97 KB26918 KB73 KB199820252006Nash, Georgeštevilka:33letnik:33str. 209-227ISSN:1408-967XCOBISSID:33016162URN:URN:NBN:SI:doc-U9IU58CZenOddelek za arheologijo Filozofske fakultete Univerze v LjubljaniDocumenta Praehistoricaarheološke najdbegrobnicekamennagrobnikineolitikprazgodovinaprazgodovinska umetnostspomenikizahodna EvropaLight at the end of the tunnel| the way megalithic art was viewed and experienced|This paper explores how megalithic art may have been viewed during a period when Neolithic monuments were in use as repositories for the dead. The group of monuments discussed are primarily passage graves which were being constructed within many of the core areas of Neoli- thic Atlantic Europe. Although dates for the construction of this tradition are sometimes early, the majority of monuments with megalithic art fall essentially within the Middle to Late Neolithic. The art, usually in the form of pecked abstract designs appears to be strategically placed within the inner part of the passage and the chamber. Given its position was this art restricted to an elite and was there a conscious decision to hide some art and make it exclusively for the dead? In order to discuss these points further, this chapter will study in depth the location and subjectivity of art that has been carved and pecked on three passage graves in Anglesey and NW England. I suggest that an encoded grammar was in operation when these and other passagegrave monuments with megalithic art were in useV tem poglavju raziskujemo, kakšen je bil pogled na megalitsko umetnost v obdobju, ko so neolitske spomenike uporabljali kot grobnice. Skupina spomenikov, o kateri razpravljamo, so predvsem 'grobovi v hodnikih', ki so pogosti v osrednjih področjih neolitske atlantske Evrope. Čeprav so nekateri datumi gradnje zgodnji, sodi večina spomenikov megalitske umetnosti v čas od srednjega do poznega neolitika. Zdi se, da je umetnost, običajno gre za izklesane abstraktne vzorce, strateško razporejena v notranjem delu hodnika in v osrednji grobni komori. Glede na položaj se lahko vprašamo, ali je bila ta umetnost omejena le na elito in, ali je obstajala zavestna odločitev skriti del umetnosti in jo nameniti izključno umrlim. V nadaljevanju bomo detajlneje preučili lokacijo in subjektivnost umetnosti, ki je bila vklesana in vgravirana v treh 'grobovih v hodnikih' v Angleseyju in severozahodni Angliji. Domnevamo, da so v času, ko so uporabljali te in druge megalitske spomenike, operirali s kodirano gramatikoTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Filozofska fakulteta