Maarten van Hoek The Geography of Cup-and-Ring ... - StoneWatch

� CHAPTER 2.2.4 �
GALICIA: THE STAG AND THE CIRCLE
� INTRODUCTION: THE STAG AND THE TRAP �
It proves that if one tries to establish possible relations between rock
art elements this often represents a pitfall. This is perfectly
illustrated by an example in the rugged hills of the Muros peninsula,
Galicia. An extensive outcrop, called Cova da Bruxa, is covered with
engravings, mainly comprising Neolithic circular motifs and Bronze Age
zoomorphic engravings. One of the animals, however, appears to be
related to a square grid carving (Fig. 156.12). The whole has been
tentatively interpreted as a deer running into a trap (Costas & Novoa
1993: 76). Indeed, scenes where animals fall into a trap are not
uncommon in post-glacial rock art and seem to occur, for instance,
amongst the petroglyphs at Sporanes, Sweden (Fig. 156.4).
The majority of the Galician grids, however, have been ascribed to the
historical period (Costas & Novoa 1993: 217) and may represent ancient
game boards. It is therefore possible that the grid and the animal at
Cova da Bruxa have been carved by different people in different times
and consequently the grid not necessarily depicts a trap. Therefore,
any hasty interpretation of rock art symbols may be a trap in itself.
But also the use of previously published distribution maps or drawings
may represent pitfalls. This is evident at the “Stone of the Stags”.
� THE STONE OF THE STAGS �
In almost every discussion about the chronology of Galician circles and
animals the rock called Laxe dos Cebros, the “Stone of the Stags”, is
put forward. This outcrop features at least four stags, one of which,
animal A in Fig. 157.D, is the focus of the discussion. Vázquez (1997:
50) carefully suggests that animal A precedes the execution of the
outer ring of circular motif 1 (Fig. 157.C) and that later the three arcs
(12) connected these two figures. Similarly he argues that motifs 2, 3,
4 and 6 and the grooves connecting motifs 1, 7 and 8 are later than
animal A, although he offers no specific arguments for this chronology.
Bradley (1997: 46) considers this assemblage of petroglyphs as an
integrated design, but strangely not a case of superimposition.
A possible trap however, is to base an interpretation on previously
published illustrations, without questioning the correctness thoroughly.
In case of the Laxe dos Cebros, Bradley (1997: 44) used a drawing
based on Peña (1993: 17) which proves to be incorrect regarding some
salient details. Firstly it proves that the dominant circular motif (1)
M. van HOEK: 197
GEOGRAPHY