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

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Alternatively, it is also possible that one of the initial Neolithic groups independently developed the ringmark as their own specific symbol, and integrated it with the existing cupule-rituals. From this point of origin the new symbol may have diffused slowly in several directions. Again, the area around the Irish Sea could have been one of the sources for the developing of cup-and-ring art. Equally, there may have been several centres where the ringmark developed independently. The arrows on Fig. 183 therefore more indicate the flow of the initial migrations spreading the cupule-execution rituals, rather than the suggested diffusion of the cup-and-ring art. No matter what the origin of the ringmark is, it is certain that the circle became very important in many societies and religions, not only as a (rock art) symbol, but also as an overall expression of their perception of the world they lived in. But both rock art traditions (cupule and ringmark) may have expressed in different ways what was perhaps the most important aspect of their lives, the contacts with the supernatural world. These petroglyphic communicative processes did not take place in the landscape; the landscape was part of, or rather, the veil between the supernatural. Simultaneously, both rock art traditions may have been used as signalling devices, fundamental to an understanding of the organisation of space. * 3.2.6 FINAL CONCLUSIONS * Although it is impossible to summarise here the many ideas, theories and speculations about the geography and meaning of the cup-and-ring art of Europe postulated in this book, I still would like to present a brief review in order to summarise the distribution and place of the European cupules and cup-and-rings. Unfortunately, cup-and-ring art constitutes a rather obscure source of evidence of the beliefs and practices of Neolithic peoples and the explanations postulated here therefore are still uncertain. But rock art in general may tell us of evolutions and revolutions within ancient societies and in my opinion cup-and-ring art reflects more an evolution than a revolution. The basic tenet is that there exist two rock art traditions that in my opinion developed independently. It all started with the cupule, which was gradually superimposed by the powerful ringmark to form increasingly complex cup-and-rings. Both the cupule and the cup-andring may be considered to have been important “leitmotifs” of the European Neolithic petroglyphic tradition. However, although both were intended for public display and consumption, they probably addressed different audiences in different ways and for different reasons. The widespread execution of cupules most likely happened on a public level, and may be regarded as an expression of the need to transform new landscapes into cultural and spiritual places. These cupules, M. van HOEK: 238 GEOGRAPHY
andomly placed on the rocks, were executed by mobile groups at specific geographical loci in order to propitiate the landscape and the spirits that dwelled behind the veil of the rock surfaces. Because of the mobile nature of these first Neolithic groups, linear arrangements in the landscape originated shortly after settlement. In this way a network of tracks originated, criss-crossing the landscape creating a distinction between the accessible and inaccessible. Where necessary these tracks and paths were physically enhanced by “simple” but powerful petroglyphs. The dominant way of life will have been informal, diffuse and loosely structured, although occasionally more formal gatherings at some of these selected geographical locales will have taken place. The cupule-period (Fig. 191) may be regarded to be rather conservative and there was little room for (petroglyphic) idiosyncrasy and innovation. FIG. 191: TIME CHART SHOWING THE RELATION BETWEEN PETROGLYPHS AND LIFESTYLE. M. van HOEK: 239 GEOGRAPHY
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The World of Petroglyphs CD Special
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Impressum: Stonewatch Society for c
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M. van HOEK: GEOGRAPHY INDEX PART 1
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lifetime job. For instance, it took
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* 1.1.2 THE LIMITS OF THE SUBJECT *
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geomorphologic characteristics of t
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The Irish island has three major op
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� CHAPTER 1.2.1 � THE KILMARTIN
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It is certain that, also in the Kil
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possible site of menhir 8 are surro
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interfered with their observations.
