Element contents
A Comparative Study of Rock Art in Later Prehistoric Europe
Published online by Cambridge University Press: 23 September 2020
Summary
The Element summarises the state of knowledge about four styles of prehistoric rock art in Europe current between the late Mesolithic period and the Iron Age. They are the Levantine, Macroschematic and Schematic traditions in the Iberian Peninsula; the Atlantic style that extended between Portugal, Spain, Britain and Ireland; Alpine rock art; and the pecked and painted images found in Fennoscandia. They are interpreted in relation to the landscapes in which they were made. Their production is related to monument building, the decoration of portable objects, trade and long distance travel, burial rites, and warfare. A final discussion considers possible connections between these separate traditions and the changing subject matter of rock art in relation to wider developments in European prehistoric societies.
Information
- Type
- Element
- Information
- Online ISBN: 9781108885638Publisher: Cambridge University PressPrint publication: 22 October 2020
Bibliography
Acosta, P. (1968). La pintura esquématica en España. Salamanca: Universidad de SalamancaGoogle Scholar
Alexander, C. (2009). Power in place: the case of superimposition of rock art images at Pià d’Ort, Valcamonica. In Nash, G. & Gheorgiu, D. (eds.), The archaeology of people and territory. Budapest: Archaeolingua, pp. 269–86Google Scholar
Alves, L. B. (2012). The circle, the cross, and the limits of abstraction and figuration in north-western Iberian rock art. In Cochrane, A. & Jones, A. M. (eds.), Visualising the Neolithic. Oxford: Oxbow, pp. 98–214Google Scholar
Alves, L. B., Bradley, R., & Fábregas Valcarce, R. (2013). Tunnel visions: a decorated cave at El Pedroso, Castille, in the light of fieldwork. Proceedings of the Prehistoric Society 79, 198–214CrossRefGoogle Scholar
Alves, L. B., & Comendador Rey, B. (2009). Rochas e metais na Pré-historia para além da físico-química. In Alves, L. B. & Bettencourt, A. (eds.), Das montes, das pedras e das aguas. Braga: Universidade do Minho, pp. 37–54Google Scholar
Alves, L. B., & Comendador Rey, B. (2018). Arte esquemático pintado en el noroeste peninsular: una vision integrada transfronteriza. Gallaecia 36, 11–52Google Scholar
Alves, L. B., & Reis, M. (2017). Tattooed landscapes: a reassessment of Atlantic Art distribution, research methods and chronology in the light of a major rock art assemblage at Monte Faro (Valença), Portugal. Zephyrus 80, 49–67Google Scholar
Anati, E. (1968) Arte rupestre nelle regioni occidental delle Peninsola Ibérica. Brescia: Archivi di Arti PreistoricaGoogle Scholar
Anati, E. (1976). Evolution and style in Cammunan rock art: an enquiry into the formation of European civilisation. Capo di Ponte: Edizioni del CentroGoogle Scholar
Anati, E. (1994). Valcamonica rock art: a new history for Europe. Capo di Ponte: Edizioni del CentroGoogle Scholar
Anati, E., & Fradkin, A. (2008). Deciphering mythological narratives in the rock art of Valcamonica: the rock of the phallus. In Anati, E. (ed.), Prehistoric art and ideology. Oxford: British Archaeological Reports, pp. 3–12CrossRefGoogle Scholar
Arcà, A. (2000). Agricultural landscapes in the Neolithic and Copper Age engravings of Valcamonica and Mont Bégo. In Nash, G. (ed.), Symbolising place and space. Oxford: British Archaeological Reports, pp. 29–40Google Scholar
Arcà, A. (2013). L’arte rupestre nell’ Età del Rame: il Mont Bégo. In de Marinis, R. (ed.), L’eta del rame. La pianura padana e le Alpi al tempo di Ötzi. Brescia: Museo Diocesano Brescia, pp. 141–60Google Scholar
Armirotti, A., de Davide, C., & Weeks, D. (2018). Aosta in epoca preistorica e protostorica alla luce delle recenti indagini archeologiche preventive in ambito urbano. Revista di Scienze Preistoriche 68, 109–40Google Scholar
Atkinson, J. (2016). Ben Lawers: an archaeological landscape in time. Edinburgh: Scottish Archaeological Internet Reports 62Google Scholar
Bahn, P. (2010). Prehistoric rock art: polemics and progress. Cambridge; Cambridge University PressCrossRefGoogle Scholar
Balbín Behrmann, R. de, et al. (eds.) (2009). Grabados rupestres de la fachada atlántica europea y africana. Oxford: British Archaeological ReportsCrossRefGoogle Scholar
Barfield, L. (1986). Chalcolithic burial ritual in Northern Italy: problems of interpretation. Dialoghi di archeologia 2, 241–8Google Scholar
Barfield, L. (2007). Excavations in the Riparo Valtenesi: Manerba 1976–1994. Florence: Instituto di Preistoria e ProtostoriaGoogle Scholar
Bea, M., & Pajas, J. (2016) Planteamientos interpretativos para el arte levantino a partir del estudio del abrigo del Arquero de los Callejones Cerrados (Albarracín, Teruel). Zephyrus 77, 59–78CrossRefGoogle Scholar
Bea, M., & Rojo, J. (2013). También un arte ‘macro-levantino’? El arquero de grandes dimensiones de Val de Charco del Agua Amarga (Alcañiz, Teruel). Trabajos de Prehistoria 70, 166–74CrossRefGoogle Scholar
Bendrey, R. (2012). From wild to domestic horses: a European perspective. World Archaeology 44, 135–57CrossRefGoogle Scholar
Bengtsson, L., & Ling, J. (2008). Scandinavia’s most finds rich associated rock art sites. Adoranten 2008, 40–50Google Scholar
Bertilsson, U. (2018). New 3D documentation reveals carved Stone Age and Bronze Age axes at Nämforsen, in Ångermanland, Sweden. Adoranten 2018, 72–91Google Scholar
Bettencourt, A., et al. (2017). Where do horses run? a dialogue between signs and matter in the rock carvings of Fornelos (Viana de Castelo, north-west Portugal). In Bettencourt, A. et al. (eds.), Recorded places, experienced places: the Holocene rock art of the Iberian Atlantic northwest. Oxford: British Archaeological Reports, pp. 167–78CrossRefGoogle Scholar
Bettencourt, A., et al. (eds.) (2017). Recorded places, experienced places: the Holocene rock art of the Iberian Atlantic north-west. Oxford: British Archaeological ReportsCrossRefGoogle Scholar
Bevan, L. (2006). Worshippers and warriors: reconstructing gender and gender relations in the prehistoric rock art of Naquane National Park, Valcamonica, Brescia, Northern Italy. Oxford: British Archaeological ReportsGoogle Scholar
Bianco Peroni, V. (1994). I pugnali nell’ Italia continentale. Stuttgart: Franz SteinerGoogle Scholar
Binder, D., et al. (2017). Modelling the earliest north-western dispersal of Mediterranean Impressed Wares: new dates and Bayesian chronologies. Documenta Praehistorica 44, 54–77CrossRefGoogle Scholar
Bradley, R. (1998). Daggers drawn: depictions of Bronze Age weapons in Atlantic Europe. In Chippindale, C. & Taçon, P. (eds.), The archaeology of rock art. Cambridge: Cambridge University Press, pp. 130–45Google Scholar
Bradley, R. (2009). Image and audience: rethinking prehistoric art. Oxford: Oxford University PressCrossRefGoogle Scholar
