Rock Art Sites in the World Heritage List

Total Page:16

File Type:pdf, Size:1020Kb

Rock Art Sites in the World Heritage List Prepared and edited by UNESCO-ICOMOS Documentation Centre. Updated by Yolande Boulade. UNESCO-ICOMOS Documentation Centre. Préparé et édité par le Centre de Documentation UNESCO-ICOMOS. Actualisé par Yolande Boulade. Centre de Documentation UNESCO-ICOMOS. © UNESCO-ICOMOS Documentation Centre, August 2012. ICOMOS - International Council on Monuments and sites / Conseil International des Monuments et des Sites 49-51 rue de la Fédération 75015 Paris FRANCE http://www.international.icomos.org UNESCO-ICOMOS Documentation Centre / Centre de Documentation UNESCO-ICOMOS : http://www.international.icomos.org/centre_documentation/index.html Cover photographs: Photos de couverture : Cueva de las Manos, Río Pinturas, Argentina: / Nomination File | Image Source: Nomination File; Petroglyphs within the Archaeological Landscape of Tamgaly, Kazakhstan: © Nomination File / Nomination File | Image Source: Nomination File; Archaeological park of San Augustin, Colombia: © Sacred Sites / Martin Gray / Martin Gray. Content / Sommaire AFRICA / AFRIQUE ................................................................................................................................................................ 3 Botswana ........................................................................................................................................................................... 3 2001-Tsodilo ....................................................................................................................................................... 3 Gabon ................................................................................................................................................................................. 4 2007- Ecosystem and relict cultural landscape of Lopé-Okanda / Ecosystème et paysage culturel relique de Lopé- Okanda ................................................................................................................................................................. 4 Malawi ................................................................................................................................................................................ 8 2006 -Chongoni Rock-Art Area / Art rupestre de Chongoni ....................................................................................... 8 Namibia / Namibie ............................................................................................................................................................. 9 2007-Twyfelfontein or /Ui-//aes / Twyfelfontein ou /Ui-//aes ..................................................................................... 9 South Africa / Afrique Du Sud ........................................................................................................................................ 11 2003 - Mapungubwe Cultural Landscape / Paysage culturel de Mapungubwe .......................................................... 11 2000 - uKhahlamba / Drakensberg Park / uKhahlamba / Parc du Drakensberg ..................................................... 13 Tanzania, United Republic Of / Tanzanie, Republique-Unie De ................................................................................... 14 2006 - Kondoa Rock-Art Sites / Sites d’art rupestre de Kondoa ............................................................................... 14 Zimbabwe......................................................................................................................................................................... 15 2003 - Matobo Hills / Monts Matobo..................................................................................................................... 15 ARAB STATES / ETATS ARABES ...................................................................................................................................... 17 Algeria / Algerie ............................................................................................................................................................... 17 1982 - Tassili N’Ajjer .......................................................................................................................................... 17 2011- Wadi Rum Protected Area / Zone protégée du Wadi Rum ............................................................................. 19 Libyan Arab Jamahiriya / Jamahiriya Arabe Libyenne ................................................................................................. 20 1985 - Rock-Art sites of Tadrart Acacus / Sites rupestres du Tadrart Acacus ............................................................ 20 ASIA AND THE PACIFIC / ASIE ET PACIFIQUE ................................................................................................................. 22 Australia / Australie .......................................................................................................................................... 22 1981, 1987, 1992- Kakadu National Park / Parc national de Kakadu ....................................................................... 22 1987, 1994 - Uluru-Kata Tjuta National Park / Parc national d'Uluru-Kata Tjuta ........................................................ 25 India / Inde ....................................................................................................................................................................... 27 2003 - Rock Shelters of Bhimbetka / Abris sous-roche du Bhimbetka ...................................................................... 27 Kazakhstan ...................................................................................................................................................................... 