Norwegian Archaeology - Past and Present
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Traveling Portals Suspicious Item They Could Find Was His Diary
by a search the secret police had conducted in his house. The only TRAVelING PORTals suspicious item they could find was his diary. Apparently it did not contain enough evidence to take him to prison, and he even got it Mari Lending back. In an artistic rage, and trying to make sure that his personal notes could not be read again by anyone, he burned his diary. The Master and Margarita remained secret even after his death in 1940, and could not be published until 1966, when the phrase became In the early 1890s, the Times of London reported on a lawsuit on the 1 Times ( London ), more frequently used by dissidents to show their resistance to the pirating of plaster casts. With reference to a perpetual injunction June 2, 1892. state regime. In the early nineties, when the KGB archives were partly granted by the High Court of Justice, Chancery Division, it was 2 Times ( London ), opened, his diary was found. Apparently, during the confiscation, announced that “ various persons in the United Kingdom of Great February 14, 1894. the KGB had photocopied the diary before they returned it to the Britain and Ireland have pirated, and are pirating, casts and models ” author. made by “ D. BRUCCIANI and Co., of the Galleria delle Belle Arti, The best guardians are oftentimes ultimately the ones you would 40. Russell Street, Covent Garden ” and consequently severely vio least expect. lated the company’s copyright “ which is protected by statute. ” The defendant, including his workmen, servants, and agents, was warned against “ making, selling, or disposing of, or causing, or permitting to be made, sold, or disposed of, any casts or models taken, or copied, or only colourably different, from the casts or models, the sole right and property of and in which belongs to the said D. -
12-Death-And-Changing-Rituals.Pdf
This pdf of your paper in Death and Changing Rituals belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (December 2017), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books (editorial@ oxbowbooks.com). Studies in Funerary Archaeology: Vol. 7 An offprint from DEATH AND CHANGING RITUALS Function and Meaning in Ancient Funerary Practices Edited by J. Rasmus Brandt, Marina Prusac and Håkon Roland Paperback Edition: ISBN 978-1-78297-639-4 Digital Edition: ISBN 978-1-78297-640-0 © Oxbow Books 2015 Oxford & Philadelphia www.oxbowbooks.com Published in the United Kingdom in 2015 by OXBOW BOOKS 10 Hythe Bridge Street, Oxford OX1 2EW and in the United States by OXBOW BOOKS 908 Darby Road, Havertown, PA 19083 © Oxbow Books and the individual contributors 2015 Paperback Edition: ISBN 978-1-78297-639-4 Digital Edition: ISBN 978-1-78297-640-0 A CIP record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Brandt, J. Rasmus. Death and changing rituals : function and meaning in ancient funerary practices / edited by J. Rasmus Brandt, Häkon Roland and Marina Prusac. pages cm Includes bibliographical references and index. ISBN 978-1-78297-639-4 1. Funeral rites and ceremonies, Ancient. I. Roland, Häkon. II. Prusac, Marina. III. Title. GT3170.B73 2014 393’.93093--dc23 2014032027 All rights reserved. -
Oseberg Tent Reproduction We Begin by Describing the Original Find from Oseberg, and Some of the Confusion That Exists About the Tents
A Reproduction of the Smaller Tent from the Viking Age Ship Burial at Oseberg Matthew Marino Rev 1.1 6-June-2008 hurstwic.org The most recent version of this document may be found at: http://www.hurstwic.com/library/how_to/viking_tent.pdf ©2008 Matthew Marino Additional photographs ©2006-2008 William R. Short Contact us at Hurstwic: http://www.hurstwic.com/text/contact_us.htm he Oseberg ship is a rich 9th century Viking age ship burial found at Oseberg in TVestfold, Norway, at the beginning of the 20th century. The burial probably took place around the year 850, and the contents of the grave date from the first