Articles: Adoranten 2010
A View Beyond Bornholm - New Perspectives on Danish Rock Carvings by Louise Felding
The article sets out to analyse Danish rock carvings in their archaeological context and landscape setting. Rock carvings in different contexts would have contained different meaning to the contemporary society. Analyses show that Danish rock carvings on free standing boulders are set in a ‘closed’ landscape setting with low visibility to the surroundings and therefore seem to require a local knowledge of the area in order to be recognized. Rock carvings in burial contexts or on bedrock are placed in an open landscape setting where burials and rituals have taken place presumably to secure the world order and the power of the local elite.
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The article sets out to analyse Danish rock carvings in their archaeological context and landscape setting. Rock carvings in different contexts would have contained different meaning to the contemporary society. Analyses show that Danish rock carvings on free standing boulders are set in a ‘closed’ landscape setting with low visibility to the surroundings and therefore seem to require a local knowledge of the area in order to be recognized. Rock carvings in burial contexts or on bedrock are placed in an open landscape setting where burials and rituals have taken place presumably to secure the world order and the power of the local elite.Read the article as pdf
Camonica Valley Rock Art. Preliminary results of archaeological summer camp 2010 by Simonetta Boldini
The traditional archaeological summer camp concerning the research, the tracing and the analysis of the prehistoric and medieval rock art has taken place in Camonica Valley, as every summer for 40 years. It was organized by Dipartimento Valcamonica e Lombardia of Centro Camuno di Studi Preistorici and it was directed by Umberto Sansoni and Silvana Gavaldo.
Even this year the valley has given new discoveries in spite of the camp has primarily fixed the completion of the works in areas already analysed in 2005 and in 2007 by Dipartimento, The fieldwork was set in two adjoining sites, Pagherina and Dos del Pater, which are situated on the east side of Camonica Valley, bordering on Naquane National Park (Capo di Ponte) north and on the Campanine area (Cimbergo) east.
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The traditional archaeological summer camp concerning the research, the tracing and the analysis of the prehistoric and medieval rock art has taken place in Camonica Valley, as every summer for 40 years. It was organized by Dipartimento Valcamonica e Lombardia of Centro Camuno di Studi Preistorici and it was directed by Umberto Sansoni and Silvana Gavaldo.
Even this year the valley has given new discoveries in spite of the camp has primarily fixed the completion of the works in areas already analysed in 2005 and in 2007 by Dipartimento, The fieldwork was set in two adjoining sites, Pagherina and Dos del Pater, which are situated on the east side of Camonica Valley, bordering on Naquane National Park (Capo di Ponte) north and on the Campanine area (Cimbergo) east.
Read the article as pdfMount Bego, prehistoric rock carvings by Nicoletta Bianchi
There are approximately 4106 prehistoric rock carvings in the vicinity of mount Bego – in the southern French Alps – listed so far, in which we can count 35,814 signs made by pecking. These rocks are situated in the high valleys of what is now the Mercantour National Park, at altitudes of over 2000 metres and located within 1,400 hectares subdivided into seven main sectors, of which Marvels and Fontanalba are the most remarkable because of the great number of engravings.
The engraving in mount Bego goes on till 1989, when the site was classified a historical monument with the consequent ban on carving on the rocks : prehistoric rock engravings coexist consequently with more modern carvings, made by shepherds, soldiers, visitors and tourists from the roman period to nowadays. Read the article as pdf
There are approximately 4106 prehistoric rock carvings in the vicinity of mount Bego – in the southern French Alps – listed so far, in which we can count 35,814 signs made by pecking. These rocks are situated in the high valleys of what is now the Mercantour National Park, at altitudes of over 2000 metres and located within 1,400 hectares subdivided into seven main sectors, of which Marvels and Fontanalba are the most remarkable because of the great number of engravings.The engraving in mount Bego goes on till 1989, when the site was classified a historical monument with the consequent ban on carving on the rocks : prehistoric rock engravings coexist consequently with more modern carvings, made by shepherds, soldiers, visitors and tourists from the roman period to nowadays. Read the article as pdf
Places of worship in Valcamonica from Prehistory to the Christianization of the area by Serena Solano
The Valcamonica (Brescia) belongs in a special way to the Italian and European archaeological landscape in consideration of its amazing wealth of ancient remains, as witnessed by its most known and much studied petroglyphs. In recent years the discovery and excavation of several sites led to considerably extend the framework of knowledge on the population of the territory between prehistoric and Roman times. Among the most interesting situations lie some places of worship, which reveal an extraordinary continuity of attendance that, in some cases, goes so far as to the modern age.
