Towards an understanding of the late pleistocene and holocene assemblages through the Shiwa Ng'andu rock art in Zambia
| dc.contributor.author | Kayuni, Nchimunya Martha | |
| dc.date.accessioned | 2018-07-19T09:14:29Z | |
| dc.date.available | 2018-07-19T09:14:29Z | |
| dc.date.issued | 2017 | |
| dc.description.abstract | Rock art is much more than mere decorations or reflections of everyday concerns or daubing of figures for idle pastime but a reflection of past people’s relation with their environment. This study examines Shiwa Ng'andu Rock Art of in the context of the Late Pleistocene and Holocene hunter-gatherer activities. It reveals that rock art and stone tool making were two aspects of the hunter-gatherer lifestyle that took place synchronously. The study has established that the paintings of rock art at Shiwa Ng’andu belong to the later stages of the Nachikufan period. The study has also established that the Shiwa Ng’andu rock art had a direct link to the BaTwa rock art of central Africa belong to the schematic art zone whose sites were attributed to the Late Stone Age and the others to the Early Iron Age period. The Shiwa Ng’andu rock art like many others provides a rich historical, cultural and ritual significance. This is because of the application of colour and use of realistic and abstract forms (of the red tradition) and a truly artistic conception of the ideas which most deeply moved the minds of the people who made the paintings. The study highlights the connection between rock art in the region and various challenges in the interpretation of the rock art. Therock art did not only have an aesthetic appeal to the artist, but acts of cultural significance too. The study concludes by demonstrating that the social theory in rock art interpretation of Shiwa Ng’andu was based on the premise that the major point in making rock art was to communicate societal concerns and principles. The production of art was embedded in the social, political, economic, and religious circumstances of the whole community. This was also the context for the consumption of the art. The rock art was intelligible to the viewers because it fell within the broader framework of symbolism and experience of the wider society in which it was done. | en |
| dc.identifier.uri | http://dspace.unza.zm/handle/123456789/5259 | |
| dc.language.iso | en | en |
| dc.publisher | The University of Zambia | en |
| dc.subject | Rock art--Pleistocene and holocene--Zambia | en |
| dc.subject | Excavations(Archaeology)--Zambia | en |
| dc.title | Towards an understanding of the late pleistocene and holocene assemblages through the Shiwa Ng'andu rock art in Zambia | en |
| dc.type | Thesis | en |