Icons and archives: the Orpen lithograph in the context of 19^th-century depictions of rock paintings

References

• Alexander, J.E. 1837. Narrative of a voyage of observation among the colonies of western Africa, in the flag-ship Thalia; and of a campaign in Kaffir-land on the staff of the Commander-in-chief in 1835. London: Henry Colburn.
   Google Scholar
• Bahn, P.G. 1998. The Cambridge illustrated history of prehistoric art. Cambridge: Cambridge University Press.
   Google Scholar
• Baines, T. 1961. Journal of residence in Africa 1842–1853 by Thomas Baines: volume one, 1842–1849, ed. R.J. Kennedy. Cape Town: Van Riebeeck Society.
   Google Scholar
• Baines, T. 1964. Journal of residence in Africa 1842–1853 by Thomas Baines: volume two, 1850–1853, ed. R.J. Kennedy. Cape Town: Van Riebeeck Society.
   Google Scholar
• Barrow, J. 1801. An account of travels into the interior of southern Africa in the years 1797 and 1798: including cursory observations on the geology and geography of the southern part of that continent; the natural history of such objects as occurred in the animal, vegetable, and mineral kingdoms; and sketches of the physical and moral characters of the various tribes of inhabitants surrounding the settlement of the Cape of Good Hope. London: A. Strahan.
   Google Scholar
• Bent, J.T. 1892. The ruined cities of Mashonaland being a record of excavation and exploration in 1891. London: Longmans, Green and Co.
   Google Scholar
• Bleek, W.H.I. 1874. Remarks by Dr. Bleek. Cape Monthly Magazine 9(49): 10–13.
   Google Scholar
• Carruthers, J. and M. Arnold 1995. The life and work of Thomas Baines. Vlaeberg: Fernwood Press.
   Google Scholar
• Castaldi, F. 2006. Choreographies of African identities: négritude, dance, and the National Ballet of Senegal. Urbana and Chicago: University of Illinois Press.
   Google Scholar
• Challis, S.W.R., J. Hollmann and M. McGranaghan. 2013. ‘Rain snakes’ from the Senqu River: new light on Qing's commentary on San rock art from Sehonghong, Lesotho. Azania: Archaeological Research in Africa. http://dx.doi.org/10.1080/0067270X.2013.797135 (accessed 4 August 2013).
   Google Scholar
• Dart, R.A. 1925. The historical succession of cultural impacts upon South Africa. Nature 115(2890): 425–429.
   Google Scholar
• Davis, W. 1990. The study of rock art in Africa. In A history of African archaeology, ed. R. Robertshaw, 271–295. London: J. Currey.
   Google Scholar
• Farini, G.A. 1886. Through the Kalahari Desert: a narrative of a journey with a gun, camera, and note-book to Lake N'Gami and back. London: Sampson Low, Marston, Searle & Rivington.
   Google Scholar
• Flett, A. and P. Letley 2007. Brother Otto Mäeder: an examination and evaluation of his work as a rock art recorder in South Africa. Southern African Humanities 19: 103–121.
   Web of Science ®Google Scholar
• Fritsch, G. 1872. Die Eingeborenen Süd-Afrika's. Breslau: Ferdinand Hirt.
   Google Scholar
• Frobenius, L. 1931. Madsimu Dsangara. Südafrikanische Felsbilderchronik. Berlin and Zurich: Atlantis Verlag.
   Google Scholar
• Hollmann, J.C. 2005. ‘Swift-people’: therianthropes and bird symbolism in hunter-gatherer rock paintings, western and eastern Cape provinces, South Africa. South African Archaeological Society Goodwin Series 9: 21–33.
   Google Scholar
• Hollmann, J.C. and K. Crause 2011. Digital imaging and the revelation of ‘hidden’ rock art: Vaalekop Shelter, KwaZulu-Natal. Southern African Humanities 23: 55–76.
   Web of Science ®Google Scholar
• Holub, E.M. 1881. Seven years in South Africa: travel, researches, and hunting adventures, between the diamond-fields and the Zambesi (1872–1879), vol. two. London: Sampson Low, Marston, Searle & Rivington.
   Google Scholar
• Huss, B. and Mäder O. [Br. Otto, O.C.R.] 1925. The origin of the Bushmen paintings at the Kei River. South African Journal of Science 22: 496–503.
   Google Scholar
• Jacobs, Z., R.G. Roberts, R.F. Galbraith, M. Barré, H.J. Deacon, A. Mackay, P.J. Mitchell, R. Vogelsang and L. Wadley 2008. Ages for Middle Stone Age innovations in southern Africa: implications for modern human behavior and dispersal. Science 322: 733–735.
   PubMed Web of Science ®Google Scholar
• Kemp, M. 2012. Christ to Coke: how image becomes icon. Oxford: Oxford University Press.
   Google Scholar
• King, W.R. 1855. Campaigning in Kaffirland or scenes and adventures in the Kaffir War of 1851–2. Second edition. London: Saunders and Otley.
   Google Scholar
• Knox-Shaw, P. 1997. Unicorns on rocks: the expressionism of Olive Schreiner. English Studies in Africa 40(2): 13–32.
   Web of Science ®Google Scholar
• Leeuwenberg, J. 1970. A Bushman legend from the George district. The South African Archaeological Bulletin 25(99/100): 145–146.
   Google Scholar
• Lewis-Williams, J.D. 1980. Ethnography and iconography: aspects of Southern San thought and art. Man 15(3): 467–482.
   Google Scholar
• Lewis-Williams, J.D. 1981. Believing and seeing: symbolic meanings in Southern San rock paintings. London: Academic Press.
