New rock-art data from the state of Mato Grosso, Brazil: A graphical analysis of rock-art shelters between the Vermelho and Gavião rivers: Datasets and Supplementary Materials

Published: 7 January 2019| Version 2 | DOI: 10.17632/z62pn94bsb.2
Carolina Guedes, Eric Robert,


Suggested citation: Please reference the associated publication above when using any datasets or materials described This directory contains the following datasets and supplementary materials: MAP, FIGURES AND SUPPLEMENTARY 3D MATERIALS All data were collected in the field. For the processing of the data were used Adobe Photoshop and Illustrator; and Agisoft PhotoScan Pro MAP Figure 2: Map showing the location of Rondonópolis FIGURES Figure 1: A typical view of Cidade de Pedra Figure 3: Rock-art sites documented and studied during the field campaign Figure 4 : Detail of cruciform paintings found at two different sites Figure 5: Plans directeurs Figure 6: Gavião. Detail of the first paintings Figure 7: Gavião. Detail of schematic animal paintings 3D DATASETS Photogrammetric model, Barulho D'Água Site (.U3d) Photogrammetric model, Mata Onça Site (.U3d) Photogrammetric model, Morro Solteiro Leste (detail of panel) Site (.U3d) Photogrammetric model, Gavião (detail of panel) Site (.U3d) Figure 8: Gavião. Drawing or plan directeur, and topography Figure 9: Gavião. Detail of painting (right) and drawing or plan directeur Figure 10: Erugóda. Detail of painting Figure 11: Erugóda. Detail of painting Figure 12: View from Boca da Noite Figure 13: Boca da Noite. Highly schematic anthropomorphic paintings Figure 14: Mata Onça. Preliminary 3D models Figure 15: Mata Onça. Birds in black pigment with non-figurative polychromatic paintings Figure 16: Contemporary interventions at the rock-art site of Morro Solteiro Leste Figure 18: Biroska. Panel drawing or plan directeur, with cross-like motif Figure 19: Enxame. Cross-like motif Figure 20: Barulho d’Água. Drawing or plan directeur, panel 2 Figure 21: Barulho d’Água. Detail of photogrammetric model showing the positions of the panels, one painted entirely with black pigment (black rectangle) and the other with red pigment (red rectangle). Figure 22: Bird drawings from the Mata Onça (left) and Araracanga (right) sites Figure 23: Tracings of cruciform motif at Praça Noroeste (left), Abrigo Mirante do Arco (center) and Viji (right) View the profile and 3D models: NOTE: ALL THE IMAGES AND 3D DATA ARE FOR PARTICULAR USE ONLY, NO PUBLICATION IS ALLOWED. FURTHER PERMISSION IS REQUIRED FOR PUBLICATION


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All the images for the photogrammetry were made with a Nikon D90 camera and 18mm and the lens were used to obtain the largest surface-coverage with an aperture of f/5, 1/125e, to reconstitute the volumes of the rock-art sites. Barulho D'Agua 3D model specifications: 127 cameras 7.018.789 points (dense cloud) 155.066 faces Gavião 3D model specifications: 144 cameras 1.027.280 points (dense cloud) 22.827 faces Mata Onça 3D model specifications: 216 cameras 5.109.824 points (dense cloud) 105.026 faces Morro Solteiro Leste 3D model specifications: 38 cameras 11.868 points (dense cloud) 622.155 faces All models were processed with Agisoft PhotoScan Pro


Universidade Federal do Rio de Janeiro Museu Nacional, Museum National d'Histoire Naturelle, Universidade de Sao Paulo Museu de Arqueologia e Etnologia, Universidade Metropolitana de Santos


Archeology, Digital Archeology, Rock Art