'Visual Perception and Cognition in Rock Carvings of Northern Russia' is a three year project at the University of Cambridge between the Department of Archaeology and McDonald Institute for Archaeological Research. The project started in 2002 and is a part of a wider study concerned with understanding the art of prehistoric fisher-gatherer-hunters in Northern Europe (for further information please see http://www.arch.cam.ac.uk/~lj102/rockart/index.html).
The rock carvings under study derive from several different complexes located on the islands in the lower part of the Vig River by the White Sea (fig 1). The carvings are situated in Russian Karelia in a Boreal landscape which contains some of the most spectacular visual images produced between 5200 and 3000 years ago. Striking the granite rock surface with quartz tools created petroglyphs. The concentrations of rock carvings have been divided into various complexes; Besovy Sledki, Yerpin Pudas, Old and New Zalavruga, and a few located on three of the so-called Nameless Islands.
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Figure 1: Map of Europe, red dot indicates the area of research (map source: http://www.intergraphjournal.com/enhanced/vol1issue3/baron/largemap.htm)
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Figure 2: Old Zalavruga rock surface, lightly coloured figures of elk are seen in the front of the picture. Click to enlarge
Two field seasons were conducted in 2002 and 2003 on Great Malinin Island where two large complexes are located, Old and New Zalavruga. Old Zalavruga was discovered in 1936 by V. Ravdanikas, while New Zalavruga in 1963 by a research team lead by Y. Savvateev (Ravdanikas 1938, Savvateev 1968). Old Zalavruga is divided broadly into two groups; New Zalavruga consists of 26 independent groups (Figs 2 & 3). Despite their discovery a relatively long time ago, these complexes are virtually unknown to non-rock art specialists outside Russia. The current research is providing an opportunity to explore the cognitive aspects of prehistoric artper se and, in particular, the use of visual imagery among food-procuring communities.
In 2002 the aim was to establish the role the rock surface played in the creative process of rock carving construction. To accomplish this, the understanding, and thus recording, of the rock surface as a three-dimensional unit has been established, in contrast to the two-dimensional surfaces represented in publications until now (Savvateev 1968, Stolar 2001) (Figure 4). Dr. C. Roughley generated the rock surface reconstruction by correlating the relative elevations on the rock surface with the photographic recording of each point measured. We discovered that the rock surfaces were deliberately used by the carvers by placing the composition on slightly rising surfaces on the top, providing spectators/viewers with a viewing platform where visual access to the depictions would be enhanced (Figure 5).
This year (2003) we concentrated on particular imagery relating to plants. Plants in general are rarely represented in visual depictions by prehistoric fisher-gatherer-hunters. Amongst the 2000 known, White Sea carvings only three are considered to represent trees. These images are all located in the complex of New Zalavruga; group IV, XII and XX. This year's recording strategy consisted also of obtaining rock surface rubbings, which will help with understanding the nuances of the carvings of the trees and possibly in distinguishing the species of particular trees. (Figure 5). It is significant to differentiate between the narrative contexts in which trees appeared and the possible relationship between plant imagery and their place within the visual compositions. The trees in Groups IV and XX form the part of hunting scenes. The first portrays a winter scene where a hunter on skis walks with his bow ready to release arrow into an animal sitting on top of the tree; the animal has already been struck by a number of arrows. The tree does not seen very tall, suggesting it is a shrub. That the scene depicts winter, in addition to the hunter's use of skis, is further indicated by the lack of leaves on the branches sticking out of the single stem of the tree. The second tree is in Group XX (Figure 6). It is standing alone amongst a hunting scene; as in the previous image there is a creature at its top. This time it is a bird which has been struck by one arrow that is sitting on the tree. In the same scene a hunter can be seen and another wounded or dead bird is carved nearby. On this occasion however, the hunters are without skis, suggesting that this scene is not taking place in winter. Moreover, the tree looks similar to the one in the previous Group IV scene, with one stem and short leafless branches sticking out. The trees seem not to be the subjects of the depictions, but part of wider visual narratives linked with hunting. Other possible images of trees include an example in Group XIII (Figure 7). In the case of this depiction however, it is difficult to conclude that it is a tree due to its location and association with other elements, including a boat and unspecified object.
In the rock art of the White Sea area, depictions of plants are very rare and only two images of trees or shrubs can be clearly defined. Images of plants do not appear as a major item in the visual narrative in the rock carvings, instead they are always closely linked with scenes of hunting in different seasons. This suggests that there was a deliberate and conscious choice on the part of the prehistoric rock carvers normally not to depict plants.
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Figure 3: New Zalavruga rocks complex, team members covering carvings of Group IV with paper to make the rubbing of the rock surface.
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Figure 4: Group IV carvings (after Savvateev 1968). Click to enlarge.
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Figure 5: Reconstruction of surface and carvings of Group IV.
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Figure 7: Rubbing of possible tree, Group XIII.
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Figure 6: Rubbing of the tree with a bird siting on the top of it, bird is streaked by the arrow, Group XX.
Acknowledgments
This research project is funded by the McDonald Institute for Archaeological Research at the University of Cambridge and is also supported by the Department of Archaeology, University of Cambridge. I would like to thank N. Lobanova, D. Kuleshow, C. Roughley and K. Szczesna for their work in the project. I am also grateful to R. Ballantine and S. Kaner for their suggestions in improving the text in this short note.
References
- RAVDANIKAS, V. I. 1938. Naskalnye Izobrazhenia Belogo Moria. Moscow and Leningrad: Academy of Sciences Press of Union of Soviet Socialist Republics.
- SAVVATEEV, Y. A. 1970. Zalavruga, Petroglify. Leningrad: Nauka
- STOLAR, A. D. 2001. Milestones of spiritual evolution in prehistoric Karelia. Folklore 18 & 19: 80 - 125.
Janik: Department of Archaeology, University of Cambridge, Cambridge CB2 3DZ, UK