Bradley, R. (2015). Mixed media, mixed messages: religious transmission in Bronze Age Scandinavia. In Skoglund, P., Ling, J. & Bertilsson, U. (eds.), Picturing the Bronze Age. Oxford: Oxbow, 37–45Google Scholar
Bradley, R. (2017). A geography of offerings: deposits of valuables in the landscapes of ancient Europe. Oxford: OxbowGoogle Scholar
Bradley, R., et al. (2003). Sailing through stone: carved ships and the rock face at Revheim, southwest Norway. Norwegian Archaeological Review 35 (2), 109–18Google Scholar
Bradley, R., & Fábregas Valcarce, R. (1996). Petroglifos gallegos y arte esquemático: una propuesta de trabajo. Complutum Extra 6 (ii), 103–10Google Scholar
Bradley, R., & Watson, A. (2019). Found architecture: interpreting a cup-marked outcrop in the Southern Highlands of Scotland. Time and Mind 12, 3–31CrossRefGoogle Scholar
Bradley, R., Watson, A., & Anderson-Whymark, H. (2013). Excavations at four prehistoric rock carvings on the Ben Lawers Estate, Perth and Kinross, 2007–2010. Proceedings of the Society of Antiquaries of Scotland 142, 27–61CrossRefGoogle Scholar
Brady, L., Hampson, J., & Sanz, D. (2018). Recording rock art: strategies, challenges and embracing the digital revolution. In David, B. & McNiven, I. (eds.), The Oxford handbook of the archaeology and anthropology of rock art. Oxford: Oxford University Press, pp. 763–85Google Scholar
Breuil, H. (1933–5). Les peintures schématiques dans la Péninsule Ibérique, tomes 1–4. Lagny sur Marne: GrévinGoogle Scholar
Bueno Ramírez, P., & Balbín Behrmann, R. de (2000). Art mégalithique and art en plein air: à propos la definition pour les groupes producteurs dans la Péninsule Ibérique. L’anthropologie 104, 427–58Google Scholar
Bueno Ramírez, P., & Balbín Behrmann, R. de (2016). De cazadores a productores. Transiciones y tradiciones. In Del néolítico a l’edad del bronze en el Mediterrani occidental. Estudios en homenage a Bernat Martí Oliver. Valencia: Servicio de investigación prehistórica del Museo de Prehistoria de Valencia, pp. 465–80Google Scholar
Bueno Ramírez, P., Balbín Behrmann, R. de, & Barroso Bermejo, L. (2007). Chronologie de l’art mégalithique Iberique. L’anthropologie 111, 590–654.CrossRefGoogle Scholar
Bueno Ramírez, P., Balbín Behrmann, R. de, & Barroso Bermejo, L. (2009). Constructadores di megaliticos y marcadores gráficas. Diacronías y sincronías en el Atlántico Ibérico. In de Balbín Behrmann, R. (ed.), Grabados rupestres de la fachada atlántica europea y Africana. Oxford: British Archaeological Reports, pp. 149–72Google Scholar
Bueno Ramírez, P., Balbín Behrmann, R. de, & Barroso Bermejo, L. (2012). La frontera ideólogica: graficós postglaciares ibéricas. Trabalhos de Arqueologia 54, 139–60Google Scholar
Bueno Ramírez, P., Balbín Behrmann, R. de, & Barroso Bermejo, L. (2013). Símbolos para los muertos, símbolos para los vivos en Andalucía. In Martínez García, J. & Hernández Pérez, M. (eds.), Actas del II congreso del arte rupestre esquemático en la Penninsula Ibérica. Los Vélez: Comarca de Los Vélez, pp. 25–48Google Scholar
Bueno Ramírez, P., Balbín Behrmann, R. de, & Barroso Bermejo, L. (2015). Graphic programmes as ideological construction of the megaliths: the south of the Iberian Peninsula as case study. In Rocha, L., Bueno Ramírez, P. & Branco, G. (eds.), Death as archaeology of transition: thoughts and materials. Oxford: British Archaeological Reports, pp. 51–69Google Scholar
Bueno Ramírez, P., Barroso Bermejo, L., & Balbín Behrmann, R. de (2008). Graphical marks and the megalith builders of the International Tagus, Iberian Peninsula. Oxford: British Archaeological ReportsCrossRefGoogle Scholar
Bueno Ramírez, P., et al. (2016). Stones before stones: reused stelae and menhirs in Galician megaliths. In Fábregas Valcarce, R. & Rodríguez Rellán, C. (eds.), Public images, private readings: multi-perspective approaches to the post-Palaeolithic rock art. Oxford: Archaeopress, pp. 11–16Google Scholar
Bueno Ramírez, P. et al. (2019). From pigment to symbol: the role of paintings in the ideological construction of European megaliths. In Müller, J., Hinz, M. & Wunderlich, M. (eds.), Megaliths, societies, landscapes. Early monumentality and social differentiation in Neolithic Europe, vol. 3. Bonn: Rudolf Habelt, pp. 845–64Google Scholar
Burenhult, G. (1973). The rock carvings of Götland, part 2. Lund: Acta Archaeologica LundensiaGoogle Scholar
Capelle, T. (2008). Bildwelden der Bronzezeit: Fesbilder in Norddeuschland und Skandinavien. Mainz: von ZabernGoogle Scholar
Carlin, N. (2017). Getting into the groove: exploring the relationship between Grooved Ware and developed passage tombs in Ireland c. 3000 – 2700 BC. Proceedings of the Prehistoric Society 83, 155–88CrossRefGoogle Scholar
Casini, S., de Marinis, R., & Pedrotti, A. (1995). Statue-stele e massi incisi nell’ Europa dell’ Età del Rame. Bergamo: Notizie Archeologiche BergamensiGoogle Scholar
Casini, S., & de Marinis, R. (2009). Des pierres et des dieux. L ‘art rupestre dans la Valettine et du Valcamonica. Le Globe 149, 61–92CrossRefGoogle Scholar
Casini, S., & Fossati, A. (2013). Immagini di dei, guerrieri e donne. Stele, massi incisi e arte rupestre dell’ età del rame in Valcamonica e Valtellina. In de Marinis, R. (ed.), L’eta del rame. La pianura padana e le Alpi al tempo di Ötzi. Brescia: Museo Diocesano Brescia, pp. 161–96Google Scholar
Coles, J. (2000). Patterns in a rocky land: rock carvings in south-west Uppland, Sweden. Uppsala: Uppsala UniversityGoogle Scholar
Coles, J. (2005). Shadows of a northern past: rock carvings of Bohuslän and Østfold. Oxford: OxbowGoogle Scholar
Collado Giraldo, H. (2006). Arte rupestre en la Cuenca del Guardiana. Badajoz: Alconchel-ChelesGoogle Scholar
Collado Giraldo, H. (2016). A mark along the way: Schematic rock art and communication routes. Arts 5 (6), 1–11Google Scholar
Collado Giraldo, H., et al. (2014). El arte rupestre esquématico del Arroyo Barbón: contextualización arqueólogica y characterización de pigmentos. Zephyrus 74, 15–39CrossRefGoogle Scholar
Costas Goberna, J., & Novoa Álvarez, P. (1993). Los grabados rupestres de Galicia. La Coruña: Museo AequeloxicoGoogle Scholar
Cremonisi, R., & Tosatti, A. (eds.) (2017). L’arte rupestre dell’ età dei metalli nella peninsola italiana. Oxford: ArchaeopressGoogle Scholar
Criado Boado, F., Martínez-Cortizas, A., & García Quintela, M. (eds.) (2013). Petroglifos, paleoambiente y paisaje. Estudios interdisciplinares del arte rupestre de Campo Lameiro (Pontevedra). Traballos de Arqueoloxía e Patrimonio 43Google Scholar
Crumlin-Pedersen, O., & Trakadas, A. (2003). Hjortspring: a pre-Roman Iron Age warship in context. Roskilde: Viking Ship MuseumGoogle Scholar
Cruz Berrocal, M. (2005). Paisaje y arte rupestre. Patrones de localización de la pintura levantina. Oxford: British archaeological ReportsCrossRefGoogle Scholar
Cruz Berrocal, M., & Vicent García, J. (2007). Rock art as an archaeological and social indicator: the Neolithicisation of the Iberian Peninsula. Journal of Anthropological Archaeology 26, 676–97Google Scholar
