Fantastic Beings and Where to Make Them ‒ Boats as Object-Beings in Bronze Age Rock Art

Fahlander, Fredrik

doi:10.37718/csa.2019.09

Cited by 4 publications

(1 citation statement)

References 30 publications

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“…Es decir, un mundo lleno de amenazas y peligros, y por lo tanto que requiriera de la existencia de esas mismas élites para asegurar el orden. Las imágenes de híbridos, como otros motivos de la iconografía de este importante período de la historia egipcia, como las canoas trobriandesas, están hechas para afectar el mundo en tanto "tecnologías de encantamiento" (Gell 1992;Fahlander 2019). Considero que, siguiendo el rastro de estas élites, y no de la reproductibilidad técnica en el ámbito urbano, tendremos más oportunidades de comprender las características de ese cosmos creado a medida de las nuevas formas de organización social que se estaban afianzando a finales del IV milenio a.C. en Egipto.…”

Section: Wengrow Comienza Su Obra Con Las Siguientes Palabrasunclassified

Los sueños de la razón

Maydana¹

2020

BdE

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The Origins of Monsters. Image and Cognition in the First Age of Mechanical Reproduction, de David Wengrow, entrelaza hábilmente ideas de diversas disciplinas para responder una inquietud de la historia antigua: por qué las imágenes monstruosas parecen transmitirse más fácilmente que otras. La reciente reedición del libro es la ocasión perfecta para recuperar y discutir algunas de sus propuestas y argumentos. Mediante el concurso de ciertas imágenes “monstruosas” producidas en el Egipto Predinástico, se revisarán algunas hipótesis de Wengrow para las cuales no presenta más evidencia que su intuición.

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Section: Wengrow Comienza Su Obra Con Las Siguientes Palabrasunclassified

Los sueños de la razón

Maydana¹

2020

BdE

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Figureheads and Symbolism Between the Medieval and the Modern: The ship Griffin or Gribshunden, one of the last Sea Serpents?

Eriksson¹

2020

The Mariner's Mirror

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The Griffin or, as it was sometimes called, Gribshunden (griffin hound) was a ship that belonged to the Danish-Norwegian King Hans. The ship sank in 1495 and was one of the largest and most modern warships of its day. In 2015 a peculiar figurehead carving was raised from the wreck. It is shaped like a beast swallowing a man screaming in agony. The question is, what this sculpture is meant to symbolize? This article aims to shed light on the enquiry through placing the sculpture in a wider chronological context. Against the background of a general overview, from the dragon heads of the late Iron Age to early modern figureheads, it is argued that the sculpture raised from the Griffin was carved in a period when figureheads did not relate to the ship's name or owner, but that the monstrous head is an expression of the spirit or character of the vessel.

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Old and New Approaches in Rock Art: Using Animal Motifs to Identify Palaeohabitats

Korpershoek,

Reynolds,

Budka

et al. 2024

Quaternary

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Humans are well known to have made paintings and engravings on rock surfaces, both geometric motifs with an unclear representation, and representative motifs that refer to their activities and aspects of their environment. This kind of art is widespread across time and space and has throughout history been subjected to various kinds of approaches. Typically, rock art research focuses on its role in the development of the hominin brain and the capability of abstract thinking, as well as on interpreting representative and non-representative motifs. Ethnography and cognitive research have often stressed that rock art is the result of ritual practises and the expression of a shamanic belief system. However, representative motifs may also shed light on a region’s ecological and human prehistory. Here, we give an overview of the general development of rock art study: we highlight the development of artistic behaviour in humans by discussing aesthetic preferences, and the creation of simple geometric motifs and eventually representative motifs, before describing the theories that developed from the earliest study of rock art. These have largely focused on classification and interpretation of the motifs, and often centred on Palaeolithic material from Europe. We then move on to discuss how ethnography among rock art creating communities often suggests important relationships between specific animals in both the realms of spiritual belief systems and within the local environment. Lastly, we highlight how rock art reflects the local penecontemporaneous environment when it comes to depictions of animals, plants, technologies, humans and their activities. We argue that animal depictions are a useful subject to study on a large scale, as it is the most widespread representative motif, and the most appropriate subject to study when the goal is to draw conclusions on environmental changes. Rock art can fill gaps in the local archaeological record and generate new questions of it, but also offer new insights into the history of local human–animal interaction: animal species depicted and/or referred to in rock art are likely to have been a selection of spiritually important animals and a comparison to known information on human interactions with local species may reveal patterns among which animals are selected for local rock art depictions and which are not. Interregional comparison can in turn shed light on whether humans in general tend to ascribe meaning to the same types of animals. We end the review with suggestions for future study, with a special role for computational methods, which are suitable for the analysis of large databases of visual imagery.

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Fantastic Beings and Where to Make Them ‒ Boats as Object-Beings in Bronze Age Rock Art

Cited by 4 publications

References 30 publications

Los sueños de la razón

Los sueños de la razón

Figureheads and Symbolism Between the Medieval and the Modern: The ship Griffin or Gribshunden, one of the last Sea Serpents?

Old and New Approaches in Rock Art: Using Animal Motifs to Identify Palaeohabitats

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