Interpreting hidden chalk art in southern British Neolithic flint mines

Dados Bibliográficos

ID3918640
AutoresAnne Teather (0000-0003-4207-2486, autor correspondente)
Ano2011
Volume43
Fascículo2
Páginas230-251
Data de publicação2011-06-01
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoWorld Archaeology (JOURNAL)
Identificadores do periódicoISSN: 0043-8243 • E-ISSN: 1470-1375
EditoraInforma UK Limited (PUBLISHER • GB)
DOI10.1080/00438243.2011.579496
OpenAlexW2075629313
IdiomaEN
Citações recebidas7
Referências citadas43

The Neolithic flint mines of Britain have been identified as sites of intense flint extraction. They occur chronologically in two phases: the earlier Neolithic examples in Sussex and Wessex (including the sites of Cissbury, Harrow Hill, Blackpatch, Church Hill, Easton Down, Martin's Clump, Long Down and Stoke Down) and the later Neolithic flint mine at Grimes Graves in Norfolk (Barber et al. Citation1999). Interpretations of prehistoric flint mines have commonly focused on the functional aspects of flint extraction: the method of extraction and quantity of flint that resulted (e.g. Mercer Citation1981a, Citation1981b; Sieveking Citation1979; Sieveking et al. Citation1973). Only recently has it been argued that prehistoric flint mines were monumental spaces and hence should be considered as monuments in their own right (Russell Citation2000, Citation2001). This paper further challenges the functional interpretation of flint mines as simple abstraction sites by discussing hidden in situ chalk art found within them. This art has wider parallels in markings discovered at other Neolithic sites and the examination of these mine and non-mine chalk examples suggests that collectively they indicate an early Neolithic art tradition that has hitherto been ignored. Keywords: Neolithic Britainflint minesartarchaeologyaestheticsstructured deposition Acknowledgements This research was completed as part of my PhD thesis at the University of Sheffield, funded by the AHRC. I am grateful to both institutions for their support and particularly to my supervisor Bob Johnston. Miles Russell, Pete Topping, Dave Field and Martyn Barber all spared their time to discuss mines with me, a process that was very inspiring. Thanks also to Worthing Art Gallery and Museum. Andrew Chamberlain is to be thanked for reading through this paper and offering improvements, in addition to the editor and three anonymous referees whose feedback was extremely helpful. Any errors or omissions remain my own

Archaeology · Megalith · Prehistory · Archaeology and ancient environmental studies · Archaeology and Rock Art Studies · History · Pleistocene-Era Hominins and Archaeology