[Bernard, Alan J. 2004. “Coat of Arms and the Body Politic: Khoisan Imagery and South African National Identity.” Ethnos 69(1): 5-22.10.1080/0014184042000191807]Search in Google Scholar
[Clottes, Jean. 2016. What is Paleolithic Art? Cave Paintings and the Dawn of Human Creativity. Chicago & London: University of Chicago Press.10.7208/chicago/9780226188065.001.0001]Search in Google Scholar
[Clottes, Jean, and J. David Lewis-Williams. 1998. The Shamans of Prehistory: Trance and Magic in the Painted Caves. NewYork: Harry N. Abrams.]Search in Google Scholar
[Coulson, David, and Alec Campbell. 2001. African Rock Art: Paintings and Engravings on Stone. New York: Harry N. Abrams.]Search in Google Scholar
[Deacon, Janet. 1999. “South African Rock Art.” Evolutionary Anthropology 8: 48-64.10.1002/(SICI)1520-6505(1999)8:2<48::AID-EVAN4>3.0.CO;2-9]Search in Google Scholar
[Dowson, Thomas A. 1998. “Rain in Bushman Belief, Politics and History: The Rock-art of Rain-Making in the South-Eastern Mountains, Southern Africa.” The Archaeology of Rock-Art. Eds. C. Chippindale, and P.S.C. Tacon. Cambridge: Cambridge University Press. 73-89.]Search in Google Scholar
[Duval, Melanie, and Benjamin Smith. 2014. “Seeking Sustainable Rock Art Tourism: The Example of the Maloti-Drakensberg Park World Heritage Site.” South African Archaeological Bulletin 69: 34-48.]Search in Google Scholar
[Garlake, Peter. 1995. The Hunter’s Vision: The Prehistoric Art of Zimbabwe. Seattle: University of Washington Press.]Search in Google Scholar
[Grzelczyk, Maciej. 2015. “Rock Paintings from Poro Banguma I and Banguma I from the Usandawe Area (Kondoa District, Tanzania).” Bollettino del Centro Camuno di Studi Preistorici 39: 21-26.]Search in Google Scholar
[_____. 2016. “State of Preservation of Rock Art Sites in Usandawe Area, Tanzania.” Bollettino del Centro Camuno di Studi Preistorici 41: 138-142.]Search in Google Scholar
[Grzelczyk, Maciej, and Andrzej Rozwadowski. 2017. “Sztuka naskalna regionu Kondoa w Tanzanii. Gdzie archeologia spotyka się z etnologią.” Sztuka naskalna: polskie doświadczenia badawcze. Ed. A. Rozwadowski. Warszawa-Toruń: Polski Instytut Studiow nad Sztuką Świata. 51-72.]Search in Google Scholar
[Hampson, Jamie. 2013. “The Materiality of Rock Art and Quartz: A Case Study from Mpumalanga Province, South Africa.” Cambridge Archaeological Journal 23(3): 363-372.10.1017/S0959774313000498]Search in Google Scholar
[Hollmann, Jeremy 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.]Search in Google Scholar
[Hromnik, Cyril A. 2001. “!Ke e: ׀xarra ke - the Qena Motto in the South African Coat of Arms.” Quarterly Bulletin of the National Library of South Africa 56(2): 65-72.]Search in Google Scholar
[Laue, Ghilraen, Tara Turkington, and Benjamin Smith. 2002. “Presenting South African Rock Art to the World: Two Major New Public Rock Art Site Developments for 2002.” The Digging Stick 18(3): 5-7.]Search in Google Scholar
[Leroi-Gourhan, Andre. 1968. The Art of Prehistoric Man in Western Europe. London: Thames and Hudson.]Search in Google Scholar
[Lewis-Williams, James David. 1972. “The Syntax and Function of the Giant’s Castle Rock-Paintings.” South African Archaeological Bulletin 27: 49-65.10.2307/3888814]Search in Google Scholar
[_____. 1974. “Superpositioning in a Sample of Rock Paintings from the Barkly East District.” South African Archaeological Bulletin 29: 93-103.10.2307/3888335]Search in Google Scholar
[_____. 1980. “Ethnography and Iconography: Aspects of Southern San Thought and Art.” Man 15: 467-482.10.2307/2801345]Search in Google Scholar
