By Joakim Goldhahn, Ingrid Fuglestvedt, Andrew Meirion Jones
This quantity derives from a workshop held on the college of Kalmar (now Linnaeus University), Sweden among the 20-24 of October 2008. the purpose of this accumulating used to be to supply a discussion board for rock paintings researchers from assorted elements of northern Europe to debate conventional in addition to present interpretative tendencies inside rock paintings examine. altering images goals to come to standard interpretative notions in regards to the which means and value of rock artwork to enquire if and why any info have been left in the back of to get better and reconsider. over the last a long time, there was a tremendous worldwide curiosity between archaeologists and anthropologists in learning rock paintings. learn in northern Europe, as somewhere else, has intensely explored a manifold of methodological and theoretical views. every one of these reviews even if, were released in languages that seldom achieve past the local audio system of Norwegian, Danish, and Swedish, Russian or Finnish. as a result an immense motivation for this quantity is to aim to apprise a number of the present activities inside this box of analysis and current it for a global viewers. those papers discover the relevance of older rules, akin to notions approximately prehistoric faith, ritual functionality, sympathetic magic, animism and totemism, the mindscapes of landscapes etc., in addition to the current "state of the artwork" in an effort to advance a broader realizing of the phenomenon we name rock artwork. This aspiration should be visible as a typical thread linking the various chapters during this publication. announcing that, a few, if now not all, of the articles awarded during this quantity problem the concept "rock artwork" itself, arguing that usually the rock, the "canvas" and relatively intangible yet both vital sensual encounters, similar to sound, echoes, contact and temporal phenomenological alterations and the belief of adorned rock paintings panels, could be seemed, no less than, as very important because the "art" itself. by means of reassessing conventional techniques to Scandinavian rock artwork and creatively remodeling those rules, when additionally addressing major new strategies similar to the organisation of rock and the performativity of rock paintings, this anthology of papers deals not just a image of present debates, but in addition displays pivotal alterations within the examine of rock paintings
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Additional resources for Changing pictures : rock art traditions and visions in Northern Europe
From the human point of view the animal community is perceived through analogy to their own human community. Societies mainly dominated by egalitarian structures are characterized by cooperation in hunting and by sharing of meat from big game. This cooperation is not, however, perceived as exclusively a human enterprise; when game animals are caught, this is part of the actual agency of a social person, which is the animal. In other words, the animal has chosen to give itself to the human community out of its own will and interest.
Shamanism and animism involve trance and transformation. Therefore, what we see in animic rock art could principally be viewed as transformed persons that do not necessarily appear in their ‘normal’ dress. As pointed out in my description of animic personhood, it is of prime importance that the person does not change, even in the guise of another animal or human person. Ingold (cf. 2000: fig. 5) describes how transformations of beings that ‘stay the same person’ are expressed by linear marking of the head, so that the ‘mask’ appears in outline.
Instituttet for sammenlignende kulturforskning. Oslo: Novus forlag, 290–310. Mauss, Marcel. 1990 . The Gift. The Form and Reason for Exchange in Archaic Societies. W. Norton. Mikkelsen, Egil. 1977. Østnorske veideristninger – kronologi og økokulturelt miljø. Viking XL, 147–201. Mikkelsen, Egil. 1981. Veideristninger ved Geithus, Modum, Buskerud. Universitetets Oldsaksamling. Årbok 1980/81, 35– 52. Morphy, Howard. 1991. Ancestral Connections. Art and an Aboriginal System of Knowledge. Chicago & London: University of Chicago Press.