Rock Art Research

‘Technique’ has long been a basic component of classification systems in Australian rock art. However, the identification of particular ‘techniques’ is based on the modern appearance of rock art and an arbitrary selection of attributes. This paper argues that in studies of Laura rock art, conventional definitions of technique have led to the development of possibly flawed models of chronology and style. Although Trezise and Woolston identified a minor ‘transitional’ technique of ‘infilled engravings’, paintings and petroglyphs have in general been presented as discrete technical (and chronological) categories. However, colour symbolism was an intrinsic part of Aboriginal culture and recent research suggests that coloured petroglyphs have comprised a widespread and enduring art form in this region. Importantly, ‘technique’ appears to be an insignificant category in local Aboriginal knowledge systems. This study aims to demonstrate that, in developing typological systems and chronological models, researchers need (1) to understand how natural processes and cultural perspectives transform rock art data and (2) to conduct local studies of these processes.