scholarly journals The Relational Life of Trees. Ontological Aspects of “Tree-Ness” in the Early Bronze Age of Northern Europe

2018 ◽  
Vol 4 (1) ◽  
pp. 373-385 ◽  
Author(s):  
Fredrik Fahlander

AbstractDuring the Early Bronze Age in northern Europe, tree-like features appear in henges, burials, and rock art in ways that differ from earlier periods. Rather than investigating this phenomenon in symbolic or metaphorical terms, a concept of tree-ness is explored that focuses on the real constitution of trees and what trees actually do. It is suggested that the accentuation of tree-ness in Early Bronze Age ritual contexts can be related to an ontological shift in conjunction with emerging bronze technology in which different entities can merge or take advantage of each other’s generative properties.

1995 ◽  
Vol 61 ◽  
pp. 347-370 ◽  
Author(s):  
Richard Bradley ◽  
Felipe Criado Boado ◽  
Ramón Fábregas Valcarce

This paper discusses the relationship between the earlier prehistoric pattern of settlement in Atlantic Europe and the creation of rock art. It investigates the organisation of the Copper Age and Early Bronze Age landscape of north-west Spain using the evidence provided by the distribution, siting, and composition of rock carvings. It presents the results of field survey in three sample areas extending from the centre to the outer edge of their distribution. Although these drawings cannot be interpreted as illustrations of daily life, they may have helped to define rights to particular resources in an area which experienced abrupt changes of ground conditions over the course of the year.


Author(s):  
Joakim Goldhahn

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.


1968 ◽  
Vol 63 ◽  
pp. 277-285 ◽  
Author(s):  
Colin Renfrew

The absolute chronology for the Early Bronze Age of Central and Northern Europe, including that for the Wessex culture of southern Britain, is not yet reliably established. This point was emphasized by V. Gordon Childe in his Retrospect, and the following words were indeed the very last which he wrote. Speaking of ‘the urgency of establishing a reliable chronology’, he stated: ‘a great deal of the argument depends on a precise date for the beginning of Unétice, that is at best very slightly the most probable out of perfectly possible guesses ranging over five centuries’.At that time the basis for the absolute chronology of the Early Bronze Age was, as it largely remains today, a framework of synchronous links built up across Europe to the Mycenaean world of the Aegean Late Bronze Age. The assumption was made—and Childe stressed that it was an assumption—that European development and chronology were to be viewed in terms of ‘the irradation of European barbarism by Oriental civilisation’. Possible links for the European Early Bronze Age with Mycenae and indeed the Near East were eagerly sought in an attempt to build up a coherent chronology founded on this assumption.


2016 ◽  
Vol 27 (2) ◽  
pp. 199-221 ◽  
Author(s):  
Thomas Huet

In 1994, H. de Lumley's teams of researchers finished the colossal task—initiated more than 20 years earlier—of recording every pecked rock engraving of Mont Bégo's rock art. The following year, in the book Le grandiose et le sacré, Lumley defined the site as a sacred mountain and attributed rock engravings, considered as ex-votos, to the Early Bronze Age and the Bell Beaker period. However, it is hard to recognize what interpretations can be directly drawn from the data: some exceptional rock engravings are considered as representative of the whole corpus of rock engravings and the most numerous ones are considered as a ‘bruit de fond’ [background noise]. Furthermore, recognition of associations—where rock engravings are contemporaneous and significantly grouped—had been criticised, and the hypothesis that all the rock engravings can be considered as a single archaeological event seems also to be contradicted by studies of superimpositions. We developed a GIS and a comprehensive database, with statistics, to identify specific spatial configurations, seriation effects and, finally, the evolution of the rock art. By going further in the periodization, our aim is to propose some provisional hypotheses about the meaning of Mont Bégo's rock engravings.


Author(s):  
Е. А. Миклашевич

Статья посвящена проблеме хронологической атрибуции самых ранних наскальных изображений нескольких сопредельных регионов Южной Сибири и Центральной Азии: Минусинской котловины, Горного Алтая, Северо-Западной Монголии, Западного Саяна и Южной Тувы (рис. 1-4). Рассматривается общность стиля, иконографии и репертуара основных анималистических образов; обсуждаются характер и причины этого сходства. Составлена карта распространения наскальных изображений древнейшего пласта (рис. 5). Актуальность проблемы их датирования заключается в том, что они не имеют археологических «привязок», поскольку до сих пор не обнаружено изобразительных материалов подобного стиля в закрытых комплексах. Можно лишь утверждать, что они древнее изображений окуневско-каракольской традиции. Исследователями предлагались разные датировки - от верхнего палеолита до эпохи ранней бронзы; предлагалась атрибуция афанасьевской культуре, но пока ни одна из версий не выглядит достаточно обоснованной. По мнению автора, вероятность принадлежности этого изобразительного пласта к эпохе камня довольно высока, однако для более узкого определения еще недостаточно данных. Пути решения проблемы требуют пополнения корпуса источников, более точного документирования памятников, применения междисциплинарных исследований, в том числе методов прямого датирования (например, уран-ториевое датирование перекрывающего наскальные рисунки кальцита и др.). The paper deals with the issue of chronological attribution of the earliest rock art in several adjacent regions of South Siberia and Central Asia such as the Minusinsk Depression, the Altai Republic, northwestern Mongolia, Western Sayan Mountains and southern Tuva (Fig. 1-4). It reviews shared stylistical traits, iconography and repertoire of main animalistic images discussing the nature and causes of this similarity. It also provides a map showing distribution of the rock images from the earliest layer (Fig. 5). Relevance of the issue of their dating is explained by the fact that they do not have any archaeological «links» as no figurative materials of this style have been discovered in closed assemblages. We can only argue that they are older than the images attributed to the Okunevo-Karakol traditions. Scholars have proposed various dates ranging from the Upper Paleolithic to the Early Bronze Age; the attribution to the Afanasyevo culture has been proposed; however, so far, none of the versions seems well justified. In the author’s opinion, probability of this figurative layer dating to the Stone Age is quite high, though there are no sufficient data to narrow down the time interval. To address this issue, it is necessary to expand the corps of sources, make more accurate records of the sites and conduct interdisciplinary studies including use of direct dating methods (such as uranium-thorium dating of the calcite over the rock images, etc.).


