Rock art was often deliberately made were communication with the spirits was believed to be good. It was therefore made in caves and shelters, on steep cliffs, high in the mountains and on the shore — a range of localities all concidered transitional spaces between cosmic worlds. This emphasises that rock art is often jast one part of a broader ritual landscape.
Gjessing applied both ethnographic analogies and history of religion as tools in the interpretation of nothern Scandinavian rock art. He drew his anderstanding from literature where rituals were described connected with both animals and rites of transition among cultures/populations in the northern hemisphere, and especially in the circumpolar region.
In spite of the rapid and intensive development of scientific dating methods, the dating of rock art remains problematic. Relative dating methods, AMS radiocarbon analysis and chronometric techniques seldom give reliable direct dates for rock art This is also the case with rock art found in Russian Lapland.
People attribute human shape and qualities (such as agency) to the widest range of objects and phenomena imaginable. The anthropologist Stewart Guthrie (1993) has argued that anthropomorphism is a universal strategy that logically arises from a kind of betting game.
An examination of meanings associated with bears among early
Rock art is defined as systematic and
The paper summarises the history of discovery, study and results of recent field documentation and protection work on Karelian rock art — unique cultural and historical treasure of Northern Europe, coming to us from Neolithic epoch. The international
The study proves the need for making and later using of ancient rock image mosaic flat panoramic photos in order to monitor rock surfaces condition and to promote the monument. The study contains the description of the technics the photographer dealing with that flat panoramic photos uses and some results of his work carried out on horizontal rock surfaces of the Onega and Belomorsk petroglyph sites (Republic of Karelia).
The study of Onega and Belomorsk petroglyphs can be divided into four stages. Each of them has its own milestones, significant events, facts and names. The first stage covers the period from 1848 to 1926.
