Traces of the Origin of Traditional Sports in Çildir Başköy Rock Art

Abstract

Archaeological documents are the most important source for the periods when there were no written documents. Rock art drawn by human beings are one of these sources. Through these pictures, information about the social, economic, cultural and even sports activities of the period can be obtained. Çıldır district, Damlıca village and Başköy stream, which were determined by our team in the light of the surveys, are valuable in this respect in the depictions in the rock art. In our study, information about the origin of traditional sports is given in the light of Başköy rock art. Suggestions regarding the origin of the javelin and taigan race were made in the light of the depictions on the panel on which the rock art were processed. Our research, in the light of archaeological data, reveals that the origins of traditional sports, which are still played today, are quite old.

representations of ancestral sexuality in rock art, Serra da Capivara National Park, Piauí, Brazil

“…Furthermore, some scenes found in the PNSC may infer the genesis of modern sport or the body culture of movement in Brazil (Cotes et al, 2023), as well as in other rock paintings records in the world, such as those ones that remind of the observer traditional sports using horses (Günaşdi & Karcioğlu, 2022).Lots of inferences are possible to be made about ancestral times beyond everyday activities, such as eating, protection, and health concerns. There were indeed ways of working, however love and life were also present among the groups, as evidenced by the paintings molded in the rocks of Piauí (Martin, 1984;Pinker, 2004) and other traces left by the first occupants of the brasilis lands.…”

Borluk Vadisi Kaya Resimlerinin Sanatsal Açıdan Önemi

“…At figürü belirgin bir şekilde tasvir edilmişken süvari figürü pek belli olmamaktadır. Hareket halindeki atlı süvari eski atlı-göçebe kültürünün sanatsal yansımasıdır ve Orta Asya coğrafyasında yaşayan insanlar gibi savaş ve ava çıktığını gösterir (Günaşdı, 2016, s.398;Günaşdı ve Karcıoğlu, 2022, s.2067. Yine burada dağ keçisi avlayan avcı sahnesi döneminin realist sanat anlayışının bir ürünüdür.…”