This book provides a general self-reflexive review and critical analysis of Scandinavian rock art from the standpoint of Chris Tilley’s research in this area over the last thirty years. It offers a novel alternative theoretical perspective stressing the significance of visual narrative structure and rhythm, using musical analogies, putting particular emphasis on the embodied perception of images in a landscape context. Part I reviews the major theories and interpretative perspectives put forward to understand the images, in historical perspective, and provides a critique discussing each of the main types of motifs occurring on the rocks. Part II outlines an innovative theoretical and methodological perspective for their study stressing sequence and relationality in bodily movement from rock to rock. Part III is a detailed case study and analysis of a series of rocks from northern Bohuslän in western Sweden. The conclusions reflect on the theoretical and methodological approach being taken in relation to the disciplinary practices involved in rock art research, and its future.

The Sahara contains one of the most extensive and enigmatic collections of rock art in the world. An Engraved Landscape represents the main report on the rock art of the Wadi al-Ajal, south west Libya. Based on extensive fieldwork directed by the author between 2004 and 2009, and funded by the British Academy and Society for Libyan Studies, this monograph presents and synthesises a rich corpus of new engravings from an area of central importance in the cultural development of the Sahara. Spatial and quantitative analyses of the carvings reveal changing relationships between humans and the landscape over an 8000-year period from c.6000 BC to recent times. The volume is beautifully illustrated, with a substantial selection of the engraved panels presented in photographs and line drawings.

An Engraved Landscape is a contextual analysis of a substantial new corpus of engravings from the Wadi al-Ajal, situated in the Central Saharan region of south west Libya. The wadi is renowned as the heartland of the Garamantian civilization, which emerged from local mobile Pastoral communities in the 1st millennium BC, and dominated trans-Saharan trade and politics for over a thousand years. Extensive archaeological and palaeoenvironmental investigations in recent years have provided detailed insight into the later prehistory and protohistory of the wadi and surrounding areas. However, prior to the fieldwork detailed in this volume, only a handful of carvings had been recorded in the wadi. This volume is based on systematic survey, conducted between 2004 and 2009, which recorded around 2,500 previously unknown or unpublished engraved and inscribed rock surfaces. All forms of engraving, whether figurative or surface markings, were viewed as significant residues of human interaction with the rock surface and were recorded. The resulting database provides an opportunity to analyse the engravings in relation to their changing physical and cultural contexts, and the discussion offers a fresh interpretation of Saharan rock art based on this substantial new evidence. An Engraved Landscape also captures in detail a unique heritage resource that is currently inaccessible and threatened. This record of the fragile engravings provides an important source of information for researchers and students. The Gazetteer is presented in Volume 2.

An Engraved Landscape is a contextual analysis of a substantial new corpus of engravings from the Wadi al-Ajal, situated in the Central Saharan region of south west Libya. The wadi is renowned as the heartland of the Garamantian civilization, which emerged from local mobile Pastoral communities in the 1st millennium BC, and dominated trans-Saharan trade and politics for over a thousand years. Extensive archaeological and palaeoenvironmental investigations in recent years have provided detailed insight into the later prehistory and protohistory of the wadi and surrounding areas. However, prior to the fieldwork detailed in this volume, only a handful of carvings had been recorded in the wadi. This volume is based on systematic survey, conducted between 2004 and 2009, which recorded around 2,500 previously unknown or unpublished engraved and inscribed rock surfaces. All forms of engraving, whether figurative or surface markings, were viewed as significant residues of human interaction with the rock surface and were recorded. The resulting database provides an opportunity to analyse the engravings in relation to their changing physical and cultural contexts, and the discussion offers a fresh interpretation of Saharan rock art based on this substantial new evidence. An Engraved Landscape also captures in detail a unique heritage resource that is currently inaccessible and threatened. This record of the fragile engravings provides an important source of information for researchers and students. Volume 1 offers a synthetic discussion, as a companion to this Gazetteer.

This latest volume in the Swedish Rock Art series bridges the gap between analysis and interpretation of rock art imagery, location and chronology in the northern and southern regions of Scandinavia. Long viewed as belonging to distinctive regional traditions, there are many underlying similarities, themes and formats in common, overlain by regional complexities and variations. The authors explore new approaches and methods of analysis. There has been a tendency in rock art research to focus merely on either the Northern Tradition or the Southern Tradition of Scandinavian rock art and there is certainly a need to broaden this discussion. This collection of new research papers stimulates different perspectives and themes that place emphasis on the intersection between these traditions. North meets South puts the focus on Scandinavian rock art regardless of regions and traditions. Even though there are obvious differences in space and time regarding these two traditions, there are also features and formats in common across both time and space, and a significant theme running through the contributions presented here is to highlight the interaction between these rock art traditions. A major conclusion to be drawn from this exercise is the great complexity and variation of rock art and the need for perspectives comparing various regions across Scandinavia. This volume is the outcome of an international symposium organised by the Swedish Rock Art Research Archives (SHFA).

