proposes that this new (possible) find – and many other panels at Toro Muerto – should be photographed in optimal circumstances to ascertain its identification.
By Maarten van Hoek
This short paper discusses two new finds of specific biomorphic petroglyphs in the Vítor Valley of Southern Peru and its distribution within the Majes Rock Art Style (MRAS). It proves that this type of biomorphic image is overrepresented in the Vítor Drainage.
By Maarten van Hoek
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.
By Maarten van Hoek
This paper reviews the publication by academic archaeologists, Andrzej Rozwadowski and Janusz Z. Wołoszyn, in which they suggest that zigzag petroglyphs at Toro Muerto in the Majes Valley of southern Peru – constituting the most important rock art site in the Desert Andes of South America – could be representations of songs. In my paper I question a number of their suggestions and statements by trying to put the whole issue in a more appropriate context. I cannot refute their theory, but my objections makes it unlikely (though not impossible) that Toro Muerto zigzags indeed represent songs.
By Maarten van Hoek
This paper is one of a series of studies that investigates the rock art of the Majes Rock Art Style (MRAS) in southern Peru. This time I focus on petroglyphs of long, pecked stripes that have been animated by the prehistoric Majes People. I now argue that those Animated Stripes and many other typical MRAS images (discussed earlier by me; see my bibliography), including another icon (the “Majes Spitter”, which is the subject of my next study) created the Toro Muerto Anomaly, which – unfortunately – is either unknown or neglected by archaeologists busy in the Majes Valley.
By Maarten van Hoek
Imaoun-1 is one of the most important rock art sites in southern Morocco. In this study I briefly describe the array of petroglyphs at this site, comprising cupules, abstract motifs and patterns and biomorphic images. Imaoun-1 is also special because of its overrepresentation of abstract imagery. In this study I focus on one specific abstract petroglyph (said to have megalithic connotations), and – in more detail – on the Venus Cross, a globally widespread motif that is also overrepresented in this small part of Morocco. Its possible origin and journey across the prehistoric landscapes are also discussed.
By Maarten van Hoek.
This small petroglyph site in southern Morocco has – despite its limited number of decorated panel – a rather large variety of images. There are petroglyphs of quadrupeds (felines, bovines, antelopes, an elephant, perhaps a goat), some birds (probably ostriches) and one simple, yet interesting petroglyph of an outlined anthropomorphic figure. The site is very easily accessible and thus suffers from vandalism.
By Maarten van Hoek
This paper describes a modest petroglyph site just south of the Anti-Atlas of southern Morocco. It is found on a rocky hill, called Jorf Naga, where at least three other rock art sites have been recorded. All four sites play an important role in the rock art traditions of the most important rock art complex of Imaoun and the drainage of Wadi Akka, which – in ancient times – was definitely used as an important north-south migratory route through the Anti-Atlas to the contact zone with the Sahara.
By Maarten van Hoek
This petroglyph site – located in the far south of Morocco – has only a small number of decorated panels. Yet there is a surprising variety in imagery, which ranges from biomorphic figures (mainly quadrupeds of the Tazina Style) and abstract motifs, one of which may well depict an (unplayable) game-board. A few (abstract?) motifs are enigmatic.
By Maarten van Hoek
This paper describes the petroglyphs that my wife and I recorded at the rock art site of Jebel Youmkat in Wadi Tamanart in 2019. As far as I could check, this site has not been published anywhere. The petroglyphs mainly concern images of quadrupeds and some ostriches.
By Maarten van Hoek
This paper deals with the petroglyph site of Oum el Aleg near Akka in the far south of Morocco. The main subject of the paper is that I argue that there possibly are three images of archers, two of which possibly engaged in a hunting scene. The paper is accompanied by a video about Oum el Aleg, which can be viewed at YouTube.
By Maarten van Hoek
This paper presents the fifth case in my series of articles in which I discuss a selection of petroglyph boulders at Alto de Pitis, in the Majes Valley of southern Peru. It especially discusses a controversial petroglyph of an anthropomorph that has been interpreted in two most different ways. One rendering of the figure is questioned in this study (updated September 2023).
