Andrzej Rozwadowski
Biographic Data
| ID | 791332 |
|---|---|
| NAME | Andrzej Rozwadowski |
| GIVEN NAMES | Andrzej |
| FAMILY NAME | Rozwadowski |
| SIGNATURE | ROZWADOWSKI A |
| AFFILIATIONS | Adam Mickiewicz University in Poznań |
| ORCID | 0000-0002-3982-1258 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 16 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 3 |
Kam and drum: New evidence for the use of rock affordances in shamanic petroglyphs in southern Siberia
Although shamanism and rock art have been widely discussed worldwide in recent decades, surprisingly little is still known about shamanic rock art in Siberia. What makes Siberian shamanism different from other forms of shamanism, however, is the fact that in Siberia it is a historical indigenous cultural tradition, not just a theory of interpretation. Siberian shamanism is also rich in ethnographic record, yet this data has rarely been used by ar…
“I Am From Here”: Rock Art, Heritage and Identity
Complimentary to the common perception of rock art, i.e., painted or engraved images on rock surfaces, as an archaeological source informing about the past, this article argues that what equally and additionally makes rock art heritage is the role the ancient images play in the present, influencing and shaping contemporary cultural processes. Developing this idea, the article discusses the use of rock art motifs in contemporary art, focusing on t…
Obrazy, które leczą: Dekolonizująca moc rdzennej sztuki Pierwszych Narodów Kanady
Kolekcje fotograficzne Indian Ameryki Północnej z przełomu XIX i XX wieku są rodzajem atlasu, który miał dokumentować ginący świat Indian. Dziś ten atlas jest krytycznie oceniany, a jedną z form jego ewaluacji jest współczesna sztuka Pierwszych Narodów. Artykuł pokazuje specyficzny aspekt tej sztuki, w której ów „atlas fotograficzny” jest dekolonizowany za pomocą symboli przynależących do „rdzennego atlasu” Pierwszych Narodów. Ważnymi symbolami t…
Dances with Zigzags in Toro Muerto, Peru: Geometric Petroglyphs as (Possible) Embodiments of Songs
Southern Peru is home to one of the richest sites with rock art in South America—Toro Muerto. A unique aspect of the iconography of the petroglyphs of the site is the figures of dancing humans, the so-called danzantes, which are additionally frequently associated with geometric motifs, mostly variants of zigzag lines. Drawing upon intriguing data recorded during Reichel-Dolmatoff's research in Colombia related to the meaning of analogous motifs i…
Giving rock art new life: Combining Past Images, Identity and Contemporary Art
Rock art can be useful as a factor in reclaiming Indigenous identities. One example of this phenomenon is work by contemporary artists who explore and integrate rock art in their creations. The author considers how and why a selection of artists in Siberia/Central Asia and Canada use these ancient images
Music and Storytelling at Rock Art Sites? The Archaeoacoustics of the Urkosh Area (Russian Altai)
In this article, the potential of archaeoacoustics for understanding past communities is discussed by looking at a range of acoustic parameters. Our case study is the Urkosh rock art area in the Ongudai district, Republic of Altai (Russia). The rock art of this area dates possibly from the Upper Palaeolithic and definitely from the Early Bronze Age (second half of the third millennium BCE). There are important periods in the Early Iron Age (first…
The Soundscapes of the Lower Chuya River Area, Russian Altai: Ethnographic Sources, Indigenous Ontologies and the Archaeoacoustics of Rock Art Sites
The acoustics of the Lower Chuya River area rock art landscape are analyzed through both the exploration of its acoustic properties and the ethnographic information gathered about the region. The results obtained in the acoustics tests undertaken in the area, in particular at the rock art sites of Kalbak-Tash I, Kalbak-Tash II, and Adyr-Kan, are examined. They indicate that the perceived loudness resulting from a natural amplification of sound (s…
Is Prehistoric Art Solely About the Past? New Lives of Rock Art Images in Contemporary Art (From Siberia to Canada)
В статье рассматривается вопрос о современном функционировании наскального искусства в социальном пространстве, а более конкретно -вопрос об использовании мотивов наскального искусства в современном искусстве.Введение в этот вопрос -обсуждение ситуации в Австралии, где традиция создания изображений на скалах сохранилась до XX в. и трансформировалась в новую традицию искусства в виде росписей на коре.Можно заметить, что эта трансформация была в зн…
Being in Cosmos: Sergei Dykov's Visual Exploration of the Spirit of Altai
This article focuses on how shamanism and animism, two important features of Altaic ontology, can be expressed in art. This is discussed by exploring the art of Sergei Dykov, a contemporary Altaic (south Siberian) visual artist, whose art is part of a wider trend in modern Siberian art of rediscovering the conceptual potentials of indigenous Siberian values. Dykov is one of those artists whose fascination with Siberian culture is not limited to f…
Rock Art as a Source of History in Central Asia
This entry is an introduction to the issue how rock art is linked to historical contexts of Central Asia. The earliest such context is related to the Indo‐Iranians, who lived in the region in the 2nd millennium BC, hence the possible links of petroglyphs to Aryan culture and their mythology are discussed. Images of animals executed in the Scythian style (1st millennium BC) demonstrate that rock art making was also an important cultural practice f…
The petroglyphs of Toro Muerto: New documentation and discoveries at the largest South American rock art complex
Travelling Through the Rock to the Otherworld: The Shamanic ‘Grammar of Mind’ Within the Rock Art of Siberia
One of the aspects of the relationship between rock art and shamanism, which has been supposed to be of a universal nature, inspired by trance experience, concerns the intentional integration of the images with rock. Rock surface therefore has been interpreted, in numerous shamanic rock-art contexts, as a veil beyond which the otherworld could be encountered. Such an idea was originally proposed in southern Africa, then within Upper Palaeolithic …
Shamanism in Indigenous Context: Understanding Siberian Rock Art
This chapter contains sections titled: Abstract Shamanism and Rock Art Studies: Phenomenology Versus History How do we Identify Shamanism in Rock Art in Siberia? Are Phenomenological and Historical Perspectives Incompatible?