28 2004 - Petroglyphs within the Archaeological Landscape of Tamgaly / Pétroglyphes du paysage archéologique de Tamgaly ............................................................................................................................................................. 28 2011- Petroglyphic Complexes of the Mongolian Altai / Ensemble de pétroglyphes de l’Altaï mongol .......................... 29 Tajikistan.......................................................................................................................................................................... 30 2010 - Proto-urban site of Sarazm ....................................................................................................................... 30 2010 - Central Sector of the Imperial Citadel of Thang Long – Hanoi / La cité impériale de Thang Long-Hanoi ............. 33 Turkey / Turquie .............................................................................................................................................................. 36 2012 - Neolithic Site of Çatalhöyük / Site néolithique de Çatal Höyük ...................................................................... 36 EUROPE ............................................................................................................................................................................... 37 Azerbaijan / Azerbaidjan ................................................................................................................................................. 37 2007- Gobustan Rock Art Cultural Landscape / Paysage culturel d’art rupestre de Gobustan ..................................... 37 Bulgaria / Bulgarie........................................................................................................................................................... 39 1979 - Madara Rider / Cavalier de Madara ........................................................................................................... 39 France .............................................................................................................................................................................. 41 1979 - Prehistoric Sites and Decorated Caves of the Vézère Valley / Sites préhistoriques et grottes ornées de la vallée de la Vézère ........................................................................................................................................................ 41 Italy / Italie ........................................................................................................................................................................ 47 1 1979 - Rock Drawings in Valcamonica / Art rupestre du Valcamonica ...................................................................... 47 Norway / Norvege ............................................................................................................................................................ 51 1985 - Rock Art of Alta / Art rupestre d’Alta........................................................................................................... 51 Portugal ........................................................................................................................................................................... 53 1998 - Prehistoric Rock-Art Sites in the Côa Valley / Sites d'art rupestre préhistorique de la vallée de Côa .................. 53 Spain / Espagne .............................................................................................................................................................. 56 1985, 2008 - Cave of Altamira and Paleolithic Cave Art of Northern Spain / Grotte d’Altamira et art rupestre paléolithique du nord de l’Espagne...........................................................................................................................................
Recommended publications
  • Art in the Stone Age Terminology
    Art in the Stone Age Terminology ● Paleolithic- (Greek) ○ Paleo-Old ○ Lithos-Stone. ○ 40,000-9,000BCE ○ Characteristics, Hunter Gatherer, Caves. Migration ● Mesolithic, ○ Meso-Middle ○ Lithos- Stone Age ○ 10,000-5,000 bce ○ Characteristics, Beginnings of Cities, Dog Domestication, Transition to agricultural and animal domestication ● Neolithic, ○ Neo-New ○ Lithos-Stone ○ 8,000-2300 BCE ○ Development of Cities, Animal Husbandry Herding, Agriculture, People Began to stay in one place Mistakes in Art History The saying Goes.. “History is Written by the victors.” Niccolo Machiavelli Mercator Map Projection. https://youtu.be/KUF_Ckv8HbE http://www.npr.org/sections/thetwo- way/2016/01/21/463835225/discovery-of- ancient-massacre-suggests-war-predated- settlements Radio Carbon Dating https://youtu.be/54e5Bz7m3do A process Archaeologists use among others to estimate how long ago an artifact was made. Makapansgat Face Pebble resembling a face, Makapansgat, ca. 3,000,000 bce. This pebble of one of the earliest examples of representation of the human form. Apollo 11 Cave Animal facing left, from the Apollo 11 Cave, Namibia, ca. 23,000bce. Charcoal on stone, 5”x4.25”. State Museum of Namibia, Windhoek. Scientists between 1969-1972 scientists working in the Apollo 11 Cave in Namibia found seven fragments of painted stone plaques, transportable. The approximate date of the charcoal from the archeological layer containing the Namibian plaques is 23,000bce. Hohlenstein-Stadel Human with feline (Lion?) head, from Hohlenstein-Stadel Germany, ca 40,000- 35,000BCE Appox 12” in length this artifact was carved from ivory from a mammoth tusk This object was originally thought to be of 30,000bce, was pushed back in time due to additional artifacts found later on the same excavation layer.
