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stomach paunches. The question of gender representation in Gwion Gwion art was illuminated recently by the discovery that figures are depicted as if they are facing into the rock face. This perspective has been overlooked until now because of the
Western bias toward images that "face out", but also because the "facing in" perspective is more evident in depictions with excellent delineation of body contours, such as the rare Classic Realistic style, which is also earliest in superposition studies. If one appreciates the "facing in" perspective, it becomes evident that the many attributions of "paunches" are incorrect, both because they can now be seen to be located at the rear of these figures, but also because it is anatomically incorrect to attribute the belly to gluteal structures located more inferiorly. Furthermore, the figures are ornamented with a diversity of objects such as belts, headdresses, bags and tassels, while other material culture is sometimes depicted, such as
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explicitly been recorded as saying that men had taken over roles they once performed in ceremonies. This is supported by many completely different languages having a similar word for women shamans (e.g., udaghan, udagan, utygan), while the term for male shamans is distinct in each language. Michaelson considered it significant that while few women are depicted in Gwion Gwion art, Tassel figures which appear to be leading ceremonies (the oldest art) clearly have breasts, in contrast to later art which depicts males in the leading roles. Pettigrew identifies elements of Gwion Gwion art with symbols used by
211:. While Bradshaw initially described the colour of the art as having shades of pale blue and yellow, most figures have a deep purple-red hue, mulberry colour or a red to yellow-brown colour. However, Donaldson notes that there are rare examples of multi-coloured figures that retain some yellow and white pigment. The height of the art is variable; most are between 40 and 50 centimetres (16 and 20 in) in length with some examples up to 2 metres (6 ft 7 in) in height.
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749:, an expert on Indigenous Australian rock art, puts it bluntly, "Shamaniacs rule the world at present...It's just another orthodoxy basking in its five minutes of sunshine." Grahame Walsh considered the idea of women shamans in the Gwion Gwion culture "preposterous". Pointing out that women Gwion Gwion images tend to have extremely prominent breasts, Walsh says that the smaller breasts identified by Michaelson are probably chest-band decorations.
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Wandjina art depicting cloud and rain spirits 3,800 to 4,000 years ago coincides with the end of the "mega-drought" and a return of the rain which gave the region its current climate. The research paper's lead author, Hamish McGowan, suggests further investigation into the resulting cultural collapse and the possibility that another ethnic group supplanted the Gwion Gwion artists. The chair in
Kimberley rock art at the
517:. After around 10,000 years of stable climatic conditions, temperatures began cooling and winds became stronger, leading to the beginning of an ice-age. During the glacial maximum, 25,000 to 15,000 years ago, the sea level was some 140 metres (460 ft) below its present level, with the coastline extending 400 kilometres (250 mi) further to the north-west. Australia was connected to
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planning. Some faces of the figures are painted with anatomically correct features with enough detail to be considered portraits. Due to the fine detail and control found in the images, such as strands of hair painted in thicknesses of 1–2 millimetres (0.039–0.079 in), it has been suggested that feather
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Anthropologist Robert Layton notes that researchers such as Ian
Crawford, who worked in the region in 1969, and Patricia Vinnicombe, who worked in the region in the 1980s, were both told similar creation stories regarding the Gwion-type art. Since 1980, more systematic work has been done in an effort
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is believed to have become extinct 45,000–46,000 years ago, this suggests a similar age for the associated Gwion Gwion art. Archaeologist Kim
Akerman however believes that the megafauna may have persisted later in wetter areas of the continent as suggested by Wells, and has suggested an age of 15,000
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is found; in contrast with
Wandjina art, which has a limited distribution restricted to isolated sites. Unlike Wandjina, Gwion Gwion art is rarely found on ceilings, rather vertical rock surfaces are used, high up in escarpments in shallower rock shelters with small overhangs and with irregular rocky
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The distribution and stylistic range of these paintings is quite distinctive, and contrasts with the
Wandjina tradition. While more common in some areas, such as the sandstone regions of the west and central Kimberley, isolated examples have also been found in several scattered locations in the east,
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and boomerangs. These are difficult to place in the style sequence as they are the only figures that are not superimposed over a painting from another period. Also, no other style is superimposed over them and they are the only style that has not been defaced. Stylistically, they are believed to fall
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bias. The figures and their existence as an artistic tradition was questioned; articles and books on these works were not published until the 1950s. The rediscovery of the original mural after more than a century has shown that
Bradshaw had a remarkable gift for reproduction without photography, and
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the name of the bird found in the creation story originally heard by
Schultz in 1938. Aboriginal people are also more open in telling foreigners stories regarding the images. These stories often relate to spirits who created dances which are still performed today and feature similar apparel found in
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Work undertaken by amateur archaeologist
Grahame Walsh, who began work there in 1977 and returned to record and locate new sites up until his death in 2007. The results of this work produced a database of 1.5 million rock art images and recordings of 1,500 new rock art sites. He expanded his records
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art. Around 15,000 years ago, the archaeological record shows that
Aboriginals in the Kimberleys began using stone points in place of multi-barbed spears, but there is no record of this change of technology in the Gwion Gwion paintings. The most recent paintings still depict the use of multi-barbed
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have markedly close similarities. He also noted that the worldwide pattern of shamanism suggests a common heritage that radiated outward from North Africa about 50,000 years ago; it may have originated as a woman's role which over time has been taken over by men. Aboriginal women in Australia have
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Artistically, Gwion Gwion are unusually advanced both in technique and style. Image processing has revealed that the outline of the figures are often painted first, then filled in. Engraving in the rock often follows the outlines of figures and may have served as a preliminary sketch which implies
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by Welch. These figures are depicted in a stationary pose and painted with red pigment. Segments of their bodies are missing, such as their waists, arms and feet, the result of different colour pigments, such as whites and yellows, fading over time. The material culture depicted with these figures
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Aboriginal people also criticised Grahame Walsh, arguing that he failed to hear their explanations of the significance that the paintings had in their culture. Crawford records being told by an Aboriginal elder in 1969 that the Gwion Gwion were "rubbish paintings", a quote that Walsh would repeat
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interest in Peninsula region, research in the coastal area brought with it an awareness of Aboriginal art and culture. However, attention to the Gwion Gwion art was sporadic. Several researchers who encountered the Gwion-type of paintings during expeditions to the region were members of the 1938
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nests have been built over paintings, and it gives a minimum age rather than an actual age of the painting. The results of this have revealed some inconsistency with Walsh's chronology. Experimental OSL dates from a wasp nest overlaying a tassel Gwion Gwion figure has given a Pleistocene date of
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may have been used as a technique to apply the paint to the rock walls; an imprint of a feather found at one site may support this possibility. No evidence has yet been found of any corrections or changes in composition during or after painting, while evidence of restoration has been found. In a
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The Gwion Gwion paintings predominantly depict human silhouette figures that appear to be suspended in the air or in a dynamic style that suggests running, hunting or dancing. While gender is rarely portrayed in the paintings, limb, arm and shoulder muscles are often well defined in addition to
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The discontinuity in artistic styles between the earlier Gwion Gwion and the current Wandjina has been attributed to the severe drought phase that followed the collapse of the wet season in 5,500 BP. The Gwion Gwion style art ended around this time, possibly within 500 years. The emergence of
296:. This represented only the second example of megafauna depicted by the Indigenous inhabitants of Australia. The image has a "clothes peg" Gwion Gwion superimposed over the thorax, while a "Tassel" Gwion Gwion crosses the forearm of the animal. In 2009, a second image was found that depicts a
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With the exception of Elegant Action figures which have been left undamaged for unknown reasons, all Gwion Gwion paintings exhibit possible vandalism, which may indicate ritual mutilation or defacing. Superpositioning of images, another form of vandalism, is common throughout the Kimberley.
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Research concerning Gwion Gwion art is controversial and little consensus has been reached. Debate has primarily concerned Walsh's interpretations regarding the origins, dating and ethnicity of the Gwion Gwion artists, and his rejection of Aboriginal people as being their descendants. The
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since 2009 as part of the government's fire prevention strategy has caused paint to peel from over 5,000 of the 8,742 known examples of Gwion Gwion art. A survey by archaeologist Lee Scott-Virtue has determined that up to 30 per cent of the rock art had been completely destroyed by fire.