By Maarten van Hoek
This paper analyses the 2018-thesis by Prof. Scaffidi. It concerns a revision (dated September 2023).
by Maarten van Hoek
In general, it proves to be rather awkward (or even impossible) to establish the exact species of biomorphic images depicted at Toro Muerto (Peru), and thus this is even more problematic for conflations of two or more animals. In this study I argue that at Toro Muerto several petroglyphs of quadrupeds may well depict a specific conflation. With a number of illustrations I will demonstrate that this hypothesis is not far-fetched at all.
By Maarten van Hoek
This paper – the fourth in a series about Alto de Pitis, all published in TRACCE – discusses some specific petroglyphs on Boulder AP3-098, focusing on the possible therianthrope on one of its panels.
By Maarten van Hoek
Emanuele Süss (1909-1996) è stata una figura molto importante per le ricerche e la diffusione dell’arte rupestre della Valcamonica nei primi anni ’50 del ’900. Dopo averle catalogate, disegnò la pianta con la numerazione delle rocce del Parco nazionale nell’area di Naquane. Fu autore del volume “Le Incisioni rupestri della Valcamonica” che ebbe una grande fortuna e che andò incontro a numerose ristampe. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marro (1875-1952) è senza dubbio la figura più discussa tra tutti i ricercatori dell’arte rupestre della Valcamonica nella prima metà del ’900. E’ importante sottolineare il ruolo dello studioso nell’ambito delle scoperte. Egli percorreva i boschi a piedi inoltrandosi nei castagneti dov’erano presenti le rocce incise – infatti è ricordato anche come “il grande camminatore” – e scopriva le figure rupestri rimuovendo l’humus, spesso con l’aiuto di persone del posto, tra le quali il Marro utilizzava soprattutto Giuseppe Amaracco di Capo di Ponte. (PDF available)
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Giovanni Marini era davvero instancabile e appena poteva conduceva in visita gruppi italiani – anche scuole – e stranieri interessati a vedere il Parco di Luine con le incisioni rupestri più antiche della Valle. Una rara fotografia scattata nell’ottobre del 1990 lo ritrae seduto sulla roccia n. 73 ed intento a illustrare alcune figure di mani, rappresentazioni tra le più rare del Parco. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il mondo accademico italiano e straniero deve molto a Battista Maffessoli, artigiano, artista eclettico (pittore e scultore) dalla complessa personalità, guida alle incisioni rupestri per gruppi – sono nell’ordine di migliaia le persone che negli anni ha accompagnato a visitare le incisioni rupestri – e singoli, tra cui vanno annoverati praticamente tutti gli studiosi oggi attivi nelle ricerche dell’arte rupestre della Valcamonica. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Il percorso artistico e archeologico sperimentale di Jack Belmondo – nome d’arte di Giuseppe Belfiore Mondoni non può essere separato dal suo luogo di nascita, Cerveno, piccolo paese della media Valcamonica. Le prime ricostruzioni di archeologia sperimentale – modellini di capanne, di carri ed aratri – furono da lui eseguite nel 1988 ed esposte nel Museo di Nadro sino al 1991. Tra il 1989 ed il 1990 iniziò le prime esperienze di fusione dei metalli, allo scopo di ottenere quelli che gli parevano i manufatti più interessanti. (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
Raffaello Battaglia è il quarto studioso ad occuparsi dell’arte rupestre della Valcamonica dopo Laeng, Graziosi e Marro, ma fu sicuramente il primo ad occuparsene scientificamente, dopo Paolo Graziosi. Insieme a suoi collaboratori, rinvenne numerosi siti con incisioni. Tra queste, famosa resta la scoperta e pubblicazione delle rocce di Bedolina (PDF available).
by Angelo Eugenio FOSSATI – Le Orme dell’Uomo Read more
My paper describes the images on a boulder that has one of the most complex biomorphic petroglyphs in the Majes Valley and in Arequipa rock art. It may well be death-related, as will be demonstrated. Another death-related petroglyph on an adjoining panel definitely links the boulder – and the whole site – with Apu Coropuna, the most Sacred Mountain of the whole of southern Peru.
By Maarten van Hoek
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Worldwide, Paolo Emilio Bagnoli, former full professor of Photonics and Optoelectronics at Pisa University, is among the few researchers active in the rock art field to apply to engraved rocks the method of 3D modelling on a photometric basis. As a tribute to his memory, it is appropriate to remember him in his own words in relation to the photometric technique applied to 3D modelling (PDF available).
by Andrea Arcà – Footprints of Man Read more
Seminario di studi online
a cura della Cooperativa Archeologica
Le Orme dell’Uomo.
