Introduction
Over the last two decades Stan Beckensall
has worked and written extensively on the various traditions of
rock art in Northern Britain. Rock Art in Northumberland is one
of a series of regional studies which includes County Durham, Swaledale
and Wensleydale. A volume on The Prehistoric Rock Art of Cumbria
has also recently been published (Beckensall 2002). These books,
along with British Prehistoric Rock Art (Beckensall 1999),
are primarily gazetteers of known rock art sites based around the
author's own extensive fieldwork and programme of recording. The
regional approach taken by the books allows them to be used effectively
as guides for exploring the wealth of rock art sites in these counties,
as well as presenting a catalogue of information to a non-specialist
audience. While the majority of text is taken up with the gazetteer
of sites, the volume also explores themes such as patterns of distinctiveness
within regions, enabling comparisons to be drawn between different
areas, as well as synthesising the archaeologist’s understanding
of rock art sites and their place in the landscape.
The text
In the introduction to Rock Art in Northumberland,
Beckensall begins by describing his own thoughts and experiences
on visiting rock art sites, as well as something of the methodologies
he has employed to record rock art. Those who have read British
Prehistoric Rock Art (Beckensall 1999) will find some aspects of
this work rather familiar, especially as many of the Northumbrian
sites were included in the earlier volume. The introduction also
examines where the majority of rock art is found, common styles
and motifs, and how the patterns themselves were made. It includes
a discussion of previous research into rock art in Northumberland
since the 1820s, including the ubiquitous eccentric antiquarians
and clergymen. While this may prove useful to those new to the subject,
those with more than a passing interest in rock art will feel like
moving swiftly into the depictions of the sites themselves where
the real booty is to be found.
The gazetteer of rock art sites is divided up into three parts.
The first part, Art in the landscape forms over half of the text
and presents a description and illustration for all known in-situ
rock art panels within the county. Grid references are given for
all sites and detailed maps included for those areas which possess
the most dense concentrations of rock art sites, allowing the book
to be easily used as a field guide. The photographs that illustrate
the book are often breathtaking and well reproduced throughout the
text, while the line drawings of designs resulting from the authors
own fieldwork are particularly useful in highlighting detail likely
to be missed by the first time visitor.
The subsequent chapter entitled Art in monuments looks at the relationship
between rock art and standing monuments, mainly focussing on standing
stones and burial cairns, although examples have been recorded at
henges and rock shelter sites. The last gazetteer Portable and reused
stone examines all known examples of ‘portable’ rock
art, including examples which have found their way into museum displays,
field walls, clearance cairns and ornamental gardens, along with
destroyed examples preserved through record.
The chapter entitled "What do we make
of this?" is largely a rehash of another piece called The search
for meaning that appeared in British Prehistoric Rock Art (Beckensall
1999) and does not do justice to the rest of this text. Located
at the end of the text somewhat as an afterthought the section fails
to address the question it poses and is somewhat superfluous given
Beckensall’s earlier statement that ‘I have long accepted
that some questions will remain unanswerable’ (page 14). This
summary fails to discuss contemporary rock art studies in a serious
or open-minded way, for example links between rock art sites and
any ceremonies involving altered state experiences are written off
as simply being a product of our own ‘drug obsessed culture’
(page 182).
Conclusion
None of the comments above should, however, detract from this book
as a comprehensive gazetteer of Northumberland’s impressive
tradition of rock art and its usefulness as a field guide and a
basis for future research. It is perhaps fair to say that the most
impressive aspect of Prehistoric Rock Art in Northumberland is the
rock art itself and the collection of images that have resulted
from the author's own fieldwork. It is perhaps worth highlighting
the significance of Northumberland and Durham as the focus for the
Rock Art Pilot Project funded by English Heritage, as a first step
towards building a national database of these sites. The project
will also involve local groups in the recording of rock art in the
field and the creation of a methodology and database which can then
be rolled out as part of a national project. At the time of writing
a project officer is yet to be employed although information about
the project, including how to get involved, is likely to be made
available later in the year.
Bibliography
Beckensall, S. 1999. British Prehistoric
Rock Art. Stroud: Tempus.
Beckensall, S. 2002. Prehistoric Rock
Art in Cumbria. Stroud: Tempus.
Jamie Lund
Jamie Lund is archaeologist for the National
Trust’s North-West Region. He can be contacted at: RLAJAL@smtp.ntrust.org.uk
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