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Peter Veth criticised the research paper for claiming that simultaneous changes in climate patterns and art styles indicates the collapse of a culture. Veth suggested that a climate change coinciding with the change from Gwion Gwion to Wandjina art is coincidence, pointing out that the
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and amongst Australian rock art researchers. A 2020 study estimates that most of the anthropomorphic figures were created 12,000 years ago, based on analysis of painted-over wasps' nests. These aspects have been debated since the works were seen, and recorded, in 1891 by pastoralist
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The Gwion Gwion are not the region's earliest paintings. The earlier art consists of crude animal drawings that are believed to be up to 40,000 years old. The Gwion Gwion have nothing in common with this earlier art and first appeared following the peak of the most recent
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some 70,000 years ago, by reed boat across the Indian Ocean, provisioning themselves with the fruit of the baobab tree. The Australian archaeological community has generally not accepted such claims and believes that Gwion Gwion are indigenous works. For example, Dr
555:. It is believed that no more than 15% of Australia supported trees of any kind. While some tree cover remained in the southeast of Australia, the vegetation of the wetter coastal areas in this region was semi-arid savannah. Tasmania was covered primarily by cold
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Based on stylistic characteristics, Walsh categorised two individual styles of Gwion paintings, which he named "Tassel" and "Sash" for dominant clothing features. He also identified two variants, which he named "Elegant Action figures" and "Clothes Peg figures".
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Research undertaken in relation to Aboriginal knowledge has also increased. This has primarily been seen in Aboriginal names being applied to the paintings, reflecting the specific Aboriginal languages used in the areas where they are found. For example, the
177:, and woven bags. This is the most recent style. The anatomical detail common in the earlier styles is missing, and many of the images are shown in aggressive stances. At least one panel shows a battle with opponents arrayed in ranks opposite each other.
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Scholars have generally rejected the idea that Gwion Gwion art was painted by anyone other than Aboriginal people. Statistical analysis undertaken by Michael Barry has concluded that the Gwion Gwion art shares no stylistic attributes with prehistoric
624:, only to be displaced by the ancestors of present-day Aboriginal people. Walsh based this interpretation on the sophistication of Gwion Gwion art when compared to other art in the Kimberley region, such as the much later Wandjina styles.
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is "likely to be only about 3,000 years old." Using the AMS results from accreted paint layers containing carbon associated with another figure, gives a date of 3,880 BP making Gwion Gwion art contemporaneous with, and no older than,
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claims in the Kimberley. The ongoing disagreements regarding the age of the art and debate about whether it was created by non-Indigenous people makes Gwion Gwion rock art one of Australian archaeology's most contentious topics.
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Sash: while similar in appearance to the Tassel figures, the Sash body is depicted more robustly and the accoutrements depicted are slightly different: a three-pointed sash or bags attached to the figures' belts begin to be
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of the Kimberley does not show a break in occupation, and that stylistic changes in Aboriginal art have occurred elsewhere in Australia. Additionally, the migration of a new ethnic group into the area is unsupported by the
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The fossil record of climate and vegetation at the last glacial maximum is sparse, but still clear enough to provide an overview. When the Kimberley region was first occupied circa 40,000 years ago, the region consisted of
487:"Long ago Kujon a black bird, painted on the rocks. He struck his bill against the stones so that it Bleed, and with the blood he painted. He painted no animals, only human-shaped figures which probably represent spirits."
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and alpine grasslands, with snow pines at lower altitudes. There is evidence that there may have been a significant reduction in Australian Aboriginal populations during this time. It appears there were scattered
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in a press release stated, "No archaeological evidence exists which suggests that the early colonisation of Australia was by anyone other than the ancestors of contemporary Aboriginal people", the release quoted
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detailed study of 66 panels, approximately 9% of the images have clearly been vandalized. Some were scratched with stones, some damaged by thrown stones, and some have been broken by hammering with large rocks.
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expedition. Agnes Schultz noted that unlike with Wandjina art, Aboriginal people showed little interest in the Gwion Gwion paintings, although they recognised them as depictions of bush spirits or D'imi.
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Rainsbury, Michael P (2013) Mr Bradshaw's drawings': reassessing Joseph Bradshaw's sketches. Rock Art Research: The Journal of the Australian Rock Art Research Association (AURA) 2012 Volume 30 243-253
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interacting with an "elegant action" Gwion Gwion who is in the act of spearing or fending the animal off with a multibarbed spear. Much smaller and less detailed than the 2008 find, it may depict a
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Media coverage has at times emphasised his claims of mysterious races. Pettigrew suggests that the Gwion Gwion paintings depict people with 'peppercorn curls' and small stature that characterise
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briefly commented on the figures while undertaking a survey of Australian rock art that he would publish in 1936. Davidson noted that Bradshaw's encounter with this art was brief and lacked any
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artists to convey their experience with hallucinogens, and others that seem to show hallucinatory elements. From this he infers that psilocybin-induced trances were a feature of both cultures.
265:. The academic community generally accepts 5,000 BP for the end of the artistic style. If the date ranges are correct, this may demonstrate that the Gwion Gwion tradition was produced for many
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Tassel figures: identified by their characteristic tassels hanging from their arms and waists, various other accessories can be recognised, such as arm bands, conical headdresses and
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interpretations; furthermore, as Bradshaw's sketches of the art were at this time the only visual evidence, Davidson argued that they could be inaccurate and possibly drawn from a
1312:. Rock art of forgotten people. An interdisciplinary workshop about rock art in the Kimberley region, Australia. Delmenhorst, Germany: Hanse-Wissenschaftskolleg. pp. 32–43.
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argued that the aesthetics of the art did not support claims for a non-Aboriginal origin when comparison is made to the aesthetic value of contemporary Aboriginal art. The
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and amateur researchers have continued to suggest exotic origins for the Gwion Gwion rock paintings, although these interpretations are considered fringe by reviewers.
72:. Key traditional owners have published their own account of the meaning of the images. However the identity of the artists and the age of the art are contended within
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1442:"'Alien abductions', Kimberley Aboriginal rock-paintings, and the speculation about human origins: on some investments in cultural tourism in the northern Kimberley"
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Pettigrew, Jack; Callistemon, Chloe; Weiler, Astrid; Gorbushina, Anna; Krumbein, Wolfgang; Weiler, Reto (2010), "Living Pigments in Australian Bradshaw Rock Art",
620:, a time before Aboriginal people populated Australia. He suggested that the art may be the product of an ethnic group who had likely arrived in Australia from
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Elegant Action figures: quite different from the Tassel and Sash figures, these figures are almost always shown running, kneeling or hunting with multi-barbed
543:, was covered by vast grasslands, while woodlands and semi-arid scrub covered the shelf joining New Guinea to Australia. Southeast of the Kimberley, from the
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overseas. Moreover, Barry argues that stylistically, Gwion Gwion art has more in common with art found elsewhere in Australia, such as figures painted in
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In many cases, Tassel and Sash figures appear to be involved in either dancing, ecstatic behaviour, or both which, according to a study by Michaelson
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is an adjective usually used to describe someone who is too old or too young to be active in the local culture. Another use is meaning something is
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The Gwion or Bradshaw art style of Australia's Kimberley region is undoubtedly among the earliest rock art in the country – but is it Pleistocene?
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in which the modern vegetation types and human populations were able to survive. With the end of the ice-age, the Kimberley region settled into a
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Drawings of Gwion Gwion rock paintings in the Kimberley region of Western Australia depicting the four traditional styles (resized for comparison)
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that demonstrated that Gwion Gwion art is found early in the Kimberley rock art sequence. He proposed that the art dated to a period prior to the
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118:. Many of the ancient rock paintings maintain vivid colours because they have been colonised by bacteria and fungi, such as the black fungus,
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implications of his interpretations generated considerable criticism beginning in the mid-1990s due to its continuing potential to undermine
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Since the mid-1990s, scientific dating methods have been used to determine the ages of the Gwion Gwion paintings. The methods have included
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escarpment. Bradshaw recognised that this style of painting was unique when compared to the Wandjina style. In a subsequent address to the
2182:(2012). "Rock Art, Aboriginal Culture, and Identity: The Wanjina Paintings of Northwest Australia". In McDonald, J.J.; Veth, M.M. (eds.).
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903:. compiled by Kim Doohan. Derby, Western Australia: Dambimangari Aboriginal Corporation and Wunambal Gaambera Aboriginal Corporation.
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1384:"An initial investigation into aspects of preservation potential of the Bradshaw rock-art system, Kimberley, northwestern Australia"
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Nyara pari kala niragu (Gaambera), gadawara ngyaran-gada (Wunambal), inganinja gubadjoongana (Woddordda) = we are coming to see you
813:; Levchenko, Vladimir A.; Heaney, Pauline; Veth, Peter; Harper, Sam; Ouzman, Sven; Myers, Cecilia; Green, Helen (1 February 2020).