half of the 9th century. The ship and her contents were well pre- served by the clay subsoil which provided near hermetic conditions. Thus, an ex- traordinary range of artifacts illustrating Viking age material culture was pre- served. Included in the ship’s contents were the wooden framework for two tents, one larger, one slightly smaller. The Oseberg ship We recently made a reproduction of the smaller tent. This document de- tails our reproduction Viking tent in enough depth to allow others to du- plicate the project. Oseberg tent reproduction We begin by describing the original find from Oseberg, and some of the confusion that exists about the tents. Next, we discuss some of the choices and compromises made in designing our reproduction. Finally, we list the materials and assembly processes used. Dimensions of the components are tabulated and shown in figures. Unless otherwise stated, all dimensions are in centimeters. The Original Find. -
Signs and Symbols Represented in Germanic, Particularly Early Scandinavian, Iconography Between the Migration Period and the End of the Viking Age
Signs and symbols represented in Germanic, particularly early Scandinavian, iconography between the Migration Period and the end of the Viking Age Peter R. Hupfauf Thesis submitted for the degree of Doctor of Philosophy, University of Sydney, 2003 Preface After the Middle Ages, artists in European cultures concentrated predominantly on real- istic interpretations of events and issues and on documentation of the world. From the Renaissance onwards, artists developed techniques of illusion (e.g. perspective) and high levels of sophistication to embed messages within decorative elaborations. This develop- ment reached its peak in nineteenth century Classicism and Realism. A Fine Art interest in ‘Nordic Antiquity’, which emerged during the Romantic movement, was usually expressed in a Renaissance manner, representing heroic attitudes by copying Classical Antiquity. A group of nineteenth-century artists, including Dante Gabriel Rossetti, Holman Hunt and Everett Millais founded the Pre-Raphaelite Brotherhood. John Ruskin, who taught aesthetic theory at Oxford, became an associate and public defender of the group. The members of this group appreciated the symbolism and iconography of the Gothic period. Rossetti worked together with Edward Burne-Jones and William Morris. Morris was a great admirer of early Scandinavian cultures, and his ideas were extremely influential for the development of the English Craft Movement, which originated from Pre-Raphaelite ideology. Abstraction, which developed during the early twentieth century, attempted to communicate more directly with emotion rather then with the intellect. Many of the early abstract artists (Picasso is probably the best known) found inspiration in tribal artefacts. However, according to Rubin (1984), some nineteenth-century primitivist painters appreciated pre-Renaissance European styles for their simplicity and sincerity – they saw value in the absence of complex devices of illusio-nist lighting and perspective. -
Constructing Identities Structure and Practice in the Early Bronze Age – Southwest Norway
AmS-Varia 60 Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger Constructing identities Structure and practice in the Early Bronze Age – Southwest Norway Knut Ivar Austvoll Stavanger 2019 AmS-Varia 60 Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger Redaksjon/Editorial office: Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger Redaktør av serien/Editor of the series: Kristin Armstrong Oma Redaktør av dette volumet/Editors of this volume: Kristin Armstrong Oma og/and Lisbeth Prøsch-Danielsen Formgiving/Layout: Ingund Svendsen Redaksjonsutvalg/Editorial board: Kristin Armstrong Oma (leder/chief editor) Wenche Brun Lisbeth Prøsch-Danielsen Ingund Svendsen Linn Lillian Eikje Ramberg Utgiver/Publisher: Arkeologisk museum, Universitetet i Stavanger Museum of Archaeology, University of Stavanger N-4036 Stavanger, Norway Tel.: (+47) 51 83 26 00 E-mail: [email protected] arkeologisk.museum.no ISSN 0332-6306 ISBN 978-82-7760-184-7 Opplag/Printed editions: 200 Stavanger 2019 © Arkeologisk museum, Universitetet i Stavanger. Alt innhold er opphavsrettslig beskyttet. Gjengivelse eller formidling av hele eller deler av denne boken, elektronisk, mekanisk eller annen metode kjent eller senere utviklet, er ikke tillatt uten skriftlig tillatelse fra forlaget. Dette inkluderer fotokopi, opptak, lydopptak, eller i lagrings- og gjenfinningssystemer. © Museum of Archaeology, University of Stavanger. