Maarten van Hoek The Geography of Cup-and-Ring ... - StoneWatch
Maarten van Hoek The Geography of Cup-and-Ring ... - StoneWatch
Maarten van Hoek The Geography of Cup-and-Ring ... - StoneWatch
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authorities (see Fig. 116), in order to facilitate inspection by tourists.<br />
But this makes it almost impossible to ascertain the true lay-out <strong>and</strong><br />
the technique <strong>of</strong> carving <strong>of</strong> the figures. This painting-in has been done<br />
a number <strong>of</strong> years ago, <strong>and</strong> recently a number <strong>of</strong> mistakes has been<br />
noticed by researchers <strong>of</strong> the Rock Art Museum at Underslös, Bohuslän<br />
(Jurri Jurriaanse 1999: pers. comm.). Moreover, the <strong>of</strong>ten delicate<br />
engravings lose their detail when being painted in. So one can never be<br />
absolutely sure about painted-in engravings <strong>and</strong> I am <strong>of</strong> the opinion<br />
that any permanent enhancing <strong>of</strong> rock art should be avoided at all<br />
times.<br />
Another problem arises when one visits a rock art site which proves to<br />
have been covered up without notice. Although I completely agree with<br />
the decision to cover up a fragile rock art site for protection, it is<br />
frustrating to travel quite a distance on bicycle <strong>and</strong> on foot to find the<br />
engravings covered, making it impossible to check the number <strong>of</strong><br />
motifs. Thus, the sites <strong>of</strong> Aspeberget T 18B <strong>and</strong> Stenbacken in<br />
Bohuslän could not be surveyed in the field, because they were covered<br />
up by the <strong>of</strong>ficials. <strong>The</strong>ir statistics had to be taken from published<br />
works, which in some cases contained conflicting depictions (Fig. 118).<br />
* CONCLUSIONS TO PART 1 *<br />
In the previous Chapters I have tried to present a conscientious<br />
picture <strong>of</strong> the four major cup-<strong>and</strong>-ring region <strong>of</strong> Europe, without,<br />
however, describing each rock art panel. I started in the British Isles<br />
<strong>and</strong> concluded that, although rock art <strong>and</strong> other prehistoric monuments<br />
are not necessarily contemporary, cup-<strong>and</strong>-ring sites are definitely not<br />
placed haphazardly in the l<strong>and</strong>scape. <strong>The</strong> siting <strong>of</strong> this type <strong>of</strong> rock art<br />
proved to be strongly related to the mobility <strong>of</strong> people <strong>and</strong> the<br />
accessibility <strong>of</strong> the interior. This was confirmed in all the other cup<strong>and</strong>-ring<br />
regions: Galicia, the Alps <strong>and</strong> Sc<strong>and</strong>inavia.<br />
In the final section <strong>of</strong> this book I focus on motifs instead <strong>of</strong> regions.<br />
This material will provide the interested reader with useful conclusions<br />
about dating <strong>and</strong> other issues. Please go to Part II by clicking on the<br />
next Chapter hyperlink.<br />
M. <strong>van</strong> HOEK: 151<br />
GEOGRAPHY