Chinese National Academy of Arts ,Berjing,100029 )
广义东南亚地区
现存岩画的全球性意义①
保罗•泰森1诺埃尔·伊达尔戈潭2苏·奥康纳3 吉学平4 李钢5 戴伦·科勒6
大卫· 布鲁贝克7 巴迪拓· 哈基姆8 伊万· 苏门瑞9 亨· 桑10
伊姆· 苏克瑞斯11 斯蒂芬·谢12 库恩·瑞伊13 森·孔14 著 吴沄15 译
（1. 格利菲斯大学人文学院PERAHU 中心 澳大利亚 黄金海岸 昆士兰4222
2．3．7. 澳大利亚国立大学历史语言文化学院 澳大利亚 堪培拉 ACT0200
4.15. 云南省文物考古研究所 中国 昆明 650118
5. 迪庆藏族自治州文物管理所 中国 香格里拉 674400
6. 新南威尔士大学生物地球与环境科学院 澳大利亚 悉尼 NSW2052
8.9. 哈桑丁大学考古系 印度尼西亚 望加西
10.11.13.14. 柬埔寨暹粒省暹粒市管理局 柬埔寨 暹粒
12.马来西亚塞恩斯大学全球考古学研究中心 马来西亚 槟城）
摘 要: 东南亚地区的岩画研究程度与澳大利亚和欧洲相比较低，且被多数学者认为起源较晚，东南亚大陆及其各岛国新的测年结果却表明该地区最早的岩画主题（写实的动物和喷绘手印）起源于晚更新世，与欧洲同样古老。欧洲、非洲和东南亚早期岩画主题的相似性表明它们是人类共同的基本行为的产物，而其作画背景（如岩厦）的不同表明洞穴深处的经历并不是激发岩画创作者们灵感的原因。
关键词：岩画，喷绘手印，洞穴岩画，岩厦，动物图形，釉系断代
Global implications of early surviving rock art of greater
Southeast Asia
Written by Paul S.C. Tac¸on1Noel Hidalgo Tan2 Sue O’Connor3 Ji Xueping4 Li Gang5
Darren Curnoe6 David Bulbeck7 Budianto Hakim8 Iwan Sumantri9 Heng Than10 Im Sokrithy11 StephenChia12 Khuon Khun-Neay13Soeung Kong14 Translate by Wu Yun15
(1PERAHU, School of Humanities, campus, Griffith University, Gold Coast , Australia,
2.3.7Archaeology and Natural History, School of Culture, History and Language,
Australian National University, Canberra, Australia,
4.15.Yunnan Institute of Cultural Relics and Archaeology, Kunming, China, 650118,
5. Diqing Tibetan Autonomous Prefecture Cultural Relics Administration Office, Shangri-La, China, 674400
6.School of Biological, Earth and Environmental Sciences, University of New South Wales, Sydney, Australia.
8.9.Archaeology Faculty, Hasanuddin University, Makassar, Sulawesi, Indonesia.
10.11.13.14.APSARA, Siem Reap Province, Cambodia.Archaeological Research, Siem Reap Cambodia.
12.Universiti Sains Malaysia, Penang, Malaysia. )
Abstract: The rock art of Southeast Asia has been less thoroughly studied than that of Europe or Australia, and it hasgenerally been considered to be more recent in origin. New dating evidence from Mainland and Island Southeast Asia,however, demonstrates that the earliest motifs (hand stencils and naturalistic animals) are of late Pleistocene age and asearly as those of Europe. The similar form of the earliest painted motifs in Europe, Africa and Southeast Asia suggests thatthey are the product of a shared underlying behaviour,but the difference in context (rockshelters) indicates that experiencesin deep caves cannot.
Key words: rock art, hand stencils, painted caves, rockshelters, animal motifs, uranium-series