be presented, and I will argue that viewing their repairs and modifications from the perspective of kintsugi, a Japanese art form thought to
have been established during the late fifteenth century, might allow new
understandings of Iron Age metalwork to be reached. The chapter will rest
particularly on the aesthetics of repair and will argue that the accretion
of different decorative patterns and contrasting components on some
Iron Age objects was a mode of emphasising repairs and modifications
and making the changes in the values and functions of these objects
Early Anglo-Saxon cemeteries are well-known because of their rich grave goods,
but this wealth can obscure their importance as local phenomena and the product
of pluralistic multi-generational communities. This book explores over one
hundred early Anglo-Saxon and some Merovingian cemeteries and aims to understand
them using a multi-dimensional methodology. The performance of mortuary drama
was a physical communication and so needed syntax and semantics. This local
knowledge was used to negotiate the arrangement of cemetery spaces and to
construct the stories that were told within them. For some families the emphasis
of a mortuary ritual was on reinforcing and reproducing family narratives, but
this was only one technique used to arrange cemetery space. This book offers an
alternative way to explore the horizontal organisation of cemeteries from a
holistic perspective. Each chapter builds on the last, using visual aesthetics,
leitmotifs, spatial statistics, grave orientation, density of burial, mortuary
ritual, grave goods, grave robbing, barrows, integral structures, skeletal
trauma, stature, gender and age to build a detailed picture of complex mortuary
spaces. This approach places community at the forefront of interpretation
because people used and reused cemetery spaces and these people chose to
emphasise different characteristics of the deceased because of their own
attitudes, lifeways and lived experiences. This book will appeal to scholars of
Anglo-Saxon studies and will also be of value to archaeologists interested in
mortuary spaces, communities and social differentiation because it proposes a
way to move beyond grave goods in the discussion of complex social
bury themselves’ (Parker Pearson, 1993 : 203; 1999 : 3), because the decisions and attitudes which contributed to the aesthetics of display and the expression of the deceased’s identity were selected by a unique mortuary party within a historically contingent event. The mortuary events were knitted together by a group of people who had been fragmented following the death of one of their members (Metcalf and Huntington, 1991 ). The decisions that this community made dictated the mode of burial – cremation or inhumation – and the location of the grave within a
Chapter 1, ‘Negotiating early Anglo-Saxon cemetery space’, provides an
introduction to the subject by describing how archaeologists have approached
early Anglo-Saxon cemeteries. It uses this historiography as a foundation
upon which to describe several cemetery sites, starting with a double burial
from Oakington and then focusing on the description of two complete
cemeteries at Orpington, Kent and Apple Down, West Sussex. This chapter
illustrates the problem with traditional monothematic approaches and
describes how spatial layout, material culture and skeletal characteristics
can be used together to explore the social arena. It also defines the
philosophy that underpins the book. Based on interdisciplinary perspectives,
Chapter 1 explores the causal agency embedded in relationships, material
expressions of identity, transformative objects and aesthetic selection.
Artefacts exist within the social world, and so the sociology of shoes and
modern-day gravegoods are useful examples which are analogous to how more
ancient objects interfaced with people. Society is pluralistic, but its
physical remains are created from an amalgam of factors, including the
manifestation of identities and aesthetics derived from shared semiotic
context of your upbringing. In this case then there are in fact multiple societal attitudes towards gender or the family, just as people’s experience of family varies widely. This book uses a comprehensive exploration of the early Anglo-Saxon mortuary context to drill down into the local history and development of cemetery sites to explore the role of family and household and their impact on localised expressions of gender, life course and wealth.
This exploration is a case study in mortuary archaeology which proposes a way of looking at the visual aesthetics of
This book presents a study of material images and asks how an appreciation of the
making and unfolding of images and art alters archaeological accounts of
prehistoric and historic societies. With contributions focusing on case studies
including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic
Egypt, and including contemporary reflections on material images, it makes a
novel contribution to ongoing debates relating to archaeological art and images.
The book offers a New Materialist analysis of archaeological imagery, with an
emphasis on considering the material character of images and their making and
unfolding. The book reassesses the predominantly representational paradigm of
archaeological image analysis and argues for the importance of considering the
ontology of images. It considers images as processes or events and introduces
the verb ‘imaging’ to underline the point that images are conditions of
possibility that draw together differing aspects of the world. The book is
divided into three sections: ‘Emergent images’, which focuses on practices of
making; ‘Images as process’, which examines the making and role of images in
prehistoric societies; and ‘Unfolding images’, which focuses on how images
change as they are made and circulated. The book features contributions from
archaeologists, Egyptologists, anthropologists and artists. The contributors to
the book highlight the multiple role of images in prehistoric and historic
societies, demonstrating that archaeologists need to recognise the dynamic and
changeable character of images.
Upping the ontological ante of Alfred Gell’s anthropology of art through a
focus on making
Alberti, B. (2001). ‘Faience goddesses and ivory bull-leapers: the aesthetics of sexual
difference at Late Bronze Age Knossos’, World Archaeology 33 (2), 189–205.
Alberti, B. (2007). ‘Destablizing meaning in anthropomorphic forms from northwest
Argentina’, Journal of Iberian Archaeology 9 (10), 209–29.
Alberti, B. (2014). ‘Designing body-pots in the early formative La Candelaria culture,
northwest Argentina’, in E. Hallam and T. Ingold (eds), Making and Growing:
Anthropological Studies of Organisms and Artefacts. Aldershot: Ashgate (pp.
legitimization [to] become part of our conscious world’.39 Alice Creischer,
Max Jorge Hinderer and Andreas Siekmann, the European curators of the
project, rejected historiography predicated on the nation state in favour of a
global purview. The resulting space/time compression with its proliferation
of images was intended to reconstitute a radical Gesamtkunstwerk, a total
art work. Like the arbitrary premodernist spaces, predicated on baroque
aesthetics, that these curators equated with early curiosity cabinets, the
exhibition and its catalogues sought to reject the rules of
chapter robustly defends that practice – then we must do it well and think critically about how we orchestrate encounters, evoke both trauma and humanity and provide context to this violence.
Corporeal aesthetics and affect: should bog bodies be on display?
On the opening night of ‘Lindow Man: A Bog Mystery’ in 2008, I spoke quietly with one of the contributors, Emma Restell Orr, a modern pagan and founder of ‘HAD: Honouring the Ancient Dead’ (Restell Orr 2004 ). Lindow Man was on his third northern tour (having previously visited in 1987 and 1991), in what had
Evans, J. (1897). Ancient Stone Implements, Weapons and Ornaments of Great
Britain. London: Longmans, Green and Co.
Fowler, C. (2017). ‘Relational typologies, assemblage theory and Early Bronze Age
burials’, Cambridge Archaeological Journal 27 (1), 95–109.
Gell, A. (1992). ‘The technology of enchantment and the enchantment of technology’,
in J. Coote and A. Shelton (eds), Anthropology, Art and Aesthetics. Oxford:
Clarendon (pp. 40–63).
Images and forms before Plato
Ingold, T. (2013). Making: Anthropology, Archaeology, Art and Architecture. London