Did shamans always play the drum? Tracking down prehistoric shamanism in Central Asia
This paper considers the question of antiquity of shamanism in Central Asia and outlines several lines of enquiry into the issue. It analyses both linguistic and archaeological data with particular emphasis on ancient rock art. In the sphere of rock art studies it focuses on methodological questions connected with identifying shamanism in visual arts. It concludes that most convincing traits of shamanic symbolism, which characterizes Central Asia…
The Soundscapes of the Lower Chuya River Area, Russian Altai: Ethnographic Sources, Indigenous Ontologies and the Archaeoacoustics of Rock Art Sites
The acoustics of the Lower Chuya River area rock art landscape are analyzed through both the exploration of its acoustic properties and the ethnographic information gathered about the region. The results obtained in the acoustics tests undertaken in the area, in particular at the rock art sites of Kalbak-Tash I, Kalbak-Tash II, and Adyr-Kan, are examined. They indicate that the perceived loudness resulting from a natural amplification of sound (s…
Travelling Through the Rock to the Otherworld: The Shamanic ‘Grammar of Mind’ Within the Rock Art of Siberia
One of the aspects of the relationship between rock art and shamanism, which has been supposed to be of a universal nature, inspired by trance experience, concerns the intentional integration of the images with rock. Rock surface therefore has been interpreted, in numerous shamanic rock-art contexts, as a veil beyond which the otherworld could be encountered. Such an idea was originally proposed in southern Africa, then within Upper Palaeolithic …
The petroglyphs of Toro Muerto: New documentation and discoveries at the largest South American rock art complex
Music and Storytelling at Rock Art Sites? The Archaeoacoustics of the Urkosh Area (Russian Altai)
In this article, the potential of archaeoacoustics for understanding past communities is discussed by looking at a range of acoustic parameters. Our case study is the Urkosh rock art area in the Ongudai district, Republic of Altai (Russia). The rock art of this area dates possibly from the Upper Palaeolithic and definitely from the Early Bronze Age (second half of the third millennium BCE). There are important periods in the Early Iron Age (first…
Giving rock art new life: Combining Past Images, Identity and Contemporary Art
Rock art can be useful as a factor in reclaiming Indigenous identities. One example of this phenomenon is work by contemporary artists who explore and integrate rock art in their creations. The author considers how and why a selection of artists in Siberia/Central Asia and Canada use these ancient images
Being in Cosmos: Sergei Dykov's Visual Exploration of the Spirit of Altai
This article focuses on how shamanism and animism, two important features of Altaic ontology, can be expressed in art. This is discussed by exploring the art of Sergei Dykov, a contemporary Altaic (south Siberian) visual artist, whose art is part of a wider trend in modern Siberian art of rediscovering the conceptual potentials of indigenous Siberian values. Dykov is one of those artists whose fascination with Siberian culture is not limited to f…
Shamanism in Indigenous Context: Understanding Siberian Rock Art
This chapter contains sections titled: Abstract Shamanism and Rock Art Studies: Phenomenology Versus History How do we Identify Shamanism in Rock Art in Siberia? Are Phenomenological and Historical Perspectives Incompatible?
