RARI Pager Room

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        RARI Pager Room

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          RARI Pager Room

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            RARI Pager Room

              139 Images & Collections results for RARI Pager Room

              139 results directly related Exclude narrower terms
              RARI HPC 01 51HC
              RARI HPC 01 51HC
              HPC HPC-RARI-HPC-01-51HC.jpg · Item
              Part of Pager, Harald
              The first of the three large friezes painted at RSA BTH1 and includes a virtually complete spectrum of the typical Bushmen art at the Drakensberg. There are numerous shaded polychrome animals, tall figures wearing long karosses, figures wearing antelope masks and carrying flywhisks and examples of the penis additament etc.

              Of particular note is the eland painted as seen form the back with its head turned to the right and, further on to the right an eland, painted as seen from the front looking straight out of the rock face.

              Many of the human figures are so elongated that they give the impression that they might have been modelled on early black hunting parties visiting the area. On the other hand, however, their clothing and artefacts are typical of the Bushmen. A really satisfactory explanation for this elongation has still to be found and it has also been suggested that the Bushmen artists deliberately exaggerated because of their desires not to be considered small. Whatever the explanation, the artistic effect is dramatic and provides an excellent contrast to the shaded polychrome eland. Attenuated figures (elongated figures).
              P40 pager F163.               Botha’s Shelter I
              RARI HPC 01 52HC
              RARI HPC 01 52HC
              HPC HPC-RARI-HPC-01-52HC.jpg · Item
              Part of Pager, Harald
              The first of the three large friezes painted at RSA BTH1 and includes a virtually complete spectrum of the typical Bushmen art at the Drakensberg. There are numerous shaded polychrome animals, tall figures wearing long karosses, figures wearing antelope masks and carrying flywhisks and examples of the penis additament etc.

              Of particular note is the eland painted as seen form the back with its head turned to the right and, further on to the right an eland, painted as seen from the front looking straight out of the rock face.

              Many of the human figures are so elongated that they give the impression that they might have been modelled on early black hunting parties visiting the area. On the other hand, however, their clothing and artefacts are typical of the Bushmen. A really satisfactory explanation for this elongation has still to be found and it has also been suggested that the Bushmen artists deliberately exaggerated because of their desires not to be considered small. Whatever the explanation, the artistic effect is dramatic and provides an excellent contrast to the shaded polychrome eland.
              P40 pager F163 - 164.               Botha’s Shelter I
              RARI HPC 01 53HC
              RARI HPC 01 53HC
              HPC HPC-RARI-HPC-01-53HC.jpg · Item
              Part of Pager, Harald
              The first of the three large friezes painted at RSA BTH1 and includes a virtually complete spectrum of the typical Bushmen art at the Drakensberg. There are numerous shaded polychrome animals, tall figures wearing long karosses, figures wearing antelope masks and carrying flywhisks and examples of the penis additament etc.

              Of particular note is the eland painted as seen form the back with its head turned to the right and, further on to the right an eland, painted as seen from the front looking straight out of the rock face.

              Many of the human figures are so elongated that they give the impression that they might have been modelled on early black hunting parties visiting the area. On the other hand, however, their clothing and artefacts are typical of the Bushmen. A really satisfactory explanation for this elongation has still to be found and it has also been suggested that the Bushmen artists deliberately exaggerated because of their desires not to be considered small. Whatever the explanation, the artistic effect is dramatic and provides an excellent contrast to the shaded polychrome eland. Attenuated figures (elongated figures).
              P40 pager F164.               Botha’s Shelter I
              RARI HPC 01 54HC
              RARI HPC 01 54HC
              HPC HPC-RARI-HPC-01-54HC.jpg · Item
              Part of Pager, Harald
              The first of the three large friezes painted at RSA BTH1 and includes a virtually complete spectrum of the typical Bushmen art at the Drakensberg. There are numerous shaded polychrome animals, tall figures wearing long karosses, figures wearing antelope masks and carrying flywhisks and examples of the penis additament etc.

              Of particular note is the eland painted as seen form the back with its head turned to the right and, further on to the right an eland, painted as seen from the front looking straight out of the rock face.

              Many of the human figures are so elongated that they give the impression that they might have been modelled on early black hunting parties visiting the area. On the other hand, however, their clothing and artefacts are typical of the Bushmen. A really satisfactory explanation for this elongation has still to be found and it has also been suggested that the Bushmen artists deliberately exaggerated because of their desires not to be considered small. Whatever the explanation, the artistic effect is dramatic and provides an excellent contrast to the shaded polychrome eland. Attenuated figures (elongated figures).
              P40 pager F165.               Botha’s Shelter I
              RARI HPC 01 55HC
              RARI HPC 01 55HC
              HPC HPC-RARI-HPC-01-55HC.jpg · Item
              Part of Pager, Harald
              The frieze furthest to the right in RSA BTH1 and depicts the meeting of Bushmen groups and is distinguished by a large number of artefacts such as carrying bags, quivers, pangas, etc. that lie around the seated figures. There are also a number of amophorous shapes, which may represent pieces of meat or, in Pager's words, 'parts of the killed and dismembered animals'.