   Google Scholar
• Lewis-Williams, J.D. 1983. The rock art of southern Africa. Cambridge: Cambridge University Press.
   Google Scholar
• Lewis-Williams, J.D. 1990. Discovering southern African rock art. Cape Town: David Philip.
   Google Scholar
• Lewis-Williams, J.D. 2010. The imagistic web of San myth, art and landscape. Southern African Humanities 22: 1–18.
   Web of Science ®Google Scholar
• Lewis-Williams, J.D., T.A. Dowson and J. Deacon 1993. Rock art and changing perceptions of southern Africa's past: Ezeljagdspoort reviewed. Antiquity 67: 273–291.
   Web of Science ®Google Scholar
• Mäder, O. [Br. Otto, O.C.R.] 1908. Buschmann-Malereien aus Natal. Anthropos 3: 1047–1049.
   Google Scholar
• Manhoff, M. 2004. Theories of the archive from across the disciplines. Libraries and the Academy 4(1): 9–25.
   Web of Science ®Google Scholar
• Mitchell, P.J. 2010. Making history at Sehonghong: Soai and the last Bushman occupants of his shelter. Southern African Humanities 22: 149–170.
   Web of Science ®Google Scholar
• Mitchell, P.J. and S. Challis 2008. A ‘first’ glimpse into the Maloti Mountains: the diary of James Murray Grant's expedition of 1873–74. Southern African Humanities 20: 399–461.
   Web of Science ®Google Scholar
• Mitchell, W.J.T. 1984. What is an image? New Literary History 15(3): 503–537.
   Web of Science ®Google Scholar
• Orpen, J.M. 1874. A glimpse into the mythology of the Maluti Bushmen. Cape Monthly Magazine 9(49): 1–10.
   Google Scholar
• Ouzman, S. 2002. Thomas Baines’ ‘lost’ rock art site. The Digging Stick 19(1): 6–7.
   Google Scholar
• Ouzman, S. 2010. Graffiti as art(e)fact: a contemporary archaeology. Paper presented at the Sociology, Anthropology and Development Studies Seminar, University of Johannesburg, 10 March 2010 (quoted with the author's permission). http://www.uj.ac.za/EN/Faculties/humanities/departments/sociology/seminar/Documents/Seminar%20papers/Ouzman%202010%20Graffiti.pdf
   Google Scholar
• Oxford English dictionary. 2014. Oxford: Oxford University Press. www.oed.com
   Google Scholar
• Penn, N. 1993. Mapping the Cape: John Barrow and the first British occupation of the Colony, 1795–1803. Pretexts 4(2): 20–43.
   Google Scholar
• Prins, F. 2001. Call of the water spirits. In Rock paintings of South Africa: revealing a legacy, ed. S. Townley Bassett, 65–69. Cape Town: David Philip.
   Google Scholar
• Richings, G. 2006. The life and work of Charles Michell. Simon's Town: Fernwood Press.
   Google Scholar
• Rust, C. 2008. Meta-tourism, sense of place and the rock art of the Little Karoo. PhD thesis, Geography and Environmental Studies, Stellenbosch University.
   Google Scholar
• Skotnes, P. 1994. The visual as a site of meaning. In Contested images: diversity in southern African rock art research, ed. T.A. Dowson, and [J.]D. Lewis-Williams, 315–330. Johannesburg: Witwatersrand University Press.
   Google Scholar
• Skotnes, P. 1996. The thin black line: diversity and transformation in the Bleek and Lloyd collection and the paintings of the Southern San. In Voices from the past: ∣Xam Bushmen and the Bleek and Lloyd collection, ed. J. Deacon and T.A. Dowson, 234–244. Johannesburg: Witwatersrand University Press.
   Google Scholar
• Skotnes, P. 2008. Unconquerable spirit: George Stow's history paintings of the San. Johannesburg and Athens, Ohio: Jacana and Ohio University Press.
   Google Scholar
• Smits, L.G.A. 1973. Rock painting sites in the upper Senqu Valley, Lesotho. The South African Archaeological Bulletin 28: 32–38.
   Web of Science ®Google Scholar
• Vinnicombe, P. 1966. The early recording and preservation of rock paintings in South Africa. Studies in Speleology 1(4): 153–62.
   Google Scholar
• Vinnicombe, P. 1976. People of the eland: rock paintings of the Drakensberg Bushmen as a reflection of their life and thought. Pietermaritzburg: University of Natal Press.
   Google Scholar
• Vinnicombe, P. 2009[1976]. People of the eland: rock paintings of the Drakensberg Bushmen as a reflection of their life and thought, second edition. Johannesburg: Wits University Press.
   Google Scholar
• Ward, V. and T. Maggs 1994. Changing appearances: a comparison between early copies and the present state of rock paintings from the Natal Drakensberg as an indication of rock art deterioration. Natal Museum Journal of Humanities 6: 153–78.
   Google Scholar
• Willcox, A.R. 1963. The rock art of South Africa. Johannesburg: Thomas Nelson.
   Google Scholar
• Wilson, M. 2005. Early records of South African rock art. The Digging Stick 22(1): 9–10.
   Google Scholar
• Wintjes, J. 2011. A pictorial genealogy: the rainmaking group from Sehonghong Shelter. Southern African Humanities 23: 17–54.
   Web of Science ®Google Scholar
• Wintjes, J. 2012. Archaeology and visuality, imaging as recording: a pictorial genealogy of rock painting research in the Maloti-Drakensberg through two case studies. PhD thesis in Art History, University of the Witwatersrand, Johannesburg.
   Google Scholar
• Wright, J. and J. de Prada-Samper 2013. Introducing the Qing and Orpen Project. The Digging Stick 30(1): 5.
   Google Scholar