Scandinavian Rock Art Research Articles

A Boat Is a Boat Is a Boat…Unless It Is a Horse – Rethinking the Role of Typology

Abstract Today, it is widely accepted that typology is a biased and inconsistent attempt to classify archaeological material based on the similarity of a predefined set of features. In this respect, machine learning (ML) works similar to typology. ML approaches are often deployed because it is thought that they reduce biases. However, biases are introduced into the process at many points, e.g., feature selection. In a project applying ML to Scandinavian rock art data, it was noticed that the algorithm struggles with classifying certain motifs correctly. This contribution discusses the consistency in applying biases by ML in contrast to the inconsistency of human classification. It is argued that it is necessary to bring machines and humans into a meaningful dialogue attempting to understand why apparent “misclassifications” happen. This is important to inform us about the classification output, our biases, and the rock art data, which are in themself inconsistent, ambiguous, and biased because they are the outcomes of human creativity. The human inconsistency is a necessary component because in rock art not everything that looks similar has a similar meaning.

Narrative Aspects of Images of Spear Use in Scandinavian Rock Carvings

Researchers have long discussed whether Scandinavian rock art reflects narratives. Their interpretations have frequently been based on inspections of rock art panels combined with knowledge from ethnographic and historical sources. Here, the authors adopt a more focused narratological approach that takes the concept of (visual) narrativity into consideration and draws on studies by literary analysts, cognitive psychologists, and semioticians. Images of spear use in the provinces of Bohuslän and Östergötland in Sweden, given their diversity and indexical qualities, are well-suited to such a study. They reveal different kinds of indexical relationships, i.e. how the spears direct attention to possible targets, arguably corresponding to action scripts well-known to Bronze Age communities. Many spear images may be regarded as mini-narratives and mnemonic devices intended to represent schematized action sequences. The authors suggest that concepts such as iconicity, indexical relationships, scripts, and mini-narratives could be fruitfully employed in research on Scandinavian rock art and beyond.

Picturing the Meaning of Scandinavian Rock Art – Graphic Representations, Archaeological Interpretations and Material Alterations

The paper presents a reflective overview of the recursive relation between the archaeological practice of picturing Scandinavian rock art in printed works since the mid-19th century, and how archaeologists have constructed its meaning. There seem to be an intimate connection between graphic representations of rock art and an interpretative bias towards the mimetic qualities of images. When picturing rock art, the identification of motifs is prioritized at the expense of the materiality of rock art. Ultimately, the production of graphic representations has influenced the antiquarian alteration of the archaeological remains. Today, major Scandinavian rock art sites are frequently painted red, with the purpose of highlighting the engraved imagery for visitor legibility. This practice transforms the materiality of stone into a visual language of graphic representations.

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

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.

Elk Heads at Sea: Maritime Hunters and Long‐Distance Boat Journeys in Late Stone Age Fennoscandia

SummaryTumlehed is the most well‐preserved and complex prehistoric rock painting in the coastal region of south‐west Sweden. Originally reported and described in 1974, we re‐documented the panel using digital and IR photography, DStretch image enhancement software, and non‐destructive PXRF spectroscopy. This re‐documentation revealed a more complex image inventory with several previously unknown motifs and image details. The new data provide a better basis for identifying motif categories, the organization of the panel, the chronological sequence, and different frequentation periods. We report on the only known boats with an elk‐head stem in southern and western Scandinavian rock art, the emergence of rock art boat depictions in the region, and evidence for long‐distance maritime journeys and sea‐mammal hunting in the later Stone Age. Comparisons to similar images with shoreline data in Fennoscandia narrow the time range for the date of the painting to 4200–2500 BC.

Sexed animals in Swedish Southern Tradition rock carvings: gender, sexuality, fertility, and implications for animals in Bronze Age ontology

ABSTRACTIn figurative Southern Tradition Scandinavian rock art from the Bronze Age (1700–500 cal. BC), animals of several species are, like humans, clearly and intentionally depicted with phalluses. Recently, rock art research has provided insight into the nature of gender and sexuality in Scandinavian Bronze Age ontology; however, this line of inquiry has so far been limited to anthropomorphic subjects. Through a consideration of the spatial relationships of animals with phalluses to other motifs in the carvings, this paper explores how concepts of engendering and sexualising might be fruitfully applied to depictions of animals, and engages with the question of how animal beings relate to human beings in Bronze Age ontologies.

