Relevant bibliographies by topics / Gotland picture stones

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Gotland picture stones'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Gotland picture stones"

1

Pearl, Frederic B. "The Water Dragon and the Snake Witch: Two Vendel Period Picture Stones from Gotland, Sweden." Current Swedish Archaeology 22, no. 1 (June 10, 2021): 137–56. http://dx.doi.org/10.37718/csa.2014.10.

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The style and iconography of two well­known picture stones are re­analysed. The Hablingbo Havor II pic­ ture stone shows a motif that occurs frequently in Got­ landic art from the Vendel Period onwards: the“Water Dragon”. It is suggested that this relates to an ideo­ logical connection between the dragon and the sea, where the sea is the dragon that ferries ships to distant shores. This is reflected not only in picture stones, but in Viking Age art in general. The iconography of När Smiss III (the “Snake Witch”) has been interpreted in a variety of ways, but special consideration is given to Peel’s (1999) suggestion that it relates closely to the Vi­ tastjärna myth from the 13th­century Guta Saga. The artistic style of the zoomorphs on both stones (Style II) is typically dated to the Vendel Period. It is suggested that Sune Lindqvist’s insistence that the stones date from before AD 600 comes from a long­standing de­ bate with Nils Åberg over the date and context of the east mound at Uppsala, and by association, the date of the artistic style found on Hablingbo Havor II and När Smiss III. This debate has been resolved in favour of Åberg’s interpretation. These two picture stones rep­ resent an artistic tradition that should be dated con­ servatively from the beginning of the 5th century AD to the middle of the 7th century AD.
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Oehrl, Sigmund. "Documenting and Interpreting the Picture Stones of Gotland: Old Problems and New Approaches." Current Swedish Archaeology 25, no. 1 (June 10, 2021): 87–122. http://dx.doi.org/10.37718/csa.2017.15.

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Gotland’s picture stones are a unique source for the study of pre-Christian religion. However, there are many still unsolved problems that make it difficult to use this treasure. The main problem is the cur- rent condition of the figurative carvings, which in many cases are hardly recognizable. S. Lindqvist, in his 1941/42 edition of the stones, traced the fig- ures with paint to make them visible. More than half a century after the publication of his book, digital methods can be applied in order to improve the documentation and make it more objective. I demonstrate these methods and their relevance for iconography in this paper, including unpublished finds and discoveries. Some more issues are men- tioned and finally, the possibilities and needs of fu- ture research are outlined
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Burström, Mats. "Other Generations' Interpretation and Use of the Past: the Case of the Picture Stones on Gotland." Current Swedish Archaeology 4, no. 1 (June 10, 2021): 21–40. http://dx.doi.org/10.37718/csa.1996.02.

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Throughout history, ancient monuments and artefacts have been ascribed many meanings in a multitude of contexts. What consequences does this have for archaeological interpretation and for archaeology as a discipline? The discussion focuses on one single category of ancient monuments: the Gotlandic picture stones, originally raised during the period A.D. 400-1100.
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Williams, Howard. "Gotland's Picture Stones. Bearers of an Enigmatic Legacy. Edited by Maria HerlinKarnell. Gotland Museum. 2012. 215 pp. SEK 290. ISBN 9789188036865." Early Medieval Europe 24, no. 4 (October 5, 2016): 512–15. http://dx.doi.org/10.1111/emed.12174.

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Myrberg, Nanouschka. "Burning Down the House: Mythological Chaos and World Order on Gotlandic Picture Stones." Current Swedish Archaeology 13, no. 1 (June 10, 2021): 99–119. http://dx.doi.org/10.37718/csa.2005.06.

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The Gotlandic picture stone monuments of the oldest type constitute a material manifestation of a "concept" which basically deals with world order and balance, from the single picture to the monument as a whole. This concept is detectable in myths, sagas and material culture alike. Only by paying more attention to the female agents of the sagas is it possible to reach an understanding ofthe common content of ideas between the different expressions. That the elements play an important role in the sagas is reflected in the setting and execution of monuments and artefacts.
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Dissertations / Theses on the topic "Gotland picture stones"

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Stenqvist, Elin. "Små vågformade bildstenar: lika men ändå så olika. Nya perspektiv på järnålderns gotländska bildstenar klassificerade som kiststenar." Thesis, Stockholms universitet, Institutionen för arkeologi och antikens kultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-112261.

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Picture stones were produced on the island of Gotland during the Iron Age, about 100-1150 AD. In this dissertation it has been made clear that biographical- and pre-iconographic perspectives enables new understandings of the stones. The wave-shaped cist stones, about 30 of the nearly 500 picture stones, were clearly produced as different from the axe- or mushroom-shaped large- and dwarf stones. This has been shown by their difference in shape, size and the frequency and placement of motifs. Reuses of cist stones does however concur with the other stones and suggest they were used for the same reasons and purposes. In this dissertation it has also been made clear that there is no concrete evidence that the cist stones were erected as cists constructions, especially for women or used for offerings. The term “small wave-shaped” picture stones has therefore been introduced as a substitute.
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Hardy, Jeremy. "Återbruket av bildstenar i romanska kyrkor på Gotland." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295806.

