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 collecting was once to supply a discussion board for rock artwork researchers from assorted elements of northern Europe to debate conventional in addition to present interpretative tendencies inside rock paintings examine. altering photos goals to come to conventional interpretative notions concerning the which means and importance of rock paintings to enquire if and why any info have been left in the back of to get well and reconsider. over the last a long time, there was a major international curiosity between archaeologists and anthropologists in learning rock paintings. examine in northern Europe, as in different places, has intensely explored a manifold of methodological and theoretical views. almost all these experiences notwithstanding, were released in languages that seldom achieve past the local audio system of Norwegian, Danish, and Swedish, Russian or Finnish. for this reason a major motivation for this quantity is to aim to apprise a number of the present routine inside this box of analysis and current it for a global viewers. those papers discover the relevance of older rules, equivalent 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 paintings" so one can strengthen a broader knowing of the phenomenon we name rock paintings. This aspiration may be obvious as a standard thread linking the several chapters during this ebook. announcing that, a few, if now not all, of the articles offered during this quantity problem the suggestion "rock paintings" itself, arguing that typically the rock, the "canvas" and really intangible yet both very important sensual encounters, comparable to sound, echoes, contact and temporal phenomenological alterations and the conception of embellished rock artwork panels, can be appeared, at the very least, as vital because the "art" itself. by way of reassessing conventional methods to Scandinavian rock paintings and creatively remodeling those principles, when additionally addressing major new options corresponding to the organization of rock and the performativity of rock artwork, this anthology of papers deals not just a photograph of present debates, but additionally displays pivotal alterations within the examine of rock paintings
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Extra resources for Changing pictures : rock art traditions and visions in Northern Europe
In recent years however it has been argued that the concept of rock art is a misapprehension since it deals much more with art than rock, and focuses more on prehistoric imagery, than the importance rock had for the creation of images. This has rightfully been followed by a gradual change of the approach in which image studies combined with relations between rock art and natural surroundings have been highlighted. Recent advances in rock art research have also given increasing focus to the background for image production – the rock itself – as it seems clear that rock surfaces have been much more than a passive canvas for visual artistry.
Furthermore, this is interrelated with ancestral cult. Ancestors represent the extension of the kin group, and they make the connection to the past – and to origin – more tangible. Therefore, worshipping the ancestors by repeating their actions constitute a prominent part of totemism. This worship is the revitalizing of the world’s original creation. Origins, however, are also connected to the more-or-less confined landscape in which the group live. In this way, the social group and its landscape (‘social territory’) serve as metaphors for each other.
This animal served as an emblem of the (totemic) clan, and worshipping it by way of rituals would eﬀectuate renewal of solitary bonds. As such, Durkheim’s theory in many ways forms the foundation for what could be described as the ‘common’ or most rudimentary understanding of totemism – the animal symbol as insignia of clan and clan membership. This concept of totemism is not wrong per se, but like the original concept of animism, it is too loose and general (cf. critics by Lévi-Strauss 1962; 1966).