David, B., et al. (2001). Why digital enhancement of rock art works: rescaling and saturating colours. Antiquity 75, 781–92CrossRefGoogle Scholar
Deacon, J. (2001). A /Xan conundrum: what comes first, the art or the place? In Helskog, K. (ed.), Theoretical perspectives in rock art research. Oslo: Novus forlag, pp. 242–50Google Scholar
Deakin, P. (2007). Exploring links between cupmarks and cairnfields. In Mazel, A., Nash, G. & Waddington, C. (eds.), Art as metaphor: the prehistoric rock art of Britain. Oxford: Archaeopress, pp. 111–22Google Scholar
Devignes, M. (1997). Les rapports entre peintures et gravures dans l’art mégalithique Ibérique. In Helgouac’h, J., Le Roux, C-T & Lecornec, J. (eds.) Art et symboles en mégalithisme Européen. Revue Archéologique de l’Ouest Supplément 8, pp. 9–22Google Scholar
Di Fraia, T. (2011). Raffigurazioni rupestri e culti millenari in Val di Sangro. In Anati, E. (ed.), Arte e comunicazione nelle società pre-letterate. Milan: Jaca Book Spa, pp. 172–9Google Scholar
Diaz-Guardamino, M. (2010). Las estelas decoradas en la prehistoria de la Penísula Ibérica. Madrd: Universidad Complutense de MadridGoogle Scholar
Díaz-Guardamino, M. (2014). Shaping social identities in Bronze Age and Early Iron Age western Iberia: the role of funerary practices, stelae and statue-menhirs. European Journal of Archaeology 17, 329–49CrossRefGoogle Scholar
Dinis, A. P., & Bettencourt, A. (2011). A arte Atlántica de Crastroeiro (norte de Portugal): contextos e significados. Gallaecia 28, 41–7Google Scholar
Dolfini, A. (2011). The function of Chalcolithic metalwork in Italy: an assessment based on use-wear analysis. Journal of Archaeological Science 38, 1037–49CrossRefGoogle Scholar
Dolfini, A. (2013). The emergence of metallurgy in the Central Mediterranean a new model. European Journal of Archaeology 16, 21–62CrossRefGoogle Scholar
Dronfield, J. (1996). Entering alternative realities: cognition, art and architecture in Irish passage-tombs. Cambridge Archaeological Journal 6, 37–72CrossRefGoogle Scholar
Earle, T., et al. (2015). The political economy and metal trade in Bronze Age Europe: understanding regional variability in terms of comparative advantages and articulations. European Journal of Archaeology 18, 633–57CrossRefGoogle Scholar
Enlander, R. (2016). The rock ‘artist’: exploring processes of interaction in the rock art of the north of Ireland. In Chittock, H. & Valdez-Tullett, J. (eds.), Archaeology with art. Oxford: Archaeopress, pp. 33–52CrossRefGoogle Scholar
Eogan, G. (1990). Irish megalithic tombs and Iberian comparisons and contrasts. In Probleme der Meglithgräberforschung. Madrid: Deutsches archäologisches Institut, pp. 113–38Google Scholar
Escoriza Mateu, T. (2008). Patriarchy and ideology in the rock art of the west Iberian Mediterranean Basin. In Anati, E. (ed.), Prehistoric art and ideology. Oxford: British Archaeological Reports, pp. 53–9Google Scholar
Fábregas Valcarce, R. (2009). A context for the Galician rock art. In de Balbín Behrmann, R. et al. (eds.), Grabados rupestres de la fachada atlántica europea y Africana. Oxford: British Archaeological Reports, pp. 69–83Google Scholar
Fábregas Valcarce, R., et al. (2007). Un petroglifo de tipo outeiro do corno en Porto do Son (A Coruña). Gallaecia 26, 55–68Google Scholar
Fábregas Valcarce, R., Peña Santos, A. de la, & Rodríguígez Rellán, C. (2011). Río de Angueira 2 (A Coruña). Un conxunto exceptional de escena de monta. Gallaecia 30, 29–51Google Scholar
Fábregas Valcarce, R., & Rodríguez Rellán, C. (2012a). A arte rupestre no norte do Barbanza. Santiago de Compostela: Andavira EditoraGoogle Scholar
Fábregas Valcarce, R., & Rodríguez Rellán, C. (2012b). A media luz. Grabados en la Prehistoria Reciente en abrigos galaicos. Trabajos de Prehistoria 69, 80–102Google Scholar
Fábregas Valcarce, R., & Rodríguez Rellán, C. (2015). Walking on the stones of years: some remarks on the north-west Iberian rock art. In Skoglund, P., Ling, J. & Bertilsson, U. (eds.), Picturing the Bronze Age. Oxford: Oxbow, pp. 47–63Google Scholar
Fábregas Valcarce, R., Rodríguez Relláan, C., & Rodríguez Álvarez, E. (2011). Representacións de armas no interior de Galicia (Comarca de Deza, Pontevedra). Unha reflexión sobre a distribución e cronoloxía destes motivos. Gallaecia 68, 49–68Google Scholar
Fábregas Valcarce, R., & Vilaseco Vázquez, X.I. (2016). Building forever or just for the time being? A view from north-western Iberia. In Laporte, L. & Scarre, C. (eds.), The megalithic architectures of Europe. Oxford: Oxbow, pp. 37–54Google Scholar
Fages, A. et al. (2019). Tracking five millennia of horse management with extensive ancient genome time series. Cell 177, 1419–35CrossRefGoogle ScholarPubMed
Fahlander, F. (2013). Articulating relations: a non-representational view of Scandinavian rock art. In Alberti, B., Meirion Jones, A. and Pollard, J. (eds.), Archaeology after interpretation. Walnut Creek: Left Coast Presss, pp. 305–24Google Scholar
Fahlander, F. (2019). Petroglyphs as ‘contraptions’ – animacy and vitalist technologies in a Bronze Age archipelago. Time and Mind 12, 109–20CrossRefGoogle Scholar
Fairén Jiménez, S. (2006). El paisaje de la neolitización. Alicante: Universidad de AlicanteGoogle Scholar
Fairén Jiménez, S. (2007). British Neolithic rock art in its landscape. Journal of Field Archaeology 32, 283–95CrossRefGoogle Scholar
Fairén Jiménez, S. (2015). Neolithic rock art in Iberia. In Fowler, C., Harding, J. & Hofmann, D. (eds.), The Oxford handbook of Neolithic Europe. Oxford: Oxford University Press, pp. 839–55Google Scholar
Fedele, F. (2008). Statue-menhirs, human remains and mana at the Ossimo ‘Anvoia’ ceremonial site, Val Camonica. Journal of Mediterranean Archaeology 21, 57–79CrossRefGoogle Scholar
Fedele, F. (2013). Il sito ceremoniale di Anvoia (Valcamonica). In de Marinis, R. (ed.) 2013. L’eta del rame. La pianura padana e le Alpi al tempo di Ötzi. Brescia: Museo Diocesano Brescia, pp. 197–207Google Scholar
Fedele, F. (2015). Life and death of Copper Age monoliths at Ossimo Anvoia (Val Camonica, Central Alps) 3000 BC – AD 1950. In Díaz-Guardamino, M., García Sanjuan, L. & Wheatley, D. (eds.), The lives of prehistoric monuments in Iron Age, Roman and Medieval Europe. Oxford: Oxford University Press, pp. 225–48Google Scholar
Fedele, J., & Fossati, A. (2012). L’area ceremoniale di Anvoia a Ossimo, Valcamonica: i monoliti simbolici e il loro contesto. Preistoria Alpina 46.2, 187–99Google Scholar
Fernández López de Pablo, J. (2006). Las flechas en el arte Levantino. Archivo de Prehistoria Levantina 26, 101–59Google Scholar
Fernández López de Pablo, J. (2014). Traditions artistiques, interactions culturelles et contextes symboliques de la transition Néolithique dans la région Méditerranéen espagnol. In Manem, C., Perrin, J. & Guilaine, J. (eds.), Le transition Néolithique en Mediterranée. Arles: Errance, pp. 371–403Google Scholar
