| Description |
1 online resource (228 pages) |
| Contents |
Cover -- Title Page -- Copyright page -- Contents Page -- List of Figures -- Figure 1. Erosion of motifs: 62/RV 18, Rivock. Left: photo taken before 1986. Right: photo taken 2013, showing obvious loss and blurring of motifs throughout. Images: Left: Photo by E. Vickerman, © K. Boughey and WYAAS. Right: Author and P. Deacon. -- Figure 2. Problems due to public access. Top left: Tourists on top of 302/PR 05 the Haystack. It is quite a scramble to get up: scrapes from boots are a hazard to the rock surface. Top right: Triangular graffito on 384/WB 18, a stone with six cups, one mu |
|
Figure 3. Rombalds Moor environs: view east from HAW 01. The view extends over the highest part of the Silsden Gap, to the western flanks of Rombalds Moor, mostly cleared rough pasture. The vegetation would have been very different during the time rock-ar -- Figure 4. Distribution of rock-art in Britain. Areas with major concentrations of rock-art are shown. In Scotland: Argyll, Loch Tay and Dumfries and Galloway. In England: Northumberland, North York Moors, the Eastern Pennines including Rombalds Moor, the |
|
Figure 5. Rombalds Moor: carved stones in rough pasture which have survived clearance. Left: 95a/GHW 01, East Morton, standing in a spring, just marshy in summer. Right: 38/HC 06, High Carr, Riddlesden: a boulder seemingly placed onto outcrop -- the rest of -- Figure 6. Torbhlaren. An excavation around a very large carved rock standing in rough pasture in the bottom of the valley. It is surrounded by much higher ground. Image: ©Aaron Watson |
|
Figure 7. British depictive rock-art. These carvings, interpreted as deer, are in a rock shelter at Goatscrag, Northumberland. Image: Aron Mazel. -- Figure 8. Carving rock-art. Top: Torbhlaren: Hugo Lamdin-Whymark carving a cup-and-ring: a one-handed technique, in an overhand grip. Middle: the sculptor Morten Kutschera making a copy of one of the Vingen panels, using a two-handed technique with a repl |
|
Figure 9. Variations on a theme: cups. Top Left: IAG 510, Askwith Moor, North Yorkshire: upstanding boulder with one cup. Top right: 45/RV 02, Rivock Nose, Rombalds Moor: cliff outcrop site, with two cups at the edge. Centre Left: Lordenshaw 4d, Rothbury, -- Figure 10. Variations on a theme: grooves. Top Left: 283/BB 04, Rombalds Moor: ground-level rock with complex panel of cup-and-rings, cups and grooves. Top Right: IAG 598 the Tree of Life, Snowden Carr, Washburn Valley, Wharfedale: ground-level rock, with |
| Summary |
This landscape study of the rock-art of Rombalds Moor, West Yorkshire, considers views ofand fromthe sites. In an attempt to understand the rock-art landscapes of prehistory the study considered the environment of the moor and its archaeology along with the ethnography from the whole circumpolar region |
| Bibliography |
Includes bibliographical references |
| Notes |
Figure 11 (1). Variations on a theme: cup-and-rings. Top Left: Hunterheugh 2, Northumberland: 2- and 3-ringed cup-and-rings, one with comet-tail, and cups. Note many cups clustered round worn cup-and-ring motif at top |
|
Online resource, title from digital title page (viewed on April 21, 2021) |
| Subject |
Petroglyphs -- England -- Rombalds Moor
|
|
Art, Prehistoric -- England -- Rombalds Moor
|
|
Electronic books.
|
|
e-books.
|
|
Landscape archaeology.
|
|
History of art: pre-history.
|
|
ART -- History -- Prehistoric & Primitive.
|
|
Art, Prehistoric
|
|
Petroglyphs
|
| SUBJECT |
Rombalds Moor (England) -- History
|
| Subject |
England -- Rombalds Moor
|
| Genre/Form |
History
|
| Form |
Electronic book
|
| ISBN |
9781789694598 |
|
1789694590 |
|
