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Rock Articles
Dear All,
Spring is upon us bringing more light and longer days to spend wandering and pondering...To get you in the mood, check out
Aoinbheann (pronounced Eeven) Lambes account (p 5) of discoveries in south west Ireland. There are clearly still plenty of cups
and rings awaiting re-discovery! An unusual grid motif in Tynedale was a well-deserved reward for the stirling efforts of the
Tynedale North of the Wall Archaeology group (see p3). Meanwhile Steve Dickinsons observations of curious markings in Eskdale (p
8) give pause for thought: might they have been significant to prehistoric groups visiting the fells in search of stone? Gav Robinson
reports on an excavation in County Durham, and Mike Howgate concludes his series of geology focussed articles with his ideas on
the purpose of rock art: one more to add to the infamous Ronald Morris list of 104 meanings?
Kate
April 2016
kesharpe@outlook.com
Contents:
British rock art news: a rare motif in Tynedale (Phil Bowyer) and some miniature Mesolithic markings ..... 2
World rock art on the web: international news and links ........................................................................... 4
Expressing the sacred? Strange markings in the Cumbrian mountains: by Steve Dickinson ............ 8
As always, grid references are not included but the locations of all panels references are recorded on the relevant HER database.
Tynedale, Northumberland
This unusual grid motif was identified during recent surveys by the Tynedale North of the Wall
Archaeology Group. Read more about the discovery in an article by Phil Bowyer on in Rock Art News on
page 3.
County Kerry
Aiobheann Lambe keeps findng more panels in South West Ireland. She describes some of these, and
has a few hints for would-be rock art hunters on page 5.
Eskdale, Cumbria
What are these mysterious markings? The panel was spotted by Steve Dickinson amongst boulders (a
possible cairn) in Eskdale, close to the areas where stone was procured for axe production. Steve
explores this amazing upland location further on page 8.
The results have now been published in the online journal Internet Archaeology. Analysis enabled researchers to detect
superimposition and allowed a reconstruction of the order in which the engraved lines were applied.
The 'barbed line' motif is comparable to styles on the Continent, particularly in Denmark, which was connected to Britain at the
time by Doggerland. Manchester Universitys Dr Chantal Conneller, co-director of the excavations, said: The designs on our
pendant are similar to those found in southern Scandinavia and other areas bordering the North Sea, showing a close cultural
connection between northern European groups at this time. Nicky Milner, Professor of Archaeology at York University suggests
the pendant may have belonged to a shaman.
For a detailed discussion of the techniques used, downloadable 3D models, and many more images, see Milner, N. et
al. (2016). A unique engraved shale pendant from the site of Star Carr: the oldest Mesolithic art in Britain, Internet Archaeology
40. http://dx.doi.org/10.11141/ia.40.8
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The 10m wide ridge and furrow covering the location of the stone and
the surrounding terrain is suggestive of medieval ploughing. There are,
however, subtle indications of both north-south and east-west linear
features that may well represent the remains of earlier boundary
features. This raises interesting questions about the chronology and
relationships between the cairn, the linear boundaries and the
decorated stone. Our group would be keen to pursue these questions
by further investigation at a later date.
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Spanish houses
A Palaeolithic engraving from north-eastern Spain has been interpreted as the first
representation of a human social group. Seven crude, semi-circular motifs scattered
across the surface of a small slab are believed to represent the dome-shaped huts
where prehistoric families lived. A 13,800 year old hunter-gatherer encampment has
been excavated at the site. The schist slab measures around 432 x 76 X 33mm.
Analysis suggests that the engraving was produced very quickly. Archaeologists believe
that the prehistoric artist tried to show perspective.
Read more at:
http://www.telegraph.co.uk/news/earth/environment/archaeology/12028973/13000-year-old-rockart-shows-prehistoric-settlement-frozen-in-time.html
THE UNDISCOVERED COUNTY: finding rock art in Kerry, south west Ireland
Aoibheann Lambe, post graduate student, University College Cork
One evening, I took the Kerry Way walking route from home into
the village of Caherdaniel. I strayed off the route to examine a
pockmarked rock, then a rock etched with zig-zag marks next to a
rock on a wall with large natural solution pits, until finally I went
into the field on the far side. There, on a huge boulder, I found
over 60 cup-marks on the upper part of its south face, cup-marks
and a cup-and-ring on its west face, a radiating motif with over 16
cup-marks on its north face, with more cup-marks and grooves on
the lower part of its south face and 3 cup-marks on its top surface.