This major new study by one of Europe’s leading prehistorians presents and discusses a series of rock art engravings from a Bronze Age barrow in Ljungarum parish, Jönköping Län, situated in the central part of southern Sweden. Sagaholm contains the largest group of rock engravings discovered in a burial context in northern Europe. Joachim Goldhahn addresses a number of aspects of the use of rock engravings in burial rituals during the Middle Bronze Age (c. 1600–1100 BC), combining the antiquarian and scientific history of this extraordinary find. In order to understand the meaning and significance of the rock art in the barrow, the author presents a theoretical argument that the art is meaningfully composed and can been seen as the result of an active symbolic praxis which mirrors a metaphorical way of thinking. Special concern is given to the frequent horse motifs at Sagaholm, and it is argued that they, and the morphology of this particular barrow, can be seen as a metaphor for a new and exotic cosmology that reached southern Scandinavia during the Middle Bronze Age. It is further suggested that this extraordinary find points to a (re)interpretation of Scandinavian Bronze Age rock art as an important part of burial ritual, linked to certain beliefs about the regeneration of life.

Scandinavia is home to prolific and varied rock art images among which the ship motif is prominent. Because of this, the rock art of Scandinavia has often been interpreted in terms of social ritual, cosmology, and religion associated with the maritime sphere. This comprehensive review is based on the creation of a Scandinavia-wide GIS database for prehistoric rock art and re-examines theoretical approaches and interpretations, in particular with regard to the significance of the ship and its relationship to a maritime landscape Discussion focuses on material agency as a means to understanding the role of rock art within society. Two main theories are developed. The first is that the sea was fundamental to the purpose and meaning of rock art, especially in the Bronze Age and, therefore, that sea-level/shoreline changes would have inspired a renegotiation of the relationship between the rock art sites and their intended purpose. The fundamental question posed is: would such changes to the landscape have affected the purpose and meaning of rock art for the communities that made and used these sites? Various theories from within and outside of archaeology are drawn on to examine environmental change and analyse the rock art, led to second theory: that the purpose of rock art might have been altered to have an effect on the disappearing sea. The general theory that rock art would have been affected by environmental change was discussed in tandem with existing interpretations of the meaning and purpose of rock art. Imbuing rock art with agency means that it could be intertwined in an active web of relations involving maritime landscapes, shoreline displacement and communities. Though created in stone and fixed in time and place, rock art images have propagated belief systems that would have changed over time as they were re-carved, abandoned and used by different groups of inhabitants. In the thousands of years rock art was created, it is likely that shoreline displacement would have inspired a renegotiation of the purpose and meaning of the imagery situated alongside the Scandinavian seas. This journey through a prehistoric Scandinavian landscape will lead us into a world of ancient beliefs and traditions revolving around this extraordinary art form.

How may Bohuslän rock art and landscape be perceived and understood? Since the Bronze Age, the landscape has been transformed by shore displacement but, largely due to misunderstanding and certain ideas about the character of Bronze Age society, rock art research in Tanum has drawn much of its inspiration from the present agrarian landscape. This perception of the landscape has not been a major issue. This volume, republished from the GOTAC Serie B (Gothenburg Archaeological thesis 49) aims to shed light on the process of shore displacement and its social and cognitive implications for the interpretation of rock art in the prehistoric landscape. The findings clearly show that in the Bronze Age, the majority of rock art sites in Bohuslän had a very close spatial connection to the sea.Much rock art analysis focuses on the contemplative observer. The more direct activities related to rock art are seldom fully considered. Here, the basic conditions for the production of rock art, social theory and approaches to image, communication, symbolism and social action are discussed and related to palpable social forms of the “reading” of rock art. The general location and content of the Bronze Age remains indicate a tendency towards the maritime realm, which seems to have included both socio-ritual and socio-economic matters of production and consumption and that Bronze Age groups in Bohuslän were highly active and mobile. The numerous configurations of ship images on the rocks could indicate a general transition or drift towards the maritime realm. Marking or manifesting such transitions in some way may have been important and it is tempting to perceive the rock art as traces of such transitions or positions in the landscape. All this points to a maritime understanding of Bronze Age rock art in northern Bohuslän.

