Transforming the Rocks – Time and Rock Art in Bohuslän, Sweden

Horn, Christian; Potter, Rich

doi:10.1017/eaa.2017.38

Cited by 15 publications

(10 citation statements)

References 19 publications

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“…Instead, separate identities appear marked by the following weapon combinations: sword alone, sword in combination with axe or spear and, finally, axe or spear alone. These observations are supported by rock art data which show the same weapon combinations (Bertilsson 2015;Horn and Potter 2018;Ling and Bertilsson 2017). As an overall observation based on the graves and depositions, we thus emphasise that warriorhood is individually felt and collectively shared.…”

Section: A Network Of Violent Beauty?supporting

confidence: 60%

Male Social Roles and Mobility in the Early Nordic Bronze Age. A Perspective from SE Jutland

Felding

Reiter

Frei

et al. 2020

DJA

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This paper provides a discussion of the increasing amount of mobility data from the Early Nordic Bronze Age (Early NBA), c. 1600-1100 BCE with particular focus on NBA II and III (c. 1500-1100 BCE). As a male-oriented study, the intent is to develop current perspectives on gender roles in the Early NBA in relation to mobility. In order to achieve our aim, we conducted strontium isotope analyses and radiocarbon dating combined with an in-depth archaeological investigation of grave goods obtained from two male burials from the Vejle region, SE Jutland. To contextualise the case study results, we also conducted network analyses of male gear from burials and ritual deposits on a regional scale, which reveal differentiated roles among men in the upper social echelon. The warrior emerged as an overall identity for high-ranking males whilst differences in male weaponry interestingly suggest that a minimum of three kinds of warriors were distinguished, reflecting social roles in war and society. The results suggest that one of the individuals was local while the other might have moved. The overall aim is to demonstrate that robust results regarding gendered mobilities will depend on the combination of several methods, datasets and scales of inquiry.

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Section: A Network Of Violent Beauty?supporting

confidence: 60%

Male Social Roles and Mobility in the Early Nordic Bronze Age. A Perspective from SE Jutland

Felding

Reiter

Frei

et al. 2020

DJA

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“…Rock art images of metal objects may be interpreted as representational or even substitutes (Malmer, 1981), as sources of artisan inspiration (Marretta, 2015), or even as skeuomorphs imitating metal objects in a different media (Frieman, 2010). While weapons occur frequently on open-air panels in Scandinavia (Malmer, 1981;Horn & Potter, 2018), the number of stelae/slabs adorned with images of artefacts and weapons, like daggers, axes etc. so typical for other parts of Europe, is comparatively lower.…”

Section: Discussion: Representations Of Metal On Rocks -Testimonies Omentioning

confidence: 99%

Rock Art and Trade Networks: From Scandinavia to the Italian Alps

Melheim

Sand-Eriksen

2020

Open Archaeology

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This article uses rock art to explore potential bonds between Scandinavia and Italy, starting in the second half of the third millennium BCE with the enigmatic Mjeltehaugen burial monument in coastal western Norway and its striking rock art images, and ending in the first millennium BCE with ship motifs in inland Val Camonica, Italy. While the carved dagger on the Mjeltehaugen slab is unique in its Nordic setting, such weapon depictions are frequently seen on the Continent, e.g. in South Tyrol, and more often in later Nordic rock art. Strong evidence of trade relations between the Italian Alps and Scandinavia is found c. 1500–1100 BCE when the importation of copper from South Tyrol coincided with two-way transmission of luxury items, and again in a different form, c. 1000–700 BCE when strong similarities in burial traditions between the two areas may be seen as evidence of direct cultural connections or a shared cultural koiné. In order to understand the social fabric of these relations and how they unfolded through time, the authors discuss several different models of interaction. It is hypothesised that rock art practices played a role in establishing and maintaining durable social relations, through what we consider to be a two-way transmission of symbolic concepts and iconography during seasonal meetings related to trade and travel.

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“…In southern Scandinavian rock art, it seems as if the body could be represented as a totality with all parts of the body or be signified by only part of the body, for example a pair of legs. Legs may have been an indexical cue for the whole (human) within a specific pictorial culture (Yates 1993;Karlsson 2005;Skogstrand 2005;Horn & Potter 2018). From a tactile perspective, it might even be more effective to omit as much as possible when creating an image.…”

Section: The Tactile Dimension Of Rock Art Imagesmentioning

confidence: 99%

A Multisensory Approach to Rock Art: Exploring Tactile and Visual Dimensions in the Southern Scandinavian Rock Art Tradition

Skoglund¹,

Persson

Rédei³

2020

Proc. Prehist. Soc.

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This paper discusses rock art in southern Scandinavia as a multisensory format, where both sight and touch would have contributed to the comprehension of the images. From a structural semiotic point of view, we suggest that rock art can be construed as an organised set of features, such as visual and tactile elements, organised into heterogeneous unities with dynamic relations between elements that can change over time with respect to how they are experienced. We argue that in order to understand the rock art medium, it is crucial to take into consideration the multisensory interaction between the perceiver and the qualities of the rock art surface. The reason for including tactile elements in our interpretation of the conception of rock art is the way it was created: by hands interacting with tools and rock surfaces, as well as the spontaneous human tendency to explore the physical world through touch. One can identify key features in the images that would arguably facilitate tactile recognition, as well as be better explained from a multisensorial perspective. This includes the position of the images on horizontal outcrops, the moderate size of the images, the application of an orthographic perspective, the use of ‘tactile markers’ (ie crucial features having a strategic function for understanding images by touch), and the occurrence of incomplete images. A multisensorial perspective on rock art furthermore has semiotic implications. Incomplete images, for example, can be understood as indexical stand-ins for the whole imagined picture, ie as iconic indices. A multisensorial approach to Scandinavian rock art thus allows for new explanations for certain design choices, as well as a new understanding of how the images could relay meaning to a perceiver.

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Transforming the Rocks – Time and Rock Art in Bohuslän, Sweden

Cited by 15 publications

References 19 publications

Male Social Roles and Mobility in the Early Nordic Bronze Age. A Perspective from SE Jutland

Male Social Roles and Mobility in the Early Nordic Bronze Age. A Perspective from SE Jutland

Rock Art and Trade Networks: From Scandinavia to the Italian Alps

A Multisensory Approach to Rock Art: Exploring Tactile and Visual Dimensions in the Southern Scandinavian Rock Art Tradition

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