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Forsidefoto/Front cover photo: Terje Tveit. -
Study of Boat Figures in Alta Rock Art and Other Scandinavian Locations
1 Study of Boat Figures in Alta Rock Art and other Scandinavian locations. With a view to elucidate their construction, and discuss the origin of the Nordic Boat Per Gierløff Klem Master Thesis in Archaeology at the University of Oslo, Department of Archaeology, Conservation and History 2010 2 View from Ole Pedersen, 18 meters above sea level, with boat figure 44 in the middle of the foreground. Photo Karin Tansem, Alta museum Frontispiece The frontispiece is probably the oldest carving of a boat figure in Norway. It is located 26 meters above sea level at Kåfjord in Alta, showing a small boat with a reindeer figurehead superimposed on a larger elk head. Traced from photo by Karin Tansem. 3 Table of Contents List of Illustrations 4 Foreword 5 Acknowledgments 6 Chapter 1 Introduction 7 Chapter 2: Research History 11 Chapter 3: Boats of the Circumpolar Region 22 Chapter 4: Boats in other Cultures 38 Chapter 5: Boat Figures of Hunters and Gatherers 44 Chapter 6: Alta 50 Chapter 7: Boat Figures in Alta 53 Chapter 8: Table of Proposed Generations 54 Chapter 9: Catalogue of Boat Figures 55 Chapter 10: Analysis 71 Chapter 11: Comments on the Hjortspring boat 83 Chapter 12: Summary and Conclusion 88 List of literature and sources 93 4 List of Illustrations 1. Rødøy and Skjomen carvings, from Brøgger 1951: 15 2. Evenhus carving, from Brøgger 1951: 17 3. North Alaskan Whaling Umiak, from Adney 2007: 187 4. Detail of decorated ceremonial skin, Siberia, from Fitzhugh 1988: 309 5. Figurehead decoration of Kayaks, Brindley 1919: 132 6. -
Timo Salminen in SEARCH of a NORDIC IDEA? the FIRST FIVE NORDIC MEETINGS of ARCHAEOLOGISTS 1916–27
Fennoscandia archaeologica XXXIII (2016) Timo Salminen IN SEARCH OF A NORDIC IDEA? THE FIRST FIVE NORDIC MEETINGS OF ARCHAEOLOGISTS 1916–27 Abstract International congresses of archaeology ceased abruptly after the outbreak of the First World War. The first Nordic Meeting of Archaeologists was held in 1916 in Kristiania (Norway). The first five meetings are analysed in this study. From the very beginning, these meetings were highly significant both for introducing new finds and for bringing interpretations under discussion. Also methodological questions, especially those relating to scientific methods, were included in the programmes. On the other hand, archaeological theory was not dealt with, nor was there any unanimity on theoretical questions. Diffusionist explanation models dominated the presentations, but a considerable plurality of views was allowed. Ideological connotations can be observed in several papers and excursions, but ethnic questions were relatively marginal. The various attempts to discover a common Nordic idea at the meetings did not lead to significant results. On a practical level, the meetings proved to be important from the beginning. Keywords: Nordic Meetings of Archaeologists, international contacts in archaeology, Nordic coun- tries, history of archaeology Timo Salminen, Lopentie 10 C 45, FI-11100 Riihimäki, Finland: [email protected]. Received: 2 Jun 2016; Accepted: 15 Sep 2016; Revised: 10 Oct 2016. NORDIC MEETINGS OF ARCHAEOLOGISTS independence (Baudou 2004: 205–8; Salminen 2014a: 49–55). The first -
Controversies in the Wake of Anders Nummedal's Discoveries Of
