By J. David Lewis-Williams
Taking as his start line the awesome Linton panel within the Iziko-South African Museum in Cape city, J. D. Lewis-Williams examines the inventive and cultural importance of rock paintings and the way this paintings sheds mild on how San image-makers conceived their global. It additionally information the ecu come across with rock paintings in addition to the contentious eu interplay with the artists’ descendants, the modern San people.
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1st ed. 8vo. xii, 238 pp. close to excellent, tight, contents fresh, the covers have a few recognizing and backbone fade.
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Additional resources for San Rock Art
7. A map of southern Africa showing the locations of San groups. |Xam is the language celebrated in the South African national motto. The southern San people from whom all this material was recorded lived in the semi-arid central parts of what is now South Africa (Fig. 7). Initially, they were brought to Cape Town as convicts, but the Governor allowed some to leave the prison and to live with the Bleek family in their suburban home. Others joined the Bleek family of their own volition. Bleek and Lloyd were never able to see rock paintings in their original settings.
The full impact of the concept-forming role of these books has thus been concealed. Despite these problems, it must be said that much useful empirical work was done during these decades of consensus. The names of such indefatigable researchers as Harald Pager, Alex Willcox, Bert Woodhouse, Neil Lee, the Focks (husband and wife), the Rudners (also a husband and wife team), Lucas Smits, the artist Walter Battiss, and Townley Johnson deserve honourable mention. Researchers still consult their picture-filled books.
50 Nineteenth-century records First, there are the writings of early European travellers and missionaries who struck out into the unknown interior of southern Africa. By and large, the information contained in their books is slight and prejudiced, though there are exceptions, such as the missionaries Thomas Arbousset and François Daumas, who garnered much information in the Maloti Mountains and to whom I refer in subsequent chapters. But if we had to rely entirely on colonial explorers, we should know very little about the San who made the art – that is, beyond their nomadic life style and their deadly poisoned arrows which so fascinated and terrified the early explorers.
San Rock Art by J. David Lewis-Williams