450:, he commented on the fine detail, the colours, such as brown, yellow and pale blue, and he compared it aesthetically to that of
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the land, including the western and southern margins of the now exposed continental shelves, was covered by extreme deserts and
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However, only a small number of researchers believe that shamanism has been part of the culture of Indigenous Australians.
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Biro, P.P.; Ebersole, T. W.; Felder, M. A. J.; Jensen, I. B.; Michaelsen, P.; Smith, M. W.; Von Liptak, P. (June 2001).
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approximately 90 kilometres (56 mi) wide. Rainfall decreased by 40% to 50% depending on region, while the lower CO
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Coukell, Allan (May 2001). "Could mysterious figures lurking in Australian rock art be the world's oldest shamans?".
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85:, the rock art is referred to and known by many different names in the local languages, the most common of which are
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Dodson, J.R. (September 2001). "Holocene vegetation change in the Mediterranean-type climate regions of Australia".
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Journals of Two Expeditions of Discovery in North-West and Western Australia, during the Years 1837, 38, and 39
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Rock art in the Kimberley region was first recorded by colonial explorer and future South Australian governor,
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Barry, Michael; John Peter, White (2004), "'Exotic Bradshaws' or Australian 'Gwion': an archaeological test",
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Recent advances in dating methods may shed light on the age of the paintings and gain a more accurate result.
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1869:"Evidence of ENSO mega-drought triggered collapse of prehistory Aboriginal society in northwest Australia"
1467:"An ancient rock painting of a marsupial lion, Thylacoleo carnifex, from the Kimberley, Western Australia"
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Map showing the probable extent of land at the time of the last glacial maximum 25,000 to 15,000 years ago
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Tacon, Paul; Mulvaney, Ken; Fullagar, Richard; Head, Lesley (1999), "Bradshaws' – an eastern province?",
1053:(Gwion Gwion: Secret and Sacred Pathways of the Ngarinyin Aboriginal People of Australia), Könemann 2000
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Crawford, Ian (1977). "The relationship of Bradshaw art in north-west Kimberley". In Ucko, P.J. (ed.).
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372:. Australian rock art researcher David Welch notes that these words are probably different regional
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Mangolamara, Sylvester; Lily Karadada; Janet Oobagooma; Donny Woolagoodja; Jack Karadada (2018).
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continually in support of his own theory that the art was not of Aboriginal origin. In the local
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Pettigrew, Jack (24 August 2011). "Iconography in Bradshaw rock art: breaking the circularity".
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Walsh, Grahame L.; Morwood, M.J. (1996). "Bradshaws: Ancient Paintings of Northwest Australia".
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Welch, David (2007). "Bradshaw art of the Kimberley". In Donaldson, M; Kenneally, K.F. (eds.).
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that Davidson's criticisms were unfounded in the absence of the original. With the growth of
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are also depicted in contemporary art works produced for sale in the Kimberley; one notable
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2026:"Minutes of the 1995 Annual General Meeting of the Australian Archaeological Association",
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Hanbury-Tenison, Robin (28 July 2006), "An earlier start – Lost World of the Kimberley ",
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levels (half pre-industrial levels) meant that vegetation required twice as much water to
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273:, Alan Watchman posits that the red paint used on a tasselled Gwion Gwion image near the
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Lost World of the Kimberley: Extraordinary New Glimpses of Australia's Ice Age Ancestors
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Welch, David (1993). "Early 'naturalistic' human figures in the Kimberley Australia".
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The art consists primarily of human figures ornamented with accessories such as bags,
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81:, after whom they were named until recent decades. As the Kimberley is home to many
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Contemporary and prehistoric rock paintings in Central and Northern North Kimberley
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815:"12,000-Year-old Aboriginal rock art from the Kimberley region, Western Australia"
719:) are commonly depicted with Tassel and Sash figures that appear to be in motion.
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Last Glacial Maximum habitat change and its effects on the grey-headed flying fox
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1372:(2000) Bradshaw Art of the Kimberley. Toowong: Takarakka Nowan Kas Publications
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According to Walsh, Gwion Gwion art was associated with a period he called the
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Appropriated Pasts: Indigenous Peoples and the Colonial Culture of Archaeology
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Australia: The Land Where Time Began: A biography of the Australian continent
1690:"Joseph Bradshaw – Getting Lost in the Kimberley and The Art Named After Him"
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Welch, David (1990). "The bichrome art period in the Kimberley, Australia".
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Gwion Gwion: Chemins Secrets Et Sacrés Des Ngarinyin, Aborigènes D'Australie
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1498:"Interaction between humans and megafauna depicted in Australian rock art?"
954:"Mysterious Australian rock art may depict the chaos following rising seas"
927:(November 2006). "The appropriation of Indigenous images: a review essay".
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When pressed, the expedition's Aboriginal guide explained their creation:
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73:
1788:
Elkin, Adolphus Peter (1930). "Rock Paintings of North-West Australia".
164:
Clothes Peg figures: were named by Walsh after their resemblance to old
4074:
3967:
3925:
3741:
3704:
3667:
3563:
3150:
3062:
2889:
2790:
2763:
2683:
2481:
2435:
2346:
2314:
712:
653:
631:
groups; he speculates that African people travelled, shortly after the
628:
518:
288:
266:
249:
165:
111:
1867:
McGowan, Hamish; Marx, Samuel; Moss, Patrick; Hammond, Andrew (2012).
3982:
3751:
3736:
3334:
3319:
3244:
3227:
3145:
3030:
2971:
2961:
2956:
2879:
2758:
2646:
2572:
2339:
2329:
2090:
1447:
Australian Institute of Aboriginal and Torres Strait Islander Studies
734:
621:
439:
301:
204:
146:
126:
2249:
1550:
411:
3756:
3692:
3539:
3497:
3232:
3140:
3015:
2837:
2800:
2780:
548:
539:. The Kimberley region, including the adjacent exposed continental
523:
514:
424:
65:
1572:
Rock Art of the Cobar Pediplain in Central Western New South Wales
3818:
3610:
3556:
3502:
3324:
3130:
3040:
2894:
2795:
2753:
2616:
2535:
2488:
2476:
2266:
1631:
336:
279:
1342:
3886:
3423:
3401:
3254:
3190:
3135:
2525:
2503:
2471:
2445:
1730:
Aboriginal Australian and Tasmanian Rock Carvings and Paintings
1627:"'Negligent' burning in WA's north threatening rock art, homes"
1292:. Australian Institute of Aboriginal Studies. pp. 357–369.
1018:
Aboriginal Australian and Tasmanian Rock Carvings and Paintings
708:
650:
556:
528:
125:
The pigments originally applied may have initiated an ongoing,
94:
1963:
Environmental Sciences Division, Oak Ridge National Laboratory
500:
492:
to identify more Gwion Gwion rock art sites in the Kimberley.
430:
While searching for suitable pastoral land in the then remote
407:
Backburning has since largely destroyed the original painting.
3952:
3672:
3406:
3360:
3222:
3077:
3025:
2601:
2567:
405:
area of the Kimberley. Drawn by Joseph Bradshaw in April 1891
216:
157:
401:
Gwion Gwion figures superimposed over a kangaroo and snake.
194:
58:
Bradshaw rock paintings, Bradshaw rock art, Bradshaw figures
3898:
3859:
3339:
3195:
3125:
3045:
2917:
2430:
552:
381:
the paintings, such as headdresses, boomerangs and string.
304:, however, the comparative size and morphology indicates a
208:
808:
672:
for example, non-venomous snakes are all considered to be
415:
Indigenous Australian rock art in the later Wandjina style
3210:
2976:
2934:
2258:
Bradshaw Paintings of the Kimberley, North West Australia
1263:
1180:
Bradshaws: ancient rock paintings of north-west Australia
2252:
Researching, preserving and promoting Kimberley rock art
1381:
149:. This style is the earliest, most detailed and largest.
521:, and the Kimberley was separated from southeast Asia (
312:
and archaeologists who have examined the image. As the
1866:
237:, which is dated between 26,500 and 20,000 years ago.
1662:. Vol. 1. London: T. and W. Boone. p. 263.
1114:
Donaldson, Mike (September 2010). Clottes, J. (ed.).
1303:
Scott-Virtue, Lee; Goodgame, Dean (5 October 2012).
1302:
698:
286:
In 2008, rock art depicting what is thought to be a
110:
and style sequences of the paintings to establish a
36:
Gwion Gwion (Tassel) figures wearing ornate costumes
2177:
649:: "such interpretations are based on and encourage
129:relationship between black fungi and red bacteria.
952:
64:) are one of the two major regional traditions of
292:was discovered on the north-western coast of the
4141:
423:as early as 1838. This rock art is now known as
2215:
2196:
2080:
1194:"Ancient rock art's colours come from microbes"
392:
1990:"Did mega-drought destroy Aboriginal culture?"