Fernández Quintano, J. (2013). Consideraciones sobre los motivos astraliformes en el arte en la Península Ibérica. In Martínez García, J. & Hernández Pérez, M. (eds.), Actas del II congreso de arte rupestre esquemático en la Peninsula Ibérica. Los Vélez: Comarca de Los Vélez, pp. 10–24Google Scholar
Forsberg, L. (2006). Tidig hällkonst och koloniseringen av taigaområdet i Mittnorde. In Barndon, R. et al. (eds.), Samfunn, symboler og identitet. Bergen: Universitet i Bergen, pp. 87–103Google Scholar
Fossati, A. (2002). Landscape representations on boulders and menhirs in the Valcamonica – Valtellina area, Alpine Italy. In Nash, G. & Chippindale, C. (eds.), European landscapes of rock art. London: Routledge, pp. 93–115Google Scholar
Fossati, A. (2015). The rock art traditions of Valcamonica – Valtellina during the Neolithic period. In Fowler, C., Harding, J. & Hofmann, D. (eds.), The Oxford handbook of Neolithic Europe. Oxford: Oxford University Press, pp. 857–870Google Scholar
Fredell, Å (2010). A mo(ve)ent in time: a comparative study of a rock-art picture in Galicia and Bohuslän. In Fredell, Å., Kristiansen, K. & Boado, F. Criado (eds.), Representations and communications: creating an archaeological matrix of late prehistoric art. Oxford: Oxbow, pp. 52–74Google Scholar
Frodsham, P. (1996). Spirals in time: Morwick Mill and the spiral motif in the British Neolithic. Northern Archaeology 13 /14, 101–38Google Scholar
Fuglesvedt, I. (2017). Rock art and the wild mind: visual imagery in Mesolithic Northern Europe. Abingdon: RoutledgeCrossRefGoogle Scholar
Garcês, S., and Oosterbeek, L. (2020).The Tagus Valley rock art. In Scarre, C. and Oosterbeek, L. (eds.), Megalithic tombs in western Iberia: excavations at the Anta da Lajinha. Oxford: Oxbow, pp.171–88Google Scholar
García Arranz, J., Collado Giraldo, H., & Nash, G. (eds.) (2012). The Levantine question: post-Palaeolithic rock art in the Iberian Peninsula. Cáceres: Universidad de ExtremaduraGoogle Scholar
García de Lagrán, I., Fernández Domínguez, E. & Rojo Guerra, M. (2018). Solutions or illusions? An analysis of the available palaeogenetic evidence from the origins of the Neolithic in the Iberian Peninsula. Quaternary International 470, 353–68Google Scholar
García Quintela, M., & Santos Estévez, M. (2015). Astronomical significance in Bronze Age and Iron Age rock art. In Ruggles, C. (ed.), Handbook of archaeoastronomy and ethnoastronomy. New York: Springer, pp. 1214–1222Google Scholar
García Sanjuán, L. (1999). Expressions of inequality: settlement patterns, economy and social organisation in the south-west Iberian Bronze Age (c. 1700 – 1100 BC). Antiquity 73, 337–51,Google Scholar
Gjerde, J. M. (2010). Rock art and landscapes: studies of Stone Age rock art from northern Fennoscandia. Trømsø: University of TrømsøGoogle Scholar
Gjerde, J. M. (2012). Stone Age rock art and beluga landscapes at River Vyg, north-western Russsia. Fennoscandia Archaeologica 30, 37–54Google Scholar
Gjerde, J. M. (2017). A boat journey in rock art from the Bronze Age to the Stone Age: from the Stone Age to the Bronze Age in northernmost Europe. In Skoglund, P., Ling, J. & Bertilssson, U. (eds.), North meets south: theoretical aspects on the northern and southern rock art traditions in Scandinavia. Oxford: Oxbow, pp. 113–43Google Scholar
Gjessing, G. (1935). Die Chronologie der Schiffdarstellung auf den Felsenzeichnungen zu Bardal, Trøndelag. Acta Archaeologica 6, 125–39Google Scholar
Gjessing, G. (1936). Nordenfjelske ristninger og malinger av den arktiske gruppe. Oslo: Instituttet for Sammenlijnende KulturfoskningGoogle Scholar
Goldhahn, J. (2002). Roaring rocks: an audio-visual perspective on hunter-gatherer engravings in northern Sweden and Scandinavia. Norwegian Archaeological Review 35, 29–61CrossRefGoogle Scholar
Goldhahn, J. (2010). Emplacement and the hau of rock art. In Goldhahn, J., Fugelstvedt, I. & Jones, A. (eds.) Changing pictures: rock art traditions and visions in Northern Europe. Oxford: Oxbow, pp. 106–26Google Scholar
Goldhahn, J. (2013). Bredarör på Kivik: en arkeologisk odyssé. Kalmar: Kalmar Studies in ArchaeologyGoogle Scholar
Goldhahn, J. (2014). Engraved biographies: rock art and the life-histories of Bronze Age objects. Current Swedish Archaeology 22, 97–136Google Scholar
Goldhahn, J. (2016). Sagaholm: North European rock art and burial ritual. Oxford: ArchaeopressGoogle Scholar
Goldhahn, J. (2018). North European rock art: a long-term perspective. In David, B. & McNiven, I. (eds.), The Oxford handbook of the archaeology and anthropology of rock art. Oxford: Oxford University Press, pp. 51–72Google Scholar
Goldhahn, J. (2019a). On unfolding present and past (rock art) worldlings. Time and Mind 12, 63–77Google Scholar
Goldhahn, J. (2019b). Birds in the Bronze Age: a North European perspective. Cambridge: Cambridge University PressCrossRefGoogle Scholar
Goldhahn, J., & Ling, J. (2013). Bronze Age rock art in Northern Europe: contexts and interpretations. In Fokkens, H. & Harding, A. (eds.), The Oxford handbook of the European Bonze Age. Oxford: Oxford University Press, pp. 270–90Google Scholar
Goldhahn, J., & May, S. eds. (2019). Beyond the global encounter: approaching contact rock art studies. Australian Archaeology 85Google Scholar
Hameau, P. (2002). Passage, transformation et art schématique: l’exemple des peintures Néolithiques du sud de la France. Oxford: British Archaeological ReportsCrossRefGoogle Scholar
Hameau, P. (2003). Aspects de l’art rupestre en France Mediterranéen. In Guilaine, J. (ed.), Arts et symboles du Néolithique à la Protohistoire. Paris: Errance, pp. 137–63Google Scholar
Hameau, P. (2005). Des goûts des couleurs: Chronologie relative et identité culturelle à travers l’analyse des peintures schématiques du Néolithique dans le sud de la France. Zephyrus 58, 95–211Google Scholar
Hameau, P. (2007). Cloistering and gathering places and Neolithic graphic expression. L’anthropologie 111, 721–51Google Scholar
Hameau, P., & Painaud, A. (2009). Ritos de paso y abrigos pintados en el Neolítico. Zephyrus 63, 61–70Google Scholar
Hameau, P., & Painaud, A. (2011). Le géste et la forme dans l’expression graffique du Néolithique. Zephyrus 67, 91–110Google Scholar
Harris, S. (2003). Representations of woven textiles in Alpine Europe during the Copper Age. In Wilkin, J. & Herring, E. (eds.), Inhabiting symbols: symbol and image in the ancient Mediterranean. London: Acccordia Research Institute, pp. 43–84Google Scholar
Harrison, R. (2004). Symbols and warriors. Images of the European Bronze Age. Bristol: Western Academic PressGoogle Scholar
Harrison, R., & Heyd, V. (2007). The transformation of Europe in the third millennium BC: the example of ‘Le Petit Chasseur I + III (Sion, Valais, Switzerland). Praehistorische Zeitschrift 82, 129–214CrossRefGoogle Scholar
