Adoranten - International Rock Art Magazine


Adoranten International Rock Art Magazine
The Scandinavian Society for Prehistoric Art and the Tanum Museum of Rock Carvings publishes the annual magazine Adoranten, edited by Dr. Gerhard Milstreu. Adoranten is an international peer reviewed rock art magazine and has been published annually since 1970. Now published in 26 countries, it is distributed to museums, universities, archaeologists and members of the Scandinavian Society for Prehistoric Art. Adoranten focuses on the presentation of world-wide prehistoric iconography, recent research, excavations and archaeological context.
Adoranten - International Rock Art Magazine
Adoranten International Rock Art Magazine Adoranten International Rock Art Magazine Adoranten International Rock Art Magazine Adoranten International Rock Art Magazine


A Stone Age rock art map at Nämforsen, Northern Sweden
by Jan Magne Gjerde
Adoranten International Rock Art Magazine
The forceful Nämforsen rapids and its landscape have fascinated people for thousands of years. People left their marks on the rocks and numerous settlements in the area. Nämforsen is a unique remnant of the Stone Age where one can sit down on the islands with rock art – close your eyes and travel back in time accompanied by the forceful power and sound of the rapids. Over the past years, I have appreciated numerous visits to this large concentration of rock art in Northern Sweden with more than 2000 rock carvings.
Biography of the Fossum panel by Johan Ling and Ulf Bertilsson
Adoranten International Rock Art Magazine
The Fossum panel is doubtless one of the most famous rock art sites in the World Heritage of Tanum. The highly narrative performance of the images and scenes and the general composition of the entire panel have been stressed by yet many scholars over the years (Almgren 1927, Bertilsson 1987, Kaul 1998, Fredell 2003, Ling 2008). In fact, during the initial discussion with the UNESCO World Heritage Centre, to nominate Swedish carvings to the World Heritage List, it was initially considered that it could only apply to one single site in Sweden and the site in Fossum was suggested for this purpose. In retrospect, it may seem strange but the reason then was the fact that, according to UNESCO, the Swedish legislation was not strong enough to protect the larger coherent archaeological areas. This fear proved to be completely unfounded and when the Rock carvings in Tanum finally was inscribed onto the World Heritage List the area included, except the Fossum hob, more than 600 rock carvings.
Cupmarks by Christian Horn
Adoranten International Rock Art Magazine
A monumental menhir stands upright in front of a circle of stones in Süderbarup, Kr. Schleswig-Flensburg, Schleswig-Holstein. Both, the landscape and the stones are lightly dusted with snow. Forty-five spherical cavities cover the menhir’s rocky surface. In the back, an opening in the surrounding shrubbery grants a view across a greyishwhite winter landscape. Icy forests stretch into the horizon and disappear in the fog. The bluish hue of the scene underscores the forlorn atmosphere. The menhir, known as the ‘guardian stone’, belongs to a Late Bronze burial mound (Groht et al., 2013:470–471).
Exaggeration is the message by Rauno Lauhakangas
Sometimes in rock art there are patterns that can be interpreted as a message or as emphasizing a certain activity. This article focuses on one such petroglyph in the Republic of Karelia in Russia. It was engraved 6,700 years ago on the shore of Vyg River, which flows into the White Sea. The echo of whales in Karelian petroglyphs I am lying on lichen-covered rock on the shore of the dried Vyg River. My fingers are probing the surface of the rock under the lichen. I am looking for the edge of a petroglyph. Why am I here of all places? The simple answer is that my interest in ancient rock art has brought me here. I know that the Soviet researcher Vladislav Ravdonikas (1938) went to Vyg River in 1932 and made rubbing copies of several petroglyphs. The river flows to the White Sea near the town of Belomorsk, previously called Soroka. The petroglyphs are about 8 kilometers away from the mouth of the river. However, the most immediate reason for my trip is also related to whales and music.
Making sense of the relationship between water and monument
by George Nash
Adoranten International Rock Art Magazine
The Kilmartin Valley (also known as Kilmartin Glen) is located within the county of Argyll in western Scotland and covers an area of approximately 50 km2 (11 [north-south] x 5 [eastwest] km). It has within its curtilage one of the largest and most complex later prehistoric landscapes in northern Britain. Monuments include Neolithic and Early Bronze Age (EBA) stone chambered burial ritual monuments (including long cairns, round cairns, barrows and cists), a henge, standing stones and engraved open-air rock art. The Royal Commission for Ancient and Historic Monuments for Scotland (RCAHMS) list over 150 later prehistoric sites within a nine kilometre radius. Engraved rock art is found on or close to burial monuments and as open-air sites on exposed rock outcropping.