1464:
1123:. L'art pléistocène en Australie (Pré-Actes).
576:rains to weaken or fail for some 1,500 years.
2288:
1852:James Cook University, Townsville, Queensland
1574:. Australian Institute of Aboriginal Studies.
2186:. Malden: Wiley Blackwell. pp. 476–477.
2112:
992:"Australian rock art dated using wasp nests"
438:documented an unusual type of rock art on a
676:while in contrast, venomous snakes are all
2302:
2295:
2281:
2049:"Workshop to address contentious rock-art"
1752:Memoirs of the National Museum of Victoria
1620:
1618:
1491:
1489:
1215:
1213:
1211:
1209:
1207:
1205:
1203:
611:
198:The Kimberley region of Western Australia.
2142:
2086:"Evidence of pre-aboriginal Australians?"
1954:Australasia during The Last 150,000 Years
1894:
1819:. Cambridge University Press. p. 84.
1772:
1763:
1465:Akerman, Kim; Willing, Tim (March 2009).
1235:
1233:
1113:
848:
767:Department of Fire and Emergency Services
161:between the Sash and Clothes Peg figures.
2138:
2136:
2076:
2074:
1741:
1739:
1727:
1709:
1569:
1306:Stylistic variations of Bradshaw Figures
1287:
1173:
1171:
1169:
1045:
1043:
1041:
499:
410:
396:
308:is more likely, a position supported by
193:
135:
31:
1862:
1860:
1858:
1745:
1624:
1615:
1495:
1486:
1458:
1439:
1259:
1257:
1255:
1219:
1200:
730:in which he argued that Aboriginal and
342:
14:
4142:
2043:
2041:
1909:
1903:
1823:
1814:
1808:
1748:"North–west Australian rock paintings"
1440:Redmond, Anthony (22 September 2002).
1296:
1283:
1281:
1279:
1230:
1144:
1142:
1109:
1107:
1105:
1103:
1101:
1099:
1097:
1095:
1093:
947:
3466:
3105:
2371:
2276:
2133:
2071:
2021:
2019:
2017:
1829:
1787:
1781:
1736:
1728:Davidson, Sutherland Daniel (2011) .
1584:
1435:
1433:
1239:
1177:
1166:
1070:
1038:
998:. Australian Broadcasting Corporation
989:
941:
923:
642:Australian Archaeological Association
572:event in the mid Holocene caused the
327:has proposed dating the art by using
70:Kimberley region of Western Australia
3467:
1987:
1981:
1855:
1817:Australian Rock Art: A New Synthesis
1717:. Allen & Unwin. pp. 18–19.
1681:
1652:
1646:
1589:. Kimberley Society. pp. 39–56.
1544:
1339:"Bradshaw Rock Art of the Kimberley"
1252:
1078:. Fribourg: Anthropos. p. 555.
917:
870:
868:
802:
191:floors not suitable for occupation.
2145:Clinical and Experimental Optometry
2038:
1687:
1276:
1186:
1160:Australian Broadcasting Corporation
1139:
1090:
317:to 22,000 years for the paintings.
168:, but they are also referred to as
24:
2014:
1802:10.1002/j.1834-4461.1930.tb01649.x
1625:Holland, Steve (2 December 2014).
1430:
1375:
1319:from the original on 26 March 2021
990:Weule, Genelle (6 February 2020).
874:McNiven, Ian and Russell, Lynette
100:
25:
4171:
3419:Megalithic architectural elements
2228:
1988:Egan, Joanna (18 December 2012).
1974:Last Glacial Maximum in Australia
865:
699:Depictions of shamanistic rituals
360:used by Aboriginal people in the
246:optically stimulated luminescence
3106:
2157:10.1111/j.1444-0938.2011.00648.x
809:Finch, Damien; Gleadow, Andrew;
763:Department of Parks and Wildlife
711:rituals or creation ceremonies.
597:
4038:Evolutionary origin of religion
2209:
2190:
2171:
2106:
2057:University of Western Australia
1966:
1946:
1842:
1732:. Hesperian Press. p. 133.
1721:
1703:
1593:
1578:
1563:
1535:
1526:
1517:
1421:
1412:
1366:
1357:
1331:
715:leaves (which can be used as a
582:University of Western Australia
2250:Kimberley Foundation Australia
2127:10.1080/03122417.1996.12094417
1496:Akerman, Kim (December 2009).
1064:
1025:American Philosophical Society
1010:
983:
892:
752:
173:includes multi-barbed spears,
13:
1:
4155:Kimberley (Western Australia)
3651:Art of the Middle Paleolithic
3181:British megalith architecture
2244:The Times Literary Supplement
2218:The Times Literary Supplement
2199:Australian Aboriginal Studies
795:
244:radiocarbon dating (AMS) and
242:accelerator mass spectrometry
27:Rock art in Western Australia
4160:Art of the Upper Paleolithic
3646:Art of the Upper Paleolithic
3186:Nordic megalith architecture
2262:"Rock star of the Kimberley"
1874:Geophysical Research Letters
1570:McCarthy, Frederick (1975).
1427:1997:44; cf. Michaelson 2000
1016:Davidson, Daniel Sutherland
570:El Niño–Southern Oscillation
393:Colonial discovery and study
7:
1127:(published 2012). p. 4
773:
495:
331:extracted from colonies of
235:Pleistocene glacial maximum
10:
4176:
3794:British Isles and Brittany
3715:Gwion Gwion rock paintings
1182:. Geneva: Édition Limitée.
761:by the Western Australian
459:Daniel Sutherland Davidson
448:Royal Geographical Society
434:area in 1891, pastoralist
248:(OSL). This was used when
42:Gwion Gwion rock paintings
3996:
3809:
3636:
3483:
3479:
3462:
3348:
3312:
3161:
3118:
3114:
3101:
2908:
2739:
2712:
2637:
2563:
2554:
2459:
2384:
2380:
2372:
2367:
2310:
1765:10.24199/j.mmv.1956.20.01
1587:Rock art of the Kimberley
780:Indigenous Australian art
574:Australian summer monsoon
227:
1959:26 February 2013 at the
1196:. BBC. 27 December 2010.
757:Aerial fire-bombing and
566:tropical monsoon climate
335:which have replaced the
68:found in the north-west
4026:Evolutionary musicology
3429:Oldest extant buildings
3356:Archaeological features
2875:Prepared-core technique
2237:Lost World of Kimberley
1815:Layton, Robert (1991).
1746:Schultz, Agnes (1956).
1178:Walsh, Grahame (1994).
969:10.1126/science.abb1842
612:Exotic or local artists
457:American archaeologist
389:artist is Kevin Waina.
383:Bradshaws (Gwion Gwion)
3988:Unchambered long cairn
3836:Mound Builders culture
3169:Neolithic architecture
2304:Prehistoric technology
2115:Australian Archaeology
2082:Hanbury-Tenison, Robin
2028:Australian Archaeology
1932:10.1191/09596830195690
1290:Form in Indigenous Art
996:ABC News (ABC Science)
841:10.1126/sciadv.aay3922
505:
489:
416:
408:
356:. Other terms include
199:
141:
37:
4150:Rock art in Australia
3663:List of Stone Age art
2865:Microblade technology
2813:Langdale axe industry
2411:Ard / plough
2184:Companion to Rock Art
1995:Australian Geographic
785:List of Stone Age art
511:open tropical forests
503:
485:
414:
400:
197:
170:Straight Part Figures
139:
35:
4070:Prehistoric medicine
4065:Prehistoric counting
4048:Prehistoric religion
4043:Paleolithic religion
4021:Behavioral modernity
3378:Causewayed enclosure
3270:Abri de la Madeleine
2394:Neolithic Revolution
1896:10.1029/2012GL053916
1396:on 24 September 2015
1072:Worms, Ernest Ailred
343:Indigenous knowledge
18:Gwion Gwion rock art
4109:Prehistoric warfare
2855:Magdalenian culture
2818:Levallois technique
2749:Earliest toolmaking
2256:Bradshaw Foundation
2002:on 20 December 2012
1924:2001Holoc..11..673D
1887:2012GeoRL..3922702M
1523:Roberts et al. 2001
833:2020SciA....6.3922F
545:Gulf of Carpentaria
477:Frobenius Institute
403:Prince Regent River
370:Prince Regent River
339:in some paintings.
166:wooden clothes pegs
56:(also known as the
4060:Origin of language
4053:Spiritual drug use
3963:Rectangular dolmen
3865:Dartmoor kistvaens
3678:Carved stone balls
3390:Circular enclosure
3349:Other architecture
3292:Alp pile dwellings
2880:Solutrean industry
2791:Gravettian culture
2441:Secondary products
2180:Woolagoodja, Donny
1345:on 3 November 2018
1162:. 15 October 2002.
