Archaeology of Portable Rock Art

Subjectivity in Stone Age art works such as figure stones, engravings, sculptures, effigies and curated manuports. See how images and icons have been realized in portable rock media since the dawn of humanity. Here, archaeologists and art historians are becoming aware of these forsaken artifacts. “And this our life, exempt from public haunt, finds tongues in trees, books in the running brooks, sermons in stones, and good in every thing." -in W. Shakespeare, As You Like It, 1599.

11 October 2012

Naturally perforated head effigy on a flake found in art and tool context, including a horse head figure, at Flint Ridge

A naturally perforated human head effigy on a flaked artifact found near a horse head figure and other figurative portable rock art and tools at a Flint Ridge quarry location, Licking County, Ohio. Finds and interpretations by Ken Johnston.

Human head and horse head facing left (with scale)

Left profile of human head retouched on a flake

Compare this human head left profile found 5 miles away to the general form of the Flint Ridge effigy's left profile seen above it. These may be similar iconic representations, with a somewhat recessive chin and mid-facial prominence, maybe even a head of hair. They may represent the same idealized human form, or they may represent a convention in human representation in their morphological similarity.

Human head flint effigy right profile view

A crystal lined natural perforation in the eye area of the figure may be used to hang the effigy and it defaults to a suitable viewing orientation. Perhaps this perforation was recognized and utilized to suspend the effigy or attach it to a cord. The artifact is lighted from behind as a lithophane in this photo which sets off its pink and clear crystal translucence.

Colorful flint human head left profile view hanging from a cord in the autumn evening sun.

Close up of a flint horse head figure. In the bottom right is a depression worked into the stone which accommodates the thumb as if holding the piece like a horse head finger puppet.

Horse head figure side 2

-kbj

1 comment:

NadiaOctober 17, 2012 at 12:21 PM
Talking about the depression. I have noticed that too in quite a number of small rocks, specially in the back. So it feels" comfortable" to hold it. I have also thought of that possibility, a puppet or a prop to tell a story.
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Warren K. Moorehead on the imperitive to collect "rough and rude" art

“… The museums are full of axes, celts, pipes, banner stones, discoidals, hematites, tubes, slate ornaments and ceremonials, pestles, hammers, etc. What the museums need (as of great value to Archaeological Science) are collections from a single locality including everything found in that locality. They want the finds of the village site, the studies in unfinished specimens, the poor and the good, the imperfect as well as the perfect. In this regard, the collectors make a great error. Most of them do not save everything but cling to the ‘pretty relics’ and discard the rough and the rude. Personally, I would give more for a collection, provided it contained all the types, all the finds of a certain valley than for just the fine, perfect objects of that valley. From a collection of the latter, I would be misled, for if I accepted it as indicative of the people of that valley, I would say they made the most beautiful works of aboriginal art, nothing rude or unfinished being turned out by their artisans. In such a statement, I would be unpardonably wrong.”

Warren K. Moorehead, 1884

Sculptor Henry Moore

"The most striking quality common to all primitive art is its intense vitality. It is something made by people with a direct and immediate response to life. Sculpture and painting for them was not an activity of calculation or academism, but a channel for expressing powerful beliefs, hopes and fears.

Primitive art is a mine of information for the historian and anthropologist, but to understand and appreciate it, it is more important to look at it than to learn the history of primitive peoples, their religions and social customs…But all that is really needed is response to the carvings themselves, which have a constant life of their own, independent of whenever and however they were made, and remain as full of sculptural meaning today to those open and sensitive enough to receive it as on the day they were finished." --Henry Moore, 1941

Ursel Benekendorff is recognized in the vanguard of Stone Age art inquiry and study

(This image is Copyright (c), Ursel Benekendorff, All Rights Reserved. May not be copied or distributed in any way. Used here with permission of Ursel Benekendorff for purpose of linking to her web site Schafftwissen) Stone age art pioneer Ursel Benekendorff has 2000 photographs and demonstrates standardization in the production of the world's oldest art. “My work was a pioneer work, without help of curators or technical experts. Self developed methods helped me, to stay on top of thousands of pieces of extraordinary shapes, excavated by digging machines. I was fast but not that fast and not all artifacts could have been rescued, still Menhir sizes, microlithic material, handsize stones and Un- PORTABLE sized stones were documented. That was more than most collectors assembled or documented, as I learned later on. I had invited large numbers of people to my site, so I know how they go about it all, they operate on a personal preferences, thus a wide open field, possessing is the goal, not so much the unsolved research questions. You see it was not my goal to find the best but the goal was, to clear misleading pictures and find those, who got repeated. This needed a large variety of stone types to detect the repetition by former artists. (Not looking pictures into the stones). But I wanted and still want to know, how the logo face stone on my website created his surrounding.” -Ursel Benekendorff

A book on Siberian portable rock art could provide clues to North American possibilities

Early art of the northern Far East : the Stone Age, by M. A. Kiriyak. This book is about the portable rock art of the Russian north east area. It was written in Russian but has been translated to English by the United States National Park Service's Shared Beringia Heritage Program. The hundreds of iconographic artifacts described and pictured here should inform North American archaeologists regarding the possibilities for art modalities having arrived via Beringia during peopling of the Americas migrations. The book is available for preview at the link here.

Denisovan Ancestry in East Eurasian and Native American Populations

11 October 2012

Naturally perforated head effigy on a flake found in art and tool context, including a horse head figure, at Flint Ridge

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