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By Andrew Cochrane, Andrew Meirion Jones

Prehistoric imagery is enigmatic and has been principally ignored by means of archaeologists; it's only within the final 20 years that it has garnered severe educational awareness. This quantity addresses this lacuna and discusses visible expression throughout Neolithic Europe. The papers during this quantity outcome from a gathering of the Neolithic reports workforce with regards to 'Neolithic visible tradition' on the British Museum in November 2010. The goal of the assembly used to be to evaluate new experiences of rock artwork from throughout Britain and eire, and to match those with stories of Neolithic visuality from continental Europe. the following, the scope of the unique assembly is widened, and contains additional papers to supply a broader context and extra coherent research of prehistoric expressionism. the amount is organised in order that the rock artwork and passage tomb paintings traditions of the Neolithic in Britain and eire are in comparison for the 1st time to the rock artwork traditions of Northern and Southern Europe, with the mortuary costumes and collectible figurines of South-eastern Europe.

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When considering the type of tool-weapons used in inflicting injuries on humans, it is striking that only one implement is depicted in the White Sea region, namely the bow and 38 Liliana Janik arrow. This is in marked contrast to the iconography of the North European Bronze Age, which depicts a number of types of weapons employed in ritual violence. It has been proposed, on the basis of arrowhead morphology and the technology that allowed the attachment of flint barbs into arrow shafts, that archery dates from the end of the Palaeolithic (Guilaine and Zammit 2005).

2: Representation of warlike combat in depictions F and D (adjusted after Savvateev 1970). 3. ‘Noble death’: images of violence in the rock art of the White Sea 37 ‘The brandished weapons never seem actually to be striking the opponent, just waved in the air. Swords are implied by the scabbards that are frequently depicted hanging by the waist, but swords themselves are rarely depicted, and never in action. Vanquished or dead victims are not shown’ (Harding 2007, 116–17). As I will present below, the acts of violence in the White Sea rock art differ dramatically in that we do see the injured, though this does not necessarily mean that we are witnessing representations of real combat.

Several adult skeletons,-male and female-bore evidence of having been shot with between 15 and 25 arrows’ (Kelly 1999, 102). The meaning of these acts, however, could have differed according to time and cultural context. Sipilä and Lahelma (2007) have argued for such an understanding of the Zalavruga carvings. Such an interpretation, however, points towards the need for a more intricate approach than just using direct ethnographic analogy when we look at other ‘pin-cushion’ depictions from this rock art complex.

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