Buduruwagala is an ancient buddhist temple in Sri Lanka. The complex consists of seven statues and belongs to the Mahayana school of thought, the statues date back to the 10th century. The gigantic Buddha statue still bears traces of its original stuccoed robe, the central of the three figures to the Buddhas right is thought to be the Buddhist mythological figure-the Bodhisattva Avalokitesvara. To the left of white painted figure is a female figure in the thrice-bent posture. Buduruvagala means the rock of Buddhist Sculptures Buduruvagala is located about 4 miles southeast of Wellawaya in Monaragala district, the largest of the standing Buddha statues is 51 feet from head to toe, is the largest standing Buddha statue of the island. Authorities generally date them to the 9th or 10th century, Buduruvagala does not have much historical records. Even its original name is unknown and it is thought to be a hermitage for monks. The sculptures of Buduruvagala include sculptures of Bodhisattva images including Mahayana tradition.
On the same rock where the sculptures are carved, there is a shape of about 3 feet wide and 4 feet heigh. It is of the shape of a flame, the inside wall of this carved shape is always wet of an oil that smells very much like Mustard oil. This oil comes to the shape with no explainable source or reason. Buduruwagala Museum Maligawila Buddha statue Dematamal viharaya Yudaganawa
Caves in the district of Maros
Pettakere cave is a cave in Bantimurung district, South Sulawesi, Indonesia. It contains paintings from prehistoric times, the cave, along with other nearby caves, is part of the Prehistoric place Leang-Leang – the name stems from the Makassarese language. Like the other caves, it is made of limestone and lies 12 kilometres from the town of Maros and 30 kilometres from the city of Makassar, the entrance to the cave is located 30 metres above a rice field, accessible by ladder. Inside the entrance of the cave, on the roof, are 26 red, the red hand prints could have been produced by immersing the hand in a solution tinted red from chewed-up foliage. The hand prints face both left and right, some are missing a thumb, it was common practice to cut off a finger when an elder died. In addition to the prints, a roughly half-meter long painting of a red hog deer is in the middle. The caves large room has several niches, presumed to have been sleeping places for the people who lived there. The cave has a temperature of 27 °C during the daytime, the cave has been known and used by the local people for a long time.
Dutch archaeologists began digging at nearby caves during the 1950s, scientific examinations conducted in 2011 estimated that the hand stencils and animal painting on the walls were between 35,000 and 40,000 years old. The age of the paintings was estimated through analysis of small radioactive traces of uraniam isotopes present in the crust that had accumulated on top of the paintings. The hand paintings are at least as old as cave paintings in Europe, such as those at the Cave of El Castillo, pleistocene cave art from Sulawesi, Indonesia
Gamigaya – is the name of Gapyjiq summit - one of the summits of the Lesser Caucasus, where according to a local legend during a flood myth Noahs Ark pulled in to and turned to a stone in due course. There have been found about 1500 punched out and carved images of deer, bulls, snakes, fantastic beings. Chaotically drawn images of dancing people can be met among the images, many of these images were fixed not far from springs, in the territory of Garangush plateau. Images of people were carved schematically, single and group images can be found there. A person’s image near a horse is considered one of the unique ones, images of goats pointing to that, goats took a main place in cattle-breeding life of local population. On one of the rocks a painter portrayed a stressed leopard, realistic drawings of deer are very interesting
Tamgaly is a petroglyph site in the Zhetysu of Kazakhstan. Tamgaly is located 170 km northwest of Almaty, the majority of the 5000 petroglyphs are in the main canyon, but there are a number in the many side canyons. The petrogylphs are mostly Bronze Age, but in some cases have been overlaid with Medieval or etchings, there are some petrogylphs from the Iron Age. The name Tamgaly in Kazakh and other Turkic languages means painted or marked place, Tamgaly became a UNESCO World Heritage Site in 2004. Petroglyphs within the Archaeological Landscape of Tamgaly UNESCO Goryachev, A. A. and Mariyashev, A. N. Petrogliphs of Semirechye, Semirechye Petroglifleri, in Turkish, from WebArchive
In archaeology, rock art is human-made markings placed on natural stone, it is largely synonymous with parietal art. A global phenomenon, rock art is found in many diverse regions of the world. It has been produced in many contexts throughout history, although the majority of rock art that has been ethnographically recorded has been produced as a part of ritual. Such artworks are often divided into three forms, which are carved into the surface, which are painted onto the surface. The oldest known rock art dates from the Upper Palaeolithic period, having found in Europe, Asia. Archaeologists studying these artworks believe that they likely had magico-religious significance, Rock art continues to be of importance to indigenous peoples in various parts of the world, who view them as both sacred items and significant components of their cultural patrimony. Such archaeological sites are significant sources of cultural tourism, and have been utilised in popular culture for their aesthetic qualities.