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* 1.2.1.2 PETROGLYPHS AND INTERVISI
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* 1.2.1.2.1.1 The west route initia
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and the possible landing site. View
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photo photo photo FIG. 14: THE EAST
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Achnabreck is a complex of nine wid
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standing stone in Fig. 6) and for t
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The situation in the study area dif
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art sites in the study area (and el
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major route through the interior, a
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* 1.2.2.1.3 Still further east anot
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the rock art groups as their ritual
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elatively level land. These groups
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top of a protruding rock shelter. I
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map map map map map FIG. 26b: BRADL
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impossible that these two sites eve
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* 1.2.3.2.5 The group north of Roth
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illus FIGURE 32: VIEWS FROM THE CHA
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not mean that this has been intende
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concentrations of stone circles and
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my study area. Their distribution m
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on the coast opposite Muros peninsu
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illus FIGURE 39: PETROGLYPH SITES A
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FIG.42: SANTA TECLA, CASTRO. instan
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small bit of the Taxes valley (mark
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Moreover, from whatever direction t
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argue that all these sites command
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One petroglyph outcrop stone is eve
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� CHAPTER 1.3.2 � GARGAMALA, A
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FIGURE 52: VISIBILITY FROM THE SITE
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encircle the ridge. Also the distri
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idge, centring on sites 3 and 4. Wh
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APPENDIX 1 AN INVENTORY OF THE ROCK
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Group 7C. Described by COSTAS GOBER
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and is approximately 1 to 0.5 cm de
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� CHAPTER 1.4 � THE ALPS, THE B
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* 1.4.1.1.1 There indeed prove to b
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* 1.4.1.1.2 Although the Alps are r
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FIG. 63: PART OF COREN DE LE FATE,
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floodplain of the valley of the Upp
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This rock also features a small cup
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idge called Crete des Barmes, only
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� CHAPTER 1.4.2 � ELVAS AND SPR
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photo photo photo photo FIG. 77: TH
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found linearly grouped along a stee
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undertaken (Figs 84 and 85). The tr
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FIGURE 87: SPRONS 2. The lack of ro
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especially dealing with the distrib
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In many rock art regions there seem
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occur in a vast area. Many cupules
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� CHAPTER 1.5.1 � DISTRIBUTION
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icecap first caused the land to sin
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the study area, especially in Swede
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illus. illus. FIG. 97: ROCK ART DIS
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islands in bays or in lake systems
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* 1.5.3.1.1 It is remarkable that r
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* 1.5.3.2.2 Probably the youngest r
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* 1.5.3.2.4.1 Almost every part of
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claiming the rock art at Helgaberg/
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This notch is also the first natura
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Another cupuled stone has been repo
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Swedish distribution moreover echoe
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APPENDIX 2. Spreadsheet summarising
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APPENDIX 4. A HORDALAND (Area 2) 37
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APPENDIX 6 There is always a proble
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� CHAPTER 2.1 � DISTRIBUTION OF
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centripetal pull. Not only impressi
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* 2.1.1 THE ALPINE SITUATION * We a
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* 2.1.2 THE BRITISH ISLES * Contrar
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FIGURE 129. BALLOCHMYLE. THIS IS A
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* 2.1.3 GALICIA * Unfortunately, th
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The distribution in south Sweden is
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� CHAPTER 2.2 � INSTANCES OF
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G stops at motif D. This proves tha
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example occurs at Gargamala 7J, Gal
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“....but 3 is special. It is one
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ILLUS FIGURE 140: ROCK ART ON TOP O
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* 2.2.1.1.3 GREENLAND * Unfortunate
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In my opinion, the Greenland raft o
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FOSSUM VITLYCKE HERREBRO LÖKEBERG
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on the same panel as the boat figur
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Equally, cup-and-rings sometimes ha
Page 193 and 194: Could this be an indication of a ma
Page 195 and 196: Such human figures have been labell
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Page 201 and 202: solar symbolism as well. Later in t
Page 203 and 204: � CHAPTER 2.2.4 � GALICIA: THE
Page 205 and 206: animals, probably because of lack o
Page 207 and 208: The fact that this is not the case,
Page 209 and 210: FIGURE 161: OS CARBALLOS. M. van HO
Page 211 and 212: � SCANDINAVIAN SOLAR ANIMALS �
Page 213 and 214: of the two smaller animals at Lombo
Page 215 and 216: For the rest, combinations of cup-a
Page 217 and 218: place in rather peaceful cultures,
Page 219 and 220: A B� FIG. 174: A: RI CRUIN CIST;
Page 221 and 222: If indeed this engraving is a true
Page 223 and 224: other sites known to depict weaponr
Page 225 and 226: Illapel and La Silla belong to the
Page 227 and 228: * 3.1.3 COMPLEX MOTIFS * From the a
Page 229 and 230: � 3.2 THE CUP-AND-RING IN EUROPE
Page 231 and 232: The best way to achieve and maintai
Page 233 and 234: executed. This may explain why the
Page 235 and 236: and it seems that cup-and-ring site
Page 237 and 238: * 3.2.3 ENTRANCES TO THE SPIRIT WOR
Page 239 and 240: suggested that cupules symbolise th
Page 241 and 242: * 3.2.5 THE SIGNIFICANCE OF CUPULES
Page 243: These migrations and explorations c
Page 247 and 248: Later in the Neolithic more revolut
Page 249 and 250: The section below serves to acknowl
Page 251 and 252: 14. BEDNARIK, R. G. 1996. Early roc
Page 253 and 254: 39. COSTAS GOBERNA, F. J., NOVOA Á
Page 255 and 256: 63. MARK, R. & NEWMAN, E. 1995. Cup
Page 257 and 258: 88. PETTERSSON, J. & G. KRISTIANSSO
Page 259 and 260: 113. VAN HOEK, M. 1988b. Possible
Page 261: 137. VAN HOEK, M. & SMITH, C. 1988.
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Maarten van Hoek The Geography of Cup-and-Ring ... - StoneWatch

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