[_____. 1981a. Believing and Seeing: Symbolic Meanings in Southern San Rock Paintings. London and San Francisco: Academic Press.]Search in Google Scholar
[_____. 1981b. “The Thin Red Line: Southern San Notions and Rock Paintings of Supernatural Potency.” South African Archaeological Bulletin 36: 5-13.10.2307/3888013]Search in Google Scholar
[_____. 1983a. “Introductory essay: science and rock art.” South African Archaeological Society, Goodwin Series 4: 3-13.]Search in Google Scholar
[_____. 1983b. The Rock Art of Southern Africa. Cambridge: Cambridge University Press.]Search in Google Scholar
[_____. 1984. “Ideological Continuities in Prehistoric Southern Africa: The Evidence of Rock Art.” Past and Present in Hunter-Gatherer Studies. Ed. C. Schrire. New York: Academic Press. 225-252.]Search in Google Scholar
[_____. 1985. “The San Artistic Achievement.” African Arts 18(3): 54-59.10.2307/3336356]Search in Google Scholar
[_____. 1986. “The Last Testament of the Southern San.” South African Archaeological Bulletin 41: 10-11.10.2307/3887711]Search in Google Scholar
[_____. 1987a. “Beyond Style and Portrait: A Comparison of Tanzanian and Southern African Rock Art.” Contemporary Studies on Khoisan, Part 2 (Quellen zur Khoisan-Forschung 5.2). Eds. R. Vossen, and K. Keuthmann. Hamburg: Helmut Buske Verlag. 93-139.]Search in Google Scholar
[_____. 1987b. “Paintings and Power: Ethnography and Rock Art in Southern Africa.” The Past and Future of !Kung Ethnography: Critical Refl ections and Symbolic Perspectives. Eds. M. Biesele, R. Gordon, and R. Lee. Hamburg: Helmut Buske Verlag. 231-253.]Search in Google Scholar
[_____. 1988a. Reality and Non-Reality in San Rock Art. 25th Raymond Dart Lecture. Johannesburg: Witwatersrand University Press.]Search in Google Scholar
[_____. 1988b. The World of Man and the World of Spirit: An Interpretation of the Linton Rock Paintings. Margaret Shaw Lecture 2. Cape Town: South African Museum.]Search in Google Scholar
[_____. 1992. “Ethnographic Evidence Relating to ‘Trancing’ and ‘Shamans’ among Northern Bushmen.” South African Archaeological Bulletin 47: 56-60.10.2307/3888993]Search in Google Scholar
[_____. 1995. “Seeing and Construing: The Making and ‘Meaning’ of a Southern African Rock Art Motif.” Cambridge Archaeological Journal 5(1): 3-23.10.1017/S0959774300001165]Search in Google Scholar
[_____. 1997a. “Agency, Art, and Altered Consciousness: A Motif in French (Quercy) Upper Palaeolithic Parietal Art.” Antiquity 71(274): 810-830.]Search in Google Scholar
[_____. 1997b. “Harnessing the Brain: Vision and Shamanism in Upper Palaeolithic Western Europe.” Beyond Art: Pleistocene Image and Symbol. Eds. M.W. Conkey, O. Soffer, D. Stratmann, and N.G. Jablonski. Berkeley: University of California Press. 321-342.]Search in Google Scholar
[_____. 2000a. Discovering Southern African Rock Art. Cape Town and Johannesburg: David Philip.]Search in Google Scholar
[_____. 2000b. Stories the Float from Afar: Ancestral Folklore of the San of Southern Africa. Cape Town: David Philip.]Search in Google Scholar
[_____. 2001a. “Brainstorming Images: Neuropsychology and Rock Art Research.” Handbook of Rock Art Research. Ed. D. Whitley. Walnut Creek: AltaMira Press. 332-357.]Search in Google Scholar
[_____. 2001b. “Monolithism and Polysemy: Scylla and Charybdis in Rock Art Research.” Theoretical Perspectives in Rock Art Research. Ed. K. Helskog. Oslo: Novus forlag. 23-39.]Search in Google Scholar