693:popular historians
662:Indigenous English
506:
417:
409:
200:
142:
83:traditional owners
38:
4137:
4136:
4133:
4132:
4129:
4128:
4082:Prehistoric music
4031:music archaeology
3688:Cup and ring mark
3513:Clothing/textiles
3458:
3457:
3454:
3453:
3097:
3096:
3093:
3092:
2900:Yubetsu technique
2885:Striking platform
2850:Lithic technology
2735:
2734:
2720:Game drive system
2639:Projectile points
2531:Mortar and pestle
2178:Blundell, Valda;
2059:. 14 October 2010
1848:J.G. Luly et al.
1832:Rock Art Research
1697:Kimberley society
1688:Clement, Cathie.
1418:Watchman 1997: 42
1406:HighBeam Research
1266:Rock Art Research
1242:Rock Art Research
951:(February 2020).
949:Finkel, Elizabeth
930:Rock Art Research
726:cited studies by
717:psychoactive drug
97:and headdresses.
16:(Redirected from
4167:
4097:Divje Babe flute
4004:Archaeoastronomy
3747:Petrosomatoglyph
3481:
3480:
3464:
3463:
3313:Water management
3116:
3115:
3103:
3102:
3006:Denticulate tool
2828:Lithic reduction
2561:
2560:
2382:
2381:
2369:
2368:
2297:
2290:
2283:
2274:
2273:
2222:
2221:
2213:
2207:
2206:
2194:
2188:
2187:
2175:
2169:
2168:
2140:
2131:
2130:
2110:
2104:
2103:
2101:
2099:
2084:(26 July 2006).
2078:
2069:
2068:
2066:
2064:
2045:
2036:
2035:
2023:
2012:
2011:
2009:
2007:
1998:. Archived from
1985:
1979:
1970:
1964:
1950:
1944:
1943:
1907:
1901:
1900:
1898:
1864:
1853:
1846:
1840:
1839:
1827:
1821:
1820:
1812:
1806:
1805:
1785:
1779:
1776:
1770:
1769:
1767:
1743:
1734:
1733:
1725:
1719:
1718:
1711:Bradshaw, Joseph
1707:
1701:
1700:
1694:
1685:
1679:
1678:
1676:
1674:
1650:
1644:
1643:
1641:
1639:
1622:
1613:
1612:
1610:
1608:
1597:
1591:
1590:
1582:
1576:
1575:
1567:
1561:
1560:
1548:
1542:
1539:
1533:
1530:
1524:
1521:
1515:
1514:
1512:
1510:
1493:
1484:
1483:
1481:
1479:
1462:
1456:
1455:
1437:
1428:
1425:
1419:
1416:
1410:
1409:
1403:
1401:
1392:. Archived from
1379:
1373:
1370:
1364:
1361:
1355:
1354:
1352:
1350:
1341:. Archived from
1335:
1329:
1328:
1326:
1324:
1318:
1311:
1300:
1294:
1293:
1285:
1274:
1273:
1261:
1250:
1249:
1237:
1228:
1227:
1217:
1198:
1197:
1190:
1184:
1183:
1175:
1164:
1163:
1155:Australian Story
1146:
1137:
1136:
1134:
1132:
1122:
1111:
1088:
1087:
1068:
1062:
1047:
1036:
1014:
1008:
1007:
1005:
1003:
987:
981:
980:
956:
945:
939:
938:
921:
915:
914:
896:
890:
872:
863:
862:
852:
820:Science Advances
806:
747:George Chaloupka
638:Andrée Rosenfeld
310:palaeontologists
271:Geoarchaeologist
260:
256:
21:
4175:
4174:
4170:
4169:
4168:
4166:
4165:
4164:
4140:
4139:
4138:
4125:
3992:
3978:Stone box grave
3948:Megalithic tomb
3853:Cotswold-Severn
3805:
3710:Guardian stones
3638:Prehistoric art
3632:
3475:
3450:
3439:Timber trackway
3344:
3308:
3304:Wattle and daub
3157:
3136:Standing stones
3110:
3089:
2904:
2731:
2708:
2633:
2550:
2460:Food processing
2455:
2404:New World crops
2376:
2363:
2306:
2301:
2231:
2226:
2225:
2214:
2210:
2195:
2191:
2176:
2172:
2141:
2134:
2111:
2107:
2097:
2095:
2079:
2072:
2062:
2060:
2053:University News
2047:
2046:
2039:
2025:
2024:
2015:
2005:
2003:
1986:
1982:
1971:
1967:
1961:Wayback Machine
1952:Jonathan Adams
1951:
1947:
1908:
1904:
1865:
1856:
1847:
1843:
1828:
1824:
1813:
1809:
1786:
1782:
1777:
1773:
1744:
1737:
1726:
1722:
1708:
1704:
1692:
1686:
1682:
1672:
1670:
1651:
1647:
1637:
1635:
1623:
1616:
1606:
1604:
1599:
1598:
1594:
1583:
1579:
1568:
1564:
1549:
1545:
1540:
1536:
1531:
1527:
1522:
1518:
1508:
1506:
1494:
1487:
1477:
1475:
1463:
1459:
1438:
1431:
1426:
1422:
1417:
1413:
1399:
1397:
1380:
1376:
1371:
1367:
1363:Walsh G. (2000)
1362:
1358:
1348:
1346:
1337:
1336:
1332:
1322:
1320:
1316:
1309:
1301:
1297:
1286:
1277:
1262:
1253:
1238:
1231:
1218:
1201:
1192:
1191:
1187:
1176:
1167:
1148:
1147:
1140:
1130:
1128:
1120:
1112:
1091:
1069:
1065:
1048:
1039:
1021:Hesperian Press
1015:
1011:
1001:
999:
988:
984:
946:
942:
922:
918:
911:
897:
893:
879:Rowman Altamira
873:
866:
827:(6): eaay3922.
807:
803:
798:
790:Prehistoric art
776:
755:
701:
614:
600:
537:photosynthesize
534:
498:
472:anthropological
436:Joseph Bradshaw
406:
395:
352:for the art is
345:
258:
254:
230:
121:Chaetothyriales
108:superimposition
103:
101:Gwion Gwion art
79:Joseph Bradshaw
28:
23:
22:
15:
12:
11:
5:
4173:
4163:
4162:
4157:
4152:
4135:
4134:
4131:
4130:
4127:
4126:
4124:
4123:
4122:
4121:
4111:
4106:
4105:
4104:
4099:
4094:
4089:
4087:Alligator drum
4079:
4078:
4077:
4067:
4062:
4057:
4056:
4055:
4050:
4045:
4035:
4034:
4033:
4023:
4018:
4017:
4016:
4014:lunar calendar
4011:
4000:
3998:
3997:Other cultural
3994:
3993:
3991:
3990:
3985:
3980:
3975:
3970:
3965:
3960:
3955:
3950:
3945:
3944:
3943:
3938:
3928:
3923:
3918:
3917:
3916:
3911:
3901:
3896:
3895:
3894:
3884:
3879:
3874:
3869:
3868:
3867:
3857:
3856:
3855:
3845:
3844:
3843:
3833:
3832:
3831:
3826:
3815:
3813:
3807:
3806:
3804:
3803:
3801:Venus figurine
3798:
3797:
3796:
3791:
3781:
3776:
3771:
3770:
3769:
3764:
3754:
3749:
3744:
3739:
3734:
3732:Megalithic art
3729:
3728:
3727:
3722:
3712:
3707:
3702:
3701:
3700:
3690:
3685:
3683:Cave paintings
3680:
3675:
3670:
3665:
3660:
3659:
3658:
3648:
3642:
3640:
3634:
3633:
3631:
3630:
3629:
3628:
3623:
3613:
3608:
3603:
3602:
3601:
3596:
3591:
3586:
3581:
3576:
3566:
3561:
3560:
3559:
3549:
3548:
3547:
3542:
3532:
3527:
3522:
3521:
3520:
3510:
3505:
3500:
3495:
3489:
3487:
3485:Material goods
3477:
3476:
3460:
3459:
3456:
3455:
3452:
3451:
3449:
3448:
3447:
3446:
3436:
3431:
3426:
3421:
3416:
3415:
3414:
3404:
3399:
3398:
3397:
3387:
3386:
3385:
3375:
3374:
3373:
3363:
3358:
3352:
3350:
3346:
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3343:
3342:
3337:
3332:
3327:
3322:
3316:
3314:
3310:
3309:
3307:
3306:
3301:
3296:
3295:
3294:
3284:
3279:
3278:
3277:
3272:
3267:
3257:
3252:
3247:
3242:
3241:
3240:
3230:
3225:
3220:
3219:
3218:
3208:
3203:
3201:Cliff dwelling
3198:
3193:
3188:
3183:
3178:
3177:
3176:
3165:
3163:
3159:
3158:
3156:
3155:
3154:
3153:
3148:
3143:
3133:
3128:
3122:
3120:
3112:
3111:
3099:
3098:
3095:
3094:
3091:
3090:
3088:
3087:
3086:
3085:
3075:
3070:
3065:
3060:
3059:
3058:
3048:
3043:
3038:
3033:
3028:
3023:
3018:
3013:
3008:
3003:
2998:
2997:
2996:
2986:
2985:
2984:
2979:
2969:
2964:
2959:
2954:
2953:
2952:
2942:
2937:
2932:
2931:
2930:
2920:
2914:
2912:
2906:
2905:
2903:
2902:
2897:
2892:
2887:
2882:
2877:
2872:
2867:
2862:
2857:
2852:
2847:
2846:
2845:
2840:
2835:
2825:
2820:
2815:
2810:
2809:
2808:
2798:
2793:
2788:
2786:Fire hardening
2783:
2778:
2776:Clovis culture
2773:
2768:
2767:
2766:
2761:
2756:
2745:
2743:
2737:
2736:
2733:
2732:
2730:
2729:
2728:
2727:
2716:
2714:
2710:
2709:
2707:
2706:
2701:
2699:Manis Mastodon
2696:
2691:
2686:
2681:
2676:
2671:
2666:
2661:
2656:
2655:
2654:
2643:
2641:
2635:
2634:
2632:
2631:
2630:
2629:
2624:
2619:
2614:
2609:
2599:
2594:
2593:
2592:
2582:
2581:
2580:
2578:throwing stick
2570:
2564:
2558:
2552:
2551:
2549:
2548:
2543:
2538:
2533:
2528:
2523:
2518:
2517:
2516:
2511:
2501:
2496:
2491:
2486:
2485:
2484:
2474:
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2448:
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2423:
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2413:
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2390:
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2365:
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2344:
2343:
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2337:
2332:
2327:
2322:
2311:
2308:
2307:
2300:
2299:
2292:
2285:
2277:
2271:
2270:
2259:
2253:
2247:
2230:
2229:External links
2227:
2224:
2223:
2208:
2189:
2170:
2151:(5): 403–417.