    [Show full text]
  • Un Origen En La Fenomenología Del Habitar a Partir De La Representación Simbólica Del Espacio
    58 Un origen en la fenomenología del habitar a partir de la representación simbólica del espacio doi: 10.33264/rpa.201802-06 Rodrigo Gandolfi Orrego Escuela de Arquitectura Facultad de Arquitectura, Diseño y Artes Visuales Resumen El texto a continuación, busca profundizar sobre aquellos elementos originales que habrían motivado al individuo, a la adaptación de su entorno como estrategia de representación simbólica, la que alcanzará con el desarrollo de una concepción fenomenológica del espacio y el tiempo, y cuyo origen aparecerá junto a su anhelo de protección y su voluntad para organizar sus hábitos, modos de convivencia y comunicación. A partir de su experiencia del mundo, será capaz de trasladar aquellas vivencias al interior de su morada, concibiendo por vez primera, aquella unión entre exterior e interior como posibilidad de representación de su mundo interior reconociendo los fenómenos que lo rodean. De este modo, aparecerá la posibilidad de reparar aquella brecha existencial impuesta por la distancia espacial y temporal que lo separa de la realidad, o aquello que le resulta inalcanzable y doloroso. La caverna, específicamente sus paredes, constituyen los límites de aquella primera morada donde se configura la escena a través de la cual será capaz de representar su propio mundo interior-exterior como unidad indivisible y posibilidad de trascendencia simbólica que le permitirá concebir su presencia armónica en el cosmos. Palabras clave: arte rupestre, arquitectura, simbolismo, fenomenología, habitar, representación simbólica, Platón, Sigfried Giedion, mito de la caverna. Abstract The following text, seeks to deepen on those original elements that could have motivated the individual, to adapt their environment as a strategy of symbolic representation, which will be achieved with the development of a phenomenological conception of space and time, and whose origin appears together with its desire for protection and willingness to organize their habits, their ways of living together and communication, from their own worldview.
    [Show full text]
  • Gilf Kebir - Wikipedia
    14/9/2018 Gilf Kebir - Wikipedia Coordinates: 23°26′29″N 25°50′23″E Gilf Kebir Gilf Kebir ( ) (var. Gilf al­Kebir, Jilf al Kabir) is a plateau in the New Valley Governorate of the remote southwest corner of Egypt, and southeast Libya. Its name translates as "the Great Barrier". This 7,770 km2 (3,000 sq mi) sandstone plateau, roughly the size of Puerto Rico, rises 300 m (980 ft) from the Libyan Desert floor. The name Gilf Kebir was given to the plateau by Prince Kamal el Dine Hussein in 1925, as it had no local name.[1] It is known for its rugged beauty, remoteness, geological interest, and the dramatic cliff paintings-pictographs and rock carvings-petroglyphs which depict an earlier era of abundant animal life and human habitation. A caravan of tourist 4x4s seen from Contents atop a mesa in Gilf Kebir, Egypt. Geography and climate Climate Wadis History Petroglyphs 20th century exploration WWII archeology Literary setting Curiosity Ancient petroglyphs of a temperate See also era's giraffe, ostrich, and longhorned cow being herded, in the present References day Libyan Desert in Egypt. External links Geography and climate The Uweinat mountain range at the very south of the plateau extends from Egypt into Libya and Sudan. Climate Gilf Kebir Plateau lies in the heart of the eastern part of the vast Sahara Desert, and, thus, gets some of the most extreme climates on Earth. This is the driest place on the planet, not only because the area is totally rainless (the annual average rainfall amount hardly reaches 0.1 mm) but also because the geological aridity index/dryness ratio is over 200, which means that the solar energy received at the ground evaporate 200 times the amount of precipitation received.[2] Rainfall may fall every twenty years in Gilf Kebir.
