Rock art of the Middle and Upper Orinoco River in South America is characterised by some of the largest and most enigmatic engravings in the world, including snakes exceeding 40m in length. Here, the authors map the geographic distribution of giant snake motifs and assess the visibility of this serpentine imagery within the Orinoco landscape and Indigenous myths. Occupying prominent outcrops that were visible from great distances, the authors argue that the rock art provided physical reference points for cosmogonic myths, acting as border agents that structured the environment and were central to Indigenous placemaking along the rivers of lowland South America.

Researchers have long discussed whether Scandinavian rock art reflects narratives. Their interpretations have frequently been based on inspections of rock art panels combined with knowledge from ethnographic and historical sources. Here, the authors adopt a more focused narratological approach that takes the concept of (visual) narrativity into consideration and draws on studies by literary analysts, cognitive psychologists, and semioticians. Images of spear use in the provinces of Bohuslän and Östergötland in Sweden, given their diversity and indexical qualities, are well-suited to such a study. They reveal different kinds of indexical relationships, i.e. how the spears direct attention to possible targets, arguably corresponding to action scripts well-known to Bronze Age communities. Many spear images may be regarded as mini-narratives and mnemonic devices intended to represent schematized action sequences. The authors suggest that concepts such as iconicity, indexical relationships, scripts, and mini-narratives could be fruitfully employed in research on Scandinavian rock art and beyond.

Only five years ago, Montserrat was a blank spot on the distribution map of islands in the Lesser Antilles where petroglyphs were known. In January 2016, hikers in Soldier Ghaut, a deeply incised watercourse in the northwest of the island, came upon a panel of nine petroglyphs engraved on a nearly vertical wall of volcanoclastic tuff. Soon afterward the petroglyphs were documented by the Survey and Landscape Archaeology on Montserrat project (SLAM). Then in January 2018 an additional petroglyph was spotted on a large slab of rock, detached from the rock wall on the opposite side of the ghaut. At the invitation of the Montserrat National Trust (MNT) and with European Union funding, Susana Guimarães and Christian Stouvenot traveled to Montserrat in 2018 to assist in further studies at the site. They conducted photogrammetric documentation and photography under enhanced lighting conditions and inspected the petroglyphs and their context in detail in order to advise MNT about their conservation and provisions for public access. This report presents this new group of petroglyphs and their landscape setting and considers questions of dating and interpretation.

Red Bird was a Cherokee murdered at the Red Bird River Petroglyph site (15Cy51) and buried at the Red Bird River Rockshelter (15Cy52) during the late eighteenth century, where he left an important record of traditional petroglyphs. His legacy is key to understanding the origins of Sequoyah's Cherokee Syllabary and its relationship to rock art. Personal testimonies of Red Bird's descendants are supported by primary documents and archaeological evidence, including the letters of Sequoyah's maternal uncle, John Watts, and prototypes of Cherokee Syllabary characters engraved at 15Cy52 in 1808, when members of Sequoyah's matrilineal family resided nearby.

Detailed documentation of thousands of petroglyphs and recent excavations conducted at the site of Toro Muerto in Peru reveal new information about the symbolic spatial organisation and ritual functions of the largest pre-Columbian rock art complex.

Patolli petroglyphs were recently identified at two archaeological sites in northeast Honduras. Patolli is a Mesoamerican game of chance described in ethnohistoric sources and documented in archaeological contexts in many parts of Mesoamerica. Thus, it has been characterized as an important element of Mesoamerican culture. The existence of patolli boards at Plan Grande, on the island of Guanaja, and at Sawacito in northeast Honduras shows that the practice of the game extended farther to the east than earlier presumed and indicates long-distance interaction. Given the considerable number of five patolli petroglyphs at Plan Grande, I characterize the site as an important center.

The Atures Rapids have long been considered a major point of confluence in the Middle Orinoco landscape, Venezuela. This has been underlined by newly discovered rock art panels on islands within the Rapids and on the margins of the Orinoco River. The panels were recorded photographically and photogrammetrically, and the spatial organisation and taphonomic factors affecting the corpus were investigated. The rock art was also examined in the context of established models of chronology and authorship. Placing the corpus in relation to archaeological and ethnographic evidence from Amazonia and the Guianas emphasises how the Atures Rapids structured pre-Columbian and Colonial contact between diverse groups in lowland South America.

Ancient art cut into rock is difficult to research and manage off-site without precise three-dimensional records. Experiments with photographic modelling by the authors led to a relatively accessible and economical way of making them.

Petroglyph sites in the Yinshan and Helanshan ranges were documented during a recent survey. Archaeological remains indicate that these areas have for millennia been both militarized borders and osmotic trading zones connecting the pastoral people of northern Asia and the Chinese world. Petroglyphs form a significant part of the material and symbolic culture of this transitional zone from the Neolithic down to the later dynastic phases (nineteenth century). By using newly-gathered data, this article moves away from interpretations which see rock art as a wholly shamanistic phenomenon, introducing territory and iconography as key elements for the understanding of local geographies, cultural interactions, and the agencies of identity. The location of the sites indicates that petroglyphs were next to travel routes and may have served as territory markers and meeting places. In addition, the scattering of marked rocks in key locations suggests that petroglyphs were markers of identity essential for a people who were engaged in a dialectic contention with the expanding agricultural world. The sense of identity can be perceived also in the subject matter (wild and domesticated animals, hunting and herding scenes, faces) which seems to emphasize respect for, or even enjoyment of, pastoral and nomadic life.

Direct dating, using the Accelerator Mass Spectrometry (AMS) 14C method, indicates that some petroglyphs (rock art) at El-Hosh in Upper Egypt pre-date the early 7th millennium BP (mid 6th millennium cal BC), making it the oldest graphic activity recorded in the Nile Valley.