Helskog, K. (1999). The shore connection: cognitive landscape and communication with rock carvings in northernmost Europe. Norwegian Archaeological Review 32, 73–94Google Scholar
Helskog, K. (2012). Bears and meanings among the hunter-fisher-gatherers in North Fennoscandia 9000 – 2500 BC. Cambridge Archaeological Journal 22, 209–36CrossRefGoogle Scholar
Helskog, K. (2014). Communicating with a world of beings: the World Heritage rock art sites at Alta, Arctic Norway. Oxford: OxbowCrossRefGoogle Scholar
Hernández Pérez, M (2006). Artes esquemáticos en el Peninsula Ibérica: el paradigma de la pintura esquemática. In Martínez García, J. & Hernández Pérez, M. (eds.), Arte rupestre esquemático en la Peninsula Ibérica. Los Vélez: Comarca de Los Vélez, pp. 13–31Google Scholar
Herva, V.-P., & Lahelma, A. (2019). Northern archaeology and cosmology: a relational view. Abingdon: RoutledgeCrossRefGoogle Scholar
Herva, V.-P., & Ylimaunu, T. (2014). Coastal cosmologies: long-term perspectives on the perception and understanding of dynamic coastal landscapes in the Northern Baltic Sea region. Time and Mind 7, 183–202CrossRefGoogle Scholar
Hingley, R. (1992). Society in Scotland from 700 BC to AD 200. Proceedings of the Society of Antiquaries of Scotland 122, 7–53CrossRefGoogle Scholar
Horn, C. (2018). Fast like a war canoe: pragmamorphism in Scandinavian rock art. In Dolfini, A. et al. (eds.), Prehistoric warfare and violence: quantitative and qualitative approaches. New York: Springer, pp. 109–27Google Scholar
Horn, C., et al. (2018). By all means necessary: 2.5D and 3D recording of surfaces in the study of South Scandinavian rock art. Open Archaeology 4, 81–96CrossRefGoogle Scholar
Horn, C., Potter, R., & Pitman, D. (2019). An evaluation of the visualisation and interpretive potential of applying GIS data processing techniques to 3D rock art data. Journal of Archaeological Science Sciences Reports 27, 101971Google Scholar
Huet, T. (2017). New perspectives on the chronology and meaning of Mont Bego rock art (Alpes-Maritimes, France). Cambridge Archaeological Journal 27, 199–221CrossRefGoogle Scholar
Huet, T. (2018). Les gravures piquetées du Mont Bego (Alpes-Maritimes): Organisation spatiale et sériation. Paris: Société Préhistorique FrançaiseGoogle Scholar
Huet, T., & Bianchi, N. (2016). A study of the Roche de l’Autel’s pecked engravings, Les Merveilles sector, Mont Bego area (Alpes-Maritimes, France). Journal of Archaeological Science Science Reports 5, 105–18Google Scholar
Hurtado Pérez, V. (2008). Ídolos, estilos y territorio de los primeros campesinos en el sur peninsular: Acercándonos al pasado, prehistoria en 4 actas. Madrid: Ministero de Cultura, pp. 1–11Google Scholar
Jiménez Jáimez, V. (2015). The unsuspected circles: on the late recognition of Iberian Neolithic and Chalcolithic enclosures. Proceedings of the Prehistoric Society 81, 179–98CrossRefGoogle Scholar
Jones, A., & Kirkham, G. (2013). From landscape to portable art: the changing settings of simple rock art in south-western Britain and its wider context. European Journal of Archaeology 16, 636–59Google Scholar
Jones, A. M. (2017). Rock art and ontology. Annual Review of Anthropology 46, 167–81CrossRefGoogle Scholar
Jones, A. M., & Cochrane, A. (2018). The archaeology of art: methods, practices, affects. Abingdon: RoutledgeCrossRefGoogle Scholar
Jones, A. M., & Díaz-Guardamino, M. (2019). Making a mark: image and process in Neolithic Britain and Ireland. Oxford: OxbowCrossRefGoogle Scholar
Jones, A. M., et al. (2011). An animate landscape: rock art and the prehistory of Kilmartin, Argyll, Scotland. Oxford: Windgather PressCrossRefGoogle Scholar
Jorge, S. (ed.) (2003). Recintos murados da Pré-Historia recente. Porto: Uninversidade do PortoGoogle Scholar
Kaul, F. (1998). Ships on bronzes. A study in Bronze Age religion and iconography. Copenhagen: National MuseumGoogle Scholar
Kaul, F. (2014). The northernmost rock carvings belonging to the Bronze Age tradition. In Gullow, H. C. (ed.), Northern worlds: landscapes, interactions and dynamics. Copenhagen: National Museum, pp. 115–28Google Scholar
Kaul, F. (2017). Bronze Age archaeology and cosmology: dialogues at the crossroads. Acta Archaeologica 88, 35–56CrossRefGoogle Scholar
Keates, S. (2000). The ancestralization of the landscape: monumentality and the rock art of the Copper Age Valcamonica. In Nash, G. (ed.), Symbolising place and space. Oxford: British Archaeological Reports, pp. 83–102Google Scholar
Kristiansen, K. (2012). Rock art and religion. The sun journey in Indo-European mythology and Bronze Age rock art. Adoranten 2012, 69–86Google Scholar
Kristiansen, K., & Larsson, T. (2005). The rise of Bronze Age society: travels, transmissions and transformations. Cambridge: Cambridge University PressGoogle Scholar
Kunst, M. (2017). Zambujal 2013. Ein kuperzeitliche befistigte Gross-Siedlung? Madrider Mitteilungen 58, 1–30Google Scholar
Kveiborg, J. (2018). Traversing earth and sky: the Nordic Bronze Age horse in a long-term perspective. Praehistorische Zeitschrift 93, 225–64Google Scholar
Lahelma, A. (2008). A touch of red: archaeological and ethnographic approaches to interpreting Finnish rock paintings. Helsinki: Finnish Antiquarian SocietyGoogle Scholar
Lahelma, A. (2017). The circumpolar context of the ‘sun ship’ motif in South Scandinavian rock art. In Skoglund, P., Ling, J. & Bertilssson, U. (eds.), North meets south: Theoretical aspects on the northern and southern rock art traditions in Scandinavia. Oxford: Oxbow, pp. 144–71Google Scholar
Lewis-Williams, D., & Dowson, T. (1988). The signs of all times: entoptic phenomena in Upper Palaeolithic art. Current Anthropology 29, 201–45CrossRefGoogle Scholar
Lillios, K. (2004). Lives of stone, lives of people: re-viewing the engraved plaques of Late Neolithic and Copper Age Iberia. European Journal of Archaeology 7, 125–58Google Scholar
Lillios, K. (2020). The archaeology of the Iberian Peninsula: from the Palaeolithic to the Bronze Age. Cambridge: Cambridge University PressGoogle Scholar
Ling, J. (2014). Elevated rock art: towards a maritime understanding of Bronze Age rock art in northern Bohuslän, Sweden. Oxford: OxbowCrossRefGoogle Scholar
Ling, J., & Cornell, P. (2017). Violence, warriors and rock art in Bronze Age Scandinavia. In Chacon, R. & Mendoza, R. (eds.), Feast, famine or fighting? Multiple pathways to social complexity. New York: Springer, pp. 15–33CrossRefGoogle Scholar
Ling, J., Earle, T., & Kristiansen, K. (2018). Maritime mode of production: raiding and trading in seafaring chiefdoms. Current Anthropology 59, 488–524Google Scholar
Ling, J., et al. (2013). Moving metals or indigenous mining? Provenancing Scandinavian Bronze Age metalwork by lead isotopes and trace elements. Journal of Archaeological Science 40, 291–304CrossRefGoogle Scholar