Venerdì 30 dicembre 2022
h 18:00-20:00 C.E.T.
YouTube: https://bit.ly/3WyPcJP
Le Orme dell’Uomo – Footsteps of Man Read more
The paper proves that even “minor” rock art sites can be most interesting, especially when placing such a “minor” site in a larger local and regional context. Torán is such an important “minor” site, as it is clearly connected with the two most important “major” rock art sites in the valley; Toro Muerto and Alto de Pitis.
By Maarten van Hoek
Quebrada de La Tuna is a small, yet important petroglyph site in the Sihuas Valley of southern Peru. As early as 1977 Cuban archaeologist Antonio Núñez Jiménez visited the site and recorded several boulders with petroglyphs. This present study re-describes the site, offering updated information about the rock art (based on our survey of 2008), also explaining the position of Núñez Jiménez.
By Maarten van Hoek
This study describes curious cases of “missing” information about petroglyphs reported (and recorded?) at the archaeological complex at Beringa in the Majes Valley of southern Peru. It was claimed (2007) by the leading excavator, Prof. Tiffiny Tung, that all petroglyphs were documented in 2001 and yet not a single illustration / description of the Beringa petroglyphs is available. This study tries to answer that inconsistency. Updated September 2023.
By Maarten van Hoek
Especially in this time of a dangerously increasing amount of online (deep) fake-news, outrageous lies, falsified photos and misleading information that are used to – for instance – “justify” a disgusting and horrible war in Europe, it should not be tolerated that similar false illustrations are being used in scientific publications by academic professionals. In the following two publications I expose and criticize some of those incorrect illustrations in rock art publications, focusing on the Majes Valley in Peru (Revised September 2023).
By Maarten van Hoek
This study describes a little-known rock art site located on very high ground between the rivers Rímac and Lurín, a short distance inland from the capital of Perú, Lima. It has been reported for the first time in 2014. At least 25 boulders with petroglyphs have been discussed in this study.
Este estudio describe un sitio de arte rupestre poco conocido ubicado en un terreno muy alto entre los ríos Rímac y Lurín, a poca distancia tierra adentro de la capital del Perú, Lima. Se informó por primera vez en 2014. En este estudio se han discutido al menos 25 rocas con petroglifos.
By Van Hoek and Cárdenas
Report describing a hitherto undescribed rock art site ENE of Lima, Peru. Simple petroglyphs of quadrupeds (camelids?) and abstract motifs predominate, but there is at least one interesting zoomorphic image as well.
Informe que describe un sitio de arte rupestre hasta ahora no descrito ENE de Lima, Perú. Predominan los petroglifos simples de cuadrúpedos (¿camélidos?) y motivos abstractos, pero también hay al menos una imagen zoomorfa interesante.
By Maarten van Hoek and Gustavo Cárdenas
La franja costera extremadamente seca al oeste de los Andes es muy rica en arte rupestre. Sin embargo, la distribución es bastante desigual. Algunos valles tienen una plétora de arte rupestre, como el valle de Reque-Chancay al este de Chiclayo, mientras que otros valles tienen solo unos pocos sitios con una modesta variedad de imágenes de arte rupestre. Uno de esos valles es el valle del río Huarmey. Este artículo presenta una revisión de los seis sitios con arte rupestre de este valle, escrito con la muy apreciada colaboración de Gustavo Cárdenas Huachaca (Perú).
Por Maarten van Hoek y Gustavo Cárdenas
The coastal areas of the Department of Arequipa in southern Peru are very rich in rock art. Most of the rock art sites are found along or very near river valleys. One of those river valleys that is rich in rock art is the valley of the Río Vítor. In this study the rock art in the stretch of river between the confluence with the Río Yura in the north of the Vítor-Chili drainage and the confluence with the Río Sihuas, further downstream, will be discussed.
By Maarten van Hoek
La Laja is a major rock art concentration on a large outcrop wall high above the Majes River valley in southern Peru. This article describes the many rock art images at La Laja and attempts at a tentative chronology. Most of the imagery belongs to the Majes Rock Art Style (see Van hoek 2018 for more information), although several images are later.
