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Relevant bibliographies by topics / Scandinavian Engraving

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Academic literature on the topic 'Scandinavian Engraving'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "Scandinavian Engraving"

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Kara, Michał. "Ze studiów nad elitarną kulturą ludności grodów tzw. centralnych państwa pierwszych Piastów, czyli ponownie o wczesnośredniowiecznym grzebieniu ze Stroszek pod Gieczem. Ujęcie porównawcze." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 60 (March 20, 2020): 107–91. http://dx.doi.org/10.14746/sa.2019.60.6.

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The article presents results of a repeated analysis of an ornamental comb made from an antler, discovered in an early-medieval open settlement in Stroszki (site 1, Nekla county, Wielkopolska province) from the late 9th century or the beginning of the second half of the 10th century. The settlement was a part of the backup facilities of the stronghold in Giecz, one of several the so-called central settlements in the Piasts’ oldest state. The comb stands out for its ornaments in the form of a large fish in a net immersed in water, made by engraving the side lining which serves as the comb’s grip

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Sognnes, Kalle. "Reflections on Bronze Age travels." Antiquity 89, no. 343 (2015): 215–16. http://dx.doi.org/10.15184/aqy.2014.4.

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In the above paper, Johan Ling and Zofia Stos-Gale present results from a project comparing isotopes from Bronze Age artefacts with signatures from known Bronze Age mining localities. The results showed that artefacts found in southern Sweden were made from bronze mined in Cyprus. This is in itself interesting, but the discovery of rock art engravings in Sweden that resemble ‘oxhide’ bronze ingots from Cyprus adds a new dimension to the interpretation of Scandinavian rock art, with its strong focus on boat images. The number of possible oxhide ingots represented in Swedish rock art is low, but

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Goldhahn, Joakim. "Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia." Norwegian Archaeological Review 35, no. 1 (2002): 29–61. http://dx.doi.org/10.1080/002936502760123103.

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DIEMER, JOHN A. "PLATE 6 OF THE GEOLOGY OF RUSSIA: PRODUCT OF A ‘GENIUS OF COMBINATION’." Earth Sciences History 41, no. 2 (2022): 264–84. http://dx.doi.org/10.17704/1944-6187-41.2.264.

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ABSTRACT In 1845, Roderick Murchison, Edouard de Verneuil and Alexander von Keyserling published The Geology of Russia in Europe and the Ural Mountains, reporting on the results of two field seasons in Russia (1840 and 1841) as well as additional fieldwork in Poland (1843) and Scandinavia (1844 and 1845). The book contains 7 plates comprising 5 cross-sections and 2 geologic maps. Plate 6 is a geologic map titled “Russia in Europe and the Ural Mountains . . .” and it is the subject of this paper. Murchison had 600 copies of the large format (quarto) book printed by John Murray in the laborious

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Hansen, Ole Thirup Kastholm. "Forfalsket forhistorie – Arkæologisk svindel og selvbedrag." Kuml 52, no. 52 (2003): 7–34. http://dx.doi.org/10.7146/kuml.v52i52.102636.

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Faking prehistoryForgery and self-deception in archaeologyThe object of this essay is to explain the significance of archaeological frauds in the perception of prehistory. The motives and consequences of the frauds concerned are illustrated by a series of case stories. These case stories span from quite harmless banal frauds, through unscrupulous ideological falsification of history, to the borderland between forgery and self-deception. It turns out that only a few archaeological frauds have been produced in order to make money or for similar purposes, while the majority are side products of n

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Näripea, Eva. "“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian Historical Fiction." Methis. Studia humaniora Estonica 12, no. 15 (2017). http://dx.doi.org/10.7592/methis.v12i15.12118.

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Teesid: Artikkel keskendub kahele ajalooromaani ekraniseeringule Nõukogude Eesti filmikunstis: „Viimne reliikvia“ (1969, rež Grigori Kromanov, Tallinnfilm), mis põhineb Eduard Bornhöhe romaanil „Vürst Gabriel ehk Pirita kloostri viimsed päevad“ (1893), ning „Kolme katku vahel“ (1970, rež Virve Aruoja, Eesti Telefilm), mille seosed oma kirjandusliku allikaga (Jaan Krossi samanimelise romaaniga) on oluliselt keerulisemad. Ekraniseeringuid käsitletakse ruumirepresentatsioonide perspektiivist, uurides, missuguseid strateegiaid kasutati filmiruumide loomisel, kuidas suhestuti kirjandusliku (lähte)m

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Books on the topic "Scandinavian Engraving"

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Polytypi: Presentation av ett grafiskt projekt. Nordiskt konstcentrum, 1991.

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Book chapters on the topic "Scandinavian Engraving"

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Iversen, Rune. "Issues with the steppe hypothesis: An archaeological perspective. Iconography, mythology and language in Neolithic and Early Bronze Age southern Scandinavia." In Indo-European Interfaces: Integrating Linguistics, Mythology and Archaeology. Stockholm University Press, 2024. http://dx.doi.org/10.16993/bcn.f.

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In southern Scandinavia, Neolithic iconography was focused on non- figurative (aniconic) geometric motifs resembling those found as engravings on large stones across western Europe in areas where megalithic tombs were built. Such engravings are generally referred to as megalithic art. However, a certain group of elaborate anthropomorphic standing stones, statue menhirs, dating to the late 4th and early 3rd millennium BC, is known from western Europe and has clear parallels further east in the North Pontic area, in the Caucasus and as far away as the Altai Mountains. Are the personifications re

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Płonka, Tomasz. "Sculpture and Art (Portable and Non-Portable)." In The Oxford Handbook of Mesolithic Europe. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780198853657.013.61.

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Abstract This chapter describes the Mesolithic portable art of Europe and its interpretations. It analyses objects in the form of engravings on tools and ceremonial objects, and non-portable monumental sculptures. The engravings were usually manufactured on artefacts made of bone, antler, wood, and stone, and on amber beads, the latter known only in southern Scandinavia. Most of the artefacts were found in northern Europe where the conditions for the preservation of organic artefacts are favourable. Engraved patterns are rather geometrical; anthropomorphic and zoomorphic motifs are rare. One c

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