Introduction In the summer of 1970, internationally-acclaimed Australian artist Brett Whiteley travelled with his wife Wendy, their daughter Arkie, and a few of their artist friends to the Goulburn River near Mudgee in the Central Tablelands of New South Wales. During their short stay in the bush, Whiteley spent time drawing and painting, and it was at this time that he applied his brush to the walls of a sandstone overhang. In recent years, Whiteley’s paintings were rediscovered and for the most part remain visible today (Figure 1). Despite an increasing acknowledgement of Whiteley’s importance within the Australian art canon, and the documented significance of his rock paintings to the cultural heritage of the local area, it is intriguing that neither art nor archaeology scholars have given these paintings serious contemplation. I suggest that this relative inattention may be because this particular instance of rock art lies in uneasy or difficult scholarly territory. As a subject of inquiry, it does not fit the pattern as conventionally practised by either art history/art criticism or archaeology/heritage studies. Moreover, the act itself – Whiteley painting in a public space without prior permission to do so – could be read as both legally problematic and culturally insensitive. This may explain why Whiteley’s paintings do not appear on official NSW National Parks location maps, and are not signposted on the ground for visitation by the general public. The contested terrain that Whiteley’s rock paintings inhabit in the present also provides a focus for a more general set of concerns and conflicted opinions regarding cultural heritage: its attribution, evaluation and assessment, as well as ownership and processes of caretaking/management. In the pages that follow I take a closer look at Whiteley’s rock paintings, through the lenses of art history and rock art studies, to consider how we might better understand their relevance in terms of Whiteley’s legacy. I offer a preliminary reading of this unique body of work and propose that together art historical

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砂岩地面上的人物：考虑布雷特怀特利的岩石艺术

简介 1970 年夏天，享誉国际的澳大利亚艺术家布雷特·怀特利 (Brett Whiteley) 与妻子温迪、女儿阿基 (Arkie) 和几位艺术家朋友一起前往新南威尔士州中部高地马奇 (Mudgee) 附近的古尔本 (Goulburn) 河。在他们短暂停留在灌木丛中期间，怀特利花时间绘画和绘画，正是在这个时候，他将画笔涂抹在砂岩悬垂的墙壁上。近年来，怀特利的画作被重新发现，大部分至今仍可见（图 1）。尽管人们越来越认识到怀特利在澳大利亚艺术经典中的重要性，以及他的岩画对当地文化遗产的记载意义，但有趣的是，艺术和考古学者都没有认真考虑过这些画作。我认为这种相对的疏忽可能是因为岩石艺术的这个特殊实例处于不安或困难的学术领域。作为一个探究主题，它不符合艺术史/艺术批评或考古学/遗产研究的常规做法。此外，该行为本身——怀特利在未经事先许可的情况下在公共场所作画——可以被解读为在法律上有问题并且在文化上不敏感。这或许可以解释为什么怀特利的画没有出现在新南威尔士州国家公园的官方位置地图上，也没有在地面上标出供公众参观的路标。怀特利岩画目前所处的有争议的领域也为关于文化遗产的一系列更普遍的关注和相互矛盾的观点提供了一个焦点：其归属、评估和评估，以及照料/管理的所有权和过程。在接下来的几页中，我通过艺术史和岩石艺术研究的镜头仔细研究了怀特利的岩画，以考虑我们如何更好地理解它们与怀特利遗产的相关性。我提供了对这一独特作品的初步阅读，并建议将艺术史