The rock art found in the World Heritage sites in the Alta area, Arctic Norway, comprise thousands of images including reindeer and elk as well as fish, birds, boats, humans and geometric patterns. They contain information about peoples who lived in this northern area from about 5000 BC up until the birth of Christ; such as possible social organizations, hunting and trapping, beliefs, rituals,stories, legends, myths, cultural changes and continuities.Communicating with the world of beings addresses an understanding of the rock art in terms of communication with other people and other than-human beings. The figures could have been seen and experienced as symbols in rituals or as expressions of identity, position, power and rights, as depictions of real events and perhaps for use in storytelling. Through rock art, people might also have been able to communicate with other-than-human beings who ruled parts of the environment – in order to petition favors for themselves or others. These other-than-human beings may have been perceived as good and evil powers and spirits of the different worlds of the universe; the dead or souls; which also included the animals depicted or were even embodied in the stone.This communication may have been based on a belief that both living beings and inert objects and natural phenomena had souls, a belief that may have existed ever since the earliest settlements. Such an animistic belief means that everything was seen as having a consciousness and identity of its own, independent and imbued with a will. Therefore, it was essential that the different participants communicated with one another as equal partners.In this beautifully illustrated book Knut Helskog provides a lyrical and personal interpretation of the chronology, patterning and possible meanings behind this extraordinary landscape of prehistoric rock art.

Rock Art and Seascapes in Uppland presents a fresh approach to the detailed study of a selection of over 80 rock art panels located close to the present coastline of Uppland, Sweden, which include some 2000 ship depictions among the varied figurative art. Using GPS measurement combined with detailed study of the terrain, topography and relative sea level data in order to present accurate maps of the panels, the location and significance of the original positioning of rock art images in relation to their contemporaneous coastline is demonstrated and modelled. The implications in terms of chronology, typology, landscape, social practice and iconography are discussed and new interpretations for the relationship between Bronze Age rock art, shore displacement, settlement and burial sites presented. This is the first volume in a collaborative series of regional and case studies (The Swedish Rock Art Research Series) with the Swedish Rock Art Research Archive (SRARA), University of Gothenburg.

This is the fourth in the five-yearly series of surveys of what is happening in rock art studies around the world. The aims are to present a synthesis of the status of rock art research in different regions of the world, provide information about recent projects, publications, prevailing research objectives and methods, and enable rock art researchers to relate their findings in a specific region to mainstream research results. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions, presenting examples from Europe, Asia, Africa, and the New World. Not all rock art areas are covered but some of the gaps in previous volumes have been filled. Papers consider the distribution of sites, chronology, interpretation, new surveys and publications, management and site conservation. Rock art studies are going through a period of scientific and technological development which will have an enormous impact on the quality of recording and dissemination. At the same time, many authors are concerned by problems of preservation and vandalism, and underline the crucial importance of educating local people, and the young, about the importance of this fragile and finite heritage. This aspect too will be of increasing importance in years to come.

The present publication is concerned with the rock art from two sections of the Nile Valley in Lower Nubia surveyed in the scope of the UNESCO-organised salvage campaign by the Czechoslovak Institute of Egyptology (Charles University in Prague). It has two main objects, first to complete the catalogue of the rock art documented or localised in the two sections of the Czechoslovak concession with hitherto unpublished rock-art surfaces and occurrences (both petroglyphs and rock paintings) and, second, to provide a critical revision of the data published in Katalog der Felsbilder aus der Tschechoslowakischen Konzession in Nubien (edited by F. Váhala and P. Červíček, Prag 1999). With a view to presenting the results of the critical revision, made on the basis of the field documentation gathered by the Czechoslovak expedition and deposited in the archive of the Czech Institute of Egyptology (Faculty of Arts, Charles University in Prague), all rock-art data – both unpublished and published – are arranged in the present volume in a tabular form. Tables 1–4 containing the description and revision of the rock-art data from the two sections of the Czechoslovak concession in a succession from north to south and, as distinct from Katalog, separately for each bank of the Nile, are accompanied by introductory notes on the formation of the corpus, hitherto unpublished distribution maps of the completed and revised corpus, 155 hitherto unpublished black-and-white photographs, and four colour plates with the sheets of the colour scale used for the recording of patina difference or colour value of preserved paints. With the two objects accomplished, the present publication constitutes a kind of manual to the rock-art corpus from the Czechoslovak concession in Lower Nubia and is to be regarded, together with Katalog, as the complete and authoritative source of data for evaluation of the significance of the evidence from the two sections of the Nile Valley in Lower Nubia.