Author(s):  
А.Л. Заика ◽  
Т.А. Ключников ◽  
Д. А. Гурулев

Писаница Кундусук - уникальный объект наскального искусства в горах Западного Саяна. Наскальные рисунки обследованы авторами в 2020 г. Скала с рисунками находится на правом берегу реки Амыл. Выявлено 16 камней с изображениями антропоморфных лиц без контура «джойского» типа. Датируются рисунки эпохой ранней бронзы и отражают художественные традиции окуневской культуры. Объект маркирует один из центров как сухопутных, так и речных древних коммуникаций. Памятник, видимо, являлся древним культовым местом. Здесь совершались ритуальные действия и минеральной краской изображались антропоморфные объекты поклонения для успешного преодоления речных и других препятствий. Лица могли отражать облик духов места, реки, маркировать этнокультурную принадлежность древних художников. Kundusuk rock art site (“Pisanitsa Kundusuk”) is a unique object of rock art in the Western Sayan Mountains. The rock drawings were examined by the authors in 2020. The rock with the drawings is located on the right bank of the Amyl River. Sixteen stones with images of anthropomorphic faces without the contour of the “Dzhoi” type were revealed. The drawings date back to the early Bronze Age and refl ect the artistic traditions of the Okunev culture. The object marks one of the centers of both land and river ancient communications. Apparently, the site was an ancient cult place. Here ritual actions were performed and anthropomorphic objects of worship were depicted with mineral paint to successfully overcome river and other obstacles. Faces could refl ect spirits of a place, a river, mark the ethno cultural identity of ancient artists.


2000 ◽  
Vol 50 ◽  
pp. 17-35 ◽  
Author(s):  
David A. Traill
Keyword(s):  

Schliemann's first campaign of excavation at Troy (1871–3) culminated in the discovery of ‘Priam's Treasure’. The find remains the largest and certainly the most controversial ever to have been made at Troy. In 1984 l argued that it was not a single find, as Schliemann reports, but a composite, comprising a core of pieces actually found on 31 May 1873 and a number of other pieces found earlier (Traill 1984 = 1993: 127–53). The article generated a considerable response and, apparently, some confusion. For instance, after demonstrating that Schliemann's story of Sophia's assistance at the discovery was a lie, I asked if there were adequate grounds for believing that he had actually found the pieces of ‘Priam's Treasure’ at Troy rather than, say, bought them from local dealers. I then indicated that the answer was ‘overwhelmingly in the affirmative’ and listed six specific reasons why we should believe this. I concluded: ‘These facts constitute a powerful argument that most, and probably all, of the pieces of ‘Priam's Treasure’ were in fact found in Early Bronze Age Troy’ (Traill 1984: 111 = 1993: 148–9). It would have been remarkable if after this I went on to argue, or even to suggest, that some of the pieces might be fakes. I did not. I have never suggested that any item of ‘Priam's Treasure’ is a fake. Yet critics have persistently represented me, either explicitly or implicitly, as holding this view, thereby muddying waters already murky and distracting attention from the real issues. It is hoped that this paper will refocus the debate on relevant topics.


Author(s):  
А. Л. Заика ◽  
А. М. Клементьев

Изучение древнего наскального искусства требует междисциплинарного подхода. Cотрудничество исследователей петроглифов и палеозоологов позволяет провести реконструкцию состава палеофауны региона, помогает в интерпретации териоморфных образов. Предметом изучения данной статьи являются похожие на быков изображения в наскальном искусстве р. Ангара. Многие изображения датируются эпохой неолита - ранней бронзы. Причины их появления в таежном наскальном искусстве могли быть различными: влияние художественной традиции окуневской культуры с юга; стилизация образа лося или оленя; мифологизация образов таежных животных; наличие для древнего художника реальной натуры - дикого быка. Согласно данным палеозоологии в эпоху голоцена на Ангаре обитали реликтовые животные - бизоны, туры. Возможно, они обитали и на Среднем Енисее. Это позволило высказать предположение, что в наскальном искусстве изображен дикий бык, на которого охотился древний человек. The study of ancient rock art requires an interdisciplinary approach. Active cooperation of rock art researchers and paleozoologists makes it possible to reconstruct the composition of the paleofauna, to interpret theriomorphic images. The subject of the article is images similar to bulls in rock art on the Angara River. Many of the images date back to the Neolithic - early Bronze Age. The reasons for their appearance in taiga zone rock art could be diff erent: the infl uence of artistic tradition of the Okunev culture from the South; stylization of the image of an elk or a deer; mythologization of the images of taiga zone animals; the presence of a real animal in the nature - a wild bull. According to paleozoological data of the Holocene Epoch the Angara River valley was inhabited by relict animals - bisons, tours. Perhaps, they also lived in the Middle Yenisei. Therefore, we suggest that some petroglyphs depict a wild bull, which was hunted by an ancient man.


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