    [Show full text]
  • A Symbol of Global Protec- 7 1 5 4 5 10 10 17 5 4 8 4 7 1 1213 6 JAPAN 3 14 1 6 16 CHINA 33 2 6 18 AF Tion for the Heritage of All Humankind
    4 T rom the vast plains of the Serengeti to historic cities such T 7 ICELAND as Vienna, Lima and Kyoto; from the prehistoric rock art 1 5 on the Iberian Peninsula to the Statue of Liberty; from the 2 8 Kasbah of Algiers to the Imperial Palace in Beijing — all 5 2 of these places, as varied as they are, have one thing in common. FINLAND O 3 All are World Heritage sites of outstanding cultural or natural 3 T 15 6 SWEDEN 13 4 value to humanity and are worthy of protection for future 1 5 1 1 14 T 24 NORWAY 11 2 20 generations to know and enjoy. 2 RUSSIAN 23 NIO M O UN IM D 1 R I 3 4 T A FEDERATION A L T • P 7 • W L 1 O 17 A 2 I 5 ESTONIA 6 R D L D N 7 O 7 H E M R 4 I E 3 T IN AG O 18 E • IM 8 PATR Key LATVIA 6 United Nations World 1 Cultural property The designations employed and the presentation 1 T Educational, Scientific and Heritage of material on this map do not imply the expres- 12 Cultural Organization Convention 1 Natural property 28 T sion of any opinion whatsoever on the part of 14 10 1 1 22 DENMARK 9 LITHUANIA Mixed property (cultural and natural) 7 3 N UNESCO and National Geographic Society con- G 1 A UNITED 2 2 Transnational property cerning the legal status of any country, territory, 2 6 5 1 30 X BELARUS 1 city or area or of its authorities, or concerning 1 Property currently inscribed on the KINGDOM 4 1 the delimitation of its frontiers or boundaries.
    [Show full text]
  • 1. World Heritage Property Data 2. Statement of Outstanding Universal Value
    Periodic Report - Second Cycle Section II-Boyana Church 1. World Heritage Property Data 2. Statement of Outstanding Universal Value 1.1 - Name of World Heritage Property 2.1 - Statement of Outstanding Universal Value / Boyana Church Statement of Significance 1.2 - World Heritage Property Details Statement of Outstanding Universal Value State(s) Party(ies) Brief synthesis There are several layers of wall paintings in the interior from Bulgaria the 11th, 13th, 15-17th and 19th centuries which testify to the Type of Property high level of wall painting during the different periods. The cultural paintings with the most outstanding artistic value are those Identification Number from 13th century. Whilst they interpret the Byzantine canon, the images have a special spiritual expressiveness and vitality 42 and are painted in harmonious proportions. Year of inscription on the World Heritage List Criterion (ii): From an architectural point of view, Boyana 1979 Church is a pure example of a church with a Greek cross ground-plan with dome, richly decorated facades and 1.3 - Geographic Information Table decoration of ceramic elements. It is one of the most remarkable medieval monuments with especially fine wall Name Coordinates Property Buffer Total Inscription (latitude/longitude) (ha) zone (ha) year paintings. (ha) Criterion (iii): The Boyana Church is composed of three Boyana 42.65 / 23.267 0.68 13.55 14.23 1979 parts, each built at a different period - 10 century, 13th century Church and 19th century which constitute a homogenous whole. Total (ha) 0.68 13.55 14.23 Integrity The integrity of Boyana church is fully assured.