Breivik, H M and Ellingsen, E G 2014 ‘A Discovery of Quite Exceptional Proportions’: Controversies in the Wake of Anders Nummedal’s Discoveries of Norway’s First Inhabitants. Bulletin of the History of Archaeology, 24: 9, pp. 1–13, DOI: http://dx.doi.org/10.5334/bha.249 PAPER ‘A Discovery of Quite Exceptional Proportions’: Controversies in the Wake of Anders Nummedal’s Discoveries of Norway’s First Inhabitants Heidi Mjelva Breivik* and Ellen J. Grav Ellingsen† Around the beginning of the twentieth century archaeologists believed that Norway was not inhabited until the Late Stone Age. In 1909 two pieces of flint, found by the school-teacher Anders Nummedal, launched an extensive debate about the prehistory of Norway, which in time led to the acknowledgement that there was an Early Mesolithic (9500–8000 BC) settlement of the country. However, Nummedal’s lack of archaeological education worked against him when he tried to date the many flint sites he found later on, and well-established researchers found his theories about Stone Age settlements unconvincing. He was regarded as an unskilled teacher who did not know the first thing about archaeological methods and terminology. Today, Nummedal is considered to be one of the most influential participants in Norwegian Stone Age research, and his discoveries are well known and widely recognized. This paper describes Nummedal’s fight to transform his reputation from ridiculed amateur to respected professional. The resistance he met when presenting his sensational theories is detailed through an extensive review of letters, newspaper articles and eulogies written by his colleagues. Introduction tools, and additionally, by the use of flint microliths. -
Iron Production in Scandinavian Archaeology
ARTICLE Norwegian Archaeological Review, Vol. 36, No. 2, 2003 Iron Production in Scandinavian Archaeology LARS F. STENVIK Trends in archaeological research in iron production during the 100 years that this topic has been studied in Scandinavia are highlighted in this article. In some periods there has been a relatively high level of activity among iron production researchers; in other periods the interest has tended to wane. Why should this be so and to what extent have theoretical trends in archaeology influenced this field? From a European perspective, Sweden and Norway are uniquely placed for studies of ancient iron technology because the remains of iron production in these countries are situated in remote areas. They are preserved because there has been no activity in the forests and mountain regions to disturb them since the production sites were vacated hundreds and thousands of years ago. INTRODUCTION HISTORICAL BACKGROUND The study of artefacts and the establishing of An interest in iron production took place a a chronology had dominated the discipline long time before archaeologists started to of archaeology in the 19th century in investigate iron production sites. In Norway Scandinavia. The works of, for example, C. and Sweden there was a direct iron production F. Thomsen in Denmark, O. Montelius in in recent times parallel with modern iron Sweden and O. Rygh in Norway opened the production in steelworks. This production doors at the universities for archaeology. was concentrated in remote parts of the upper Grave mounds were systematically exam- valleys and forested areas, where peasants ined in the search for more material that could produce their own iron and to some could be used in building typological extent produce iron for trade. -
Kunst Og Kultur 4-2020, Årgang 103
