Abstract
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.
Highlights
Given its expressive, detailed, and figurative character, the rock art in southern Scandinavia constitutes a unique resource in the studies of North European Bronze Age cultures, where figurative art is otherwise typically confined to smaller metal objects or pottery (Kaul 1998; Palincaş 2010)
In order to understand the rock art format, and how it differs from other visual expressions, it is crucial to take into consideration the multisensory interaction between the perceiver and the qualities of the rock art surface
We have discussed a number of features in the southern Scandinavian rock art tradition which could explain how touch may have been used in combination with sight in order to comprehend the images: the small size of the images, the use of tactile markers, the occurrence of unfinished images, and the orthographic perspective
Summary
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. In the context of southern Scandinavia, where almost all the rock art is engraved, as opposed to painted, this involves sense organs like sight and touch and features of the rock surface. The latter may include furrows that define the outlines of images, as well as cracks and fissures, and the elevation and incline of the panel. We will discuss certain design principles, such as the size and position of the engravings, the occurrence of unfinished motifs, and the use of tactile markers and orthographic perspective We argue that these design choices can be explained logically if the intention was for people to combine sight and touch when perceiving the images. We will give a brief background to the multisensory approach taken here, discuss the prehistoric use of the rock art panels, and clarify our theoretical considerations
Sign-in/Register to view highlights & summary 
Published Version (
Free)
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call