    [Show full text]
  • 2. La Evolución Del Arte Parietal En Las Cuevas Y Abrigos Ornamentados De
    La evolución del arte parietal en las cuevas y abrigos ornamentados de Francia 1 Por el Abate H. Breuil N 1905 traté, por primera vez, de hilvanar en conjunto y pers­ E pectiva las primeras indicaciones de cronología relativas a la evolución del arte rupestre paleolítico, con los datos conocidos entonces de la Mouthe, Combarelles, Font-de-Gaume, Pair-non-Pair y Marsoulas, en Francia, y solamente de la cueva de Altamira, en España. Desarrollé el mismo tema en Mónaco el año siguiente. No me forjé ilusiones sobre el carácter tan provisional de este ensayo que fui retocando sucesivamente en las diversas publicaciones que, gracias al príncipe Alberto de Mónaco, pude editar con lujo sobre las cuevas de Altamira (1908), Santander, Font-de-Gaume (1910). las de los Pirineos cantábricos (1912), de la Pasiega (1913), de la Pileta, Málaga (1915) y de Combarelles (1924). El estudio todavía inédito, en parte, de muchas otras del sudoeste y sur de Francia y del noroeste de España, me han llevado a una concepción mucho más compleja de la evolución de este arte sobre el que hoy escribo (en 1934): examinaremos, pues, sucesivamente, solamente para Francia, los diversos grupos de cuevas y abrigos decorados: 1) Piri­ neos: 2) norte del Garona; 3) Provenza occidental. En cada grupo estudiaremos primero los hechos relativos a la evolución de la pintura; los casos de superposiciones directas de técnicas diferentes nos permitirán clasificar los documentos de una misma época por comparación de estilos. Después, en cada región, examinaremos también el desarrollo paralelo de la evolución del grabado y de la escultura parietal.
    [Show full text]
  • Manual De Arte Rupestre De Cundinamarca
    ¿Que es arte rupestre?/1 SEGUNDA EDICIÓN Diego Martínez Celis Álvaro Botiva Contreras INSTITUTO COLOMBIANO DE ANTROPOLOGÍA E HISTORIA ICANH Grupo de Arqueología y Patrimonio SECRETARÍA DE CULTURA DE CUNDINAMARCA 2/ARTE RUPESTRE EN CUNDINAMARCA Instituto Colombiano de Antropología e Historia ICANH Directora: María Victoria Uribe Alarcón Planeación: Emiro José Díaz Leal Coordinador Grupo de Arqueología y Patrimonio: Víctor González Fernández Coodinador de publicaciones: Nicolás Morales Thomas Director del proyecto: Álvaro Botiva Contreras Departamento de Cundinamarca Gobernador: Pablo Ardila Sierra Secretario de Cultura: Jorge Santiago Pyñeiro Medina Asosores culturales: Mirella Sepúlveda Hernández / Francisco Gaitán manualdearterupestredecundinamarca Segunda edición Investigación y textos: Diego Martínez Celis / Álvaro Botiva Contreras Fotografías: Álvaro Botiva Contreras / Diego Martínez Celis Edición, diseño e ilustraciones: Diego Martínez Celis Colaboradores: Pedro Argüello, Andrea Martínez, Martha Cecilia Maldonado Bogotá D. C. Colombia, julio de 2004 Copyright: ©Diego Martínez Celis ©Álvaro Botiva Contreras ©Instituto Colombiano de Antropología e Historia (ICANH) ©Departamento de Cundinamarca ISBN: 958-8181-07-0 ¿Que es arte rupestre?/3 contenido 4 / Presentación a la segunda edición 6 / Introducción 8 / Patrimonio arqueológico 10 / ¿Qué es arte rupestre? Descubrimiento del arte rupestre en Europa Descubrimiento del arte rupestre en Colombia 14 / ¿Qué es un petroglifo? 16 / ¿Qué es una pictografía? 18 / ¿En dónde se encuentra el arte
    [Show full text]
  • Homo Aestheticus’
    Conceptual Paper Glob J Arch & Anthropol Volume 11 Issue 3 - June 2020 Copyright © All rights are reserved by Shuchi Srivastava DOI: 10.19080/GJAA.2020.11.555815 Man and Artistic Expression: Emergence of ‘Homo Aestheticus’ Shuchi Srivastava* Department of Anthropology, National Post Graduate College, University of Lucknow, India Submission: May 30, 2020; Published: June 16, 2020 *Corresponding author: Shuchi Srivastava, Assistant Professor, Department of Anthropology, National Post Graduate College, An Autonomous College of University of Lucknow, Lucknow, India Abstract Man is a member of animal kingdom like all other animals but his unique feature is culture. Cultural activities involve art and artistic expressions which are the earliest methods of emotional manifestation through sign. The present paper deals with the origin of the artistic expression of the man, i.e. the emergence of ‘Homo aestheticus’ and discussed various related aspects. It is basically a conceptual paper; history of art begins with humanity. In his artistic instincts and attainments, man expressed his vigour, his ability to establish a gainful and optimistictherefore, mainlyrelationship the secondary with his environmentsources of data to humanizehave been nature. used for Their the behaviorsstudy. Overall as artists findings was reveal one of that the man selection is artistic characteristics by nature suitableand the for the progress of the human species. Evidence from extensive analysis of cave art and home art suggests that humans have also been ‘Homo aestheticus’ since their origins. Keywords: Man; Art; Artistic expression; Homo aestheticus; Prehistoric art; Palaeolithic art; Cave art; Home art Introduction ‘Sahityasangeetkalavihinah, Sakshatpashuh Maybe it was the time when some African apelike creatures to 7 million years ago, the first human ancestors were appeared.
