scholarly journals Interpretations of Footprints in the Bronze Age Rock Art of South Scandinavia

2017 ◽  
Vol 83 ◽  
pp. 289-303 ◽  
Author(s):  
Peter Skoglund ◽  
Courtney Nimura ◽  
Richard Bradley
Keyword(s):  
Bronze Age ◽  
Rock Art ◽  
Northern Europe ◽  
The Sun ◽  
The Bronze Age ◽  
Different Parts

The Scandinavian landscape is littered with postglacial outcrops, many of which carry engraved motifs. Although drawings of ships are most often discussed, this paper focuses on representations of feet. In Northern Europe ship motifs are often associated with cosmologies based on the movement of the sun. This paper investigates whether drawings of feet could have been associated with the same worldview. A number of interpretations are offered of the images at two sites in different parts of Sweden: Järrestad 13:1 and Boglösa 138:1.

North European Rock Art

2017 ◽  
Author(s):  
Joakim Goldhahn
Keyword(s):  
Bronze Age ◽  
Iron Age ◽  
Rock Art ◽  
Northern Europe ◽  
Long Distance ◽  
Migration Period ◽  
Farming Communities ◽  
And Migration ◽  
The Bronze Age

This chapter offers a long-term perspective on rock art in northern Europe. It first provides an overview of research on the rock art traditions of northern Europe before discussing the societies and cultures that created such traditions. It then considers examples of rock art made by hunter-gatherer societies in northern Europe, focusing on the first rock art boom related to Neolithization. It also examines the second rock art boom, which was associated with social and religious changes within farming communities that took place around 1600–1400 bc. The chapter concludes by analysing the breakdown of long-distance networks in the transition from the Bronze Age to the Iron Age and its consequences for the making of rock art within the southern traditions, as well as the use of rock art sites during the Pre-Roman Iron Age, Roman Iron Age, and Migration Period.

Danish razors and Swedish rocks: Cosmology and the Bronze Age landscape

Antiquity ◽  
2006 ◽  
Vol 80 (308) ◽  
pp. 372-389 ◽  
Author(s):  
Richard Bradley
Keyword(s):  
Bronze Age ◽  
Rock Art ◽  
The Sun ◽  
Similar Images ◽  
The Bronze Age

A recent study has suggested that the decorated Bronze Age metalwork of South Scandinavia depicted the path of the sun through the sky during the day and through the sea at night. At different stages in its journey it was accompanied by a horse or a ship. Similar images are found in prehistoric rock art, and this paper argues that, whilst there are important differences between the images in these two media, they also signal some of the same ideas.

Cosmic Deer as an Archaic Symbol in the Narratives and Rituals of the Tungus-Manchus

2020 ◽  
pp. 112-121
Author(s):  
Татьяна Юрьевна Сем
Keyword(s):  
Bronze Age ◽  
The Sun ◽  
Time Model ◽  
Space And Time ◽  
The Earth ◽  
Cosmic Scale ◽  
First Time ◽  
The Universe ◽  
The Bronze Age

Статья посвящена мифологическому образу космического оленя в традиционной культуре тунгусо-маньчжуров. В работе рассматриваются материалы фольклора, шаманства, промысловых и календарных ритуалов, а также искусства. Впервые систематизированы материалы по всем тунгусо-маньчжурским народам. Образ космического оленя в фольклоре эвенов имеет наиболее близкие аналогии с амурскими народами, которые представляют его с рогами до небес. Он сохранился в сказочном фольклоре с мифологическими и эпическими элементами. В эвенском мифе образ оленя имеет космические масштабы: из тела его происходит земля и всё живущее на ней. У народов Амура образ оленя нашел отражение в космогенезе, отделении неба от земли. Своеобразие сюжета космической охоты характеризует общесибирскую мифологию, относящуюся к ранней истории. В ней наиболее ярко проявляется мотив смены старого и нового солнца, хода времени, смены времен года, календарь тунгусо-маньчжуров. В результате анализа автор пришел к выводу, что олень в тунгусо-маньчжурской традиции моделирует пространство и время Вселенной, характеризует образ солнца и хода времени. Космический олень является архетипичным символом культуры тунгусо-маньчжуров, сохранившим свое значение до настоящего времени в художественной культуре This article is devoted to the mythological image of cosmic deer in traditional Tungus-Manchu culture. It examines materials of folklore, shamanism, trade and calendar rituals as well as art and for the first time systematizes materials from all of the Tungus-Manchu peoples. The image of cosmic deer in the folklore of the Evens has its closest analogy in that of the Amur peoples, reflected in the image of a deer with horns reaching up to the sky. This image is preserved in fairytales with mythological and epic elements. In the Even myth, the image of a deer is on a cosmic scale, as the cosmos issues from its body. Among the Amur peoples, the image of a deer is also related to cosmogenesis, to the separation of the earth from the sky. The plot of a cosmic hunt is reflected in pan-Siberian mythology, dating back to the Bronze Age. It clearly illustrates the motif of the change of the old and new sun, the passage of time, the change of seasons, the Tungus-Manchu calendar. The author comes to the conclusion that deer in the Tungus-Manchu tradition, in depicting the image of the sun and the passage of time, model the space and time of the Universe. The cosmic deer is an archetypal symbol of Tungus-Manchu culture, which has retained its significance in artistic culture to the present day.