Did shamans always play the drum? Tracking down prehistoric shamanism in Central Asia
This paper considers the question of antiquity of shamanism in Central Asia and outlines several lines of enquiry into the issue. It analyses both linguistic and archaeological data with particular emphasis on ancient rock art. In the sphere of rock art studies it focuses on methodological questions connected with identifying shamanism in visual arts. It concludes that most convincing traits of shamanic symbolism, which characterizes Central Asia…
Travelling Through the Rock to the Otherworld: The Shamanic ‘Grammar of Mind’ Within the Rock Art of Siberia
One of the aspects of the relationship between rock art and shamanism, which has been supposed to be of a universal nature, inspired by trance experience, concerns the intentional integration of the images with rock. Rock surface therefore has been interpreted, in numerous shamanic rock-art contexts, as a veil beyond which the otherworld could be encountered. Such an idea was originally proposed in southern Africa, then within Upper Palaeolithic …
The petroglyphs of Toro Muerto: New documentation and discoveries at the largest South American rock art complex
Rock Art as a Source of History in Central Asia
This entry is an introduction to the issue how rock art is linked to historical contexts of Central Asia. The earliest such context is related to the Indo‐Iranians, who lived in the region in the 2nd millennium BC, hence the possible links of petroglyphs to Aryan culture and their mythology are discussed. Images of animals executed in the Scythian style (1st millennium BC) demonstrate that rock art making was also an important cultural practice f…
Is Prehistoric Art Solely About the Past? New Lives of Rock Art Images in Contemporary Art (From Siberia to Canada)
В статье рассматривается вопрос о современном функционировании наскального искусства в социальном пространстве, а более конкретно -вопрос об использовании мотивов наскального искусства в современном искусстве.Введение в этот вопрос -обсуждение ситуации в Австралии, где традиция создания изображений на скалах сохранилась до XX в. и трансформировалась в новую традицию искусства в виде росписей на коре.Можно заметить, что эта трансформация была в зн…
Being in Cosmos: Sergei Dykov's Visual Exploration of the Spirit of Altai
This article focuses on how shamanism and animism, two important features of Altaic ontology, can be expressed in art. This is discussed by exploring the art of Sergei Dykov, a contemporary Altaic (south Siberian) visual artist, whose art is part of a wider trend in modern Siberian art of rediscovering the conceptual potentials of indigenous Siberian values. Dykov is one of those artists whose fascination with Siberian culture is not limited to f…
The Soundscapes of the Lower Chuya River Area, Russian Altai: Ethnographic Sources, Indigenous Ontologies and the Archaeoacoustics of Rock Art Sites
The acoustics of the Lower Chuya River area rock art landscape are analyzed through both the exploration of its acoustic properties and the ethnographic information gathered about the region. The results obtained in the acoustics tests undertaken in the area, in particular at the rock art sites of Kalbak-Tash I, Kalbak-Tash II, and Adyr-Kan, are examined. They indicate that the perceived loudness resulting from a natural amplification of sound (s…
Music and Storytelling at Rock Art Sites? The Archaeoacoustics of the Urkosh Area (Russian Altai)
In this article, the potential of archaeoacoustics for understanding past communities is discussed by looking at a range of acoustic parameters. Our case study is the Urkosh rock art area in the Ongudai district, Republic of Altai (Russia). The rock art of this area dates possibly from the Upper Palaeolithic and definitely from the Early Bronze Age (second half of the third millennium BCE). There are important periods in the Early Iron Age (first…
Dances with Zigzags in Toro Muerto, Peru: Geometric Petroglyphs as (Possible) Embodiments of Songs
Southern Peru is home to one of the richest sites with rock art in South America—Toro Muerto. A unique aspect of the iconography of the petroglyphs of the site is the figures of dancing humans, the so-called danzantes, which are additionally frequently associated with geometric motifs, mostly variants of zigzag lines. Drawing upon intriguing data recorded during Reichel-Dolmatoff's research in Colombia related to the meaning of analogous motifs i…
Giving rock art new life: Combining Past Images, Identity and Contemporary Art
Rock art can be useful as a factor in reclaiming Indigenous identities. One example of this phenomenon is work by contemporary artists who explore and integrate rock art in their creations. The author considers how and why a selection of artists in Siberia/Central Asia and Canada use these ancient images
“I Am From Here”: Rock Art, Heritage and Identity
Complimentary to the common perception of rock art, i.e., painted or engraved images on rock surfaces, as an archaeological source informing about the past, this article argues that what equally and additionally makes rock art heritage is the role the ancient images play in the present, influencing and shaping contemporary cultural processes. Developing this idea, the article discusses the use of rock art motifs in contemporary art, focusing on t…
Obrazy, które leczą: Dekolonizująca moc rdzennej sztuki Pierwszych Narodów Kanady
Kolekcje fotograficzne Indian Ameryki Północnej z przełomu XIX i XX wieku są rodzajem atlasu, który miał dokumentować ginący świat Indian. Dziś ten atlas jest krytycznie oceniany, a jedną z form jego ewaluacji jest współczesna sztuka Pierwszych Narodów. Artykuł pokazuje specyficzny aspekt tej sztuki, w której ów „atlas fotograficzny” jest dekolonizowany za pomocą symboli przynależących do „rdzennego atlasu” Pierwszych Narodów. Ważnymi symbolami t…
Kam and drum: New evidence for the use of rock affordances in shamanic petroglyphs in southern Siberia
Although shamanism and rock art have been widely discussed worldwide in recent decades, surprisingly little is still known about shamanic rock art in Siberia. What makes Siberian shamanism different from other forms of shamanism, however, is the fact that in Siberia it is a historical indigenous cultural tradition, not just a theory of interpretation. Siberian shamanism is also rich in ethnographic record, yet this data has rarely been used by ar…
Archaeology (11 works) · History (11 works) · Rock art (11 works) · Archaeology and Rock Art Studies (10 works) · Archaeology and ancient environmental studies (7 works) · Art (7 works) · Geography (6 works) · Pleistocene-Era Hominins and Archaeology (5 works) · Prehistory (5 works) · Shamanism (5 works)