2132:
2105:
2070:
2037:
2013:
1980:
1965:
1945:
1918:(6): 673–680.
1902:
1854:
1841:
1822:
1807:
1796:(3): 257–279.
1780:
1771:
1735:
1720:
1702:
1680:
1645:
1614:
1592:
1577:
1562:
1543:
1534:
1532:Gillespie 2004
1525:
1516:
1485:
1457:
1429:
1420:
1411:
1374:
1365:
1356:
1330:
1295:
1275:
1251:
1229:
1199:
1185:
1165:
1138:
1089:
1063:
1037:
1009:
982:
940:
916:
909:
891:
864:
800:
799:
797:
794:
793:
792:
787:
782:
775:
772:
754:
751:
707:may represent
700:
697:
685:figurative art
670:not dangerous,
613:
610:
599:
596:
568:until a major
532:
497:
494:
446:branch of the
394:
391:
350:Ngarinyin name
344:
341:
333:microorganisms
329:DNA sequencing
325:Jack Pettigrew
322:Neuroscientist
275:Drysdale River
229:
226:
179:
178:
175:spear-throwers
162:
154:
150:
102:
99:
26:
9:
6:
4:
3:
2:
4172:
4161:
4158:
4156:
4153:
4151:
4148:
4147:
4145:
4120:
4117:
4116:
4115:
4112:
4110:
4107:
4103:
4100:
4098:
4095:
4093:
4090:
4088:
4085:
4084:
4083:
4080:
4076:
4073:
4072:
4071:
4068:
4066:
4063:
4061:
4058:
4054:
4051:
4049:
4046:
4044:
4041:
4040:
4039:
4036:
4032:
4029:
4028:
4027:
4024:
4022:
4019:
4015:
4012:
4010:
4007:
4006:
4005:
4002:
4001:
3999:
3995:
3989:
3986:
3984:
3981:
3979:
3976:
3974:
3973:Simple dolmen
3971:
3969:
3966:
3964:
3961:
3959:
3958:Passage grave
3956:
3954:
3951:
3949:
3946:
3942:
3939:
3937:
3934:
3933:
3932:
3929:
3927:
3924:
3922:
3919:
3915:
3912:
3910:
3907:
3906:
3905:
3904:Gallery grave
3902:
3900:
3897:
3893:
3890:
3889:
3888:
3885:
3883:
3880:
3878:
3875:
3873:
3870:
3866:
3863:
3862:
3861:
3858:
3854:
3851:
3850:
3849:
3846:
3842:
3839:
3838:
3837:
3834:
3830:
3827:
3825:
3822:
3821:
3820:
3819:Burial mounds
3817:
3816:
3814:
3812:
3808:
3802:
3799:
3795:
3792:
3790:
3787:
3786:
3785:
3782:
3780:
3779:Statue menhir
3777:
3775:
3772:
3768:
3767:Stone carving
3765:
3763:
3760:
3759:
3758:
3755:
3753:
3750:
3748:
3745:
3743:
3740:
3738:
3735:
3733:
3730:
3726:
3723:
3721:
3718:
3717:
3716:
3713:
3711:
3708:
3706:
3703:
3699:
3696:
3695:
3694:
3691:
3689:
3686:
3684:
3681:
3679:
3676:
3674:
3671:
3669:
3666:
3664:
3661:
3657:
3654:
3653:
3652:
3649:
3647:
3644:
3643:
3641:
3639:
3635:
3627:
3624:
3622:
3619:
3618:
3617:
3614:
3612:
3609:
3607:
3606:Sewing needle
3604:
3600:
3597:
3595:
3592:
3590:
3587:
3585:
3582:
3580:
3577:
3575:
3572:
3571:
3570:
3567:
3565:
3562:
3558:
3555:
3554:
3553:
3550:
3546:
3543:
3541:
3538:
3537:
3536:
3533:
3531:
3528:
3526:
3523:
3519:
3516:
3515:
3514:
3511:
3509:
3506:
3504:
3501:
3499:
3496:
3494:
3491:
3490:
3488:
3486:
3482:
3478:
3474:
3470:
3465:
3461:
3445:
3442:
3441:
3440:
3437:
3435:
3434:Timber circle
3432:
3430:
3427:
3425:
3422:
3420:
3417:
3413:
3410:
3409:
3408:
3405:
3403:
3400:
3396:
3393:
3392:
3391:
3388:
3384:
3383:Tor enclosure
3381:
3380:
3379:
3376:
3372:
3371:fulacht fiadh
3369:
3368:
3367:
3364:
3362:
3359:
3357:
3354:
3353:
3351:
3347:
3341:
3338:
3336:
3333:
3331:
3328:
3326:
3323:
3321:
3318:
3317:
3315:
3311:
3305:
3302:
3300:
3297:
3293:
3290:
3289:
3288:
3285:
3283:
3280:
3276:
3273:
3271:
3268:
3266:
3263:
3262:
3261:
3258:
3256:
3253:
3251:
3248:
3246:
3243:
3239:
3236:
3235:
3234:
3231:
3229:
3226:
3224:
3221:
3217:
3214:
3213:
3212:
3209:
3207:
3204:
3202:
3199:
3197:
3194:
3192:
3189:
3187:
3184:
3182:
3179:
3175:
3172:
3171:
3170:
3167:
3166:
3164:
3160:
3152:
3149:
3147:
3144:
3142:
3139:
3138:
3137:
3134:
3132:
3129:
3127:
3124:
3123:
3121:
3117:
3113:
3109:
3104:
3100:
3084:
3081:
3080:
3079:
3076:
3074:
3071:
3069:
3066:
3064:
3061:
3057:
3054:
3053:
3052:
3049:
3047:
3044:
3042:
3039:
3037:
3034:
3032:
3029:
3027:
3024:
3022:
3019:
3017:
3014:
3012:
3009:
3007:
3004:
3002:
2999:
2995:
2992:
2991:
2990:
2987:
2983:
2980:
2978:
2975:
2974:
2973:
2970:
2968:
2965:
2963:
2960:
2958:
2955:
2951:
2948:
2947:
2946:
2943:
2941:
2938:
2936:
2933:
2929:
2926:
2925:
2924:
2921:
2919:
2916:
2915:
2913:
2911:
2907:
2901:
2898:
2896:
2893:
2891:
2888:
2886:
2883:
2881:
2878:
2876:
2873:
2871:
2868:
2866:
2863:
2861:
2858:
2856:
2853:
2851:
2848:
2844:
2841:
2839:
2836:
2834:
2831:
2830:
2829:
2826:
2824:
2821:
2819:
2816:
2814:
2811:
2807:
2804:
2803:
2802:
2799:
2797:
2794:
2792:
2789:
2787:
2784:
2782:
2779:
2777:
2774:
2772:
2769:
2765:
2762:
2760:
2757:
2755:
2752:
2751:
2750:
2747:
2746:
2744:
2742:
2738:
2726:
2723:
2722:
2721:
2718:
2717:
2715:
2711:
2705:
2702:
2700:
2697:
2695:
2692:
2690:
2687:
2685:
2682:
2680:
2677:
2675:
2672:
2670:
2667:
2665:
2662:
2660:
2657:
2653:
2650:
2649:
2648:
2645:
2644:
2642:
2640:
2636:
2628:
2625:
2623:
2620:
2618:
2615:
2613:
2610:
2608:
2607:spear-thrower
2605:
2604:
2603:
2600:
2598:
2595:
2591:
2588:
2587:
2586:
2585:Bow and arrow
2583:
2579:
2576:
2575:
2574:
2571:
2569:
2566:
2565:
2562:
2559:
2557:
