Books by Paweł L Polkowski
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Poznań: Poznań Archaeological Museum., 2016
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Edited books by Paweł L Polkowski
Polkowski, P.L. (ed.). (2023), Stone Canvas. Towards a better integration of ‘rock art’ and ‘graf... more Polkowski, P.L. (ed.). (2023), Stone Canvas. Towards a better integration of ‘rock art’ and ‘graffiti’ studies in Egypt and Sudan. BiEtud 183. Cairo: Institut français d’archéologie orientale.
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Paweł L. Polkowski & Frank Förster (eds.). BAR International Series 3092
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Exhibition catalogues by Paweł L Polkowski
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Marek Chłodnicki & Paweł L. Polkowski (eds.). Poznań Archaeological Museum
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Papers (general) by Paweł L Polkowski
in: Polkowski, P.L. (ed.). (2023), Stone Canvas. Towards a better integration of ‘rock art’ and ‘... more in: Polkowski, P.L. (ed.). (2023), Stone Canvas. Towards a better integration of ‘rock art’ and ‘graffiti’ studies in Egypt and Sudan. BiEtud 183. Cairo: Institut français d’archéologie orientale, pp. 1-30.
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In: Paweł L. Polkowski & Frank Förster (eds.), "Rock Art in the Landscapes of Motion. Proceedings... more In: Paweł L. Polkowski & Frank Förster (eds.), "Rock Art in the Landscapes of Motion. Proceedings of a session of the 20th International Rock Art Congress IFRAO 2018 in Valcamonica, Italy". BAR International Series S3092. Oxford: BAR, pp. 1-22.
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"Fontes Archaeologici Posnanienses" 54: 213-234
W niniejszym artykule omawiamy fotograficzną met... more "Fontes Archaeologici Posnanienses" 54: 213-234
W niniejszym artykule omawiamy fotograficzną metodę dokumentacji powierzchni zabytków, jaką jest „obrazowanie z przekształceniem odbicia” (RTI). Technika ta wykorzystuje serię fotografii przedmiotu, wykonanych z tego samego miejsca, ale przy kontrolowanej i regularnej zmienności kierunku padania światła. Dzięki odpowiedniemu oprogramowaniu komputerowemu zdjęcia ta przekształcane zostają w interaktywne zobrazowanie, które możemy wirtualnie oświetlać i analizować. Ponadto, RTI oferuje całą gamę trybów i funkcji, dzięki czemu obserwowana powierzchnia ujawnić może takie elementy, które gołym okiem są albo słabo widoczne, albo wręcz zupełnie niedostrzegalne. Metodę tę testujemy na trzech głazach ze sztuką naskalną, przechowywanych w Muzeum Archeologicznym w Poznaniu.
Słowa kluczowe: RTI – fotografia – dokumentacja – zobrazowanie – sztuka naskalna - zabytek
In this article we describe a photographic method of recording artefact surface, known as Reflectance Transformation Imaging (RTI). This technique utilises multiple (digital) photographs of an object, all taken from the same position, but with light projected
from different directions. These pictures are later processed by specialised software, with an interactive RTI image as a final product, which can then be digitally re-lighted and analysed. Moreover, RTI offers a whole array of modes and functions, which can help in disclosing features of a surface, which are barely visible, or even invisible to the naked eye. We have tested this method on three boulders with rock art images, currently on display at the Poznań Archaeological Museum.
Keywords: RTI – photography – documentation – imaging – rock art – artefact
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"Muzealnictwo", 2018
The modern technology has been offering more and more tools for digitalisation of historical artef... more The modern technology has been offering more and more tools for digitalisation of historical artefacts or works of art. Especially popular is a 3D visualisaton, which allows to obtain a very realistc image of the subject. However, for many culture and science insttutons, including museums, these tools are not easily available due to fnancial reasons. The discussed herein method of Reflectance Transformaton
Imaging (further RTI) seems to be a soluton, which – being relatvely inexpensive – offers a whole range of possibilites as far as documentaton of historical artefacts is concerned. It allows – without the need of using a high-tech equipment – to create 2.5D images out of regular digital photographs. The way how the RTI method works has been shorty characterised in this artcle, at the same tme presentng subsequent
stages within the procedure of obtaining images. In order to show the results of this method, authors referred also to their own experience in RTI. They described images by themselves of three boulders with petroglyphs, which are in the possession of the Archaeological Museum in Poznań. The authors presented their own assessment of the RTI method – based on their achievements and the source literature – identfying
its both positve and negatve aspects.