    [Show full text]
  • Discover Bulgaria Is Famous for Its 600 Healing Mineral Water Springs
    Bulgaria Discover Ministry of Economy, Energy and Tourism Bulgaria, 1052 Sofia, 8 Slavyanska Str., Tel. +359 2 94071, fax: +359 2 987 2190 е-mail: [email protected] Bulgaria www.mee.government.bg www.bulgariatravel.org This document is created within the framework of the project “Elaboration and distribution of advertising and informational materials for promotion of Bulgaria as a tourism destination”, Agreement BG161PO001/3.3-01-4, realized with the financial support of Operational Programme “Regional development” 2007 – 2013, co-financed by the European Union through the European Fund for Regional Development. All responsibility for the contents of this document is borne by the beneficiary – the Ministry of Economy, Energy and Tourism and in no circumstances it should be regarded that this document reflects the official position of the European Union and the Governing Authority. USEFULL INFORMATION Bulgaria State government system: Parliamentary Republic Capital city: Sofia (population 1.2 million) Official language: Bulgarian, script – Cyrillic Religion: Orthodox (85%), Muslim (8%), other (7%) Time zone: GMT (London) + 2, Eastern Europe time (Germany) + 1 Climate: Humid continental, in the southern parts – transitive Mediterranean. Average temperatures for January are from -2 to 2 Сo in the lowland and -10 Сo in the mountains, in July 19-25 degrees Сo in the lowland and about 10 degrees Сo in the higher parts of the mountains. BULGARIARainfall - 450-600 mm in the lowland, up to 1300 mm in the mountains. Currency: Bulgarian lev
    [Show full text]
  • The Mother by Ivan Lazarov
    Every Child is an artist Slideshow on Bulgarian famous sculptures, created by the students of 88th Secondary School “Dimitar Popnikolov” Created by: Victoria Yolova The Mother Enter the house museum of Ivan Lazarov to remember forever the human spirit, the face of art. There on the stairs you will meet the Mother and awaken in your heart feeling of love, warmth and care. Interesting fact The original of the seated statue of an elderly woman, lost in thought and grief, is located in the courtyard of the poet Dimcho Debelyanov in Koprivshtitsa and in Sofia is located a copy of the monument. Conclusion In the works of Ivan Lazarov you will feel how strong is the relationship of the artist with his people and how great is his love. You can recognize in them the great master of sculpture. Античност и съвремие в българската скулптура Presentation: LUBOSLAVA MITKOVA, VI E CLASS Madara Rider The Madara Rider or Madara Horseman is an early medieval large rock relief carved on the Madara Plateau east of Shumen in northeastern Bulgaria, near the village of Madara. The monument is dated to about 710 AD and has been on the UNESCO World Heritage List since 1979. Monument to 1300 Years of Bulgaria The Monument to 1300 Years of Bulgaria also known as the Founders of the Bulgarian State Monument is a large monument built on a plateau above the city of Shumen, Bulgaria. It was built in 1981 to commemorate the 1300th anniversary of the First Bulgarian Empire. Shipka Memorial The Shipka Memorial is a memorial to those who died for the Liberation of Bulgaria during the Battles of Shipka Pass in the Russo-Turkish War of 1877-78.
