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This book is the outcome of a prolonged period of discovery and research into the Bronze Age rock carvings of Bohuslän (Sweden) and Ostfold (Norway). Over 100 of the most complex and varied sites, containing many thousands of images, are presented in new plans and photographs. The variety and precision of the methods of recording have revealed hitherto unknown carvings and new details on many of the sites, including some of the best-known sites in all of Sweden and Norway. The images, of boats, humans, wheeled vehicles, wild and domesticated animals, ards, weapons and other symbols demonstrate great variability. A structural analysis permits some identification of particular artists, whilst the identification of dated styles of boat images allows some element of specific chronology to be presented. Over 800 rock carving sites, and their contemporary monuments, are mapped and described in terms of the evolving landscapes of the period 1500 - 300 BC. The current excavation programmes at the base of sites are outlined as well as the likely relationship between rock carvings and adjacent wetlands. The area explored in the book includes the World Heritage region in western Sweden and the whole territory of rock carvings examined forms one of Europe's greatest prehistoric cultural treasures.Table of ContentsIntroduction Images – A complex simplicity: Boats Humans Other animals Trees Discs and vehicles Other images Cupmarks Time and timelessness The organisation of the rock: Site structure Landscapes of the past: Mapping the rock carvings The meaning of it all

How may Bohuslän rock art and landscape be perceived and understood? Since the Bronze Age, the landscape has been transformed by shore displacement but, largely due to misunderstanding and certain ideas about the character of Bronze Age society, rock art research in Tanum has drawn much of its inspiration from the present agrarian landscape. This perception of the landscape has not been a major issue. This volume, republished from the GOTAC Serie B (Gothenburg Archaeological thesis 49) aims to shed light on the process of shore displacement and its social and cognitive implications for the interpretation of rock art in the prehistoric landscape. The findings clearly show that in the Bronze Age, the majority of rock art sites in Bohuslän had a very close spatial connection to the sea.Much rock art analysis focuses on the contemplative observer. The more direct activities related to rock art are seldom fully considered. Here, the basic conditions for the production of rock art, social theory and approaches to image, communication, symbolism and social action are discussed and related to palpable social forms of the “reading” of rock art. The general location and content of the Bronze Age remains indicate a tendency towards the maritime realm, which seems to have included both socio-ritual and socioeconomic matters of production and consumption and that Bronze Age groups in Bohuslän were highly active and mobile. The numerous configurations of ship images on the rocks could indicate a general transition or drift towards the maritime realm. Marking or manifesting such transitions in some way may have been important and it is tempting to perceive the rock art as traces of such transitions or positions in the landscape. All this points to a maritime understanding of Bronze Age rock art in northern Bohuslän.

How may Bohuslän rock art and landscape be perceived and understood? Since the Bronze Age, the landscape has been transformed by shore displacement but, largely due to misunderstanding and certain ideas about the character of Bronze Age society, rock art research in Tanum has drawn much of its inspiration from the present agrarian landscape. This perception of the landscape has not been a major issue. This volume, republished from the GOTAC Serie B (Gothenburg Archaeological thesis 49) aims to shed light on the process of shore displacement and its social and cognitive implications for the interpretation of rock art in the prehistoric landscape. The findings clearly show that in the Bronze Age, the majority of rock art sites in Bohuslän had a very close spatial connection to the sea.Much rock art analysis focuses on the contemplative observer. The more direct activities related to rock art are seldom fully considered. Here, the basic conditions for the production of rock art, social theory and approaches to image, communication, symbolism and social action are discussed and related to palpable social forms of the “reading” of rock art. The general location and content of the Bronze Age remains indicate a tendency towards the maritime realm, which seems to have included both socio-ritual and socioeconomic matters of production and consumption and that Bronze Age groups in Bohuslän were highly active and mobile. The numerous configurations of ship images on the rocks could indicate a general transition or drift towards the maritime realm. Marking or manifesting such transitions in some way may have been important and it is tempting to perceive the rock art as traces of such transitions or positions in the landscape. All this points to a maritime understanding of Bronze Age rock art in northern Bohuslän.