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In the ongoing discussion about the gotlandic picture stones, there is a highly debated question if we can interpret their reuse in gotlandic churches as a ritual practice or not. Also, if the reuse was of ritual character, was it in order to oppress and humiliate an earlier faith?  Or to redeem and initiate the old faith into Christianity, in a respectful manner towards the past?      This work focuses on the churches with Romanesque architecture since they are the closest kept monuments that could shed more light on the time period that spans on the transition from Viking age to Middle age Gotland. The aim of the thesis is to shed more light on the period when the first stone churches on Gotland were built as a manifestation of Christianity. It is of great interest here to question how the first stone church builders on Gotland looked upon their forefathers and their past.       Investigations of how picture stones are placed and reused in Romanesque churches have been made, with overviews of their context and dating. This in order to contribute to the ongoing debate about the reuse of picture stones. The discussion is completed by pointing out clear examples of meaningful use in accordance to the churches heavily symbolic room and space. The Romanesque churches were seen as representations of the temple of Jerusalem. Connecting the placing of picture stones to the value of these churches room and space, can result in interpretations of continuity and cultural process.
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Hupfauf, Peter Rudolf Martin. "Signs and symbols represented in Germanic, particularly Scandinavian, iconography between the Migration Period and the end of the Viking Age." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/662.

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This research focuses on the analysis of pictorial images from objects of Germanic/early Scandinavian cultures in order to discriminate elements which are only applied for decorative reasons from those which also express symbolic values. At the outset I introduced an interpretation of the terms 'signs' and 'symbols' in order to inform the reader to which extent these terms were applied. It appeared that techniques, such as the geographical and chronological classification, traditionally used by archaeologists and historians to analyse objects/artefacts, were not always sufficient enough to gain all information which images may offer. Sometimes it seems to be difficult to determine if certain images shown on objects from early mediaeval, central and northern European origin, were created as a space-filling decoration only or if they held additional, probably symbolic, information as well. I have investigated aspects from visual perception, as applied within the domains of psychology, visual art and design. The methods, as they are introduced in this thesis, can be used as a identification scheme, applied on objects of great diversity. I have applied them on guldgubber (little embossed gold foils), bracteates and Gotland picture-stones. Objects of great historical and geographic difference, as well as physical diversity, such as size and material were chosen purposely to create an overview of the symbolic expressions in Germanic/early Scandinavian artefacts and to test the extent of the identification method derived from the domain of visual perception. A detailed analysis of sixty four guldgubber, found in Lundeborg, near Gudme, on the island of Fyn (Denmark), is placed in an appendix. An analysis of these objects appeared to be particularly interesting because it is not known what the purpose of guldgubber were to the present day.
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Hupfauf, Peter Rudolf Martin. "Signs and symbols represented in Germanic, particularly Scandinavian, iconography between the Migration Period and the end of the Viking Age." University of Sydney. Centre for Medieval Studies, 2003. http://hdl.handle.net/2123/662.

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This research focuses on the analysis of pictorial images from objects of Germanic/early Scandinavian cultures in order to discriminate elements which are only applied for decorative reasons from those which also express symbolic values. At the outset I introduced an interpretation of the terms �signs� and �symbols� in order to inform the reader to which extent these terms were applied. It appeared that techniques, such as the geographical and chronological classification, traditionally used by archaeologists and historians to analyse objects/artefacts, were not always sufficient enough to gain all information which images may offer. Sometimes it seems to be difficult to determine if certain images shown on objects from early mediaeval, central and northern European origin, were created as a space-filling decoration only or if they held additional, probably symbolic, information as well. I have investigated aspects from visual perception, as applied within the domains of psychology, visual art and design. The methods, as they are introduced in this thesis, can be used as a identification scheme, applied on objects of great diversity. I have applied them on guldgubber (little embossed gold foils), bracteates and Gotland picture-stones. Objects of great historical and geographic difference, as well as physical diversity, such as size and material were chosen purposely to create an overview of the symbolic expressions in Germanic/early Scandinavian artefacts and to test the extent of the identification method derived from the domain of visual perception. A detailed analysis of sixty four guldgubber, found in Lundeborg, near Gudme, on the island of Fyn (Denmark), is placed in an appendix. An analysis of these objects appeared to be particularly interesting because it is not known what the purpose of guldgubber were to the present day.
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5

Andersson, Josefina. "Bildstenarna och den muntliga traditionen på Gotland under yngre järnålder." Thesis, University of Kalmar, School of Human Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2122.

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Andersson, J. 2008. Bildstenarna och den muntliga traditionen på Gotland under yngre järnålder. The Picture Stones and the Oral Tradition of Gotland During the Late Iron Age. Högskolan i Kalmar ht 2008.

This is a study of the picture stones of Gotland and the oral tradition connected to them. This study consists of two main parts; in the main part the discussion focus on the oral tradition and the continuity of the same, where the memory plays a significant role. It also contains a discussion of the physical environment and its influences of the oral tradition. The second part concentrates around the picture stones, the variation of the scenes and the numerous of them. 

Keywords: oral traditions, picture stones, late iron age, Gotland, Nordic mythology.

 

 

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Books on the topic "Gotland picture stones"

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Nylén, Erik. Stones, ships, and symbols: The picture stones of Gotland from the Viking Age and before. Stockholm: Gidlunds, 1988.

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2

Gotland's picture stones: Bearers of an enigmatic legacy. Visby]: Gotland Museum, 2012.

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Book chapters on the topic "Gotland picture stones"

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Oehrl, Sigmund. "Re-Interpretations of Gotlandic Picture Stones Based on the Reflectance Transformation Imaging Method (RTI): Some Examples." In Myth, Materiality and Lived Religion: In Merovingian and Viking Scandinavia, 141–89. Stockholm University Press, 2019. http://dx.doi.org/10.16993/bay.g.

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