In 2013, a team of archaeologists from the Welsh Rock Art Organisation (WRAO) began a study on the Later Prehistoric sites that contained rock art in western and northern Britain. This study followed an earlier research project which concentrated on a corpus of open-air sites. One of the areas included within this study was Kilmartin Valley.
This paper assesses and discusses some of the findings of this project, suggesting that rock art provided a ritual link between monument and landscape. The focus of this paper will be the small but significant assemblage of the Neolithic stone chambered monuments, cists and standings stones that occupy the lower, central and upper sections of the valley, extending from the village of Kilmartin and the rugged foothills in the north to the marsh grassland of Mòine Mhòr in the south.
Russian demons by Eugen Kolpakov
A famous demon ("bes" in russian) of the Cape Besov Nos of the Onego Lake is known, probably, to everybody who is concerned about rock art of the Northern Europe. A lot of ideas were written about it and its neighboring figures: fantastic interpretations and exciting discussions about its demonic nature and meaning for the ancient people. We’ll cross demon with classic typological method. Formally, the demon is described as follows: a full-face anthropomorphic figure, body of rectangular shape, a rectangular head on a long neck, legs bent at the knees and feet pointing outward in different directions, arms bent at the elbows and forearms are raised up, fingers spread wide. A deep crack passes along the demon on the Besov Nos that divides the body lengthwise into two equal parts, ends in the head, to the sides of the mouth on the spot and left eye (Ravdonikas 1936: Table. 29).
Structure from Motion as documentation technique for Rock Art by Ellen Meijer
Structure from Motion (SfM) is an user-friendly, low budget way of creating three dimensional image-Based Models from two dimensional photographs. The method has found its way into the documentation of rock art in recent years. In Sweden, the application on rock art has been developed by the Swedish Rock Art Research Archives (SHFA), primarily in Tanums World Heritage Area. The pilot project, commissioned by Länsstyrelse Väst, at Aspeberget was very succesful. It is a non-invasive, objective documentation method that is relatively easy to apply in the field that has the potential to become the standard in rock art documentation in the future. The name of the technique - Structure from Motion – basically explains its principle: to photograph a fixed object (structure) through movement (motion). The tools needed are a digital SLR camera, a computer and a program to process the photographs.
The Bru na Boinne. The great passage cairns and prehistori art of the Boyne Valley by Jack Roberts
Adoranten International Rock Art Magazine
Ireland is uniquely endowed with an incredibly rich inventory of archaeological and historical monuments and especially those from the earlier prehistoric periods. Sites that date to the Neolithic and Early Bronze Age periods are particularly well represented, most notably in the form of megalithic structures of many kinds. There are also areas in which the tapestry of their daily lives, their habitation sites and field systems survive, from which it can be seen that the later period of the Neolithic, roughly between six and five thousand years ago, saw enormous developments, culturally and economically, a high point of Ireland’s early cultural history. There is much in the archaeological record to support this view but the main evidence for their being well organized and developed societies inhabiting theland during this time is the great Neolithic passage tomb complex that lies within the area known as the Boyne Valley or Brú na Boinne, Ireland’s valley of the gods. For the ancient Irish, this was their most sacred ground.
The Egtved Girl by Louise Felding
Adoranten International Rock Art Magazine
Travel, Trade & Alliances In The Bronze Age. The Egtved Girl was buried in Egtved, Denmark 1370 BC. Famous for her well-preserved grave, she has become an icon for the Danish Bronze Age and the object of continuous archaeological study. The latest groundbreaking research has revealed that the she was not local from the Egtved area but instead grew up far from present day Denmark, and travelled long distances in her short life. The Egtved Girl is thus directly linked to the trade and alliance networks that existed across Europe and the Middle East in the Bronze Age. This article wishes to sum up the Egtved Girl’s fascinating story and bring new perspectives to understanding her identity and social role in the Bronze Age.
Where have all the young girls gone? by Jeanette Varberg
New studies of rock art show that women in the Swedish rock carvings, believed to have been curiously absent, might have been there all along. However, as they were standing next to chariots, or with hanging phallus, researchers thought the figures to be male warriors. This article discusses Bronze Age social identities and their role in prehistoric religion and society according to social agencies, materiality and communication with anthropomorphic gods, based on pictorial scenes from Scandinavian rock art and Central European ceramics, bronze figures and finally ancient myths.