Until then, I had thought that rock art was intended to be seen at
whichever time of day the sun best highlighted the motifs. I
realized, however, that with engravings on so many surfaces, the
only way they could be seen at the same time was by torchlight.
This is now my preferred way of showing that stone - what I call
rock art by night. Maybe that is how it was seen thousands of
years ago by the people who carved it. A rock of that size with so
many motifs must have been important. We are lucky it survives.
The rock was earmarked for destruction; only its proximity to an
electricity pole prevented this happening.
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Some finds are more exciting than others. Some more purely
accidental and some are anticipated. I used to be disappointed
if I found just a cup-mark but on a number of occasions I have
first found a cup-mark and later, nearby, a more elaborate
carving. It is as if the cup-mark signposted the way. Only this
week I found a beautiful cup and three rings with two radial
grooves close to a more conspicuous rock engraved with only a
pair of cup-marks. Or, as was the case for the panel in Figure 5
below, the cup is often the clue that there are more motifs on
the stone.
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To date, I have found well over 50 examples of rock art in over 15 different townlands. Simply finding new examples of rock art
is not of itself my ultimate goal. It is good to have it registered and landowners tend to be pleasantly surprised that they have
such a monument on their land. I am very interested in gaining some insight into the people that made these engravings. The
more examples I see, the more I perceive patterns emerging. I also need to test some of my theories on the landscape setting
of rock art. I would love to survey the rock art of the whole of Ireland. Currently a post-graduate student in archaeology in
UCC, it is great to be exposed to a broad range of archaeology in the course of my studies. Wetland and environmental
archaeology also inform my research into rock art. I dont presume to know what the motifs mean but I do baulk when people
describe any rock engraving, be it passage tomb art or rock art as doodling. Having sculpted stone myself and having tried
recently to make a cup-and-ring with stone tools, I can personally attest that this is something you do with intent. Would rock
art be as intriguing if we thought that the motifs were simply random? Cup-and-ring motifs are simple. You could say the same
of binary code. Once, for a short time, I thought I had found the meaning of rock art and I was not pleased at all.
There are more photographs and information on archaeology walks with Aoibheann on rockartkerry.com and on Facebook at
www.facebook.com/rockartkerry/
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Figure 1. Scafell Pike: one of the sources of stone for axe production.
In 2015, whilst carrying out an archaeological reconnaissance survey of the Upper Eskdale valley system (3km south-west of Great
Langdale), a low, heavily vegetated 6 x 4m prehistoric platform-cairn (Figures 2) was located at around 428m OD near a distinctive
rock tor called Scar Lathing. Scar Lathing lies around 1km and 300m below the Seathwaite Fell Tuff band where it traverses the
mountain ridge below Esk Pike (885m). The tor lies directly above the point where the nearby River Esk plunges into a dramatic
gorge (Figure 2). The survey area is above contemporary and medieval cultivation levels, though traces of boundary creation,
stock herding, transhumance and peat-cutting are present.
The Scar Lathing cairn was created at the head of a roughly trapezoidal gully of boulders, just at the point when anyone climbing
the side of the gully would have seen the Scafell mountain ridge creating a jagged high skyline to the west and north-west (Figure
2). At this same point, a faade of eight small alternating tan-orange and grey-white boulders of Borrowdale Volcanic Group (BVG)
rock separates the cairn platform from the rocks in the gully.
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The rock of the second boulder from the east of the faade
comprises layers of bedded BVG tuff, with moss and lichen on
its surface. This rock, positioned facing up and out from the
faade, displays groups of weathered markings, including a
150mm x 120mm area of linear and curved grooves (Figure 3).
It is not clear how these were created. Did the creators of the
cairn select the rock and position it to show the markings,
setting them facing out and to the left of the cairn faade? We
have looked in the immediate vicinity and cannot find any
markings similar to these on the other cairn rocks.