scholarly journals Dogs accompanied humans during the Neolithic expansion into Europe

2018 ◽  
Vol 14 (10) ◽  
pp. 20180286 ◽  
Author(s):  
Morgane Ollivier ◽  
Anne Tresset ◽  
Laurent A. F. Frantz ◽  
Stéphanie Bréhard ◽  
Adrian Bălăşescu ◽  
...  
Keyword(s):  
Bronze Age ◽  
Dna Sequences ◽  
Near East ◽  
Northern Europe ◽  
Southeastern Europe ◽  
Mitochondrial Lineage ◽  
Domestic Species ◽  
Near Eastern ◽  
Neolithic Expansion ◽  
The Bronze Age

Near Eastern Neolithic farmers introduced several species of domestic plants and animals as they dispersed into Europe. Dogs were the only domestic species present in both Europe and the Near East prior to the Neolithic. Here, we assessed whether early Near Eastern dogs possessed a unique mitochondrial lineage that differentiated them from Mesolithic European populations. We then analysed mitochondrial DNA sequences from 99 ancient European and Near Eastern dogs spanning the Upper Palaeolithic to the Bronze Age to assess if incoming farmers brought Near Eastern dogs with them, or instead primarily adopted indigenous European dogs after they arrived. Our results show that European pre-Neolithic dogs all possessed the mitochondrial haplogroup C, and that the Neolithic and Post-Neolithic dogs associated with farmers from Southeastern Europe mainly possessed haplogroup D. Thus, the appearance of haplogroup D most probably resulted from the dissemination of dogs from the Near East into Europe. In Western and Northern Europe, the turnover is incomplete and haplogroup C persists well into the Chalcolithic at least. These results suggest that dogs were an integral component of the Neolithic farming package and a mitochondrial lineage associated with the Near East was introduced into Europe alongside pigs, cows, sheep and goats. It got diluted into the native dog population when reaching the Western and Northern margins of Europe.

An interpretation of the Nebra disc

Antiquity ◽  
2007 ◽  
Vol 81 (312) ◽  
pp. 267-278 ◽  
Author(s):  
Emília Pásztor ◽  
Curt Roslund
Keyword(s):  
Bronze Age ◽  
The Sun ◽  
The Bronze Age

The Nebra disc is one of the most sensational European discoveries of the decade. It appears to carry symbols of the sun, moon and stars wrought in gold on a flat bronze disc just over a foot across (320mm). It is not only very strange, but, famously, appears to be winking, initially raising the suspicion that it may be a hoax. Scholars have, however, claimed it firmly for the Bronze Age, and the debate now moves to the matter of its meaning. Here the authors offer a subtle interpretation that sees it as the shamanistic device of a local warrior society.

scholarly journals Beyond Transgressive Lands and Forgotten Seas: Towards a Maritime Understanding of Rock Art in Bohuslän

2021 ◽  
Vol 12 (1) ◽  
pp. 121-140
Author(s):  
Johan Ling
Keyword(s):  
Bronze Age ◽  
20Th Century ◽  
Clay Soil ◽  
Rock Art ◽  
The Social ◽  
The Bronze Age