Ling, J., & Koch, J. (2018). A sea beyond Europe to the north and west. In Dodd, J. and Meizer, E. (eds.), Giving the past a future. Oxford: Archaeopress, pp. 96–111Google Scholar
Lødøen, T. (2010). Concepts of rock in Late Mesolithic western Norway. In Goldhahn, J., Fuglesvedt, I. and Jones, A. (eds.), Changing pictures: rock art traditions and visions in northernmost Europe. Oxford: Oxbow, pp. 35–47Google Scholar
Lødøen, T. (2015). The method and physical process behind the making of hunters’ art in Western Norway: the experimental production of images. In Stebergløkken, H. et al. (eds.), Ritual landscapes and borders within rock art research. Oxford: Archaeopress, pp.67–77Google Scholar
Lødøen, T., & Mandt, G. (2012a). Vingen. Et naturens kolossalmuseum for helleristninger. Trondheim: Akademika forlagGoogle Scholar
López-Montalvo, E. (2015). Violence in Neolithic Iberia: new readings of Levantine art. Antiquity 89, 309–25Google Scholar
López-Montalvo, E. (2018). Hunting scenes in Spanish Levantine art: an unequivocal chrono-cultural marker of Epipalaeolithic and Mesolithic Iberian societies? Quaternary International 472, 205–20CrossRefGoogle Scholar
López-Montalvo, E., et al. (2014). An approximation to the study of black pigments in Cova Remigia (Castellón, Spain): technical and cultural assessments of the use of carbon-based black pigments in Spanish Levantine rock art. Journal of Archaeological Science 52, 535–45CrossRefGoogle Scholar
de Lumley, H., & Echassoux, A. (2009). Les gravures rupestres de Chalcolithique et du l’âge du Bronze ancient du Mont Bego. Les mythes cosmogoniques des premiers peoples metallurgistes des Alpes méridionales. L’Anthropologie 113, 969–1004CrossRefGoogle Scholar
MacWhite, E. (1946). A new view of the Irish Bronze Age rock-scribings. Journal of the Royal Society of Antiquaries of Ireland 76, 59–80Google Scholar
Malmer, M. (1981). A chorological study of North European rock art. Stockholm: Almqvist and WiksellGoogle Scholar
Manem, C. (2014). Dynamiques spatio-temporelles et culturelles de la Néolithicisation Ouest-Mediterranée. In Manem, C., Perrin, J. & Guilaine, J. (eds.), Le transition Néolithique en Mediterranée. Arles: Errance, pp. 419–38Google Scholar
de Marinis, R. (2013). La necropoli di Remedello Sotto e l’età del Rame nella pianura a nord del Po. In de Marinis, R. (ed.) 2013. L’eta del rame. La pianura padana e le Alpi al tempo di Ötzi. Brescia: Museo Diocesano Brescia, pp. 301–51Google Scholar
de Marinis, R. (ed.) (2013). L’eta del rame. La pianura padana e le Alpi al tempo di Ötzi. Brescia: Museo Diocesano di BresciaGoogle Scholar
de Marinis, R., Dalmeri, G., & Pedrotti, A. (eds.) (2012). L’arte preistorica in Italia. Trento: Istituto Italiano di preistoria e protostoriaGoogle Scholar
de Marinis, R., & Fossati, A. (2012). A che punto è lo studio dell’ arte rupestre della Valcamonica. Preistoria Alpina 46.2, 17–43Google Scholar
de Marinis, R., & Valzolgher, E. (2013). Riti funerari dell’ antica età bel Bronzo in area padana. In de Marinis, R. (ed.), L’eta del rame. La pianura padana e le Alpi al tempo di Ötzi. Brescia: Museo Diocesano Brescia, pp. 545–5Google Scholar
Marretta, A. (2013). Age of the heroes: a brief overview of Valcamonica rock art during the Iron Age. Adoranten 2013, 1–14.Google Scholar
Marretta, A. (2014). Where it all began: the Copper Age roots of Valcamonica. Adoranten 2014, 52–67Google Scholar
Marretta, A. (2018). La roccia 12 del Seradina 1. Capo da Ponte: Edizione del Parco Seradina-BedolinaGoogle Scholar
Martí Oliver, B., & Bernabeu Aubán, J. (2014). Les premiers groups agropastorales de la péninsule Ibérique. In Manem, C., Perrin, J. & Guilaine, J. (eds.), Le transition Néolithique en Mediterranée. Arles: Errance, pp. 419–38Google Scholar
Martín Socas, D., & Camalich Massieu, M. (1982). La ‘Cerámica Simbólica’ y su problemática. Cuadernos de Prehistoria de la Universidad de Granada 7, 267–306Google Scholar
Martín Valls, R. (1983). Las insculturas del castro salmantino de Yecla de Yeltes y sus relaciones con los petroglifos gallegos. Zephyrus 36, 217–31Google Scholar
Martínez García, J., & Hernández Pérez, M. (eds.) (2000). Arte rupestre esquemático en la Penninsula Ibérica. Los Vélez: Comarca de Los VélezGoogle Scholar
Martínez i Rubio, T., & Martorell Rubio, X. (2012). La senda heredada: contribución al estudio de la red de caminos óptimos entre yacimientos de hábitat y el arte rupestre neolíticos en el macizo del Caroig (Valencia). Zephyrus 70, 69–84Google Scholar
Matteoli, T. (2012). L’arte rupestre preistorica e protistorica in Umbria. Preistoria Alpina 46 (2), 99–107Google Scholar
Matteoli, T., et al. (2017). Echoing landscapes: echolocation and the placement of rock art in the Central Mediterranean. Journal of Archaeological Science 83, 12–25.CrossRefGoogle Scholar
Melheim, L., & Ling, J. (2017). Taking the stranger on board: two maritime legacies of Bronze Age rock art. In Skoglund, P., Ling, J. & Bertilsson, U. (eds.), North meets south: theoretical aspects on the northern and southern rock art traditions in Scandinavia. Oxford: Oxbow, pp. 59–86CrossRefGoogle Scholar
Mezzena, F. (1998). Les stèles anthropomophes de l’aire mégalithique d’Aoste In Belley, A. M. et al. (eds.), Dei di pietra. Skira: Regione autonoma Valle d’Aosta, pp. 90–121Google Scholar
Milstreu, G. (2017). Recut rock art images (with a special emphasis on ship carvings). In Bergerbrant, S. & Wessman, A. (eds.), New perspectives on the Bronze Age. Oxford: Archaeopress, pp. 281–7Google Scholar
Moro Abadía, O., and González Morale, M. (in press). Art in the making: recent developments in the study of Pleistocene and Holocene images. Journal of Archaeological Method and TheoryGoogle Scholar
Needham, S. (2015). A hafted halberd excavated at Trecastell, Powys: from undercurrent to uptake – the emergence and contextualisation of halberds in Wales and north-west Europe. Proceedings of the Prehistoric Society 81, 1–41CrossRefGoogle Scholar
Nielsen, S., Persson, P., & Solheim, S. (2019). De-Neolithicisation in southern Norway inferred from statistical modelling of radiocarbon dates. Journal of Anthropological Archaeology 53, 82–91CrossRefGoogle Scholar
Nilsson, P. (2012). Reused rock art: traces of Iron Age activities at Bronze Age rock art sites. In Berge, R., Jasinski, M. & Sognnes, K. (eds.), N-TAG TEN. Oxford: Archaeopress, pp. 19–30Google Scholar
Nilsson, P. (2017). Brukade bilder. Stockholm: Institute for Archaeology and Classical CultureGoogle Scholar
Nimura, C. (2016). Prehistoric rock art in Scandinavia: agency and environmental change. Oxford: OxbowGoogle Scholar
Nimura, C., Skoglund, P., & Bradley, R. (2020). Navigating inland: Bronze Age watercraft and the lakes of southern Sweden. European Journal of Archaeology 23, 186–206CrossRefGoogle Scholar
Nord, J. (2009). Changing landscapes and persistent places: an exploration of the Bjäre Peninsula. Lund: Lund University Department of Archaeology and Ancient HistoryGoogle Scholar
