Methodology in the recording of rock paintings

Abstract

Daar bestaan 'n groeiende belangstelling in die belangrike rol wat San-rotsskilderinge speel in ons nasionale erfenis. Hierdie belangstelling het gelei tot 'n besef van die vinnige agteruitgang van hierdie werke, as gevolg van natuurlike en mensllke oorsake en dus van die dringendheid van effektiewe konservasie. Kopiering - deur middel van natreksels of foto's - is tans die enigste metode om die werke te bewaar, sodat 'n getroue rekord beskikbaar kan wees vir toekomstige navorsers. 'n Voorbeeld van die waarde hiervan is gelee in die pionierswerk van William Stow. Vele van die skilderinge wat hy so versigtig gekopieer het in die laat 18OO's het intussen verdwyn of tot so 'n mate vervaag dat hul nouliks sigbaar is. Hierdie artikel beskryf in besonderhede die tegnieke van natrekwerk en fotografie wat oor 'n periode van dertig jaar geleer is deur terreinondervinding. Die doel van hierdie beskrywing is om die entoesias aan te moedig, om 'n sin vir dringendheid te bevorder en om frustrerende foute te help voorkom.

There is a growing awareness of the significant part San rock paintings play in our national heritage. This has led to a realisation that they are fast deteriorating due to natural and human causes and that there is now an urgent need to take effective action for their preservation. The only method of preservation available to us at present is that of copying - either by tracing or photography - so that a faithful record is available for future researchers. An example of the value of this is the pioneering work done by William Stow. Many of the paintings he so painstakingly copied in the late 1800's have either disappeared completely or are so faded as to be nearly invisible. This article describes in detail the tracing and photographic techniques, learned from thirty years of field experience. The aim of this description is to encourage the enthusiast, to foster a sense of urgency with regard to preservation and to help avoid frustrating errors.