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Many exciting discoveries of prehistoric rock art have been made recently in Cumbria. They are included in this complete account of the earliest human communication, some 4-5000 years ago on outcrop rock, earthfast boulders, burials and other ritual structures. They are in some of Britain's most beautiful places. Professor Richard Bradley writes: "This book captures beautifully Stan's feeling for the countryside and flair for this kind of research. It is the work of a born teacher, who wishes to share his knowledge and enjoyment with other people. What he says is important, and how he says it is important too. Like the carvings he has done so much to publicise, this book is accessible to everyone." It follows his complete survey of Northumberland rock art, which Christopher Chippindale, of Cambridge University Museum of Archaeology and Anthropology described as "a first-rate book . . . written from Stan Beckensall's great knowledge with an inviting charm, splendidly illustrated with his photographs and drawings, well produced in a manageable size."
Stan Beckensall is renowned for his work, done on an entirely amateur basis, discovering, recording and interpreting Atlantic rock art in his home county of Northumberland and beyond. Presented on his 90th birthday, this diverse and stimulating collection of papers celebrates his crucial contribution to rock art studies, and looks to the future.
Cumbria is a land built from stone. Whether it is Hadrian's Wall, Kendal Castle or the beautiful fells of the Lake District – for thousands of years people have found a certain elegance and utility in stone. Nestled amongst these common relics are a multitude of massive stone monuments, built over 3,000 years before British shores were ever touched by Roman sandals. Cumbria's 'megalithic' monuments are among Europe's greatest and best-preserved ancient relics but are often poorly understood and rarely visited. This updated and revised edition of Cumbria's Prehistoric Monuments aims to dispel the idea that these stones are merely 'mysterious'. Within this book you will find credible answers, using up-to-date research, excavation notes, maps and diagrams to explore one of Britain's richest archaeological landscapes. Featuring stunning original photography and illustrated diagrams of every megalithic site in the county, Adam Morgan Ibbotson invites you to take a journey into a land sculpted by ancient hands.
In this latest book the prolific Stan Beckensall returns to his principal specialism, Britains prehistoric rock art.
This lavishly illustrated volume presents a state of the art survey of the ancient rock art of Britain and Ireland. Bringing together new discoveries and new interpretations, it enhances our understanding and further establishes ancient British and Irish rock art as a significant archaeological assemblage worthy of attention and additional study.
While much has been achieved in understanding and managing weather effects and erosion phenomena affecting ancient imagery within the relatively protected environments of caves and rock-shelters, the same cannot be said of rock-art panels situated in the open-air. Despite the fact that the number of known sites has risen dramatically in recent decades there are few examples in which the weathering and erosion dynamics are under investigation with a view to developing proposals to mitigate the impact of natural and cultural processes. Most of the work being done in different parts of the world appears to be ad-hoc, with minimal communication on such matters between teams and with the wider archaeological community. This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites.
This revised edition is an accumulation of two decades of research and fieldwork by the authors, and presents a comprehensive account of the little known prehistoric rock art within the North York Moors area. It covers Northern England's last major area of rock art and describes the geographical and moorland setting of sites including those associated with other archaeological monuments. Its main focus remains the rock art on Fylingdales Moor near Ravenscar where, following a devastating moorland fire in 2003, over 200 sites were recorded including the stunning 'Linear Marked Stone'. Included is a new section on recording techniques using laser, photogrammetry and other methods, an updated gazetteer of recently discovered rock art sites in the North York Moors area, and appendices providing details of recent major discoveries within the area. The book offers a rational, clearcut and invaluable source of information to all those with an interest in or intention to study rock art. Paul Brown, independent archaeologist, has discovered many of the finest examples of prehistoric rock art in the UK, and has researched the rock art of regions such as Cumbria, Durham, Northumberland and Scotland.
'A stimulating book, which is more ambitious in its interpretations than many recent rock art publications.' Antiquity magazine, praise for Volume One.
These papers highlight recent archaeological work in Northern England, in the commercial, academic and community archaeology sectors, which have fundamentally changed our perspective on the Neolithic of the area. Much of this was new work (and much is still not published) has been overlooked in the national discourse. The papers cover a wide geographical area, from Lancashire north into the Scottish Lowlands, recognising the irrelevance of the England/Scotland Border. They also take abroad chronological sweep, from the Mesolithic/Neolithic transition to the introduction of Beakers into the area. The key themes are: the nature of transition; the need for a much-improved chronological framework; regional variation linked to landscape character; links within northern England and with distant places; the implications of new dating for our understanding ‘the axe trade; the changing nature of settlement and agriculture; the character early Neolithic enclosures; the need to integrate rock art into wider discourse.
An Engraved Landscape is a contextual analysis of a substantial new corpus of engravings from the Wadi al-Ajal, situated in the Central Saharan region of south west Libya. The wadi is renowned as the heartland of the Garamantian civilization, which emerged from local mobile Pastoral communities in the 1st millennium BC, and dominated trans-Saharan trade and politics for over a thousand years. Extensive archaeological and palaeoenvironmental investigations in recent years have provided detailed insight into the later prehistory and protohistory of the wadi and surrounding areas. However, prior to the fieldwork detailed in this work, only a handful of carvings had been recorded in the wadi. This work is based on systematic survey, conducted between 2004 and 2009, which recorded around 2,500 previously unknown or unpublished engraved and inscribed rock surfaces. All forms of engraving, whether figurative or surface markings, were viewed as significant residues of human interaction with the rock surface and were recorded. The resulting database provides an opportunity to analyze the engravings in relation to their changing physical and cultural contexts, and the discussion offers a fresh interpretation of Saharan rock art based on this substantial new evidence. An Engraved Landscape also captures in detail a unique heritage resource that is currently inaccessible and threatened. This record of the fragile engravings provides an important source of information for researchers and students.