Nordenborg Myhre, L. (2004). Trialectic archaeology: monuments and space in southwest Norway. Stavanger: Museum i StavangerGoogle Scholar
O’Brien, W. (2015). Prehistoric copper mining in Europe 5500 – 500 BC. Oxford: Oxford University PressGoogle Scholar
O’Connor, B. (2006). Inscribed landscapes: contextualising prehistoric rock art in Ireland. Doctoral thesis, University College, DublinGoogle Scholar
O’Sullivan, M. (1997). Megalithic art in Ireland and Brittany. Divergence or convergence? In L’Helgouac’h, J., Le Roux, C.-T. & Lecornec, J. (eds.) Art et symboles en mégalithisme Européen. Revue Archéologique de l’Ouest Supplément 8, pp. 81–96Google Scholar
Olalde, I., et al. (2019). The genomic history of the Iberian Peninsula over the last 8000 years. Science 363, 1230–4.Google Scholar
Oosterbeck, L. (2009). Water and symbols in western Iberian late prehistory. In Djíndjian, F. & Oosterbeck, L. (eds.), Symbolic spaces in prehistoric art. Oxford: British Archaeological Reports, pp. 105–11Google Scholar
Pailler, Y., & Nicolas, C. (2016). Des dalles ornées durant le Campaniforme et l’Âge du Bronze ancien en Bretagne: mythe ou realité? Bulletin de la Société Préhistorique Française 113, 333–69CrossRefGoogle Scholar
Pariboni, E., et al. (2012). Lo scavo delle statue-stele di Groppoli ed altre ricerche nel territorio di Mulazzo. Preistoria Alpina 46.2, 235–44Google Scholar
Peña Santos, A. de la (1981). Comentario a ‘La Pedra das Ferreduras’ de Cesare Giulio Borgna. El Museo de Pontevedra 35, 3–8Google Scholar
Peruchetti, L., et al. (2017). Physical barriers, cultural connections: prehistoric metallurgy across the Alpine region. European Journal of Archaeology 18, 599–632CrossRefGoogle Scholar
Petersson, H.,& Toreld, C. (eds.) (2015). Domestic life in the Tanum rock carving area. Uddevalla: Bohusläns Museum forlagGoogle Scholar
Pétrequin, P., et al. (eds.) (2012). Grands haches alpines du Néolithique, Ve et IVe millénaires avant J-C, tomes 1 and 2. Besançon: Presses Universitaires de Franche-Comté.Google Scholar
Pétrequin, P., Pétrequin, A.-M. & Gauthier, E. (eds.) (2017). Jade 3–4. Objets-signes et l’interprétation sociales des jades alpins dans l’Europe néolithique. Besançon: Presses Universitaires de Franche-Comté.Google Scholar
Poggiani Keller, R. (2018). Copper Age ancestral sanctuaries and landscapes in Valle Camonica. In Herring, E. & O’Donaghue, E. (eds.), Papers in Italian Archaeology 7. Oxford: Archaeopress, pp. 431–42Google Scholar
Quintas González, F., & Espejo Guardiola, T. (2008). O Monte das Ferraduras (Fentáns, Cotobade) novos archádegos de arte rupestre. Estudios Gallegos 55, 53–72CrossRefGoogle Scholar
Rainio, R., et al. (2018). Acoustic measurements and digital images processing suggest a link between sound rituals and sacred sites in northern Finland. Journal of Archaeological Method and Theory 25, 453–74CrossRefGoogle Scholar
Ranta, M., et al. (2019) Levels of narrativity in Scandinavian Bronze Age petroglyphs. Cambridge Archaeological Journal 29, 497–516Google Scholar
Rey Castiñeira, J., & Soto Barreiro, M .J. (2001). El arte rupestre de Crastoeiro y la problemática de los petroglifos en castros. In Dinis, A., O povado da Idade do Ferro do Crastroeiro (Mondin de Basto), norte de Portugal. Braga: Universidade do Minho, pp. 159–200Google Scholar
Robb, J. (2009). People of stone: stelae, personhood and society in prehistoric Europe. Journal of Archaeological Method and Theory 16, 162–83CrossRefGoogle Scholar
Robb, J. (2015). Prehistoric art in Europe: a deep-time social history. American Antiquity 80, 635–54Google Scholar
Robb, J. (in press). Continental scale in visual culture: the development of narrative art in prehistoric Europe. Journal of Archaeological Method and TheoryGoogle Scholar
Robin, G. (ed.) (2015) Digital imaging techniques for the study of prehistoric rock art. Digital Applications in Archaeology and Cultural Heritage 2Google Scholar
Rodríguez-Corral, J. (2019). Arming landscape: connectivity and resistance in northwestern Iberia in late prehistory. Journal of Anthropological Archaeology 53, 288–30CrossRefGoogle Scholar
Rodríguez Rellán, C., & Fábregas Valcarce, R. (2016). Measuring the spatially-related perceptibility of prehistoric art: some preliminary notes. In Fábregas Valcarce, R. & Rodriguígez Rellán, C. (eds.), Public images, private readings: multi-perspective approaches to the Post-Palaeolithic rock art. Oxford: Archaeopress, pp. 41–50Google Scholar
Rodríguez Rellán, C., Fábregas Valcarce, R., & Carrera Ramírez, F. (in press). Intervención arqueológica en el abrigo Cova dos Mouros (Baleira, Lugo). Un primer ejemplo de pintura esquemática en Galicia. Munibe 70Google Scholar
Rodríguez Rellán, C., Gorgosa López, R., & Fábregas Valcarce, R. (2008). O conxunto dos petroglifos de Campo da Uz e as vías de tránsito cara o interior lucense. Gallaecia 27, 35–61.Google Scholar
Rodríguez Rellán, C, Vázquez Martínez, A., & Fábregas Valcarce, R. (2018). Cifras e imágenes: una aproximación cuantitativa a los petroglifos gallegos. Trabajos de Prehistoria 75, 109–27Google Scholar
Rogerio-Candelera, M., et al. (2018). Landmarks of the past in the Antequera megalithic landscape: a multi-disciplinary approach to the Matacabras rock shelter. Journal of Archaeological Science 95, 76–93CrossRefGoogle Scholar
Roldán, C., et al. (2018). Proteomic and metagenomic insights into prehistoric Spanish Levantine rock art. Nature Scientific Reports 8.1, 10011CrossRefGoogle ScholarPubMed
Rondini, P.,& Marretta, A. (2017). Bridging the gap: rock art and archaeological context in the ‘Quattro Dossi’ area (Capo di Ponte), Valcamonica, Italy. Adoranten 2017, 5–23Google Scholar
Ruiz, J., et al. (2012). Calcium oxalate AMS C 14 dating and chronology of post-Palaeolithic painting in the Iberian Peninsula. Two dates from Abrigo de los Oculados (Henarejos, Cuenca, Spain). Journal of Archaeological Science 39, 2655–2667Google Scholar
Sanches, M. de J., et al. (1998). Land marks: a new approach to the rock art of Trás-os-Montes, northern Portugal. Journal of Iberian Archaeology (1998), 85–104Google Scholar
Sanches, M. de J., & Morais, J. (2011). Escarpas rochosas e pinturas na Serra de Passos / St Comba (nordeste de Portugal). Estudios Pré-historicos 18, 71–117Google Scholar
Sansoni, U. (2012). Lo stato della ricerca sul contesto rupestre della Valcamonica: sintesi sulle scoperte, gli studi tematici ed i caratteri di zona. Preistoria Alpina 46.2, 45–54Google Scholar
Sansoni, U. (2015). Alpine and Scandinavian rock art in the Bronze Age: a common cultural matrix in a web of continental influences. In Skoglund, P., Ling, J. & Bertilsson, U. (eds.), Picturing the Bronze Age. Oxford: Oxbow, pp. 129–41Google Scholar
Santos da Rosa, N. (2018). La tecnología del arte rupestre Levantino. Cuadernos de Arte Prehistórico 7, 120–46Google Scholar
