Petróglifos no sítio de arte rupestre de Leirfall em Stjørdal, Trøndelag, Norway
Most of the petroglyphs on the Scandinavian Peninsula were created with iron tools, by just four artists — now identified in a new study. The discovery places the famous petroglyphs Norwegians and Swedes in the Iron Age, much later than previously assumed.
A recent study, not yet peer-reviewed, proposes a reinterpretation of the petroglyphsthe famous Iron Age petroglyphs of Norway and Sweden, suggesting that almost all of them were created by just four artists.
The investigation, led by Allan Krillprofessor of geology at the Norwegian University of Science and Technology, relies on advanced dating techniques and stylistic analysis, providing new perspectives for understanding these prehistoric remains.
available in pre-publication on Research Gatecombines geological and archaeological data and suggests that these runic inscriptions, traditionally associated with the Stone Age and the Bronze Age, belong mainly to a later period.
According to Krill, the precise and deep marks These inscriptions indicate the use of iron toolsrejecting the idea that they were made with stone tools. This discovery places its creation in the Iron Agearound the year 400 AD
Krill identifies thatfour main artists behind these works: Steinn Stikkmann, Bårdr Båtmann, Ingi Innrisser and Oddr Omrisser, who developed unique styles and techniques. Each of them left a characteristic mark on their sculptures, allowing us to trace their trajectories and artistic contributions.
Stein Stikkmann, Considered the inventor of the engraving technique with iron nails, he began his work in the soft rocks of Trøndelag, in central Norway. Later, he took his art to regions of Sweden and other Scandinavian areas.
His sculptures, which include stylized human figuresships with raised prows and footprints, are notable for their geometric and meticulous design, highlights the .
According to Krill, Stikkmann used iron nailspossibly taken from ships, to create these petroglyphs. Its engraved panels contain runes from the ancient Futhark alphabet, which helps date them to the 4th century.
The second artist identified, Bårdr Båtmannfocused his work on representation of ships. Although his style derived from that of Stikkmann, Båtmann remained mainly in the Stavanger region of southwestern Norway.
Your ships have a more realistic design and reflect typical Iron Age vessels used for fishing and trade. Unlike his predecessor, Båtmann did not explore other artistic motifs.
Ingi Innrisserthe third prominent artist, is recognized for his variety of themes and his geographic scope. From the Arctic region of Alta to eastern Russia, Innrisser carved scenes that include deer, elk and reindeeroften decorated with intricate patterns that suggest internal organs.
It also portrayed complex stories, such as animal migrations, group hunting and fishing activities. According to the analysis, his works reflect a deep connection to the cultural traditions of the region’s indigenous peoples.
The last of the artists, Oddr Outlinesis distinguished by its naturalistic style and its tendency to overlay images onto existing panelsoften creating chaotic compositions.
Used various techniques throughout his careerstarting with cave paintings on frozen lakes and progressing to engravings with nails and scraping lichens to reveal color contrasts.
Omrisser also introduced a three-dimensional approach to your engravingsadding depth and detail to his depictions of animals and humans.
A recurring theme in the sculptures of these artists is the representation of shipswhich Krill argues are precursors to the famous Viking ships. However, unlike 8th-century Viking ships, those depicted in the inscriptions do not have masts or sails, which reinforces its previous origin.
This connection suggests that the artists probably traveled in similar vessels, using the remains of nails to carve your works at strategic stops along the Scandinavian coasts.
Krill’s study not only challenges traditional chronologies, but also invites a reconsideration of the geographic distribution of these petroglyphs and inscriptions.
According to their analysis, the absence of engravings in certain areaslike Finland or southern Norway, is not due to cultural limitations, but to the lack of visits of these artists.
Furthermore, his research highlights the importance of an interdisciplinary approach, combining geology, archeology and art to reinterpret the past.
