Sangbor Petroglyphs in Bavanat County, Southern Iran

• Authors: KHANIPOUR Morteza
• Languages of publication: EN

Abstracts

EN

During archaeological research, especially in the study of the historical and Islamic periods, the focus is on kings’ palaces, religious buildings and famous artists. Ordinary people are generally ignored. This means that all people of every social class should be studied to understand past societies. Petroglyphs are one of the most significant archaeological types of evidence to study ordinary people’s art and concerns. During an archaeological survey conducted by the author in Bavanat county, several petroglyphs were found in this area. Considering the importance of rock art in archaeology, anthropology, sociology, the history of art and rock art tourism, in this article, the petroglyphs of Sangbor that were discovered during the survey of Bavanat have been introduced. At this site several petroglyphs are identified on the rock outcrops in the area. Zoomorphs, anthropomorphs, geometric shapes, and unknown shapes are depicted. Petroglyphs were created by three methods: engraving, engraving-pounding and scratching. According to the amount of patination and weathering, the above petroglyphs were created during different periods. Natural factors such as rock erosion, wind and rain have gradually destroyed these rock art. In addition to preserving rock art sites like Sangbor, they can become a tourist attraction for rock art or cultural tourism.

Keywords

EN

Fars; Bavanat; Sangbor; Petroglyphs; Rock Art; Tourism in Iran; Ordinary People

• Publisher: Uniwersytet w Siedlcach
• Journal: Historia i Świat
• Year: 2024
• Volume: 13
• Pages: 141–156

Contributors

author

KHANIPOUR Morteza

• “Silk Road” International University of Tourism and Cultural Heritage, Samarkand, Uzbekistan