    [Show full text]
  • Bulgaria ‐ the Three Capitals Sofia, Veliko Tarnovo, Varna, Nesebar Or Sunny Beach, Plovdiv 9 Days / 8 Nights
    Bulgaria ‐ The Three Capitals Sofia, Veliko Tarnovo, Varna, Nesebar or Sunny Beach, Plovdiv 9 days / 8 Nights Rental Car The program includes 8 nights BB accommodation in 3‐star hotel 3 nights in Sofia, 1 night in Veliko Tarnovo or Arbanasi, 2 nights in Varna or surroundings (Sveti Sveti Konstantin and Elena or Golden Sands resorts), 1 night in Nesebar or Sunny Beach resort, 1 night in Plovdiv; rental car for the whole period. PROGRAM DAY 1 ARRIVAL AT SOFIA AIRPORT. Meeting at Sofia airport by a representative who will supply the clients with a map of Bulgaria, a map of Sofia and some documentation about the trip. Pick up the rental car. Overnight stay in Sofia. DAY 2 BREAKFAST ‐ TRANSFER TO VELIKO TARNOVO On the way – sightseeing tour of Lovech, which will include the Covered Bridge build‐up by the craftsman Kolyo Ficheto, Bulgaria’s most famous architect during the Revival period. The tour goes on with a visit of the Varosha architectural and historical reserve – the old quarter, which stands in tiers at the right bank of the river Osam. Continuing our road to Veliko Tarnovo – capital of the Second Bulgarian Empire (1187‐1396). Sightseeing tour of the city – Tsarevets hill, Samovodska Charshia. Possibility to attend the show “Sound and Light” on Tsarevets hill (additional payment). Overnight stay in Veliko Tarnovo. DAY 3 BREAKFAST ‐ DEPARTURE FOR VARNA Bulgaria’s sea capital. On the way – sightseeing tour of Shumen. Visit to the Tombul mosque, which is the biggest mosque in Bulgaria and the second biggest on the Balkan Peninsula.
    [Show full text]
  • Die Domestikation Des Altägyptischen Langhornrindes in Afrika“
    DIPLOMARBEIT Titel der Diplomarbeit „Die Domestikation des Altägyptischen Langhornrindes in Afrika“ Eine Historische – Archäologische Evidenz Verfasser Alexander P. Haager angestrebter akademischer Grad Magister der Philosophie (Mag.phil) Wien, 2011 Studienkennzahl lt. Studienblatt: A 390 Studienrichtung lt. Studienblatt: Afrikanistik Betreuer: Univ. Prof. Dr. Norbert Cyffer Die Domestikation des Altägyptischen Langhornrindes in Afrika Eine Historische – Archäologische Evidenz Inhalt 1 Einleitung, Ziel und Methodik ..........................................................................................7 2 Hypothesen zur Wildtierdomestikation...........................................................................12 2.1 Die Bedeutung von Klima, Technologie, Demographie und Religion.....................12 2.2 Zur Hypothese der Entwicklung der Viehzucht aus Wirtschaft sich aneignenden Bevölkerungsgruppen ...........................................................................................18 2.3 Zur Hypothese der Entwicklung der Viehzucht aus Wirtschaft produzierenden Bevölkerungsgruppen ...........................................................................................21 2.4 Zur Hypothese der Entwicklung der Viehzucht aus dem Nomadentum .................24 2.5 Ein biologischer Ansatz zur Domestikation............................................................25 3 Das Altägyptische Langhornrind des Bos primigenius Typs - eine historische Evidenz .26 3.1 Eine morphologische Beschreibung des Altägyptischen Rindes ...........................28
    [Show full text]