Changing pictures : rock art traditions and visions in by Joakim Goldhahn, Ingrid Fuglestvedt, Andrew Meirion Jones

By Joakim Goldhahn, Ingrid Fuglestvedt, Andrew Meirion Jones

This quantity derives from a workshop held on the college of Kalmar (now Linnaeus University), Sweden among the 20-24 of October 2008. the purpose of this amassing was once to supply a discussion board for rock artwork researchers from diverse elements of northern Europe to debate conventional in addition to present interpretative traits inside rock artwork study. altering photos goals to come back to conventional interpretative notions concerning the which means and value of rock paintings to enquire if and why any info were left at the back of to get better and reconsider. over the past a long time, there was a massive international curiosity between archaeologists and anthropologists in learning rock paintings. study in northern Europe, as in different places, has intensely explored a manifold of methodological and theoretical views. each one of these reviews notwithstanding, were released in languages that seldom achieve past the local audio system of Norwegian, Danish, and Swedish, Russian or Finnish. for this reason an immense motivation for this quantity is to attempt to apprise a number of the present activities inside this box of analysis and current it for a global viewers. those papers discover the relevance of older rules, resembling notions approximately prehistoric faith, ritual functionality, sympathetic magic, animism and totemism, the mindscapes of landscapes etc., in addition to the current "state of the paintings" that allows you to boost a broader knowing of the phenomenon we name rock paintings. This aspiration will be obvious as a typical thread linking the several chapters during this booklet. announcing that, a few, if no longer all, of the articles offered during this quantity problem the inspiration "rock artwork" itself, arguing that usually the rock, the "canvas" and particularly intangible yet both very important sensual encounters, equivalent to sound, echoes, contact and temporal phenomenological adjustments and the belief of embellished rock paintings panels, may be seemed, not less than, as vital because the "art" itself. via reassessing conventional methods to Scandinavian rock artwork and creatively remodeling those principles, while additionally addressing major new strategies akin to the service provider of rock and the performativity of rock artwork, this anthology of papers deals not just a picture of present debates, but additionally displays pivotal adjustments within the learn of rock paintings

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1). 1. Example from Nordland, northern Norway of a Mesolithic polished elk image. It is obvious that the quartz vein must have been the point of departure for the whole figure. Prior to the creation of the rock art, the natural character of the vein was most likely perceived as the hind leg of an elk, partly exposed in a visible membrane. Photo: Trond Lødøen. 2. Aerial photo of the southern terrace in Vingen. Several panels can be viewed in the right and central part of the picture, where many narratives have been depicted.

Polytheistic and monotheistic belief systems have developed from and are resting on animism. Tylor’s successor, James George Frazer (1854–1941) in his main work, The Golden Bough (first published 1890), refined this teleological line and defined the evolutionary stages in human cognition as arising from an original condition of magic, to religion and finally to science. Here, Frazer (1996 [1890]: 14) introduces his concept of sympathetic magic. Frazer regarded this as the practice of acting upon an image or object that represents what you want to control or achieve.

In the south, radiological datings of activities at western Vingen establishes activities throughout the Late Mesolithic and Early Neolithic (Lødøen 2006: Figs. 5 & 8). Ausevik, in western Norway (Gundersen 2006; Lødøen 2006; Walderhaug 2000a; 2000b) also seems to be represented by a Late Mesolithic phase of activity. Datings of rock art in the Late Mesolithic / Early Neolithic transition have also been registered at sites in Mid Sweden, Högberget III (Lindgren 2004: 32) for instance, but more importantly sites surrounding the great place of Nämforsen (Baudou 1993; cf.

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