Normally found in cultures, a rock relief or rock-cut relief is a relief sculpture carved on solid or living rock such as a cliff. They are a category of art, and sometimes found in conjunction with rock-cut architecture. However, they tend to be omitted in most works on rock art, a few such works exploit the natural contours of the rock and use them to define an image, but they do not amount to man-made reliefs. Rock reliefs have been made in many cultures, and were important in the art of the Ancient Near East. Rock reliefs are generally large, as they need to be to make an impact in the open air. Most have figures that are over life-size, and in many the figures are multiples of life-size, the vertical relief is most common, but reliefs on essentially horizontal surfaces are found. The term typically excludes relief carvings inside caves, whether natural or themselves man-made, natural rock formations made into statues or other sculpture in the round, most famously at the Great Sphinx of Giza, are usually excluded.
Reliefs on large boulders left in their location, like the Hittite İmamkullu relief, are likely to be included. The term rock art appears in the literature as early as the 1940s. It has described as rock carvings, rock drawings, rock engravings, rock inscriptions, rock paintings, rock pictures. The defining characteristic of rock art is that it is placed on natural rock surfaces, as such, rock art is a form of landscape art, and includes designs that have been placed on boulder and cliff faces, cave walls and ceilings, and on the ground surface
Suseok, called viewing stones, is the Korean term for small naturally occurring or shaped rocks which are traditionally valued. Such stones are similar to Chinese scholars rocks and Japanese suiseki, there are a wide variety of sizes. Suseok can weigh hundreds of pounds or less than one pound, the term means stones which are placed in traditional Korean gardens. Suseok began as votive art over 3000 years ago, and began to be seen as worthy of scholars a thousand years ago, Chinese scholars rocks influenced the development of suseok in Korea. Early on important sites within landscape were marked with shaped stones, burial sites were as well given permanent marking by large scale tumulus or mounds, often surrounded by anthropomorphic shaped stones much akin to that of Inuit or First Nations memory markers. Recreating a historical approach to Korean scholar stones is difficult, but it is being done. go. kr
Jebel Jassassiyeh is an area with early petroglyphs, residential ruins and pottery remnants in northwest Qatar. The carvings, in sand dunes, include geometric shapes, animals. It is Qatars most extensive rock art site with more than 900 carvings scattered over 580 numbered sites and they are similar to those found at the temple of Karnak in Luxor, Egypt. The area has ruined dwellings and remains of pottery from the 15th century, Jebel Jassassiyeh is in the northwest section of Qatar, around 3 miles south of Fuwayrit. Nearby settlements include Safiyaa Fuwairit, Al Marrawnah, and Al Huwailah and it consists of many prominent limestone jebels situated near the coastline. On average, the jebels are no more than 7 metres tall with a ridge approximately 600 metres in length. The carvings were first discovered by a Danish archaeological team led by Holger Kapel in 1961, holgers son, Hans Kapel and recorded the carvings in the 1974. He concluded that there were approximately 900 carvings of various types and ring marks are the most common forms of art among the carvings.
Different animals are depicted, including ostriches and fish. Jebel Jassassiyeh is the rock art site in Qatar where boat depictions have been recorded. Two main categories, based on carving method and rendition, are used to classify the boat carvings, the first category, which accounts for 124 of the carvings, are drawn in plan. The second category accounts for only 17 of the boat carvings, plan drawings are mainly found along the central ridge, whereas the elevation drawings are primarily found on the outcrops closer to the sea. The boats are of different sizes and types, and some contain oars while others do not, two main types of dhows are included in elevation drawings and baqarahs. Archaeologist William Facey has inferred that some of the drawings are meant to represent pearling crafts due to the prominence of the boats oars. Because the battils and baqarahs contained rudders, he concludes that the drawings could not have been carved earlier than 1000–1200 AD. In carvings, the boats appeared with sails, in some of the rock carvings, sails appear without boats.
Some of the ancient carvings were modified at periods, with such as ropes. The earliest date of origin for the carvings is inconclusive, a study conducted in 2012 which tested nine samples of carvings, including boat carvings, concluded that the oldest of the samples had a minimum age of less than 300 years
Shikaft-e Gulgul site is an Assyrian rock relief and inscription located in the vicinity of Gulgul, a village near Mount Pushta-e Kuh at Ilam in Iran. It was discovered by Louis Vanden Berghe, the rock-carved relief is attributed to Esarhaddon. The sovereign depicted is wearing an Assyrian tiara, dressed in a tunic with only the feet appearing and he is armed with a sword, worn on a belt, and holding a mace in his left hand. The right arm is broken, and seems to hold an object, on both sides of the king, divine symbols are represented. They include to the left, a moon, the seven planets. At right, a disk, and a horned tiara are identified as symbols of Shamash. Bit-Istar Tang-i Var Reade, J. E.1977, shikaft-i Gulgul, its date and symbolism. Leiden Vanden Berghe, L.1984 Reliefs rupestres de l’Iran ancien, musée royaux d’art et d’histoire, Bruxelles, 208pp