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The Valcamonica (Brescia) belongs in a special way to the Italian and European archaeological landscape in consideration of its amazing wealth of ancient remains, as witnessed by its most known and much studied petroglyphs. In recent years the discovery and excavation of several sites led to considerably extend the framework of knowledge on the population of the territory between prehistoric and Roman times. Among the most interesting situations lie some places of worship, which reveal an extraordinary continuity of attendance that, in some cases, goes so far as to the modern age.
Read the article as pdfRock Art of the Tassili n Ajjer, Algeria by David Coulson and Alec Campbell
The Tassili n Ajjer National Park (80,000 sq km in extent), one of the richest rock-art areas on earth, is situated in the southeast of Algeria. In the southwest, the park borders the Ahaggar National Park and in the east and south it borders protected areas in Libya and Niger. Tassili n Ajjer is a Tamahaq name meaning ‘plateau’ of the Ajjer people, the name of the Kel Ajjer group of tribes whose traditional territory was here.
The Tassili n Ajjer National Park was listed as a World Heritage Site in 1982 on account of its geological formations including ‘forests of stone’, biological diversity, archaeological importance and prehistoric rock art. In 1986, UNESCO declared the area a Biosphere Reserve under its programme, Man and the Biosphere. It is second on the IUCN List of Protected Areas.
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The Tassili n Ajjer National Park (80,000 sq km in extent), one of the richest rock-art areas on earth, is situated in the southeast of Algeria. In the southwest, the park borders the Ahaggar National Park and in the east and south it borders protected areas in Libya and Niger. Tassili n Ajjer is a Tamahaq name meaning ‘plateau’ of the Ajjer people, the name of the Kel Ajjer group of tribes whose traditional territory was here.
The Tassili n Ajjer National Park was listed as a World Heritage Site in 1982 on account of its geological formations including ‘forests of stone’, biological diversity, archaeological importance and prehistoric rock art. In 1986, UNESCO declared the area a Biosphere Reserve under its programme, Man and the Biosphere. It is second on the IUCN List of Protected Areas.
Read the article as pdfShips on Stone. A study in the chronology of Bronze Age and Pre-Roman Iron Age ship carvings in Hordaland, Western Norway by James Dodd
This article discusses dating of ship representations at Flote 1 and Bakke 1 rock art sites, Hordaland, Western Norway. Studies by Mandt (1972; 1991) have been influential in dating of both ship and other renderings within the region. Mandt’s studies have in turn drawn upon work by Marstrander (1963; 1964) and Glob (1969) among others.
Increasingly, recent PhD studies by Gjerde (1998) and Wold (2002) have drawn upon research into typology by Kaul (1998). Kaul (1998; 2006) in turn builds on the work of Glob and suggests Late Bronze Age styles of representation from the corpus of ship renderings found on Danish and Southern Swedish bronze razors. Shore displacement has been applied to the Alta and Vingen Mesolithic rock art sites (Sognnes 2003). Study by Ling (2008) in Sweden has suggested significant altitudinal variations in ship representations in Bohuslän, Sweden. The tentative chronology that has been constructed from the altitudinal distribution of ships in the landscape has broadly confirmed the seriation by Kaul. Read the article as pdf
This article discusses dating of ship representations at Flote 1 and Bakke 1 rock art sites, Hordaland, Western Norway. Studies by Mandt (1972; 1991) have been influential in dating of both ship and other renderings within the region. Mandt’s studies have in turn drawn upon work by Marstrander (1963; 1964) and Glob (1969) among others.Increasingly, recent PhD studies by Gjerde (1998) and Wold (2002) have drawn upon research into typology by Kaul (1998). Kaul (1998; 2006) in turn builds on the work of Glob and suggests Late Bronze Age styles of representation from the corpus of ship renderings found on Danish and Southern Swedish bronze razors. Shore displacement has been applied to the Alta and Vingen Mesolithic rock art sites (Sognnes 2003). Study by Ling (2008) in Sweden has suggested significant altitudinal variations in ship representations in Bohuslän, Sweden. The tentative chronology that has been constructed from the altitudinal distribution of ships in the landscape has broadly confirmed the seriation by Kaul. Read the article as pdf
The continuity between pagan and Christian cult nearby the archaeological area of Naquane in Capo di Ponte. Research inside the Church of Saint Faustina and Liberata by Federico Troletti
When it was proposed me to write a brief essay about the “the Church of the Saints” in Capo di Ponte, I ask myself who they were and why the local piety has chosen, among the wide Christian pantheon, these two sisters, stranger to the local tradition. The cult of Saint Faustina and Liberata is an isolated phenomenon in Camonica Valley: for this reason, the dedication seems curious and it deserves attention. There is another question I ask myself and I will try to discuss about it in these few lines, although they are certainly not exhaustive: I would like to establish if there could be a link between the surrounding archaeological areas of Naquane, Pagherina, Piana degli Svedesi (The Swedish Plain) and Campanine with the building of the church.