By Maarten van Hoek
It is known for more than 80 years that the Manga drainage in southern Peru houses one of the most important rock art sites in this part of the Andes (Illomas). However, apart from Illomas there are a number of smaller, yet important rock art sites in this valley. This study discusses two sites in the Manga Valley that were provisionally recorded in 2018 by the Upper Manga Archaeological Survey Project (University of Toronto, Department of Anthropology, Royal Ontario Museum, Canada). It concerns Cuesta de la Pachana and Miraflores-Pachana.
By Maarten van Hoek
Ai tre famosi affioramenti rocciosi tendenzialmente pianeggianti di Pietra di Finale, localmente noti col termine dialettale di ciappi presenti nel Finalese, noti per le incisioni rupestri, viene ad aggiungersene un quarto, forse non esteso come gli altri, ma comunque assai interessante, individuato e documentato nella primavera 2021: il Ciappo di Varegina; su di una superficie complessiva di circa 55 mq sono visibili almeno 45 tra coppelle e vaschette (pdf disponibile).
Antonio NARICE Read more
Toro Muerto es el sitio de arte rupestre más grande de los Andes, conocido desde 1953. En 2018, un equipo de investigación polaco-peruano inició el Proyecto de Investigación Arqueológica – Toro Muerto (PIA-TM) e inspeccionó una parte informada anteriormente, pero no inspeccionada en el extremo norte del sitio. Se llamaba Sector-X. Este estudio intenta analizar el arte rupestre del Sector-X considerando especialmente el estado del Sector-X dentro del Complejo de Arte Rupestre de Toro Muerto. Para lograr esto, mi estudio se enfoca principalmente en la ocurrencia y distribución de un petroglifo de un ave específico que es exclusivo del Valle Central de Majes en el sur de Perú.
By Maarten van Hoek
This paper again demonstrates that in the area of the Majes Rock Art Style (Arequipa; southern Peru) many sites are firmly and ritually connected with at least one of the Sacred Mountains (the Apus) of the area. Those volcanoes play an important role in selecting spots for rock art production. Mollebaya Chico is one of those sites.
By Maarten van Hoek
This paper again demonstrates that in the area of the Majes Rock Art Style (Arequipa; southern Peru) many sites are firmly and ritually connected with at least one of the Sacred Mountains (the Apus) of the area. Those volcanoes play an important role in selecting spots for rock art production. La Caldera is one of those sites.
By Maarten van Hoek
Many rock art sites are easily destroyed, also in Peru, especially because of road constructions or mining activities. This paper describes three petroglyph sites near the village of Huaca Blanca in northern Peru. Especially Huaca Blanca has already been partially destroyed by unwanted quarrying. This paper offers a brief inventory of what is (was!) available during our surveys. The thumbnail to the right shows a prehistoric petroglyph next to recent damage.
By Maarten van Hoek
Palamenco is a petroglyph site in the coastal area of Northern Peru. It has some special images, including an image of what I interpreted as a “shooting male”. This petroglyph is unique for Palamenco and possibly for Latin America as well. It is compared with more or less similar examples around the world.
By Maarten van Hoek
The Sama Valley in southern Peru has only a few rock art sites. This article describes one of those sites, which is located at Coropuro on the south bank of the river. It has a interesting collection of petroglyphs, some of which might be linked to a previously unnoticed geoglyph nearby.
By Maarten van Hoek
The Footsteps of Man Archaeological Cooperative Society is based in Valcamonica, an Alpine valley in Northern Italy, where rock art constitutes an archaeological, artistic, ethnographic and historical patrimony of inestimable value (UNESCO World Heritage List). In collaboration with the Catholic University of Brescia, Footsteps of Man organizes its annual Valcamonica Rock Art & Archaeology Field School in Paspardo, one of the principal area where engravings are concentrated. The project participants will learn how
to survey, clean, photograph, draw and catalogue the rock engravings at sites around Paspardo. During the field season, visits to the major rock art parks and museums in Valcamonica will be organized.
by Angelo Eugenio Fossati
The Majes drainage in southern Peru boasts the largest collection of rock art in the Andes, especially because of the abundance of petroglyphs at the Toro Muerto and Alto de Pitis. Importantly, both sites have numerous bird petroglyphs of different types. Yet there are other sites in the Majes drainage that also have idiosyncratic bird imagery. One of those sites is Cíceras, which is the subject of this study. I focus on a specific type of bird petroglyphs, for which I tentatively suggest that they have a special transcendent proficiency.
By Maarten van Hoek Read more