2553:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2515:
2512:
2510:
2507:
2506:
2505:
2502:
2500:
2497:
2495:
2494:Grinding slab
2492:
2490:
2487:
2483:
2480:
2479:
2478:
2475:
2473:
2470:
2468:
2465:
2464:
2462:
2458:
2452:
2449:
2447:
2444:
2442:
2439:
2437:
2434:
2432:
2429:
2427:
2426:Domestication
2424:
2422:
2421:Digging stick
2419:
2417:
2414:
2412:
2409:
2405:
2402:
2400:
2399:Founder crops
2397:
2396:
2395:
2392:
2391:
2389:
2387:
2383:
2379:
2375:
2370:
2366:
2360:
2357:
2353:
2350:
2349:
2348:
2345:
2341:
2340:New Stone Age
2338:
2336:
2333:
2331:
2328:
2326:
2323:
2321:
2318:
2317:
2316:
2313:
2312:
2309:
2305:
2298:
2293:
2291:
2286:
2284:
2279:
2278:
2275:
2269:
2268:
2263:
2260:
2257:
2254:
2251:
2248:
2246:
2245:
2240:
2238:
2233:
2232:
2219:
2212:
2204:
2200:
2193:
2185:
2181:
2174:
2166:
2162:
2158:
2154:
2150:
2146:
2139:
2137:
2128:
2124:
2120:
2116:
2109:
2093:
2092:
2087:
2083:
2077:
2075:
2058:
2054:
2050:
2044:
2042:
2033:
2029:
2022:
2020:
2018:
2001:
1997:
1996:
1991:
1984:
1978:
1975:
1969:
1962:
1958:
1955:
1949:
1941:
1937:
1933:
1929:
1925:
1921:
1917:
1913:
1906:
1897:
1892:
1888:
1884:
1880:
1876:
1875:
1870:
1863:
1861:
1859:
1851:
1845:
1837:
1833:
1826:
1818:
1811:
1803:
1799:
1795:
1791:
1784:
1775:
1766:
1761:
1757:
1753:
1749:
1742:
1740:
1731:
1724:
1716:
1712:
1706:
1698:
1691:
1684:
1669:
1665:
1661:
1660:
1655:
1649:
1634:
1633:
1628:
1621:
1619:
1602:
1601:"Kevin Waina"
1596:
1588:
1581:
1573:
1566:
1558:
1554:
1547:
1538:
1529:
1520:
1505:
1504:
1499:
1492:
1490:
1474:
1473:
1468:
1461:
1453:
1449:
1448:
1443:
1436:
1434:
1424:
1415:
1407:
1395:
1391:
1390:
1385:
1378:
1369:
1360:
1344:
1340:
1334:
1315:
1308:
1307:
1299:
1291:
1284:
1282:
1280:
1271:
1267:
1260:
1258:
1256:
1247:
1243:
1236:
1234:
1226:. p. 34.
1225:
1224:
1223:New Scientist
1216:
1214:
1212:
1210:
1208:
1206:
1204:
1195:
1189:
1181:
1174:
1172:
1170:
1161:
1157:
1156:
1151:
1145:
1143:
1126:
1119:
1118:
1110:
1108:
1106:
1104:
1102:
1100:
1098:
1096:
1094:
1085:
1081:
1077:
1073:
1067:
1060:
1059:9783829040600
1056:
1052:
1049:Doring, Jeff
1046:
1044:
1042:
1034:
1033:9780859053754
1030:
1026:
1022:
1019:
1013:
997:
993:
986:
978:
974:
970:
966:
962:
961:
955:
950:
944:
936:
932:
931:
926:
925:Smith, Claire
920:
912:
910:9780648424703
906:
902:
895:
888:
887:9780759109070
884:
880:
877:
871:
869:
860:
856:
851:
846:
842:
838:
834:
830:
826:
822:
821:
816:
812:
805:
801:
791:
788:
786:
783:
781:
778:
777:
771:
768:
764:
760:
750:
748:
743:
741:
736:
733:
729:
725:
720:
718:
714:
710:
706:
696:
694:
690:
686:
680:
679:
675:
671:
667:
663:
657:
655:
652:
648:
643:
639:
634:
633:Toba eruption
630:
625:
623:
619:
618:Erudite Epoch
609:
606:
598:Controversies
595:
593:
588:
583:
577:
575:
571:
567:
563:
558:
554:
550:
546:
542:
538:
530:
526:
525:
520:
516:
512:
502:
493:
488:
484:
481:
478:
473:
468:
464:
460:
455:
453:
452:Ancient Egypt
449:
445:
441:
437:
433:
428:
426:
422:
413:
404:
399:
390:
388:
384:
379:
375:
371:
367:
363:
359:
355:
351:
340:
338:
334:
330:
326:
323:
318:
315:
311:
307:
303:
299:
295:
291:
290:
284:
281:
276:
272:
268:
264:
251:
247:
243:
238:
236:
225:
221:
218:
212:
210:
206:
196:
192:
189:
185:
184:Napier Ranges
176:
171:
167:
163:
159:
155:
151:
148:
144:
143:
138:
134:
130:
128:
124:
122:
117:
113:
109:
98:
96:
92:
89:or Kiro Kiro/
88:
84:
80:
75:
71:
67:
63:
59:
55:
51:
47:
46:Gwion figures
43:
34:
30:
19:
3914:wedge-shaped
3899:Funeral pyre
3892:Great dolmen
3848:Chamber tomb
3829:Round barrow
3784:Stone circle
3714:
3656:Blombos Cave
3584:Grooved ware
3508:Chalcolithic
3412:Thornborough
3330:Flush toilet
3265:Blombos Cave
3260:Rock shelter
3216:Quiggly hole
3108:Architecture
3083:illustration
2725:Buffalo jump
2546:Storage pits
2509:Aşıklı Höyük
2499:Ground stone
2335:Subdivisions
2265:
2242:
2236:
2220:, p. 13
2217:
2211:
2202:
2198:
2192:
2183:
2173:
2148:
2144:
2121:(1): 47–48.
2118:
2114:
2108:
2096:. Retrieved
2091:Times Online
2089:
2061:. Retrieved
2052:
2031:
2027:
2004:. Retrieved
2000:the original
1993:
1983:
1976:
1968:
1948:
1915:
1912:The Holocene
1911:
1905:
1878:
1872:
1844:
1835:
1831:
1825:
1816:
1810:
1793:
1789:
1783:
1774:
1755:
1751:
1729:
1723:
1714:
1705:
1696:
1683:
1671:. Retrieved
1658:
1654:Grey, George
1648:
1636:. Retrieved
1630:
1605:. Retrieved
1603:. Artlandish
1595:
1586:
1580:
1571:
1565:
1556:
1552:
1546:
1537:
1528:
1519:
1507:. Retrieved
1501:
1476:. Retrieved
1470:
1460:
1451:
1445:
1423:
1414:
1404:– via
1398:. Retrieved
1394:the original
1387:
1377:
1368:
1359:
1347:. Retrieved
1343:the original
1333:
1321:. Retrieved
1305:
1298:
1289:
1272:(2): 127–129
1269:
1265:
1245:
1241:
1221:
1188:
1179:
1153:
1150:"Rock Heart"
1129:. Retrieved
1116:
1075:
1066:
1050:
1035:pp. 132–133.