Read more articles from the Adoranten - International Rock Art Magazine
Like us on Facebook & Follow us on Twitter to receive news & updates:
Tanum Rock Art Index
Scandinavian Rock Art Archive
Bradshaw Foundation
Support our work & become a
Friend of the Foundation
Bradshaw Foundation Twitter @BrashawFND
Homepage About the Foundation Contact Us Facebook News Articles Twitter List of Research Papers Professor Stephen Oppenheimer Travel Index About the Expeditions Forthcoming Expeditions Bespoke Expeditions Enquire Practical Information History of Exploration Welcome to the iShop Film Downloads DVD's Sculpture Prints Clothing Messenger Bag eBooks INORA Downloads About iLecture Films Shipping & Handling iLectures In Conversation Video Stories Travel Films Read the reviews Privacy Policy Bradshaw Foundation Facebook Friends of the Foundation Archive Index World's Oldest Rock Art Africa Documentary Films South Africa RARI Giraffe Carvings Niger Namibia Western Central Africa Africa Paintings Gallery Tanzania The Tuareg People Tuareg Salt Caravans Gilf Kebir Birnin Kudu Rock Art Center Archive Index San Rock Art Paintings San Bushman San Rock Art Film Origins Centre Johannesburg Archive Index Arizona Baja California Baja California Film Coso Range Talking Stone Film Nevada Oregon Territory Moab, Utah Clovis First Australia Archive Index Introduction Bradshaw Paintings Kimberley Region The Unambal Hugh Brown Leif Thiele Gallery Dan Clark Grahame Walsh Bradshaws / Gwion Gwion Archive Index Introduction Origins of the British Avebury Stonehenge Sounds of Stonehenge The British Museum British Isles Megaliths Gower Peninsula Rock Art Mendip Hills Prehistory Northumberland Rock Art Red Lady of Paviland Stone Age Mammoth Abattoir Archive Index Introduction Peterborough Petroglyphs Western Canadian Rock Art Writing-On-Stone Wuikinuxv Territory Dinosaur Provincial Park Archive Index Huashan Rock Art Yinchuan Museum Rock Art Festival Field Trip Gallery Itinerant Creeds Inner Mongolia & Ningxia Vanishing Civilization Life in Rock Art (PDF) Tibet Tibet Photographs Dazu Rock Carvings Tiger Motif Archive Index Chauvet Cave Lascaux Cave Niaux Cave Cosquer Cave Rouffignac Cave Portable Art Defining Rock Art Tuc d'Audoubert Bison Dr. Jean Clottes Index UNESCO World Heritage Introduction Cave Paintings Gallery Visiting the Chauvet Cave Return to Chauvet Cave Investigating the Cave Venus & Sorcerer Werner Herzog Film Chauvet Publications India Archive Index Rock Art Central India Pachmarhi Hills India Rock Art Gallery Preservation & Education Dr. V. S. Wakankar Articles on India Rock Art Contemporary Art Middle East Archive Index Middle East Inroduction Rock Art of Iran Rock Art of Saudi Arabia United Arab Emirates Rock Art Ancient Geometry Middle East Colonisation Scandinavian Rock Art Archive Scandinavian Introduction Alta Rock Art Norway Rock Art in Finland Tanum Rock Art Sweden Thor Heyerdahl Archive Index Introduction America's Oldest Art? Pedra Furada Bolivian Rock Art Campeche Island - Brazil Checta Petroglyphs - Peru Cueva de las Manos Santa Catarina Island - Brazil Rock Art in Britain Campeche Rock Art Petroglyphs El Salvador - Corinto Cave Hand Rock Art Paintings Tibetan Rock Art United Arab Emirates Uzbekistan Yinchuan Rock Art Museum Introduction Ice Age Art Gallery Claire Artemyz Jill Cook Interview Cycladic Introduction Cycladic Gallery Introduction Geometric Signs Chart Research Methodology Geometric Signs in France Sign Types/Countries/Regions Bibliography Ancient Symbols in Rock Art Newsletter Archive Download Issues Introduction Genetic Map Professor Stephen Oppenheimer Further Reading Origins of the British BBC Documentary Origins Index Origins Overview 13 Big Questions Stanley Ambrose Homo Floresiensis Herto Skulls Homo Dmanisi Liujiang Skull Introduction Sentinels in Stone Easter Island Rock Art Birdman Cult / Motif Sea & Marine Creatures Design & Motifs Dr Georgia Lee Easter Island Map Contemporary Art Glossary Conclusion Thor Heyerdahl Introduction When & Who Built It? How Was It Built? The Area Sounds of Stonehenge Meaning of a Pyramid Pyramid Studies Pyramid Superstructure Pyramid Substructure Pyramid Preparations Pyramid Building Saqqara Nabil Swelim Temples of Malta and Gozo Research in the Caucasus The Keselo Foundation Homo Dmanisi Ancient Toolmakers Index Introduction Descent into the Cave The Decorated Caves Shamanistic Experience Spring Initiation Rites Summary Page 1 Page 2 Page 3 Page 4 Professor John P. Miller Motif: Eternal Index Banksy Han Meilin Bruce Radke Christian Tuki Gordon Ellis-Brown Site Map Search the Website Glossary of Terms & Definition Podcast on iTunes Other Websites Contact the Foundation