Since the beginning of the 20th century rock art in Bohuslän has traditionally been interpreted, on the basis of its adjacent location to the clay-soil plains, as an indicator ofpermanent pastoral or agrarian settlement units. However, recent results ofthe first substantial and extensive shoreline study, covering the whole of Bohuslän, have shown that, during the entire Bronze Age, many of these lower, clay- soil plains were in fact sea bottoms in shallow bays. On the basis of these results new measurement of the rock art panels and the surrounding terrain were made. The study showed that many rock carvings had been placed on or near the contemporary shore during the Bronze Age. It therefore seemed essential to present new questions about the social and ritual behaviour, as manifested by the rock art in these particular areas. It is here suggested that the rock art in the investigated area may be a materialised reflection of seasonal maritime interactions during the Bronze Age.

scholarly journals THE OLDEST ROCK ART SITES OF THE KARATAU RANGE: PETROGLYPHS OF KARASUYIR

2022 ◽  
pp. 2-8
Author(s):  
С. С. Мургабаев ◽  
Л. Д. Малдыбекова
Keyword(s):  
Bronze Age ◽  
Iron Age ◽  
Main Part ◽  
Rock Art ◽  
Early Iron Age ◽  
Stone Age ◽  
The Bronze Age

Статья посвящена новому памятнику наскального искусства хребта Каратау, открытому в урочище Карасуйир. Приводится краткое описание памятника, публикуются наиболее важные изображения. Сюжеты и стилистические особенности основной чaсти петроглифов памятника Карасуйир связаны с эпохой бронзы, остaльные рисунки отнесены к эпохе рaннего железа и, возможно, к эпохе камня. Для некоторых из них предложена предварительная интерпретация. The article is devoted to a new rock art site of the Karatau Range, discovered in the Karasuyir Area. A brief description of the site is provided, and the most important images are published. Subjects and stylistic features of the main part of Karasuyir petroglyphs are associated with the Bronze Age, and other engravings are related to the early Iron Age and, perhaps, to the Stone Age. A preliminary interpretation is proposed for some of them.

Final response and future directions

Antiquity ◽  
2015 ◽  
Vol 89 (343) ◽  
pp. 221-223 ◽  
Author(s):  
Johan Ling ◽  
Zofia Stos-Gale
Keyword(s):  
Bronze Age ◽  
Positive Attitude ◽  
Eastern Mediterranean ◽  
Rock Art ◽  
Deep Insight ◽  
Future Directions ◽  
Final Response ◽  
The Bronze Age ◽  
Insight Into

It is rare for authors to be able to read comments on their paper by leading colleagues and to have the chance to respond before its publication. We would like to thank the editor of Antiquity for providing this opportunity. The comments express both acceptance of, and doubts about, interconnectedness between the eastern Mediterranean and Scandinavia in the Bronze Age. Kaul's comments demonstrate a deep insight into how Nordic archaeology reveals this interconnectedness; that is clearly expressed in his latest publication on the topic in Antiquity (Kaul 2013). Moreover, both Kaul and Sognnes, who accept these interconnections, have an excellent understanding of Scandinavian Bronze Age rock art. In fact, most of the reviewers’ comments express a positive attitude to the interpretation of the rock art images as possible representations of oxhide ingots.

Irish Bronze Age Horns and their relations with Northern Europe

1963 ◽  
Vol 29 ◽  
pp. 326-356 ◽  
Author(s):  
John M. Coles
Keyword(s):  
Bronze Age ◽  
The Other ◽  
Northern Europe ◽  
Wind Instruments ◽  
Late Bronze Age ◽  
The North ◽  
Actual Production ◽  
First Time ◽  
The Bronze Age

One of the features of the Irish Late Bronze Age is the appearance of wind instruments, commonly called ‘Trumpets’, often found in groups and only rarely in association with other material. Being conical and curved, these are therefore members of the horn family, to which the other large musical group of the Bronze Age, the north Europeanlurer, also belong.The Irish horns have attracted the attention of antiquarians for over 100 years, with the principal collection and listing of these beginning in 1860. Evans devoted a section of his 1881 book to the ‘trumpets’, and was followed by Day, Allen and Coffey. The latest treatment, which brought together most of the previous lists of horns, was by MacWhite in 1945. All of these later works were primarily concerned with the typology of the horns, and attention was paid neither to their actual production nor to their music. In the present study, all previously published horns have been examined where possible, as well as a number of unpublished finds, and an attempt will be made not only (i) to describe the typological variations and dating of the horns, but also (ii) to discuss their production as objects from Late Bronze Age workshops and (iii) to consider for the first time their musical potential.

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