By All Means Necessary – 2.5D and 3D Recording of Surfaces in the Study of Southern Scandinavian Rock Art

Abstract Southern Scandinavia is Europe’s richest region in terms of figurative rock art. It is imperative to document this cultural heritage for future generations. To achieve this, researchers need to use the most objective recording methods available in order to eliminate human error and bias in the documentation. The ability to collect more data is better, not only for documentation, but also for research purposes. Recent years have seen the wider introduction of image based 2.5D and 3D modelling of rock art surfaces. These methods are Reflectance Transformation Imaging (RTI), Structure from Motion (SfM), and Optical Laser Scanning (OLS). Importantly, these approaches record depth difference and the structure of engraved lines. Therefore, they have clear advantages over older methods such as frottage (rubbings) and tracing. Based on a number of short case studies, this paper argues that 2.5D and 3D methods should be used as a standard documentation techniques, but not in an exclusionary manner. The best documentation, enabling preservation and high-quality research, should employ all methods. Approaching rock art with all the research tools available we can re-appraise older documentation as well as investigate individual action and the transformation of rock art.

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

Human representations are one of the most important groups of depictions in rock art in southern Scandinavia. These humans have long been discussed as complete, stable, and temporally-fixed images. The results of a new survey challenge this view. Recording rock art with Reflectance Transformation Imaging (RTI) enabled us to discern a possible sequence of production of individual human representations, their bodily features, and associated objects. Figures from a rock art site in Finntorp (Tanum, Sweden) will be used as an example. Differences in the dimensions of the engraved lines, the chronology of the depicted objects, and the placement of body parts suggest that several individuals may have been involved in making human representations on the rocks, and that their appearance as complete figures is the result of repeated transformations. The results presented demonstrate that Scandinavian rock art is not stable in time. We suggest that rock art is best understood as the creation of communities over time, which enables them to engage with the past by transforming the rocks.

Dating of rock art and the effect of human activity on vegetation: The complementary use of archaeological and scientific methods

One of the main aims of Scandinavian rock art research in recent years has been to identify the culture or society responsible for the imagery. This is of mutual importance, as studies of material culture can shed light on the rock art, while the iconography can be used to understand the contemporary material remains. A major challenge however, has been to determine the exact age of the images, as there are no direct dating materials. In order to overcome this challenge archaeological excavations and palynological analyses have been carried out at Vingen in Western Norway, one of Scandinavia's largest rock art areas. The archaeological and palynological data achieved, as well as loss-on-ignition are independent means for the dating of human activity. Since these methods provided similar results, an indirect connection to the rock art production activity may be inferred. Dates from archaeological contexts indicate a peak of activity between 6900 and 6300 cal. BP, with a potential start 7350 cal. BP and a culmination 6100 cal. BP. Palynological data from three different types of basins have documented forest disturbance in the same time period. Local vegetation reconstructions using the Landscape Reconstruction Algorithm has proved useful to identify anthropogenic-induced land cover changes in the Mesolithic period and a marked reforestation at the transition to the Neolithic period. The applied methods have helped to considerably improve our understanding of past activity and the environment, and demonstrates the potential of archaeological excavations and palynological studies for dating of rock art.

The Hunt and the Otherworld: A Breton Reading of the Massleberg Stora Skee Rock Art Panel (Bohuslän, Southern Sweden)

Taking its starting point from the current trend towards using Indo-European comparative material for elucidating Scandinavian Bronze Age rock art sites, this article develops an interpretation of the overall iconographic program of the Massleberg Stora Skee rock art panel in Bohuslän, southern Sweden. It focuses on the hunting scene which forms one of the centerpieces of the site and poses the question of how this hunting scene relates to the remaining iconographic elements of the panel, especially the ships and footprints, and to the water flowing over the rock. Using analogies drawn from Old French “Breton lays,” medieval Irish and Welsh literature, and the archaeology of the Hallstatt period (the Strettweg cult wagon), it is possible to develop an interpretation which connects the hunt with the communication between the human world and an “Otherworld” and to show how such an interpretation can tie in with the other iconographic as well as natural elements of the site. On this basis, the article concludes with a general discussion of the use of typological analogies versus the application of concepts of Indo-European heritage for the analysis of Scandinavian rock art and discusses the wider applicability of the “Otherworld” term as an analytical concept.