2020 årg. 103 4 Kunst og Kultur 4-2020, årgang 103 https://www.idunn.no/kk Kunst og Kultur ble etablert av Harry Fett og Haakon Shetelig i 1910. Det er det eldste kunsthistoriske tidsskriftet i Norge og publiserer ny forskning på høyt vitenskapelig nivå. Tidsskriftet er den viktigste norskspråklige formidlingskanalen for kunsthistorikere og dekker billedkunst, arkitektur og design fra middelalderen til i dag. Kunst og Kultur retter seg mot forskere og fagmiljøer som arbeider med kunsthistoriske perspektiver og problemstillinger. Kunst og Kultur kommer ut fire ganger årlig. Fra og med 2017 utgis tidsskriftet med åpen tilgang (open access). Ansvarlig redaktør Bente Aass Solbakken, Nasjonalmuseet Redaksjonssekretær Beate Marie Bang, Nasjonalmuseet Redaksjonsråd Knut Astrup Bull, Nasjonalmuseet Øystein Sjåstad, Universitetet i Oslo Margrethe C. Stang, NTNU Caroline Ugelstad, Henie Onstad Kunstsenter Sigrun Åsebø, Universitetet i Bergen Design og sats: Type-it AS, Trondheim Omslagsdesign: KORD ISSN online: 1504-3029 DOI: 10.18261/issn.1504-3029 © Universitetsforlaget 2020 Tidsskriftet utgis av Universitetsforlaget i samarbeid med Nasjonalmuseet for kunst, arkitektur og design og med støtte fra Nasjonalt tidsskriftkonsortium for humaniora og samfunnsvitenskap. Innhold Artikler Velkommen vor Monarch! 206 Æresporte fra Christian VI’s Norgesrejse – beskrevet og set Ulla Kjær Rasjonelle fabrikker 222 Fabrikkarkitektur som styringsredskap i første halvdel av 1900-tallet Peter Forrás Ett monogram från barockens tid och målaren Set Knutsson 232 Attribuering baserad på stilanalys av skrift Olof Holm Himmelsk formidling i middelalderens malerkunst 246 Kaja Kollandsrud article Kunst og kultur Fagfellevurdert Årgang 103, nr. 4-2020, s. 206–221 DOI:10.18261/issn.1504-3029-2020-04-01ISSN online: 1504-3029 Vitenskapeligpublikasjon VITENSKAPELIG PUBLIKASJON DOI: https://doi.org/10.18261/issn.1504-3029-2020-04-01 Velkommen vor Monarch! Æresporte fra Christian VI’s Norgesrejse – beskrevet og set Ulla Kjær Museumsinspektør og seniorforsker, Danmarks Nationalmuseum Ulla Kjær er dr.phil. -
5 the Ship Graves on Kormt – and Beyond
Jan Bill 5 The Ship Graves on Kormt – and Beyond Two of the most significant archaeological monuments on Karmøy are the burials from Storhaug and Grønhaug. Consisting of impressive mounds containing large chamber graves in ships, they belong to the most exclusive and costly group of ritual expressions known from the Viking Age. The two ship graves on Karmøy thus represent persons and politics at the very heart of what made this island an important place in early medieval Scandinavia. This chapter suggests that the majority of monumental burials using the ship allegory were manifestations of a certain ori- gin myth, of which the Danish Skjǫldungar legend is an example, erected as part of the power struggle between ascendant royal families. Archaeological material and written sources are analysed to illuminate the use of ship sym- bolism in monumental burials in and around Scandinavia: large mounds with inhumations or cremations in ships; large ship-shaped stone settings; and written sources from the 10th to the 14th century mentioning ship burials. The archaeological study shows that two different tradi- tions were in use from the late 6th to the late 10th century. One was utilising stone ship settings, at least sometimes in combination with cremations, and was used in southern and eastern Sweden as well as in Denmark. The other, employing inhumation burials in ships, derived from a Scandinavian tradition of placing the deceased in boats for the funerals, but was only developed into a monumental format in East Anglia around 600. From there, it spread to Norway and, to a lesser extent, Denmark in the late 8th–10th centuries. -
Durham E-Theses
Durham E-Theses A catalogue and re-evaluation of the Urnes style in England Owen, Olwyan Anne How to cite: Owen, Olwyan Anne (1979) A catalogue and re-evaluation of the Urnes style in England, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10298/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT The first part contains a study of the methodological approaches used in the analysis of the Urnes style, and they are subsequen• tly applied to the Urnes material in Scandinavia. The Scandinavian style is discussed in relation to the different objects and monu• ments on which it- appears, and a dating is attempted. Against this background, in part two the English material is discussed, accord• ing to the medium in which it is executed, and an English version of the style is defined.