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.

19 November 2012

Rhomboids, many of which appear to have been tools, tied to bird and other art by at least 3 amateur archaeologists in America

A typical configuration of a rhomboid borer/burin tool which seems yet undescribed by American archaeologists, though they behave like tool typologies are "known and closed."

An Ohio example of a rhomboid tool found in association with portable rock art objects. Find and interpretation by Ken Johnston, on an unglaciated hilltop, Newark, Ohio.

From my cursory search of sources available to amateur archaeologists, I could find no documentation of the existence of these stone rhomboids in North America. They exist in numbers and within definable measurement ranges so as to defy statistical likelihood of being products of natural chaotic forces in the assessment of reasonable, albeit amateur, rock art investigators.

To be responsive to its public constituents, archaeological science must learn to accept anomalous finds and observations of amateurs as possible opportunities to expand knowledge. The experience of many amateurs with professional and academic archaeologists is that the universe of their domain is "known" to all of its boundaries. All they seem to do is perpetuate static knowledge to the point of it becoming dogmatic, rather than providing a dynamic framework to advance new knowledge.

The originsnet.org web site has excellent information from European sources which may inform these independent observations by 3 American amateur archaeologists, Nadia Clark, Prescott, Arizona, Ken Johnston, Newark, Ohio, and Ansted, West Virginia, and Mike Raver, Zanesville, Ohio.

Illustration © Archaeologische Berichten. Wouters, A., Franssen, C. and Kessels, A. (1981). Typologie van de artefacten van de Chopper Choppingtool Complexen. Archaeologische Berichten 10:19-117. Elst, NL. Fig. 2. From originsnet.org

#1 Mike Raver rhomboids and bird, Zanesville, Ohio

#2 Ken Johnston rhomboids and bird, Ansted, West Virginia

#3 Nadia Clark rhomboids and bird, Prescott, Arizona

#4 Ken Johnston rhomboids (with pentagons) and bird, Newark, Ohio

Nadia Clark has suggested the rhomboids may not all be tools and they may have a spiritual significance to those who made them. I think this is an idea worth exploring. Our predecessors left them in concentrations which may be identified today and which may help identify early archaeological sites in The United States.

-kbj

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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.

Archaeology of Portable Rock Art

Denisovan Ancestry in East Eurasian and Native American Populations

19 November 2012

Rhomboids, many of which appear to have been tools, tied to bird and other art by at least 3 amateur archaeologists in America

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