1017:
1012:
1000:. Retrieved
995:
985:
958:
943:
934:
928:
919:
900:
894:
875:
824:
818:
811:Hergt, Janet
804:
759:back burning
756:
744:
723:
721:
704:
702:
681:
677:
673:
669:
665:
658:
647:Claire Smith
626:
617:
615:
605:native title
601:
578:
547:to northern
522:
507:
490:
486:
482:
456:
429:
418:
386:
382:
377:
357:
353:
346:
319:
313:
305:
297:
287:
285:
261:1,800 years
239:
231:
222:
213:
201:
188:rock shelter
182:such as the
180:
169:
131:
119:
106:by studying
104:
90:
86:
61:
57:
53:
49:
45:
41:
39:
29:
3936:unchambered
3931:Long barrow
3921:Grave goods
3877:Court cairn
3872:Clava cairn
3824:Bowl barrow
3762:Rock cupule
3705:Golden hats
3698:Hill figure
3599:Unstan ware
3579:Cord-marked
3444:Sweet Track
3366:Burnt mound
3287:Stilt house
3275:Sibudu Cave
3068:Tally stick
3036:Quern-stone
3021:Hammerstone
3011:Fire plough
2982:Pesse canoe
2940:Bannerstone
2910:Other tools
2823:Lithic core
2771:Aurignacian
2659:Bare Island
2541:Quern-stone
2235:"Review of
2098:9 September
2006:22 December
1972:M.H.Monroe
1881:(22): n/a.
1838:(1): 24–37.
1509:11 December
1478:11 December
753:Destruction
728:A. P. Elkin
722:Michaelson
709:shamanistic
689:Arnhem Land
654:stereotypes
592:linguistics
587:archaeology
541:Sahul Shelf
467:Eurocentric
427:style art.
421:George Grey
387:Gwion Gwion
354:Gwion Gwion
116:Pleistocene
87:Gwion Gwion
74:archaeology
4144:Categories
4075:trepanning
3968:Ring cairn
3926:Jar burial
3909:transepted
3841:U.S. sites
3742:Petroglyph
3668:Bird stone
3626:wine press
3299:Stone roof
3282:Roundhouse
3174:long house
3151:Stonehenge
3119:Ceremonial
3063:Stone tool
2890:Tool stone
2860:Metallurgy
2764:Mousterian
2741:Toolmaking
2679:Cumberland
2652:Transverse
2622:Schöningen
2514:Qesem cave
2482:Earth oven
2436:Irrigation
2347:Technology
2315:Prehistory
2034:: 59, 1996
1248:: 110–124.
1002:6 February
796:References
713:Eucalyptus
553:sand dunes
519:New Guinea
463:Aboriginal
366:Broome Bay
314:Thylacoleo
306:Thylacoleo
298:Thylacoleo
289:Thylacoleo
205:boomerangs
147:boomerangs
112:chronology
91:Giro Giro.
4119:symbolism
3983:Tor cairn
3941:Grønsalen
3882:Cremation
3774:Sculpture
3752:Pictogram
3737:Petroform
3557:amber use
3525:Cosmetics
3335:Reservoir
3320:Check dam
3250:Pueblitos
3245:Pit-house
3228:Longhouse
3162:Dwellings
3031:Microlith
2962:Bow drill
2957:Bone tool
2950:prismatic
2759:Acheulean
2674:Cresswell
2647:Arrowhead
2573:Boomerang
2489:Granaries
2451:Terracing
2330:Stone Age
1940:128689357
1668:967364794
1553:Antiquity
1541:1985: 228
1503:Antiquity
1472:Antiquity
1400:2 January
1389:Antiquity
1084:604542031
977:213266262
937:(2): 275.
735:shamanism
622:Indonesia
562:"refugia"
515:woodlands
444:Victorian
440:sandstone
432:Roe River
358:giro giro
302:thylacine
294:Kimberley
267:millennia
127:symbiotic
62:Bradshaws
50:Kiro Kiro
3757:Rock art
3720:painting
3693:Geoglyph
3518:timeline
3498:Beadwork
3238:Mehrgarh
3233:Mudbrick
3141:megalith
3016:Fire-saw
2838:debitage
2833:analysis
2801:Hand axe
2781:Cupstone
2359:Glossary
2320:Timeline
2165:21884255
2094:. London
1957:Archived
1758:: 1–36.
1713:(2010).
1673:26 March
1656:(1841).
1454:(2): 54.
1349:26 March
1323:27 March
1314:Archived
1074:(1955).
1027:) 2011
859:32076647
774:See also
765:and the
549:Tasmania
524:Wallacea
496:Research
425:Wandjina
283:spears.
250:mud wasp
66:rock art
60:and the
4114:Symbols
3725:pigment
3611:Weaving
3574:Cardium
3569:Pottery
3564:Mirrors
3552:Jewelry
3493:Baskets
3473:culture
3325:Cistern
3131:Pyramid
3073:Weapons
3051:Scraper
3041:Racloir
3001:Cleaver
2989:Chopper
2895:Uniface
2806:Grooves
2796:Hafting
2754:Oldowan
2713:Systems
2664:Cascade
2627:woomera
2617:harpoon
2590:history
2556:Hunting
2536:Pottery
2477:Cooking
2386:Farming
2352:history
2325:Outline
2267:The Age
2205:(1): 44
2063:19 July
1920:Bibcode
1883:Bibcode
1790:Oceania
1632:WAtoday
1607:4 April
1131:2 April
960:Science
850:7002160
829:Bibcode
740:Sandawe
732:Tibetan
705:et al.,
691:. Some
678:cheeky.
674:rubbish
666:rubbish
527:) by a
374:accents
337:pigment
280:Wanjina
95:tassels
4092:flutes
3887:Dolmen
3811:Burial
3621:winery
3594:Linear
3424:Midden
3402:Cursus
3395:Goseck
3255:Pueblo
3206:Dugout
3191:Burdei
2870:Mining
2694:Lamoka
2689:Folsom
2669:Clovis
2526:Metate
2504:Hearth
2472:Basket
2446:Sickle
2163:
1938:
1666:
1638:15 May
1082:
1057:
1031:
975:
907:
889:p. 147
885:
857:
847:
724:et al.
651:racist
557:steppe
529:strait
378:Kujon,
362:Napier
259:
255:
253:17,500
228:Dating
217:quills
158:spears
153:shown.
4009:sites
3953:Mummy
3673:Cairn
3589:JĹŤmon
3540:shoes
3535:Hides
3407:Henge
3361:Broch
3223:Jacal
3078:Wheel
3026:Knife
2972:Canoe
2967:Burin
2945:Blade
2843:flake
2704:Plano
2612:baton
2602:Spear
2568:Arrow
2521:Manos
2374:Tools
1936:S2CID
1693:(PDF)
1559:: 326
1317:(PDF)
1310:(PDF)
1125:IFRAO
1121:(PDF)
1061:p. 55
973:S2CID
881:2005
209:wands
54:Kujon
4102:gudi
3860:Cist
3789:list
3616:Wine
3545:Ă–tzi
3530:Glue
3503:Beds
3471:and
3469:Arts
3340:Well
3196:Cave
3126:Kiva
3056:side
3046:Rope
2994:tool
2928:bone
2918:Adze
2684:Eden
2597:Nets
2467:Fire
2431:Goad
2416:Celt
2203:2004
2161:PMID
2100:2021
2065:2014
2008:2012
1675:2021
1664:OCLC
1640:2015
1609:2012
1511:2012
1480:2012
1452:2002
1402:2013
1351:2021
1325:2021
1133:2021
1080:OCLC
1055:ISBN
1029:ISBN
1004:2020
905:ISBN
883:ISBN
855:PMID
513:and
368:and
207:and
40:The
3211:Hut
3146:row
2977:Oar
2935:Axe
2923:Awl
2153:doi
2123:doi
1928:doi
1891:doi
1798:doi
1760:doi
965:doi
845:PMC
837:doi
656:".
629:San
376:of
52:or
4146::
2264:,
2241:,
2201:,
2159:.
2149:94
2147:.
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2119:43
2117:.
2088:.
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2055:.
2051:.
2040:^
2032:42
2030:,
2016:^
1992:.
1934:.
1926:.
1916:11
1914:.
1889:.
1879:39
1877:.
1871:.
1857:^
1836:10
1834:.
1792:.
1756:20
1754:.
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1617:^
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1500:.
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1444:.
1432:^
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963:.
957:.
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2010:.
1942:.
1930::
1922::
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1885::
1804:.
1800::
1794:1
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