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In: A. Rozwadowski (ed.) "Sztuka naskalna - polskie doświadczenia badawcze", 105-138. Warszawa-Toruń: Polski Instytut Studiów Nad Sztuką Świata.
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In: S. Szafrański et al. (eds) "Sztuka Afryki w kolekcjach i badaniach polskich", 345-368. Muzeum Narodowe w Szczecinie.
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Papers (Egypt) by Paweł L Polkowski
In: Chloé Ragazzoli, Khaled Hassan, Chiara Salvador (eds.), Graffiti and Rock Inscriptions from A... more In: Chloé Ragazzoli, Khaled Hassan, Chiara Salvador (eds.), Graffiti and Rock Inscriptions from Ancient Egypt: A Companion to Secondary Epigraphy. Cairo: IFAO, pp. 45-61.
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In: Paweł L. Polkowski & Frank Förster (eds.), "Rock Art in the Landscapes of Motion. Proceedings... more In: Paweł L. Polkowski & Frank Förster (eds.), "Rock Art in the Landscapes of Motion. Proceedings of a session of the 20th International Rock Art Congress IFRAO 2018 in Valcamonica, Italy". BAR International Series S3092. Oxford: BAR, pp. 23-59.
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Polish Archaeology in the Mediterranean , 2021
The rock art discovered in the 1980s and 1990s by the Dakhleh Oasis Project Petroglyph Unit is fo... more The rock art discovered in the 1980s and 1990s by the Dakhleh Oasis Project Petroglyph Unit is for the most part unpublished or only briefly mentioned in reports. The paper - the first of a planned series - offers a description and brief comparative study of a petroglyph showing a woman with a plait-and-disk hairstyle, found in the southeastern part of the oasis. The contextual information given for the petroglyph includes a description of the site. Selected features of the petroglyph are discussed. A comparative study of the decoration of nearly 30 tombs, containing figures with similarly rendered hairstyles, helps to explain the various attributes of the petroglyph and discuss its chronology.
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ArkeoGazte 11: 191-215, 2021
No doubt, Egypt is best known for its monumental architecture and art from the Pharaonic period. ... more No doubt, Egypt is best known for its monumental architecture and art from the Pharaonic period. However, the archaeological remains in that land are far more diversified and include a wealth of both post- and predynastic material. It should not be surprising then that prehistory constitutes a large field of research, encompassing remains from Lower Palaeolithic until the onset of historical times. Egypt’s Nile valley and, particularly, its deserts are very rich in prehistoric sites, among which rock art is found in abundance. In this paper a brief overview and characterisation of the main periods of rock art production is provided. Firstly, the oldest Saharan petroglyphic tradition, dated to Late Palaeolithic, is presented. All the subsequent rock art traditions are dated to the Holocene period and are associated, respectively, with the Epipalaeolithic groups of hunter-fisher-gatherers, mid-Holocene “pastroforagers” of the Western Desert, late Holocene cattle pastoralists, and Nile valley’s first agricultural societies of the Naqada period. This paper focuses solely on the theme of animals and describes all the mentioned rock art traditions in this respect. In order to contextualize the studied material, a short overview of climatic fluctuations in the Eastern Sahara is first provided.
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In: S. Dirksen & L. Krastel (eds.) "Epigraphy through Five Millennia: Texts and Images in Context". SDAIK 43. Cairo: DAI, pp. 255-284., 2020
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Archaeologia Polona, vol. 58: 289–310, 2020
This article introduces one of the largest rock art sites found in the central Dakhleh Oasis. Fir... more This article introduces one of the largest rock art sites found in the central Dakhleh Oasis. Firstly, an overview of all the panels with petroglyphs is provided and the images briefly described. The panels’ description contains basic information on their location and visibility, motifs and their compositional aspects, and chronology. This is followed by a brief summary of the presented data and a discussion situating the site in the broader context of Dakhleh and the surrounding Western Desert. Particular motifs and their arrangements, like a herd of giraffes, are further briefly discussed, and parallels from the Dakhleh region and the Nile valley cited in order to compare the CO178 rock art.