Others researchers have already carried out this idea and we have to consider their studies as a basis for this research. Read the article as pdf
When it was proposed me to write a brief essay about the “the Church of the Saints” in Capo di Ponte, I ask myself who they were and why the local piety has chosen, among the wide Christian pantheon, these two sisters, stranger to the local tradition. The cult of Saint Faustina and Liberata is an isolated phenomenon in Camonica Valley: for this reason, the dedication seems curious and it deserves attention. There is another question I ask myself and I will try to discuss about it in these few lines, although they are certainly not exhaustive: I would like to establish if there could be a link between the surrounding archaeological areas of Naquane, Pagherina, Piana degli Svedesi (The Swedish Plain) and Campanine with the building of the church.Others researchers have already carried out this idea and we have to consider their studies as a basis for this research. Read the article as pdf
The Great Murals of the Sierra de San Francisco. Stone Memory of a Missing People by Maria de la Luz Gutiérrez Martinez
The peninsula of Baja California is a region of Mexico that concentrates one of the most extraordinary repertoires of rock art in the country. Its condition, almost insular, kept the native people relatively isolated from continental influences, allowing the development of local cultural complex. In particular, one of the most significant features of the peninsular prehistory is that these people promoted here the mass production of rock art since ancient times.
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The peninsula of Baja California is a region of Mexico that concentrates one of the most extraordinary repertoires of rock art in the country. Its condition, almost insular, kept the native people relatively isolated from continental influences, allowing the development of local cultural complex. In particular, one of the most significant features of the peninsular prehistory is that these people promoted here the mass production of rock art since ancient times.Read the article as pdf
The rock art of /Ui-//aes (Twyfelfontein), Namibia’s first World Heritage Site by John Kinahan
North-western Namibia has a spectacular array of ancient rock art sites, containing a rich heritage of well preserved paintings and engravings. Namibia’s first World Heritage site, Twyfelfontein, or /Ui-//aes, is the largest concentration of ancient rock engravings in southern Africa. The site has over two thousand images, including giraffe, elephant, rhinoceros, ostrich, and a variety of other animal subjects, as well as abstract forms. The engravings, and a small number of paintings, were created during the last 5 000 years when the people of this area lived mainly by hunting and gathering. During the long dry season the hunters depended on small waterholes such as at Twyfelfontein, where they waited for the rain before resuming their travels.
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North-western Namibia has a spectacular array of ancient rock art sites, containing a rich heritage of well preserved paintings and engravings. Namibia’s first World Heritage site, Twyfelfontein, or /Ui-//aes, is the largest concentration of ancient rock engravings in southern Africa. The site has over two thousand images, including giraffe, elephant, rhinoceros, ostrich, and a variety of other animal subjects, as well as abstract forms. The engravings, and a small number of paintings, were created during the last 5 000 years when the people of this area lived mainly by hunting and gathering. During the long dry season the hunters depended on small waterholes such as at Twyfelfontein, where they waited for the rain before resuming their travels.
Read the article as pdfuKhahlamba Drakensberg and Mapungubwe by Janette Deacon and Aron Mazel
Contrasts in South Africa’s World Heritage Rock Art Sites. South Africa has a wealth of rock art sites with considerable variety in style and content. Similarities and differences between two of the regional traditions are exemplified in the uKhahlamba Drakensberg mixed natural and cultural World Heritage Site in the south-eastern part of the country, and in the Mapungubwe Cultural Landscape World Heritage Site in the far north. They demonstrate how a similar belief system can be expressed in different ways in rock paintings made by geographically separate communities at the southern end of the African continent.
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Contrasts in South Africa’s World Heritage Rock Art Sites. South Africa has a wealth of rock art sites with considerable variety in style and content. Similarities and differences between two of the regional traditions are exemplified in the uKhahlamba Drakensberg mixed natural and cultural World Heritage Site in the south-eastern part of the country, and in the Mapungubwe Cultural Landscape World Heritage Site in the far north. They demonstrate how a similar belief system can be expressed in different ways in rock paintings made by geographically separate communities at the southern end of the African continent.
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