Representations of oxhide ingots in Scandinavian rock art: the sketchbook of a Bronze Age traveller?

Abstract

Reflections on Bronze Age travels

In the above paper, Johan Ling and Zofia Stos-Gale present results from a project comparing isotopes from Bronze Age artefacts with signatures from known Bronze Age mining localities. The results showed that artefacts found in southern Sweden were made from bronze mined in Cyprus. This is in itself interesting, but the discovery of rock art engravings in Sweden that resemble ‘oxhide’ bronze ingots from Cyprus adds a new dimension to the interpretation of Scandinavian rock art, with its strong focus on boat images. The number of possible oxhide ingots represented in Swedish rock art is low, but if the identification of these images is correct, we have evidence, for the first time, of direct connections between Scandinavia and the eastern Mediterranean, connections that have been supposed, but not evidenced, for more than a century (e.g. Hansen 1909). Here, I focus on some implications this article may have for future Scandinavian Bronze Age studies, with special emphasis on rock art.

Beyond ‘the Phenomenological Walk’: Perspectives on the Experience of Images

Scandinavian rock art has been of major interest for archaeological studies of a phenomenological character. By reflecting on the experience of rock art it has been argued that images choreograph movement and that this embodied interaction reflects both social order and world views. This perspective has been applied in studies of both open-air rock art and images in the confined spaces of caves. When critically evaluating these efforts, it seems clear that these phenomenological studies reduce rock art to a mere representation of the experience of place. Phenomenology also fails to challenge the assumption that the meaning of images is created primarily by the intentions of its creator. It is therefore suggested that, in order to discuss the experience of images as meaningful, we need to develop the phenomenological theory of embodiment into a material phenomenology. This material turn enables us to problematize the relationship between intentionality and the meaning of images, which could lead to a perspective where rock art affects both the experience of place and of landscape and the creation of new images. Consequently, an archaeology of images should treat rock art as an expression which creates and maintains practices and relations with places and landscapes.

Images of Shoes and Feet: Rock-Art Motifs and the Concepts of Dress and Nakedness

Feet and shoe images are a distinctive feature of Scandinavian rock art. They are life-size representations of parts of the human body but, in spite of this, they have rarely been incorporated into a discourse concerning human bodies in relation to the use of dress and nakedness in the construction of personhood. In this article this theme is elaborated by discussing images of feet and shoes primarily from Järrestad in south-east Sweden. It is argued that these images represented ideas of dress and nakedness and that these concepts were ambiguous and manifold: nakedness was used in certain social and ritual contexts to express authority and rank, while in other contexts nakedness was used to express community and equality.

War Canoes or Social Units? Human Representation in Rock-Art Ships

Scandinavian rock art may in general be regarded as idealized depictions of a social world, not a direct description of concrete social matters. Even so, rock art does convey important social information that calls for more thorough comment. This study concerns almost 1700 ship depictions from western Sweden that include human representations. The average ship is depicted with a crew of six to thirteen individuals and these craft may have represented prevailing ideals about the crewing of ships. The large ship images with numerous crews in clearly defined positions may be depictions of war canoes, staged for special maritime events. The study shows that the visual proportions of the rock-art ships are similar to those of the prehistoric war canoe from Hjortspring, Denmark. It is argued that the praxis of pecking ships into the rocks could have served to manifest the agency of the maritime social world and, to some extent, to make this ideology more dominant.

Stability & Change in Scandinavian Rock-Art

Cet article traite de l'art parietal scandinave et plus particulierement des representations rupestres de Bardal (Steinkjer, Trondelag, Norvege). Il s'agit principalement de representations de bateaux et d'animaux, notamment des elans, baleines et oiseaux. Les representations anthropomorphiques et les empreintes de mains sont quant a elles tres rares. L'une des principales difficultes de cette etude, outre l'effacement du au temps, est liee a l'importante superposition des graphismes qui rend leur lecture malaisee. D'autre part, la fourchette chronologique est tres vaste, environ six millenaires. Cependant, l'auteur diagnostique un usage court et episodique a l'echelle d'un site tandis qu'une impression de continuite se degage de l'examen des sites dans leur ensemble, ces deux niveaux de lecture etant bien pris en compte et confrontes dans la reflexion menee.