Over the last few years, the ways in which we perceive and document rock art have shifted irreversibly. Prehistoric rock art played little part in the development of British and Irish archaeology and was not recognised until the 19th century, when its equivalents in Scandinavia and the Iberian Peninsula were already well known.

Over the last few years, the ways in which we perceive and document rock art have shifted irreversibly. Prehistoric rock art played little part in the development of British and Irish archaeology and was not recognised until the 19th century, when its equivalents in Scandinavia and the Iberian Peninsula were already well known. Previously considered a fringe activity and the work of amateur archaeologists, over the last 30 years the situation has improved considerably, and the appearance of books such as this signify the change.This volume makes a powerful case for an archaeology that integrates rock art into a wider vision of the past. It brings together the experiences and informed opinions of the key organisations and stakeholders responsible for the conservation, management and accessibility of British rock art. An on-going and exciting period of change is documented here and the main issues that underpin the survival of our prehistoric carved heritage are addressed.Grouped into three sections, the chapters cover the recording, management and presentation of British rock art. The contributions illustrate the wide range of perceptions and approaches to the study, and the diversity of individuals and institutions who have become drawn into this fascinating subject, with independent researchers, heritage managers, artists and academics each bringing a unique perspective. This book aims to both inform new directions in rock art management strategies and provoke further initiatives through which these strategies can be implemented.