[_____. 2002. The Mind in the Cave: Consciousness and the Origins of Art. London: Thames and Hudson.]Search in Google Scholar
[_____. 2003. Images of Mystery: Rock Art of the Drakensberg. Paris: Editions du Seuil.]Search in Google Scholar
[_____. 2006. “Debating Rock Art: Myth and Ritual, Theories and Facts.” South African Archaeological Bulletin 61: 105-114.]Search in Google Scholar
[Lewis-Williams, James David, and Sam Challis. 2011. Deciphering Ancient Minds: The Mystery of San Bushmen Rock Art. London: Thames and Hudson.]Search in Google Scholar
[Lewis-Williams, James David, and Thomas A. Dowson. 1988. “The Signs of All Times. Entoptic Phenomena in Upper Paleolithic Art.” Current Anthropology 29(2): 201-245.10.1086/203629]Search in Google Scholar
[_____. 1989. Images of Power. Understanding Bushman Rock Art. Johannesburg: Southern Book Publishers.]Search in Google Scholar
[_____. 1990. “Through the Veil: San Rock Paintings and the Rock Face.” South African Archaeological Bulletin 45: 5-16.10.2307/3887913]Search in Google Scholar
[Lewis-Williams, James David, and Johannes H.N. Loubser. 1986. “Deceptive Appearances: A Critique of Southern African Rock Art Studies.” Advances in World Archaeology 5: 251-289.]Search in Google Scholar
[Lewis-Williams, James David, Geoffrey Blundell, Sam Challis, and Jamie Hampson. 2000. “Threads of Light: Re-examining a Motif in Southern African San Rock Art.” South African Archaeological Bulletin 55: 123-136.10.2307/3888961]Search in Google Scholar
[McGranaghan, Mark, Sam Challis, and James David Lewis-Williams. 2013. “Joseph Millerd Orpen’s ‘A Glimpse into the Mythology of the Maluti Bushmen’: A Contextual Introduction and Republished Text.” Southern African Humanities 25: 137-66.]Search in Google Scholar
[Mguni, Siyakha. 2012. “Five Years of Southern African Rock Art Research.” Rock Art Studies. News of the World IV. Eds. P. Bahn, N. Franklin, and M. Strecker. Oxford: Oxbow Books. 99-112.]Search in Google Scholar
[Morris, David. 2010. “Snake and Veil: The Rock Engravings of Driekopseiland, Northern Cape, South Africa.” Seeing and Knowing: Rock Art With and Without Ethnography. Eds. G. Blundell, C. Chippindale, and B. Smith. Walnut Creek: Left Coast Press. 37-53.]Search in Google Scholar
[_____. 2014. “Wildebeest Kuil Rock Art Centre, South Africa: Controversy and Renown, Successes, and Shortcomings.” Public Archaeology 13(1-3): 187-199.]Search in Google Scholar
[Orpen, Joseph Millerd. 1874. “A Glimpse into the Mythology of the Maluti Bushmen.” Cape Monthly Magazine 9(49): 1-13.]Search in Google Scholar
[Rozwadowski, Andrzej. 2001a. “From Semiotics to Phenomenology: Central Asian Petroglyphs and the Indo-Iranian Mythology.” Theoretical Perspectives in Rock Art Research. Ed. K. Helskog. Oslo: Novus Press. 155-174.]Search in Google Scholar
[_____. 2001b. “The Petroglyphs of Central Asian from the Viewpoint of the Indo-Iranian Hypothesis.” Indo-European Studies Bulletin 9(2): 9-19.]Search in Google Scholar
[_____. 2001c. “Sun Gods or Shamans? Interpreting the ‘Solar-Headed’ Petroglyphs of Central Asia.” The Archaeology of Shamanism. Ed. N. Price. London and New York: Routledge. 65-86.]Search in Google Scholar
[_____. 2002a. “Crossing the Crack: Flying to the Cloud. Indo-Iranians, Shamanism and Central Asian Rock Art.” Bolletino del Centro Camuno di Studi Preistorici 33: 97-105.]Search in Google Scholar
[_____. 2002b. “Disappearing in the Cliffs: Shamanistic Aspects of Indo-Iranian Mythology as a Context for Interpreting Central Asian Petroglyphs.” Spirits and Stones: Shamanism and Rock Art in Central Asia and Siberia. Eds. A. Rozwadowski, and M.M. Kośko. Poznań: Instytut Wschodni UAM. 49-79.]Search in Google Scholar