The monograph is the first exhaustive publication of nine shelters with rock paintings documented by the Czechoslovak expedition in Lower Nubia in the scope of the UNESCO-organised salvage campaign in the 1960s. The presentation of each of the painted shelters includes description of the landscape setting and physical characteristics of the rock surfaces, analyses of the thematic, stylistic, syntactic, and technical aspects of the rock art, discussion of the spatial and temporal dynamics of the rock-art surface, and evaluation of the significance of the evidence. The final chapter offers some thought on the overall significance of the rock paintings from the Czechoslovak concession as one of the artistic and cultural expressions of the populations that inhabited Lower Nubia in different periods of the past and as historical documents about their past worlds and lives. Lenka Suková graduated from the Faculty of Arts, Charles University in Prague in 2008. In 2003–2006, she was the Assistant Curator of the Department of Prehistory and Ancient History of the Near East and North Africa of the Náprstek Museum-National Museum in Prague. Since 2007, she has been working in the Czech Institute of Egyptology, Faculty of Arts, Charles University in Prague where she hs been engaged in research into the history and dynamics of occupation of Eastern Sahara during the Early and Middle Holocene. Since 2009, she is the director of the Institute’s interdisciplinary research project concerned with the prehistoric occupation of Jebel Sabaloka in the Sudan. She is a PhD candidate at the same institute, with a research project focused on the rock art of Northeast Africa in the context of landscape and archaeology.

This volume derives from a workshop held at the University of Kalmar (now Linnaeus University), Sweden between the 20-24 of October 2008. The aim of this gathering was to provide a forum for rock art researchers from different parts of northern Europe to discuss traditional as well as current interpretative trends within rock art research. Changing Pictures aims to return to traditional interpretative notions regarding the meaning and significance of rock art to investigate if and why any information had been left behind to recover and rethink. During the last decades, there has been an immense global interest among archaeologists and anthropologists in studying rock art. Research in northern Europe, as elsewhere, has intensely explored a manifold of methodological and theoretical perspectives. Most of these studies however, have been published in languages that seldom reach beyond the native speakers of Norwegian, Danish, and Swedish, Russian or Finnish. Therefore an important motivation for this volume is to try to apprise some of the current movements within this field of research and present it for an international audience. These papers explore the relevance of older ideas, such as notions about prehistoric religion, ritual performance, sympathetic magic, animism and totemism, the mindscapes of landscapes etc., as well as the present "state of the art" in order to develop a broader understanding of the phenomenon we call rock art. This aspiration can be seen as a common thread linking the different chapters in this book. Saying that, some, if not all, of the articles presented in this volume challenge the notion "rock art" itself, arguing that sometimes the rock, the "canvas" and rather intangible but equally important sensual encounters, such as sound, echoes, touch and temporal phenomenological changes and the perception of decorated rock art panels, should be regarded, at least, as important as the "art" itself. By reassessing traditional approaches to Scandinavian rock art and creatively reworking these ideas, whilst also addressing significant new concepts such as the agency of rock and the performativity of rock art, this anthology of papers offers not only a snapshot of current debates, but also reflects pivotal changes in the study of rock art.

Over the last few years, the ways in which we perceive and document rock art have shifted irreversibly. Prehistoric rock art played little part in the development of British and Irish archaeology and was not recognised until the 19th century, when its equivalents in Scandinavia and the Iberian Peninsula were already well known. Previously considered a fringe activity and the work of amateur archaeologists, over the last 30 years the situation has improved considerably, and the appearance of books such as this signify the change. This volume makes a powerful case for an archaeology that integrates rock art into a wider vision of the past. It brings together the experiences and informed opinions of the key organisations and stakeholders responsible for the conservation, management and accessibility of British rock art. An on-going and exciting period of change is documented here and the main issues that underpin the survival of our prehistoric carved heritage are addressed. Grouped into three sections, the chapters cover the recording, management and presentation of British rock art. The contributions illustrate the wide range of perceptions and approaches to the study, and the diversity of individuals and institutions who have become drawn into this fascinating subject, with independent researchers, heritage managers, artists and academics each bringing a unique perspective. This book aims to both inform new directions in rock art management strategies and provoke further initiatives through which these strategies can be implemented.

Alexander Marshack single-handedly revolutionized the field of Paleolithic art research. His astounding photographs of portable art objects caused us to see them with fresh eyes, to ask new questions, and to understand their technology and production far more precisely; and his pioneering use of infrared and ultraviolet light in the caves revealed startling new facts about the paintings. In addition, he carried out important, provocative and challenging work on archaeoastronomy, calendar sticks, female imagery, and other topics. Alexander Marshack was able to do what nobody else ever had before, or perhaps ever will again - i.e. travel all over Europe, visiting not only many decorated caves but also all the portable art objects scattered throughout the continent, including Russia. This unique experience and knowledge, together with his unrivalled and amazing documentation of all this material, made him by far the USA's foremost specialist in Paleolithic imagery. To honor his memory, in this book, scholars from many parts of the world contribute papers about some of the many problems that interested him and to which he made such a massive contribution.