scholarly journals Neolithic monuments of mountainous Mangystau (materials of 2018-2019)

2020 ◽  
Vol 98 (3) ◽  
Author(s):  
O. Artyukhova ◽  
T. Mamirov
Keyword(s):  
2000 ◽  
Vol 22 (2) ◽  
pp. 103-110
Author(s):  
TIM PHILLIPS ◽  
RICHARD BRADLEY

This paper reports on the results of a survey of the treatment of the stone surfaces at a selection of monuments. In discussing the observations comparisons are made with the treatment seen at monuments in the Boyne valley, Ireland. These comparisons lead to the suggestion that these 'pick-dressed' areas may have served as keying to hold 'plaster', which may have been painted.


Author(s):  
Jennifer Uzzell

The stories we tell ourselves about our beginnings are a vital part of our sense of identity and belonging. For Druids living in the UK those stories tend to be deeply rooted in a sense of connectedness with the landscape and with the ‘Ancestors’, usually situated in an imagined and often idealized pre-Christian past. Since the time of William Stukeley, himself associated with the Druid Revival of the Eighteenth Century; the Druids have been associated in the popular romantic imagination with the ancient burial mounds that proliferate in the landscape. The fact that this association is not historically correct has done little to weaken its power. This paper will focus on the construction, in recent years, of a number of barrows, mimicking the Neolithic monuments, and designed to take human cremated remains in niches built into the construction. The fact that this initiative has proved hugely popular with Druids, but also with many others testifies to the power that the barrows hold over the imagination. Why is this? What stories are being told about the barrows, and do those stories have to say about connections to ‘deep time’, to the land, to each other, to community and to the future.


Time and Mind ◽  
2017 ◽  
Vol 10 (1) ◽  
pp. 3-22 ◽  
Author(s):  
John Was ◽  
Aaron Watson
Keyword(s):  

2004 ◽  
Vol 70 ◽  
pp. 153-172 ◽  
Author(s):  
Corinne Roughley

The typology and chronology of the Neolithic monuments of the Carnac region of Brittany have been much debated. However, the landscape of which they are a part has been under-researched, in part due to the difficulty of conducting landscape research in the field. Through complimenting fieldwork with digital approaches, this paper demonstrates that the Neolithic monuments were deliberately situated in distinct landscape settings. By investigating the characteristics of the locations of the various types of monuments, new insight can be shed on the ways in which the monuments were experienced and perceived.


2002 ◽  
Vol 68 ◽  
pp. 125-146 ◽  
Author(s):  
Vicki Cummings

For many years the chambered tombs of south-west Scotland were considered important in understanding the origins of monumentality in Britain. In particular scholars focused on the classification of these monuments in order to understand how ideas about the Neolithic may have spread along and across the Irish Sea. However, the classification of these monuments may be rather more problematic than was once imagined. Among other things, the excavation of a number of them has revealed complex and diverse construction sequences. This paper presents the results of an examination of the landscape settings of the chambered tombs in south-west Scotland. It suggests that a landscape approach can assist in our understanding of the classification and use of these monuments. In addition, the setting of sites within the landscape can also inform us about the nature of the Neolithic in this region of Scotland.


2006 ◽  
Vol 33 ◽  
pp. 209-227 ◽  
Author(s):  
George Nash

This paper explores how megalithic art may have been viewed during a period when Neolithic monuments were in use as repositories for the dead. The group of monuments discussed are primarily passage graves which were being constructed within many of the core areas of Neolithic Atlantic Europe. Although dates for the construction of this tradition are sometimes early, the majority of monuments with megalithic art fall essentially within the Middle to Late Neolithic. The art, usually in the form of pecked abstract designs appears to be strategically placed within the inner part of the passage and the chamber. Given its position was this art restricted to an elite and was there a conscious decision to hide some art and make it exclusively for the dead? In order to discuss these points further, this chapter will study in depth the location and subjectivity of art that has been carved and pecked on three passage graves in Anglesey and NW England. I suggest that an encoded grammar was in operation when these and other passage grave monuments with megalithic art were in use.


2013 ◽  
Vol 17 (2) ◽  
pp. 59-76
Author(s):  
Olwyn Pritchard

The King’s Quoit dolmen perches precariously halfway up a headland in south Wales. Its location has been an enigma since Victorian times. The monument builders chose not the spectacular sea views of the south-facing slope, but the apparently more mundane inland vista of the north side, with a near horizon comprising a low ridge on the far side of a small valley, now a beach. Previous research by the author into the astronomical possibilities at this site have revealed horizon indicators for cardinal north, in the form of earth mounds which appear to have marked the lower culminations of Deneb and Vega, as they dipped down to the horizon and rose again during the third and fourth millennium BCE. This has led to another discovery, namely, that a still traceable route way of roads and footpaths leads north from this monument across Pembrokeshire, passing close by several Neolithic monuments and settlements as it does so, before reaching a sheltered bay and another, south facing, dolmen on the north coast. The southern end of this possible ancient trackway is located on Carmarthen Bay, and the northern end, on Cardigan Bay. Both bays encompass a lengthy stretch of relatively sheltered coastal and estuarine water.


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