References

• Agnew, N., Deacon, J., Hall, N., Little, T., Sullivan, Sh. and Taçon, P. (2015). Rock Art: A cultural treasure at risk. Los Angeles: The Getty Conservation Institute.
• Alizadeh, A. (2006). The Origins of State Organizations in Prehistoric Highland Fars, Southern Iran, Excavations at Tall-e Bakun. Chicago: Oriental Institute Publications.
• Aubert, M., Brumm, A., Ramli, R., Sutkina, T., Sapromo, E.W., Hakim, B., Morwood, M.J., Van Den Berg, G.D., Kinsley, L., Dosseto, A. (2014). Pleistocene cave art from Sulawesi, Indonesia. Nature, 514, 223–227. https://doi.org/10.1038/nature13422
• Aubert, M., O’Connor, S., McCulloch, M., Mortimer, G., Watchman, A., Richer-LaFlèche, M. (2007). Uranium-series dating rock art in East Timor. Journal of Archaeological Science, 34(6), 991–996. https://doi.org/10.1016/j.jas.2006.09.017
• Azizi Kharanghi, M.H., Salimi, M. (2013). Noqosh Sakheree Pasargad [The petroglyphs of Pasargadae]. Farhang-o-didar, 1, 12–22. (in Persian)
• Beck, L., Rousselièere, H., Castaing, J., Duran, A., Lebon, M., Lahlil, S., Plassard, F. (2012). Analyze in situ des dessins préhistoriques de la grotte de Rouffignac par fluorescence X et diffraction X portable. ArcheoSciences, 36, 139–151. https://doi.org/10.4000/archeosciences.3874
• De Quirós, F.H.B. (1991). Reflections on the Art of the Cave of Altamira. Proceedings of the Prehistoric Society, 57(1), 81–90. https://doi.org/10.1017/S0079497X00004898
• Bonneau, A., Brock, F., Higham, T.F., Pearce, D.G. and Pollard, A.M. (2011). An improved pretreatment protocol for radiocarbon dating black pigments in San rock art. Radiocarbon, 53, 419–428. https://doi.org/10.1017/S003382220003455X
• Bonneau, A., Pearce, D., Mitchell, P., Staff, R., Arthur, C., Mallen, L., Brock, F., Higham, T. (2017). The earliest directly dated rock paintings from southern Africa: new AMS radiocarbon dates. Antiquity 91(356), 322–333. https://doi.org/10.15184/aqy.2016.271
• Chalmin, E., Menu, M., Vignaud, C. (2003). Analysis of rock art painting and technology of Palaeolithic painters. Measurement Science and Technology, 14(9), 1590–1597. https://doi.org/10.1088/0957-0233/14/9/310
• Clottes, J. (2008). Cave Art. London & New York: Phaidon Press.
• Deacon, J. (1994). Management guidelines for rock art sites in two wilderness areas in the Western Cape. Pretoria: Department of Environmental Affairs and Tourism.
• Deacon, J. (1997). A regional management strategy for rock art in Southern Africa. Conservation and Management of Archaeological Sites, 2(1), 29–32. https://doi.org/10.1179/135050397793138880
• Deacon, J. (2006). Rock art conservation and tourism. Journal of Archaeological Method and Theory, 13(4), 379–399. https://doi.org/10.1007/s10816-006-9024-y
• Deacon, J., Agnew, N. (2012). Theoretical approaches and practical training for rock art site guiding and management. In B.W. Smith, K. Helskog, D. Morris, (Eds.), Working with Rock Art. Recording, Presenting and Understanding Rock Art using Indigenous Knowledge (pp. 247–256). Johannesburg: Wits University Press.
• Dessau, G. (1960). Rock Engravings (Graffiti) from Iranian Baluchistan. East and West, 11(4), 258–266. http://www.jstor.org/stable/29754281
• Duval, M. (2012). Enjeux patrimoniaux et identitaires autour des sites d’art rupestre sud-africains: approche multiscalaire à partir de la cérémonie de l’Eland. Civilisations, 61(1), 83–102. https://doi.org/10.4000/civilisations.3165
• Duval, M., Smith, B. (2013). Rock art tourism in the uKhahlamba/Drakensberg World Heritage Site: obstacles to the development of sustainable tourism. Journal of Sustainable Tourism, 21(1), 134–53. https://doi.org/10.1080/09669582.2012.699060
• Fazel, L., Alibaigi, S. (2012). Discovery of cave art in the province of Fars, southern Iran. Rock Art Research, 29(2), 187–190.
• Formozov, A.A. (1965). The Rock paintings of Zaraut-Kamar, Uzbekistan. Rivista di Scienze Preistoriche, 20, 63–84.
• Gao, Q. (2017). Social Values and Rock Art Tourism: An Ethnographic Study of the Huashan Rock Art Area (China). Conservation and Management of Archaeological Sites, 19(1), 82–95. https://doi.org/10.1080/13505033.2016.1290477
• Ghasimi, T. (2007). La gravures rupestres d Uraman (Iran). Préhistoire, Art et Société, 62, 89–106.
• Ghasimi, T., Barfi, C., Norouzi, R. (2014). Newly found pictograms from Abdozou Rockshelter, Firouzabad, southern Zagros, Iran. Rock Art Research, 31(2), 199–204.
• Ghasimi, T., Ghasemi, P., Vafaei, A., Ghezelbash, E. (2016). Recent Rock Art Finds from North of Kavar in Fars, Iran. International Journal of Archaeology, 4(6-1), 8–21. https://doi.org/10.11648/j.ija.s.2016040601.12
• Giesen, M.J., Ung, A., Warke, P.A., Christgen, B., Mazel, A.D., Graham, D.W. (2014). Condition assessment and preservation of open-air rock art panels during environmental change. Journal of Cultural Heritage, 15(1), 49–56. https://doi.org/10.1016/j.culher.2013.01.013
• Graff, J. (2006). Saving Beauty (Lascaux). TIME, 167(20), 36–42.
• Helwing, B. (2007). Visit to the Marvast Dam Area (unpublished).
• Hœrlé, S., Huneau, F., Salomon, A., Denis, A. (2007). Using the ground-penetrating radar to assess the conservation condition of rock-art sites. Comptes Rendus Geoscience, 339(8), 536–544. https://doi.org/10.1016/j.crte.2007.07.001
• Horn, Ch., Ivarsson, O., Lindhé, C., Potter, R., Green, A., Ling, J. (2022). Artificial Intelligence, 3D Documentation, and Rock Art–Approaching and Reflecting on the Automation of Identification and Classification of Rock Art Images. Journal of Archaeological Method and Theory, 29, 188–213. https://doi.org/10.1007/s10816-021-09518-6