Investigation of the BVG geology of the mountain ridge running
2.5km up to Esk Pike to the north-east of the cairn is revealing
extensive areas of bedded tuffs, alongside additional evidence
for prehistoric monument construction. Study of individual
elements of the geology near to, and along the line of, the
Seathwaite Fell Tuff have demonstrated occurrences of similar
markings to those found on the Scar Lathing boulder.
Figure 3. Above: RTI image of the panel by Aaron Watson; below:
detail of the features.
Upper Eskdale (Figure 4) is a remarkable environment, where the mountains almost encircle Scar Lathing and its locality and
where the weather forms part of any experience. Here, the summits shift in and out of view; the views from those summits
likewise. Here, the extreme topography and seasonal shifts always impose challenges on those who wish to traverse and to live
amongst the mountains. The landscape (including what we would now term the geology) of Upper Eskdale includes both extremely
dramatic geomorphological landforms, and extremely convoluted, complex and colourful rock strata and rock surface effects. As
archaeologists become more confident about ascribing the sacred to places in prehistory that transcend much of contemporary
Western comprehension, the boundaries between prehistoric culture and nature no longer hold meaning.
It is possible to see how the monumental rock architecture
and extraordinary segregated, tiered spaces of Upper
Eskdale influenced prehistoric desires: hunting for special
rock and animals as part of sacred mountain-places, then
expressing and projecting that sacredness in both
monumental and portable forms. For, as with the other
European outdoor rock art localities noted above, Upper
Eskdale was where animals in prehistory, including humans,
came to what we can argue was a confluence of interior
and exterior sacred experience; at a shoreline, a waterfall, a
river gorge, at distinctive landmarks. It was here that
passage across liminal, often dangerous, spaces of peak,
boundary, animal action and purpose had to be negotiated.
Here, where trees ended, where mountains opened out and
upper air began, Neolithic people developed their desires
for having and holding part of that places sacredness - the
axe blades. Perhaps it is through this confluence that we
can start to see how, and maybe why, Scar Lathings
marked rock was chosen.
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The archaeology and rock art of Swordfish Cave. University of Utah Anthropological
Papers #129. Clayton G. Lebow, Douglas R. Harro & Rebecca L. McKIm
From Amazon: Swordfish Cave is a well-known rock art site located on Vandenberg Air Force Base
in south-central California. Named for the swordfish painted on its wall, the cave is a sacred
Chumash site. When it was under threat and required measures to conserve it, nearly all of the
caves interior was excavated to create a rock art viewing area. That effort revealed previously
unknown rock art and made it possible to closely examine how early occupants used the space
inside the cave.
ISBN-10: 1607814579; ISBN-13: 978-160781457; 224 pages; The University of Utah Press; Price
(paperback): GB 46.50
www.amazon.co.uk/Archaeology-Swordfish-University-Anthropological-Paper/dp/1607814579
The pictured cliffs of Waterflow Lorna Gail LaDage & David Creighton Grenoble
From Amazon: First published in 2008 as a very limited printing for the American Rock Art Research
Association conference, The Pictured Cliffs of Waterflow is now available in a second printing. With
the stunning rock art photography of David Grenoble, and commentary by author Lorna Gail
LaDage, this large petroglyph site is celebrated, while it continues to suffer human and natural
damage. Explore the Pictured Cliffs of Waterfall as it may never be seen quite the same again.
ISBN-10: 1517316316; ISBN-13: 978-1517316310; 94 pages; CreateSpace Independent Publishing
Platform; Price (paperback) GB 12.94
www.amazon.co.uk/Pictured-Cliffs-Waterflow-Lorna-LaDage/dp/1517316316
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Professional archaeologists from NAA supervised and trained members from the local community in the various techniques used
to investigate the rock art and their landscape setting. The aim of the project was to expose and record all the carvings on the
known panels, to search for any other carvings in the vicinity, to investigate the area around the panels for below ground
evidence and to survey the surrounding 22ha field for above ground evidence of potentially associated features.
After carefully removing turf from around the two panels, more carvings were identified on these and on another outcrop
nearby (HH3). After cleaning away the vegetation the carvings were recorded using a series of high quality digital images and
photo-processing software to produce accurate 3D images (Figure 2).
