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.

Researchers have long discussed whether Scandinavian rock art reflects narratives. Their interpretations have frequently been based on inspections of rock art panels combined with knowledge from ethnographic and historical sources. Here, the authors adopt a more focused narratological approach that takes the concept of (visual) narrativity into consideration and draws on studies by literary analysts, cognitive psychologists, and semioticians. Images of spear use in the provinces of Bohuslän and Östergötland in Sweden, given their diversity and indexical qualities, are well-suited to such a study. They reveal different kinds of indexical relationships, i.e. how the spears direct attention to possible targets, arguably corresponding to action scripts well-known to Bronze Age communities. Many spear images may be regarded as mini-narratives and mnemonic devices intended to represent schematized action sequences. The authors suggest that concepts such as iconicity, indexical relationships, scripts, and mini-narratives could be fruitfully employed in research on Scandinavian rock art and beyond.

This article presents the first evidence for cupmarks in the southern Scandinavian Middle Neolithic, in the form of two cupmarked stones recovered during excavations at the Neolithic enclosures of Vasagård on the island of Bornholm in the Baltic Sea. Until now, cupmarks, which are frequently found on dolmen capstones, have been associated with the rich and figurative rock art known from the Bronze Age (c. 1700–500 bc). The evidence from Vasagård opens up the possibility that more cupmarks could be Neolithic. The association of the cupmarked stones from Vasagård with ritual gatherings suggests an affinity with contemporary sites, including Orkney, where cupmarks have been linked to architectural transformations.

The rock art of southern Scandinavia is characterized by depictions of watercraft. The majority are close to the coast, and they have been the primary focus of research. Less attention has been paid to similar representations associated with two large inland lakes in southern Sweden. In this article we present the results of fieldwork around Lake Vänern and Lake Vättern and consider the relationship of this rock art to the better-known images on the coast. We explore the practicalities of navigating between the sea and the interior and suggest that there was an important contrast between an early eastern sphere extending to Lake Vättern from the Baltic and a later western sphere connecting Lake Vänern with the Atlantic.

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.

This paper discusses the chronology of the Järrestad rock-art site in south-east Sweden. Drawing on recent developments in ship chronology, it argues that images were produced from the very beginning of the Scandinavian Bronze Age, c. 1700 BC, to the earliest Iron Age, c. 200 BC. The images are not randomly spread, however, but cluster in two phases: c. 1700–1100 BC and c. 900–200 BC, each with its different characteristics. It is argued that the later phase should be viewed against the background of central and western European Hallstatt cultures which affected not only the iconography of the Järrestad panel but also the organization of the surrounding cultural landscape.

South-west Britain—Cornwall, Devon and west Somerset—has featured little in discussions of British rock art. However, although it lacks the complex motifs found in northern Britain or the rich ornamentation of the Irish passage graves, it has a growing number of sites with simple cup-marks and stands at a pivotal location in the wider distribution of this form of rock art within north-west Europe. This paper considers the cup-mark tradition in south-west Britain and its wider European context, drawing attention to comparable traditions in western France, Wales, and south-west Ireland where simple cup-marks occur in analogous contexts. We propose a chronology for cup-marks in the south-west, from suggested Neolithic origins associated with rock outcrops and chambered tombs through to their use in Bronze Age barrows and subsequently roundhouses in the second millennium BC.

Scandinavian rock art may in general be regarded as idealized depictions of a social world, not a direct description of concrete social matters. Even so, rock art does convey important social information that calls for more thorough comment. This study concerns almost 1700 ship depictions from western Sweden that include human representations. The average ship is depicted with a crew of six to thirteen individuals and these craft may have represented prevailing ideals about the crewing of ships. The large ship images with numerous crews in clearly defined positions may be depictions of war canoes, staged for special maritime events. The study shows that the visual proportions of the rock-art ships are similar to those of the prehistoric war canoe from Hjortspring, Denmark. It is argued that the praxis of pecking ships into the rocks could have served to manifest the agency of the maritime social world and, to some extent, to make this ideology more dominant.