[_____. 2003. Indoirańczycy - sztuka i mitologia. Petroglify Azji Środkowej. Poznań: Wydawnictwo Naukowe UAM.]Search in Google Scholar
[_____. 2004. Symbols through Time: Interpreting the Rock Art of Central Asia. Poznań: Institute of Eastern Studies, Adam Mickiewicz University.]Search in Google Scholar
[_____. 2009. Obrazy z przeszłości. Hermeneutyka sztuki naskalnej. Poznań: Wydawnictwo Naukowe UAM.]Search in Google Scholar
[_____. 2012a. “Shamanism in Indigenous Context: Interpreting the Rock Art in Siberia.” A Companion to Rock Art. Eds. J. McDonald, and P. Veth. Chichester: John Wiley & Sons. 455-471.]Search in Google Scholar
[_____. 2012b. “Shamanism, Rock Art and History: Implications from a Central Asian Case Study.” Working with Rock Art: Recording, Presenting and Understanding Rock Art Using Indigenous Knowledge. Eds. B.W. Smith, K. Helskog, and D. Morris. Johannesburg: Wits University Press. 192-204.]Search in Google Scholar
[_____. 2015. “Historic and Proto-Historic Shamanic Rock Art in Siberia: A View from the Altai.” Quaderns de Prehistoria i Arqueologia de Castello 33: 189-198.]Search in Google Scholar
[_____. 2017a. Rock, Cracks and Drums: In Search of Ancient Shamanism in Siberia and Central Asia. Budapest: Molnar and Kelemen Oriental Publishers.]Search in Google Scholar
[_____. 2017b. “Travelling through the Rock to the Otherworld: The Shamanic ‘Grammar of Mind’ within the Rock Art of Siberia.” Cambridge Archaeological Journal. Online: <https://doi.org/10.1017/S095977431700004X>.]Search in Google Scholar
[Smith, Benjamin W. 2006. “Reading Rock Art and Writing Genetic History: Regionalism, Ethnicity and the Rock Art of Southern Africa.” The Prehistory of Africa: Tracing the Linage of Modern Man. Ed. H. Soodyall. Johannesburg and Cape Town: Jonathan Ball Publishers. 76-96.]Search in Google Scholar
[_____. 2013. “Rock Art Research in Africa.” The Oxford Handbook of African Archaeology. Eds. P. Mitchell, and P. Lane. Oxford: Oxford University Press. 145-161.]Search in Google Scholar
[Smith, Benjamin, and Melanie Duval. 2012. “Preservation et developpement touristique des sites d’art rupestre de l’uKhahlamba-Drakensberg, Afrique du Sud: enjeux, obstacles et incidences sur le vivre-ensemble.” Academics Papers: International Conference on ‘Living with World Heritage in Africa.’ Eds. C. Kpadonou, D. Neuba, H. Boko-Koudakossi, I. Odiaua, M.W. Mapesa, P. Abungu, S. Van Damme, and Y. Diedhiou. Pretoria: African World Heritage Fund (AWHF) and Department of Arts and Culture, South Africa. 188-199.]Search in Google Scholar
[Smith, Benjamin W., and Sven Ouzman. 2004. “Taking Stock: Identifying Khoekhoen Herder Rock Art in Southern Africa.” Current Anthropology 45(4): 499-527.10.1086/422081]Search in Google Scholar
[Smith, Benjamin, James David Lewis-Williams, Geoffrey Blundell, and Christopher Chippindale. 2000. “Archaeology and Symbolism in the New South African Coat of Arms.” Antiquity 74: 467-468.10.1017/S0003598X00059688]Search in Google Scholar
[Ucko, Peter J., and Andree Rosenfeld. 1967. Paleolithic Cave Art. London: McGraw Hill.]Search in Google Scholar
[Vinnicombe, Patricia. 1967. “Rock-Painting Analysis.” South African Archaeological Bulletin 88: 129-141.10.2307/3888475]Search in Google Scholar
[_____. 1976. People of the Eland: Rock Paintings of the Drakensberg Bushmen as a Refl ection of their Life and Thought. Pietermaritzburg: University of Natal Press.]Search in Google Scholar