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This book examines the Northern (Stone Age) rock art of centralNorway, which is dominated by images of marine and terrestrial motifs. Itfocuses on how these images were drawn and are classified, on the topographicallocation of the sites, on their dating and cultural context, and on the relationship between rock art andmaterial culture, and offers possible interpretations.
A detailed study of the Bronze Age rock art found in the Stjordal region of central Norway. Based on fieldwork carried out in the late 1980s and early 1990s, Sognnes analyses the imagery of the art and the physical and social landscape in which it exists.
For thousands of years people in all parts of the world have engraved images on rock panels and stones. Images are found on large, earth bound boulders, on smaller, movable stones or on rock panels in burial chambers. A variety of images are conveyed, including people, animals, objects used by humans, abstract patterns and objects unrecognisable to us. In Norway, rock art has been found at more than 1100 sites. Many motifs occur regularly across the region, others are unique to certain sites. The design and composition of even the most common motifs vary hugely in different parts of the country according to both the era and function of the particular site. It has been a common practice to group Scandinavian rock art under two main categories: the veidekunst [hunter's art] or the Northern Tradition - associated with hunters and gatherers of the Stone Age, in the period 9000-2000 B.C; and the jordbruksristninger [agricultural petroglyphs] or the Southern Tradition - associated with people of the Bronze and early Iron Age, from approximately 1800 B.C. until about 400 AD, who practiced farming as a livelihood. Whether the images of the hunter nomads and the farmers represent two distinct and independent traditions, or whether they represent a continuous tradition encompassing changes in expression over time, is still today an unresolved issue. This book raises questions about the meanings that can be derived from the rock art of Norway and aims to study the images in the context of other traces found of the same society. Through the sites explored and the stories told, this book represents a voyage in time and space from the oldest images to the youngest, from farthest north to farthest south of the country.
This volume celebrates the work of Dr. Phil. h.c. Gerhard Milstreu in his 40th year as director of Tanum Museum of Rock Carving and Rock Art Research Centre, Sweden. A feast of scholarly contributions pay respect to and acknowledge Gerhard’s achievements in the fields of rock art documentation, research, international collaboration and outreach.
The Element summarises the state of knowledge about four styles of prehistoric rock art in Europe current between the late Mesolithic period and the Iron Age. They are the Levantine, Macroschematic and Schematic traditions in the Iberian Peninsula; the Atlantic style that extended between Portugal, Spain, Britain and Ireland; Alpine rock art; and the pecked and painted images found in Fennoscandia. They are interpreted in relation to the landscapes in which they were made. Their production is related to monument building, the decoration of portable objects, trade and long distance travel, burial rites, and warfare. A final discussion considers possible connections between these separate traditions and the changing subject matter of rock art in relation to wider developments in European prehistoric societies.
Pictures, painted and carved in caves and on open rock surfaces, are amongst our loveliest relics from prehistory. This pioneering set of sparkling essays goes beyond guesses as to what the pictures mean, instead exploring how we can reliably learn from rock-art as a material record of distant times: in short, rock-art as archaeology. Sometimes contact-period records offer some direct insight about indigenous meaning, so we can learn in that informed way. More often, we have no direct record, and instead have to use formal methods to learn from the evidence of the pictures themselves. The book's eighteen papers range wide in space and time, from the Palaeolithic of Europe to nineteenth-century Australia. Using varied approaches within the consistent framework of informed and proven methods, they make key advances in using the striking and reticent evidence of rock-art to archaeological benefit.
Ritual landscapes and borders are recurring themes running through Professor Kalle Sognnes' long research career. This anthology contains 13 articles written by colleagues from his broad network in appreciation of his many contributions to the field of rock art research.
The Neolithic --a period in which the first sedentary agrarian communities were established across much of Europe--has been a key topic of archaeological research for over a century. However, the variety of evidence across Europe, the range of languages in which research is carried out, and the way research traditions in different countries have developed makes it very difficult for both students and specialists to gain an overview of continent-wide trends. The Oxford Handbook of Neolithic Europe provides the first comprehensive, geographically extensive, thematic overview of the European Neolithic --from Iberia to Russia and from Norway to Malta --offering both a general introduction and a clear exploration of key issues and current debates surrounding evidence and interpretation. Chapters written by leading experts in the field examine topics such as the movement of plants, animals, ideas, and people (including recent trends in the application of genetics and isotope analyses); cultural change (from the first appearance of farming to the first metal artefacts); domestic architecture; subsistence; material culture; monuments; and burial and other treatments of the dead. In doing so, the volume also considers the history of research and sets out agendas and themes for future work in the field.
The rock art found in the World Heritage sites in the Alta area, Arctic Norway, comprise thousands of images including reindeer and elk as well as fish, birds, boats, humans and geometric patterns. They contain information about peoples who lived in this northern area from about 5000 BC up until the birth of Christ; such as possible social organizations, hunting and trapping, beliefs, rituals,stories, legends, myths, cultural changes and continuities. Communicating with the world of beings addresses an understanding of the rock art in terms of communication with other people and other than-human beings. The figures could have been seen and experienced as symbols in rituals or as expressions of identity, position, power and rights, as depictions of real events and perhaps for use in storytelling. Through rock art, people might also have been able to communicate with other-than-human beings who ruled parts of the environment – in order to petition favors for themselves or others. These other-than-human beings may have been perceived as good and evil powers and spirits of the different worlds of the universe; the dead or souls; which also included the animals depicted or were even embodied in the stone. This communication may have been based on a belief that both living beings and inert objects and natural phenomena had souls, a belief that may have existed ever since the earliest settlements. Such an animistic belief means that everything was seen as having a consciousness and identity of its own, independent and imbued with a will. Therefore, it was essential that the different participants communicated with one another as equal partners. In this beautifully illustrated book Knut Helskog provides a lyrical and personal interpretation of the chronology, patterning and possible meanings behind this extraordinary landscape of prehistoric rock art.
Like previous series entries, this volume covers rock art research and management all over the world over a 5-year period, in this case 2015-19. Contributions once again show the wide variety of approaches that have been taken in different parts of the world and reflect the expansion and diversification of perspectives and research questions.