              These paintings are a typical reflection of the way of life of the Bushmen when smaller groups combined at appropriate seasons of the year when food was plentiful and marriages were arranged. They can probably be interpreted completely literal.
              P41 pager F169 - 170.

              Bushman beliefs suggest that bags had a special significance beyond everyday use. Their relation to trance metaphors is illustrated in San mythology, where parallels were drawn between getting into a skin bag and getting into an animal- that is, taking on its potency. Therefore, bags painted next to a dance or by themselves, are probably an indication of a trance experience.

              Quivers are usually made of bark and are used to store arrows. The quiver, bow and other pieces of equipment were carried on a hunting bag, which is wider at one end than the other and which has a thong running its length so that it can be slung over a shoulder.               Botha’s Shelter I
              RARI HPC 01 56HC
              RARI HPC 01 56HC
              HPC HPC-RARI-HPC-01-56HC.jpg · Item
              Part of Pager, Harald
              The frieze furthest to the right in RSA BTH1 and depicts the meeting of Bushmen groups and is distinguished by a large number of artefacts such as carrying bags, quivers, pangas, etc. that lie around the seated figures. There are also a number of amophorous shapes, which may represent pieces of meat or, in Pager's words, 'parts of the killed and dismembered animals'.

              These paintings are a typical reflection of the way of life of the Bushmen when smaller groups combined at appropriate seasons of the year when food was plentiful and marriages were arranged. They can probably be interpreted completely literal.
              P41 pager F172.               Botha’s Shelter I
              RARI HPC 01 57HC
              RARI HPC 01 57HC
              HPC HPC-RARI-HPC-01-57HC.jpg · Item
              Part of Pager, Harald
              The frieze furthest to the right in RSA BTH1 and depicts the meeting of Bushmen groups and is distinguished by a large number of artefacts such as carrying bags, quivers, pangas, etc. that lie around the seated figures. There are also a number of amophorous shapes, which may represent pieces of meat or, in Pager's words, 'parts of the killed and dismembered animals'.

              These paintings are a typical reflection of the way of life of the Bushmen when smaller groups combined at appropriate seasons of the year when food was plentiful and marriages were arranged. They can probably be interpreted completely literal.
              P41 pager F173.               Botha’s Shelter I
              RARI HPC 01 58HC
              RARI HPC 01 58HC
              HPC HPC-RARI-HPC-01-58HC.jpg · Item
              Part of Pager, Harald
              Among the flakes on the left, a few human figures are still recognisable. In contrast to this deterioration, three small antelope, which were painted in a niche of rock face, are well preserved. Of a human figure, painted above this niche, only the legs have remained. At the top right is a shaded polychrome eland and a man carrying a large quiver. Quivers.
              P42 pager F174.               Botha’s Shelter I
              RARI HPC 01 59HC
              RARI HPC 01 59HC
              HPC HPC-RARI-HPC-01-59HC.jpg · Item
              Part of Pager, Harald
              P43 pager F186 - 187. Eland.

              The eland was the first animal that the San trickster deity, /Kaggen created and it remained his favourite.
              The eland is the largest of southern African antelope and is much desired for its meat and fat. The San say that all other animals are like servants to the eland.

              The importance of this animal is shown in the great variety of postures and perspectives. It is depicted running with tail outstretched, with uplifted head smelling the wind, and upside down, presumably dead. The eland is also depicted from the front or from the back, and even from above. Bees.

              The eland appears in four important San rituals it is the most carefully depicted antelope in both rock paintings and engravings: Trance dance, boy's first kill, girl's puberty and marriage. It is believed that eland fat contains a lot of potency and in a trance dance shamans aspire to possess eland potency.               Botha’s Shelter I
              RARI HPC 01 5HC
              RARI HPC 01 5HC
              HPC HPC-RARI-HPC-01-5HC.jpg · Item
              Part of Pager, Harald
              In the 'upper sleeping bay' of this shelter, most of the rock faces are crumbling and are covered with algae and lichens due to the recurrent flows of rain water.

              On a small area of the wall with a better surface there are a few figures: Three running human figures (two of them being hunters with large quivers) and an eland that appears to have two tails. Paint remains at the top might have been part of another human figure.
              P5 pager F79.

              Quivers are usually made of bark and are used to store arrows. The quiver, bow and other pieces of equipment were carried on a hunting bag, which is wider at one end than the other and which has a thong running its length so that it can be slung over a shoulder.               Sibayeni Cave I
              RARI HPC 01 61HC
              RARI HPC 01 61HC
              HPC HPC-RARI-HPC-01-61HC.jpg · Item
              Part of Pager, Harald
              P43 pager F186B. Eland.

              The eland was the first animal that the San trickster deity, /Kaggen created and it remained his favourite.
              The eland is the largest of southern African antelope and is much desired for its meat and fat. The San say that all other animals are like servants to the eland.

              The importance of this animal is shown in the great variety of postures and perspectives. It is depicted running with tail outstretched, with uplifted head smelling the wind, and upside down, presumably dead. The eland is also depicted from the front or from the back, and even from above.

              The eland appears in four important San rituals it is the most carefully depicted antelope in both rock paintings and engravings: Trance dance, boy's first kill, girl's puberty and marriage. It is believed that eland fat contains a lot of potency and in a trance dance shamans aspire to possess eland potency.               Botha’s Shelter I