Drawing in the land : rock-art in the upper Nepean, Sydney basin, New South Wales : Vol.1 & 2

Abstract

The Upper Nepean River catchment in the Sydney Basin has a rich repertoire of visual imagery - rock-art, and a variety of other types of marks on stone. This thesis examines the diversity and spatial distribution across the land of these rock markings and change over time. The theoretical focus is on materiality, practice and performance. In previous research conducted in the Sydney Basin, rock-art located in shelters has been considered, at least implicitly, to be functionally equivalent across both space and time. The research in this thesis, by comparison, has been developed to explore both synchronic and diachronic variability in sheltered rock-art and to give consideration to the occupational and contextual diversity this represents. The rock-art corpus is analysed in accordance with its material diversity in order to explore the qualitatively different forms of behavioural expression that this variation may embody. A fundamental distinction is made between graphically structured, imposed form on the one hand, and gestural marks on the other. The material relationship between the rock-art and the rock on and within which it is set, is also examined. The different data sets are explored dialectically and in accordance with their geographic and environmental location in order to gain an appreciation of the experience and engagement between Aboriginal people and the land in this part of the Sydney Basin. The analysis employs both quantitative and explicitly narrative approaches to examine the spatial and temporal dimensions of occupation. While this research has been conducted without the support of any direct dating or archaeological context, the methodology has, nevertheless allowed for the discrimination of temporal diversity in spatial patterns, and concomitantly, the manner in which the land has been occupied and created as landscape, over time. In order to achieve this, it has been crucial to analyse the rock markings not only in respect of their behaviour correlates, but also their material locations within geographic, environmental and micro-topographic space. The analysis of the Upper Nepean rock-art reveals a pattern of diachronic change in which the marking of the land with imagery became increasingly diverse in a number of formal and material ways, and geographically and environmentally common and widespread. The results suggests that regional bodies of rock-art are likely to have been produced in accordance with a diversity of motivations and functional purposes and that significant temporal change in the impetus to mark the land, and the choice of how and where to do so, can occur over relatively short time frames. It is argued that the practice of marking the land in the Upper Nepean was a dynamic dialectic, both constitutive and transformative, of being and place. Over time, people drew the land into an object world which became, with ever increasing inscription and embellishment, a marked and painted landscape, both productive of and reflecting, a complex history. Show more