Santos Estévez, M. (2013). Atlantic rock art: transformation and tradition during late prehistory. In Cruz Berrocal, M., García Sanjuan, L. & Gilman, A. (eds.), The prehistory of Iberia. Abingdon: Routledge, pp. 331–48Google Scholar
Santos Estévez, M., & Criado Boado, F. (2000). Deconstructing rock art spatial grammar in the Galician Bronze Age. In Nash, G. (ed.), Symbolising place and space. Oxford: British Archaeological Reports, pp. 111–22Google Scholar
Santos Estévez, M., & Güimil Fariña, A. (2015). The maritime factor in the distribution of Bronze Age rock art in Galicia. In Skoglund, P., Ling, J. & Bertilsson, U. (eds.), Picturing the Bronze Age. Oxford: Oxbow, pp. 143–54Google Scholar
Santos Estévez, M., & Seoane Veiga, Y. (2010). Rock art and archaeological excavation at Campo Lameiro, Galicia. In Fredell, Å, Kristiansen, K., & Boado, F. Criado, F. (eds.), 2010. Representations and communications: creating an archaeological matrix of late prehistoric art. Oxford: Oxbow, pp. 16–30Google Scholar
Saska, A., Bel’skiy, A., & Mizin, V. (2017). New finds of cup marks near the village of Ol’khova. Fennoscandia Archeologica 34, 139–45Google Scholar
de Saulieu, G. (2004). Art rupestre et statues-menhirs dans les Alpes: des pierres et des pouvoirs 3000 – 2000 av. J.-C. Paris: ErranceGoogle Scholar
de Saulieu, G. (2013). Rock carvings and Alpine statue-menhirs from the Chalcolithic to the Middle Bronze Age. In Fokkens, H. & Harding, A. (eds.), The Oxford handbook of the European Bronze Age. Oxford: Oxford University Press, pp. 291–310Google Scholar
Scarre, C. (2011). Landscapes of Neolithic Brittany. Oxford: Oxford University PressCrossRefGoogle Scholar
Scarre, C. (2017). Figurines of Western Europe. In Insoll, T. (ed.), The Oxford handbook of prehistoric figurines. Oxford: Oxford University Press, pp. 877–900Google Scholar
Schulz Paulsson, B. (2017). Time and stone: the emergence and development of megaliths and megalithic societies in Europe. Oxford: ArchaeopressCrossRefGoogle Scholar
Schultz Paulsson, B., Isendahl, C., & Frykman Markurth, F. (2019). Elk heads at sea: maritime hunters and long-distance boat journeys in Stone Age Fennoscandia. Oxford Journal of Archaeology 38, 398–419CrossRefGoogle Scholar
Seoane Veiga, Y., Prieto Martínez, P., & Dal Zovo, C. (2013). Bell Beaker findings in rock art contexts. In Prieto Martínez, P., and Salanova, L. (eds.), Current research on Bell Beakers. Santiago de Compostela: ArchaeoPots, pp. 31–9Google Scholar
Sharpe, K. (2012). Reading between the grooves: regional variations in the style and deployment of ‘cup and ring’ marked stones in Britain and Ireland. In Cochrane, A. & Jones, A. M. (eds.), Visualising the Neolithic. Oxford: Oxbow, pp. 47–63CrossRefGoogle Scholar
Shee Twohig, E., et al. (2010). Open-air rock art at Loughcrew, Co. Meath. Journal of Irish Archaeology 19, 1–28Google Scholar
Shennan, S. (2018). The first farmers of Europe: an evolutionary perspective. Cambridge: Cambridge University PressCrossRefGoogle Scholar
Simpson, J. (1867). Archaic sculpturings of cups, circles upon stones and rocks in Scotland, England and other countries. Edinburgh: Edmondston and DouglasGoogle Scholar
Skoglund, P. (2006). Hälleristingar i Kronobergs Län. Lund: University of Lund Institute of ArchaeologyGoogle Scholar
Skoglund, P. (2016). Rock art through time: Scanian rock carvings in the Bronze Age and earliest Iron Age. Oxford: OxbowCrossRefGoogle Scholar
Skoglund, P., Ling, J., & Bertilssson, U. (eds.) (2017). North meets south: theoretical aspects on the northern and southern traditions in Scandinavia. Oxford: OxbowGoogle Scholar
Skoglund, P., Nimura, C., & Bradley, R. (2017). Interpretations of footprints in the Bronze Age rock art of South Scandinavia. Proceedings of the Prehistoric Society 83, 289–303CrossRefGoogle Scholar
Sobrino Buhigas, R. (1935). Corpus petroglyphorum Gallaeciae. Santiago de Compostela: Seminario de Estudios GallegosGoogle Scholar
Sognnes, K. (2001). Prehistoric imagery and landscapes: rock art in Stjørdal, Trondelag, Norway. Oxford: British Archaeological ReportsGoogle Scholar
Sognnes, K. (2008). Stability and change in Scandinavian rock art: the case of Bardal, Norway. Acta Archaeologica 79, 230–45CrossRefGoogle Scholar
Sognnes, K. (2017). The northern rock art tradition in central Norway. Oxford: British Archaeological ReportsCrossRefGoogle Scholar
Valdez-Tullet, J. (2019). Design and connectivity: the case of Atlantic rock art. Oxford: British Archaeological ReportsCrossRefGoogle Scholar
Vandkilde, H. (2017). The metal hoard from Pile in Scania, Sweden. Aarhus: Aarhus University PressGoogle Scholar
Versaci, M. (2019). El sol, símbolo de continuidad permanencia: un estudio multidisciplinar sobre la figura en el arte esquemático de la Provincia de Cádiz. Oxford: ArchaeopressGoogle Scholar
Vourc’h, M. (2011). Experimentation and technological analyses in the study of the rock carvings at the site of Hjemmeluft, Alta, Finmark, Norway. In Anati, E. (ed.), Arte e communicazione nelle società pre-letterarte. Milan: Jaca Book Spa, pp. 476–85Google Scholar
Vyner, B. (2007). Rock art in Cleveland and north-east Yorkshire. In Mazel, A., Nash, G. & Waddington, C. (eds.), Art as metaphor: the prehistoric rock art of Britain. Oxford: Archaeopress, pp. 91–110CrossRefGoogle Scholar
Wehlin, J. (2013). Österjöns skeppssättingar. Monument och mötsplatser under y yngre bronsålder. Gothenburg: Gothenburg University Institute for Historical StudiesGoogle Scholar
West, M. (2007). Indo-European poetry and myth. Oxford: Oxford University PressCrossRefGoogle Scholar
Westlake, S. (2005). Routeways and waterways: the Neolithic / Bronze Age rock carvings on the Dingle peninsula, south-west Ireland from a landscape perspective. Archaeological Journal 162, 1–30CrossRefGoogle Scholar
Wickler, S. (2019). Early boats in Scandinavia: new evidence from Early Iron Age bog finds in Arctic Norway. Journal of Maritime Archaeology 14, 183–204Google Scholar
Winter, L. (2008). From diffusion to interaction: connections between the Nordic area and Valcamonica during the first millennium. In Whittaker, H. (ed.), The Aegean Bronze Age in relation to the wider European context. Oxford: British Archaeological Reports, pp. 35–55Google Scholar
Wrigglesworth, M. (2006). Explorations in social memory: rock art, landscape and the reuse of place. In Barndon, R. et al. (eds.), Samfunn, symboler og identitet. Bergen: Universitet i Bergen, pp. 147–62Google Scholar
Wrigglesworth, M. (2015). Between land and water: the ship in Bronze Age west Norway. In Stebergløken, H. et al. (eds.), Ritual landscapes and borders within rock art research. Oxford Archaeopress, pp. 111–8Google Scholar
Accessibility standard: Unknown
Why this information is here
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.Accessibility Information
Accessibility compliance for the HTML of this element is currently unknown
and may be updated in the future.
- 13
- Cited by