DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.36954#0020
on possible dating of desert varnish is, I suggest, based on field-
work in the Indus valley during the Karakorum Project of the
Royal Geographical Society (WHALLEY 1983). So I may refer
to this publication and start with the statement that "bruising"
is the chosen technique under such conditions for carvings and
writings, durable and visible from a great distance.
The result of bruising was called "sgraffiti" by STEIN (1944:
17), and basically the same term (graffiti) may be used further
on — in spite of the evident difference to what we mean when
speaking of monuments from Roman or Greek antiquity (for the
terminology see B. ALLCHIN 1986: 152—155). The bruisings,
however, are subject to repatination. Full repatination makes
bruisings invisible to a person standing in front, but when the
stone is reflecting sunshine, the figures will appear.
Bruising is often done with a pointed stone. But hammering with
metal implements — chisels and pick-axes — was used very early,
as observed by RANOV (1982: 86). Suitable copper and bronze
tools from Middle Asia were published by KUZ 'MINA (1966: pi.
1/4,7; 111/1,2,7,8; XII).
On the basis of the data presented by WHALLEY (1983: 22),
but mainly relying on my own experience from several expedi-
tions, I would say that in the Indus valley complete repatination
needs a very long time: three or four millennia. That is a crude
margin, since exposure to sunshine (hence orientation) and the
quality of the stone are important as well and must be taken into
consideration, but it is confirmed by the observation that none
of the completely repatinated images are connected with inscrip-
tions. They do not belong to iconographic groups strongly
reminiscent of those attributed elsewhere to the first millen-
nium B.C. — a time when we are already near the first written
sources, e.g., Chinese annals mentioning Saka-migrations through
the Karakorums. So we may call these fully repatinated carvings
"prehistoric".
Before 1988, such "prehistoric" carvings were only observed in
the Indus valley between Chilas and Shatial, where nature pre-
sents a multitude of barren and polished, heavily patinated rocks
in bizarre formations — such as enclosures for meeting places, gal-
leries, or "chapels" waiting for the decorating artist. Here, we
have a series of enormous open-air galleries inviting gifted con-
XVI
work in the Indus valley during the Karakorum Project of the
Royal Geographical Society (WHALLEY 1983). So I may refer
to this publication and start with the statement that "bruising"
is the chosen technique under such conditions for carvings and
writings, durable and visible from a great distance.
The result of bruising was called "sgraffiti" by STEIN (1944:
17), and basically the same term (graffiti) may be used further
on — in spite of the evident difference to what we mean when
speaking of monuments from Roman or Greek antiquity (for the
terminology see B. ALLCHIN 1986: 152—155). The bruisings,
however, are subject to repatination. Full repatination makes
bruisings invisible to a person standing in front, but when the
stone is reflecting sunshine, the figures will appear.
Bruising is often done with a pointed stone. But hammering with
metal implements — chisels and pick-axes — was used very early,
as observed by RANOV (1982: 86). Suitable copper and bronze
tools from Middle Asia were published by KUZ 'MINA (1966: pi.
1/4,7; 111/1,2,7,8; XII).
On the basis of the data presented by WHALLEY (1983: 22),
but mainly relying on my own experience from several expedi-
tions, I would say that in the Indus valley complete repatination
needs a very long time: three or four millennia. That is a crude
margin, since exposure to sunshine (hence orientation) and the
quality of the stone are important as well and must be taken into
consideration, but it is confirmed by the observation that none
of the completely repatinated images are connected with inscrip-
tions. They do not belong to iconographic groups strongly
reminiscent of those attributed elsewhere to the first millen-
nium B.C. — a time when we are already near the first written
sources, e.g., Chinese annals mentioning Saka-migrations through
the Karakorums. So we may call these fully repatinated carvings
"prehistoric".
Before 1988, such "prehistoric" carvings were only observed in
the Indus valley between Chilas and Shatial, where nature pre-
sents a multitude of barren and polished, heavily patinated rocks
in bizarre formations — such as enclosures for meeting places, gal-
leries, or "chapels" waiting for the decorating artist. Here, we
have a series of enormous open-air galleries inviting gifted con-
XVI