Kamyana Mohyla is Ukraine's largest and most prominent rock art complex and is located at least one thousand kilometers from other comparable rock art sites. Situated on the western edge of the Eurasian Steppe belt, the site shows prehistoric imagery from several different contexts-some of its engravings are considered in the frame of European rock art, whilst others introduce local features, or find parallels in distant parts of Central Asia.

This book presents the first digital study of the Kamyana Mohyla rock art, including iconic caves and an extensive collection of portable engraved stones. The text also links to a collection of 3D models which further illustrate these artefacts. Radchenko’s work fills a geographical gap in the discussion of Eurasian prehistoric art, placing Ukrainian prehistoric art in its global context. Combining archaeological methodologies with a strong narrative voice, the volume summarizes the research results of the last decade prior to the interruption of site activities at the onset of Russian aggression in Ukraine.

AUTHOR
Simon Radchenko is a Ukrainian scholar at the Museum of Archaeology, University of Stavanger. He graduated as a GIS expert and photogrammetrist in Ukraine and has completed his PhD as an MSCA fellow at the University of Turin. His work focuses on developing and applying technological solutions to archaeology and rock art, mainly in the Ukrainian Steppe.

REVIEWS
‘I enjoyed reading Radchenko's new publication; it has all the science, as well as a lot of heart. But the publication is engaging not only because of the author's contagious enthusiasm for the subject matter, but also because Kamyana Mohyla is in a war zone. The timing of this publication is extraordinary; with the data acquired months before the invasion, as well as operating during COVID. Clearly, it brings cultural heritage study, preservation and protection to another level.’ Peter Robinson, Bradshaw Foundation, May 2024

‘Kamyana Mohyla is a marvellous site and it is almost unknown to the international archaeological audience. (This book) is a completely new level of documentation and analysis of the site’ Professor Tomasz Płonka, University of Wrocław

‘This book will be important for anyone working with circumpolar rock art from Norway in the west to Canada in the east.’ Professor Fredrik Fahlander, Stockholm University