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Drone survey
For a wider area survey, the NAA aerial drone was flown over the site taking high-level digital photographs. These georeferenced images were then interpolated to produce a sub-cm accuracy 3D digital image of the field (Figure 4), akin to a
LiDAR (Light Detection And Ranging) survey This survey was used to produce detailed contour and earthwork surveys of the
project area.
Former field boundaries, evidence of ridge and furrow ploughing, quarrying and disturbance relating to the use of the area as a
military training ground in 1945 were identified. A walkover survey of the site and searches of the local Historic Environment
Record (HER), aerial photography and historic mapping of the wider area were also carried out to aid interpretation.
The combination of these techniques confirmed that the majority of the visible archaeology in the project area related to
medieval agriculture, post-medieval and later field systems, recent quarrying and features due to military activity (foxholes and
wheel ruts). Amongst these, however, were some features possibly of a prehistoric date including four more rocks with faint
eroded carvings, a possible small cairn, three quarries or cut platforms and a sequence of terraces downslope of the Hawkesley
Hill panels.
Although the excavation results were largely negative, in terms of understanding the nature and use of rock art sites, the
absence of associated remains was interesting. Were the carvings at Hawkesley therefore ritual motifs etched into an isolated
natural place of special meaning? The evidence from the wider area survey, however, suggested another interpretation.
The results cumulated during the survey and post-excavation analysis demonstrated high levels of disturbance within the
surrounding area from medieval and later agriculture and military activity. This suggested that if there had been any upstanding
prehistoric features in the vicinity these would have been destroyed.
Interestingly the promontory on which five of the six panels were located seemed to have suffered less damage from later
activity and the presence of undated terraces, quarries and a possible small cairn hinted that there may have been some form
of contemporary activity in the vicinity of the rock art. This pattern is mirrored within parts of upper Teesdale where later
agriculture has had less impact upon the largely preserved prehistoric landscapes, although it should be remembered that very
few of these remains have actually been confidently dated.
The rock art sites recorded to date within Upper Teesdale also show a strong correlation to the underlying geology, with the
majority being located on the sandstones of the Millstone Grit series. Even the exception, a concentration of carvings on
Barningham Moor, located within the area of the Carboniferous Limestone series, were mostly (if not all) etched into sandstone.
This pattern of rock art distributions being linked to the underlying geology has previously been stated (see
http://archaeologydataservice.ac.uk/era/) and raises important questions regarding the meaning of the carvings. For instance, is this
pattern merely a product of the survivability and visibility of rock art on differing geologies or does it indicate a specific choice
by the prehistoric carvers? Could any carvings made on, for instance, softer limestones, have been weathered away or does the
correspondence with the Millstone Grits in the Tees Valley represent an accurate pattern? If the latter case could be
demonstrated, then a much more interesting question arises: why did the prehistoric inhabitants of this area choose to mark
only sandstone outcrops and boulders with carvings?
You can read more about the Heart of Teesdale Landscape Partnership projects at www.heartofteesdale.net/
Northern Archaeological Associates can be found at www.northernarchaeologicalassociates.co.uk/
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Rock Art Abstracts: Headlines from recent journal papers. What are academic researchers currently
thinking about? (Full papers available online with subscription)
organizations. Enabling
platforms & artefacts. Springer
International.
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Although quite weathered, most of the 54 cups, 6 rings and 6 partial rings can be made out, as can a network of enhanced
runnels and purely artificial channels connecting up several of the cups. There is a prominent series of natural hollows at the
south-eastern summit (Figure 2).
These were probably formed where a series of soft nodules had been deposited at a top-set surface of a set of Millstone Grit
cross-bedded strata. The north-westerly sloping surface in the middle of the boulder and covered in runnels being the fore-set
surface deposited at the advancing delta front and the slightly southeasterly sloping surface with distinctive cups the bottomset beds deposited in front of the advancing delta. The strata have been canted slightly westwards from the orientation in
which they would have originally been deposited.
The two natural hollows on the summit, seen in Figure 2, are connected
by a shallow artificial channel which continues from the second, smaller,
hollow in a further artificial channel which flows down the slope to the
edge of the boulder. The current nick in the larger hollow is probably of
later date and may have been initiated when a part of the boulder fell
away or was removed.
