Introduction Rock art is a worldwide phenomenon occurring on all continents except Antarctica. It ranges from the most basic non-figurative elements to the most complex, interlaced, figurative imagery filled with subtle colour shifts, textual gradations and geometric patterns. While the sheer number of works, diversity of styles, and range of techniques would rival the holdings of any national art institution, the high number of widely dispersed and often obscure or ‘remote’ locations of rock art galleries hinders the making of easy comparisons with displays of the more conventionally defined cultural institutions. Acknowledging but looking beyond obvious differences, this article explores some of the ways and means of appreciating rock art through archaeological and art historical methods and methodologies. We note the similarities and differences of our individual disciplines—their histories and methods—and express our shared desire to increase awareness of and respect for rock art through interdisciplinary research and dialogue. We acknowledge that information about and perspectives on rock art from Indigenous people in Australia have only been documented at a very small percentage of the thousands of sites recorded to date. This has left the majority of rock art research without an anchor in its local and most immediate social and cultural context, revealing a substantial gap in the existing literature. Archaeologists, and to a lesser extent anthropologists, have provided the majority of the scholarship on rock art, as art history has tended to restrict its study mostly to art from societies with a written record emanating from Europe. When art history has appreciated prehistoric mark making, it has tended to do so as a first and brief stop on a chronological tour of the past 35,000 years. Art history has selectively positioned iconic examples of rock art to fit the look and feel of a

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岩石艺术的考古和艺术历史鉴赏：来自 Nawarla Gabarnmang 的案例研究

介绍 岩画是一种世界性现象，发生在除南极洲以外的所有大陆。它的范围从最基本的非图形元素到最复杂的、交错的、充满微妙色彩变化、文本渐变和几何图案的图形图像。虽然作品的绝对数量、风格的多样性和技术的范围可以与任何国家艺术机构的藏品相媲美，但岩画画廊的大量分散且通常不为人知或“偏远”的地点阻碍了与展示更传统的文化机构。本文承认但超越了明显的差异，通过考古学和艺术史的方法和方法探讨了欣赏岩画的一些方式和方法。我们注意到我们各个学科的异同——它们的历史和方法——并表达了我们通过跨学科研究和对话提高对岩画的认识和尊重的共同愿望。我们承认，在迄今为止记录的数千个地点中，只有很小一部分记录了澳大利亚土著人对岩石艺术的信息和观点。这使得大多数岩画研究在当地和最直接的社会和文化背景下没有锚点，揭示了现有文献的巨大差距。考古学家和在较小程度上的人类学家提供了大部分岩石艺术奖学金，因为艺术史倾向于将其研究主要限于来自欧洲有书面记录的社会的艺术。当艺术史欣赏史前标记制作时，它倾向于将其作为过去 35,000 年按时间顺序排列的第一站和短暂停留。艺术史有选择地定位了岩石艺术的标志性例子，以适应岩石艺术的外观和感觉。