• Izadpanah, H. (1997). Asar astanshenasi va Tarikhi Lorestan [Lorestan Archaeological and Historical Monuments], Vol. 2. Tehran: Association of Cultural Works and Nobilities Publication. (in Persian)
• Karimi, E. (2014). The Rock Paintings of Kuh-e-Donbeh in Esfahan, Central Iran. Arts, 3(1), 118–134. https://doi.org/10.3390/arts3010118
• Karimi, E., Taghva, A., Zarei Kurdshuli, F. (2016). The Petroglyphs of Dasht-E-Morghāb in the Fars Province of Iran. Rock Art Research, 33(1), 65–72.
• Khanipour, M., Gasemi, Z. (2013). Noghosh Sakhehei Mohammad Abad [The petroglyphs of Mohammad Abad]. In Proceeding of the National Archaeology conference of Birjand (pp. 1–10). Birjand: Birjand University. (in Persian)
• Khanipour, M., Azizi Khaeanaghi, M. H., Khosravi, S., Emadi, H, Ghasemi, Z. (2015). The Petroglyphs Discovered in the Naqsh-e Rostam, Marvdasht (Iran). Inora, 73, 13–18.
• Khanipour, M., Mirghaderi, M.A., Emadi, H., Akbari, A. (2018). The Rock Art Of Tol-e Sukhte Jeshnian, Fars Province, Iran. In M.H. Azizi Kharanaghi, M. Khanipour, R. Naseri (Eds.), Proceedings of the International Congress of Young Archaeologists (pp. 270–284). Tehran: Iranology Foundation.
• Khanipour, M., Niknami, K., Abe, M., (2021b). Challenges of The Fars Neolithic Chronology: An Appraisal. Radiocarbon, 63(2), 693–712. https://doi.org/10.1017/RDC.2020.113
• Khanipour, M., Niknami, K., Kavosh, H., Mirghaderi, M., Tahmasebi, M., Tabatabaei, H. (2021a). Baresi Bastanshenasi dar Bakhsh Markazi ans Mazayjan Shahrestan Bavanat [Archaeological Survey at Markazi and Mazayjan District in Bavanat County]. Pazhohesh-ha-ye Bastanshenasi Iran, 28, 7–26. (in Persian)
• Langsdorff, A., McCown, D.E. (1942). Tall-i-Bakun A: Season of 1932. Chicago: University Press Chicago.
• Leloch, M., Kot, M., Szymczak, K., Khujanazarov, M.M., Kholmatov, A.N. (2020). Newly discovered petroglyphs in Kyzyl Dara gorge, western Tian Shan, Uzbekistan. Rock Art Research, 37(2), 228–230.
• Mansori, M., Lotfinasab, K. (2016). Cave pictograms in the southern Zagros Mountains, Fars, Iran. Rock Art Research, 33(2), 5–8.
• Marshall, M., Taçon, P.S.C. (2014). Past and present, traditional and scientific: the conservation and management of rock art sites in Australia. In T. Darvill, A.P.B. Fernandes (Eds.), Open-air rock art conservation and management: state of the art and future perspectives (pp. 214–228). London: Routledge.
• Mauran, G., Lebon, M., Detroit, F., Caron, B., Nankela, A., Pleurdeau, D., Bahain, J. (2019). First in situ pXRF analyses of rock paintings in Erongo, Namibia: results, current limits, and prospects. Archaeological and Anthropological Sciences, 11(8), 4123–4145. https://doi.org/10.1007/s12520-019-00787-7
• Mohammadi Ghasirian, S., Naderi R. (2007). Barresi va Motalee Noqosh Sakhrehei Khare Hangiran (Mahabad) [A Survey and Study of the Rock Engravings of Kharre Hanjiran (Mahabad)]. Bastanpazhuhi, 2(3), 15–17. (in Persian)
• Molaie Kordshouli, H., Zare, Y., Khosravanian, R. (2022). Ancient Pictographs in Bakhtegan County of Fars Province, Iran. Journal of Sistan and Baluchistan Studies, 2(1), 115–123.
• Pike, A.W.G., Hoffman, D.L., García-Diez, M., Pettitt, P., Alcolea, J., de Balbín, R., González-Sainz, C., de las Heras, C., Lasheras, J.A., Montes, R., Zilhão, J. (2012). U-series dating of Paleolithic art in 11 caves in Spain. Science, 336(6087), 1409–1413. https://doi.org/10.1126/science.1219957
• Prideaux, T. (1973). Cro-Magnon Man. The Emergence of Man. New York: Time-Life Books.
• Remacle, L., Lejeune M., Adeli J., Mohamadi S., Otte, M. (2006). Art rupestre de Houmian, Province de Luristan, Iran. Anthropozoologica, 41(2), 13–27.
• Sarkhosh, A., Nazari S., Sharbaf, M. (2015). Marefi-ye sangnegarehaye noyafte ba neghoshe heyvani dar baressiye bastanshenakhti-ye manteghe-i-ye Fars-e Jonubi (Dashte Beyram) [The introduction of new found petroglyphs with zoomorphic motifs in the archaeological survey of Sothern Fars region (Beyram)]. Historia i Świat, 4, 15–30. https://doi.org/10.34739/his.2015.04.01 (in Persian)
• Smith, B.W. (2006). Reading Rock Art and Writing Genetic History: Regionalism, Ethnicity and the Rock Art of Southern Africa. In H. Soodyal (Ed.), The Prehistory of Africa (pp. 76–96). Cape Town: Jonathan Ball.
• Smith, B.W. (2010). Envisioning San History: Problems in the Reading of History in the Rock Art of the Maloti-Drakensberg Mountains of South Africa. African Studies, 69(2), 345–359. https://doi.org/10.1080/0002 0184.2010.499205
• Srivastava, S. 2021. Rock Art Tourism Development and Conservation Challenges. South Asian History, Culture and Archaeology, 1(1), 89–101.
• Stein, A. (1936). An Archaeological Tour in the Ancient Persis. Iraq, 3(2), 111–225. https://doi.org/10.2307/4241592
• Vahdati Nasab, H., Rezaei, M.H., Naderi, R., Smith, L.C. (2008). Helak, a Palaeolithic cave complex featuring rock art along the northern shore of Parishan lake, Fars province, Iran. Nāme-ye Pazuheshgāh 22/23, 91–96.
• White, R. (2003). Prehistoric Art: The Symbolic Journey of Humankind. New York: Harry N. Abrams.
• Whitley, D.S. (1998). Cognitive neuroscience, shamanism and the rock art of Native California. Anthropology of Consciousness, 9(1), 22–37. https://doi.org/10.1525/ac.1998.9.1.22

Identifiers

DOI

https://doi.org/10.34739/his.2024.13.09