The series of four cups, one of which is only partial and at the edge of the
boulder (Figure 2), indicate that this part of the boulder had been subject
to attrition since the cups were carved.
Fig. 2. Summit of the Pancake Rock showing water filled natural hollows with
three cups above them.
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The complexity of the drainage pattern indicates that it was used to channel wateror some other liquiddownslope, often,
through an intricate pattern of enhanced runnels, artificially cut channels, and cups. The question is why? One possible
explanation is that it was a form of sympathetic magic enacted to ensure an adequate water supply for the crops late Neolithic
and early Bronze Age people had come to rely upon.
Palaeolithic and Mesolithic hunter-gatherers could follow game through an extensive landscape with a large network of
streams, pools and springs. Later Neolithic pastoralists would take their flocks and herds through a similar if less extensive
landscape again with a variety of water supply points. Neolithic arable farmers would, however, be confined to the one site
where they had sown their crops. Water supply, only an intermittent problem in the past, would take on much more
significance once communities became more permanently settled. Any prolonged drought would mean crop failure and
starvation.
Various cultures have had rain making ceremonies. Many North American Indian tribes, especially the maize cultivating tribes
such as the Pueblo and Navajos had and still have, complex rain dances in which feathers represent the wind and beads of
turquoise the rain, the aim of the dance being to call upon these natural forces. In China, a Wu shaman would dance around a
fire until his sweat would mimic rainfall, then hopefully it would soon rain. In the Neolithic of the West Riding perhaps the
connection between stream flow and rainfall was noticed, prompting the idea that in order to propitiate the Rain God it was
necessary to mimic the flow of water in the local streamswhich may have dried upon a prominent rock surface using what
was left of the precious liquid. Use of a rock where the flow of water from natural depressions had already been noticed might
be considered particularly auspicious.
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1.
The observation of natural hollows on the top of rocks which periodically fill with water, some of which retain the
water for weeks afterwards, and during rain overflow down the side in a stream like runnel.
2.
The overflow runnel is artificially enhanced so that a libation into the dried out summit hollows will produce a more
significant and distinctive flow.
3.
Purely artificial channels are cut downslope from the hollows which bear little relationship to the underlying geology,
often cutting across the grain of the strata. If these channels cut across the bedding planes a cascade effect could
be produced which would be more realistic or aesthetically pleasing.
4.
Cup like depressions are cut into the channel making the feature more like an upland stream with a series of
interconnected pools, where water would normally be accessed.
5.
Rings around the cups, all still interconnected, could indicate (and here I really speculate) the irrigation channels
leading to the patches or fields of crops.
6.
Isolated cups, not connected by channels, may have been added with an ancillary function as receptacles for other
offerings such as grain but still associated with a rain offering.
7.
More complex rock art may still have a link to sympathetic magic rain making. The Swastika Stone and the Idol Rock
both have a patterns of cups surrounded by an entrenched groove. In this scenario the groove filled with water may
represent the stream or irrigation channel and the cups, filled with a grain offering, the fields.
8.
The most complex rock art might have moved beyond this naturalistic rain making magic. Whole surfaces covered
with multiple ringed cups and with no connection to a flow pattern might indicate a stage where the act of carving
cup and ring patterns, following the basic motifs used by previous generations, was all what was necessary for
whatever ritualistic purpose they now served.
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BRAG 2016
Above: Robin Hoods Stone. Image: (CC-BY-SA-3.0); below: the Calderstones. Image: The Reader Organisation
3rd 4th June 2016 British Rock Art Group Annual Conference, Liverpool University.
See above for details and contact information.
3rd 4th June 2016 Europa 2016: Dynamics of Art, design and Vision in Iron Age Europe.
Prof Peter Wells, University of Minnesota
See website for details: www.prehistoricsociety.org/events/category/conferences
23rd 30th July 2016 Tanum Field Seminar, Sweden. Documenting the Past for the Future
Seminar Lectures Fieldwork Excursions
Preliminary programme available at www.rockartscandinavia.com/images/articles/as16_program_m_billeder_lille.pdf
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