The waterscape, including the sea, rivers, and lakes, was highly important to communities living during the Nordic Early Bronze Age (1800/1700–1100 bc). Waterways acted as highways that facilitated journeys, trade, and warfare, enabling maritime warriors and others to distinguish themselves. This is reflected in the maritime location of rock art and important Early Bronze Age burials, which have been used to reconstruct the Nordic Bronze Age cosmology. This centres on the journey of the sun across the sky during the day, and the underworld during night. This article analyses the use of water-related resources, such as seaweed, petrified organics, beach pebbles, and molluscs, in the construction of burials, which has received little attention despite renewed interest in the maritime seascape. The data demonstrate that local communities used different resources, indicating that a common belief system was realised in local differences. These marine materials were collected from the beach, which can be conceptualised as the liminal zone between the land of the living and the sea of the dead. It is suggested that these materials, in line with other funerary practices, helped to guide the recently deceased into the afterlife in the sea.

In the Bronze Age, warriors are probably the best-known social class. Evidence for warfare and other violent encounters links them to aggression and bloodshed that could be translated into social status. This made warriors a potential two-fold threat to the social cohesion of their communities: not only did they risk threatening the integrity of communities as agents of death but also they could challenge local authority and cause internal conflict. Here, the author presents evidence that suggests that internal conflict was a major concern for Nordic Bronze Age societies, in that warriors constituted an internal social challenge, and proposes that local communities may have mitigated this threat in rituals such as the sacrifice of weapons and the construction of social narratives through rock art.

This article presents current research on cooking stone pits in northern Germany and southern Scandinavia and examines their function and interpretation. It focuses on recent findings at the site of Mang de Bargen in northern Germany, which contained pit arrangements in various configurations, including a new circular one. The latest 14C dates from Mang de Bargen suggest that the circular formations constitute the earliest evidence of cooking stone pits known so far. A supra-regional comparison, concentrating on the distribution and dating of cooking stone pits in northern Europe, and an analysis of their content, arrangement, and topographic location allows the author to propose how they may have been used.

Recent research has established that south Scandinavia during the Nordic Bronze Age was entirely dependent on imported metal. It was obviously in contact with other parts of Europe and must have participated in a system of long-distance exchange. It is not clear how it would have operated, but it helps to explain the importance of watercraft and drawings of distinctive artefacts in the rock art on the Baltic and Atlantic coasts. A different group of images can be associated with inland areas where the art has a more restricted lexicon. Can the borderland between these traditions shed any light on the relationship between the seashore and the interior, and might this help to identify places where artefacts changed hands? This paper presents the results of fieldwork between Lakes Vänern and Vättern in Västra Götaland county, southern Sweden. It considers the character of inland rock art and whether some locations with more complex panels were used as ‘aggregation sites’.

Human representations are one of the most important groups of depictions in rock art in southern Scandinavia. These humans have long been discussed as complete, stable, and temporally-fixed images. The results of a new survey challenge this view. Recording rock art with Reflectance Transformation Imaging (RTI) enabled us to discern a possible sequence of production of individual human representations, their bodily features, and associated objects. Figures from a rock art site in Finntorp (Tanum, Sweden) will be used as an example. Differences in the dimensions of the engraved lines, the chronology of the depicted objects, and the placement of body parts suggest that several individuals may have been involved in making human representations on the rocks, and that their appearance as complete figures is the result of repeated transformations. The results presented demonstrate that Scandinavian rock art is not stable in time. We suggest that rock art is best understood as the creation of communities over time, which enables them to engage with the past by transforming the rocks.