KEY-WORDS: Rock art, Petroglyphs, Giraffe, Oryx, Dakhleh Oasis
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In: C. Hope & G. Bowen (eds.) The Oasis Papers 9. A Tribute to Anthony J. Mills after Forty Years... more In: C. Hope & G. Bowen (eds.) The Oasis Papers 9. A Tribute to Anthony J. Mills after Forty Years in Dakhleh Oasis. Oxford: Oxbow Books, pp. 9-24, 2019.
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In: C. Hope & G. Bowen (eds.) The Oasis Papers 9. A Tribute to Anthony J. Mills after Forty Years... more In: C. Hope & G. Bowen (eds.) The Oasis Papers 9. A Tribute to Anthony J. Mills after Forty Years in Dakhleh Oasis. Oxford: Oxbow Books, pp. 143-170, 2019.
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Books by Paweł L Polkowski
Edited books by Paweł L Polkowski
Exhibition catalogues by Paweł L Polkowski
Papers (general) by Paweł L Polkowski
W niniejszym artykule omawiamy fotograficzną metodę dokumentacji powierzchni zabytków, jaką jest „obrazowanie z przekształceniem odbicia” (RTI). Technika ta wykorzystuje serię fotografii przedmiotu, wykonanych z tego samego miejsca, ale przy kontrolowanej i regularnej zmienności kierunku padania światła. Dzięki odpowiedniemu oprogramowaniu komputerowemu zdjęcia ta przekształcane zostają w interaktywne zobrazowanie, które możemy wirtualnie oświetlać i analizować. Ponadto, RTI oferuje całą gamę trybów i funkcji, dzięki czemu obserwowana powierzchnia ujawnić może takie elementy, które gołym okiem są albo słabo widoczne, albo wręcz zupełnie niedostrzegalne. Metodę tę testujemy na trzech głazach ze sztuką naskalną, przechowywanych w Muzeum Archeologicznym w Poznaniu.
Słowa kluczowe: RTI – fotografia – dokumentacja – zobrazowanie – sztuka naskalna - zabytek
In this article we describe a photographic method of recording artefact surface, known as Reflectance Transformation Imaging (RTI). This technique utilises multiple (digital) photographs of an object, all taken from the same position, but with light projected
from different directions. These pictures are later processed by specialised software, with an interactive RTI image as a final product, which can then be digitally re-lighted and analysed. Moreover, RTI offers a whole array of modes and functions, which can help in disclosing features of a surface, which are barely visible, or even invisible to the naked eye. We have tested this method on three boulders with rock art images, currently on display at the Poznań Archaeological Museum.
Keywords: RTI – photography – documentation – imaging – rock art – artefact
Imaging (further RTI) seems to be a soluton, which – being relatvely inexpensive – offers a whole range of possibilites as far as documentaton of historical artefacts is concerned. It allows – without the need of using a high-tech equipment – to create 2.5D images out of regular digital photographs. The way how the RTI method works has been shorty characterised in this artcle, at the same tme presentng subsequent
stages within the procedure of obtaining images. In order to show the results of this method, authors referred also to their own experience in RTI. They described images by themselves of three boulders with petroglyphs, which are in the possession of the Archaeological Museum in Poznań. The authors presented their own assessment of the RTI method – based on their achievements and the source literature – identfying
its both positve and negatve aspects.
Papers (Egypt) by Paweł L Polkowski
KEY-WORDS: Rock art, Petroglyphs, Giraffe, Oryx, Dakhleh Oasis
W niniejszym artykule omawiamy fotograficzną metodę dokumentacji powierzchni zabytków, jaką jest „obrazowanie z przekształceniem odbicia” (RTI). Technika ta wykorzystuje serię fotografii przedmiotu, wykonanych z tego samego miejsca, ale przy kontrolowanej i regularnej zmienności kierunku padania światła. Dzięki odpowiedniemu oprogramowaniu komputerowemu zdjęcia ta przekształcane zostają w interaktywne zobrazowanie, które możemy wirtualnie oświetlać i analizować. Ponadto, RTI oferuje całą gamę trybów i funkcji, dzięki czemu obserwowana powierzchnia ujawnić może takie elementy, które gołym okiem są albo słabo widoczne, albo wręcz zupełnie niedostrzegalne. Metodę tę testujemy na trzech głazach ze sztuką naskalną, przechowywanych w Muzeum Archeologicznym w Poznaniu.
Słowa kluczowe: RTI – fotografia – dokumentacja – zobrazowanie – sztuka naskalna - zabytek
In this article we describe a photographic method of recording artefact surface, known as Reflectance Transformation Imaging (RTI). This technique utilises multiple (digital) photographs of an object, all taken from the same position, but with light projected
from different directions. These pictures are later processed by specialised software, with an interactive RTI image as a final product, which can then be digitally re-lighted and analysed. Moreover, RTI offers a whole array of modes and functions, which can help in disclosing features of a surface, which are barely visible, or even invisible to the naked eye. We have tested this method on three boulders with rock art images, currently on display at the Poznań Archaeological Museum.
Keywords: RTI – photography – documentation – imaging – rock art – artefact
Imaging (further RTI) seems to be a soluton, which – being relatvely inexpensive – offers a whole range of possibilites as far as documentaton of historical artefacts is concerned. It allows – without the need of using a high-tech equipment – to create 2.5D images out of regular digital photographs. The way how the RTI method works has been shorty characterised in this artcle, at the same tme presentng subsequent
stages within the procedure of obtaining images. In order to show the results of this method, authors referred also to their own experience in RTI. They described images by themselves of three boulders with petroglyphs, which are in the possession of the Archaeological Museum in Poznań. The authors presented their own assessment of the RTI method – based on their achievements and the source literature – identfying
its both positve and negatve aspects.
KEY-WORDS: Rock art, Petroglyphs, Giraffe, Oryx, Dakhleh Oasis
Summary. — For almost a hundred years, rock art research in Dakhleh Oasis has focused on its eastern sectors. Both Hans Winkler and Lech Krzyżaniak found and registered dozens of sites and thousands of petroglyphs covering a time span from at least the mid-Holocene to recent times. Although the feet and sandals constituted an important group amongst the ubiquitous rock art of the area, no substantial narratives about them have ever been proposed. Since 2004, rock art has been researched by the Dakhleh Oasis Project (DOP) in the central part of the oasis. Commencing 2011 to 2014, the area was thoroughly surveyed by the present author working under the auspices of the Petroglyph Unit — a part of the DOP. During this survey, many new rock art sites were discovered with many others being revisited. With over one thousand representations, the feet and sandal petroglyphs proved to be the most ubiquitous motif in the central oasis. In the following paper I will present an overview of the feet and sandal motifs with special attention devoted to their plurality of forms and associations and distribution aspects. In addition, I will explore possible meanings and the semantics of this motif, which was likely not just a simple marker of somebody’s presence. One possible explanation may refer to the role of a petroglyph to represent a human presence which is destined to endure. In assessing the possible meanings of feet and sandals, I will refer to similar phenomena known from other regions of Egypt and Sudan, including the Egyptian temples. The latter provide examples of sandals accompanied by inscriptions which, together, may shed some light on the Dakhleh specimens.
Available here: https://rdcu.be/Otg7
two sites. One was site 6/09 in the Central Oasis, a multicultural site unusually rich in rock
panels bearing an abundance of representations of ostriches and of the sandal/foot motif.
The other one was Winkler’s site 62 in the Eastern Oasis, mainly of prehistoric provenance,
with an exeptional panel depicting seven artful images of anthropomorphic figures.
(JSE) in der Region westlich des Dritten Kataraktes
einen kurze Survey in der Region Wadi Gorgod
durch. Diese Region ist reich an archäologischen
Resten, aber es gibt eine vorherrschende Art von
Kulturerbe – Felskunst. Die Expedition registrierte sieben Petroglyphenstellen, die große Streuung
von Paneelen enthielten. Einige der Petroglyphen
sind bereits durch die Forschungen von Léone
Allard-Huard in den frühen 80er Jahren bekannt
geworden, aber auch neue Felszeichnungen wurden
registriert. In diesem Bericht möchten wir die Felskunst von jedem Fundort getrennt beschreiben und
dabei bestimmte Typen und Kategorien der Petroglyphen hervorheben. Wir listen daher verschiedene
in den Assemblagen erkannte Motive auf und geben
kurze Beschreibungen und Informationen zu deren
Anzahl. Da wir uns bewusst sind, dass das gesammelte Material nur einen kleinen Teil des gesamten Wadi
Gorgod Felskunstkomplexes ausmacht, formulieren
wir im letzten Teil des Artikels nur einige allgemeine vorsichtige Bemerkungen zu ausgewählten
Motivkategorien. Wir schließen mit einer Reflexion
über die Notwendigkeit der Erforschung von Wadi
Gorgod Petroglyphen, die durch die illegalen Goldminenaktivitäten gefährdet sind.