Bronze Age rock carvings suggest communities across Europe were far more connected than previously thought.
That is according to a new study led by our Department of Archaeology.
The research compared ancient rock carvings, or ‘petroglyphs’, of boats across 12 sites in Northwest Iberia (modern Spain and Portugal), with well documented petroglyphs in Southern Scandinavia (Sweden and Denmark).
The aim was to understand whether the boat carvings were connected, and what this might reveal about Bronze Age life.
The study found that the carvings of boats in both regions shared distinct design features. These included end ship decorations (such as birds and s-shapes), rigging, oars and sail-like shapes.
The researchers believe these similarities in vessel design show that ideas and technologies were being shared across Europe through maritime links and cultural connections.
The research team also believes that the carvings show that boats were more than just a means of transport, and also held symbolic importance linked to rituals and beliefs.
The findings suggest that far from being local or isolated, Bronze Age communities were highly connected.
Maritime travel covered large distances and helped share cultural ideas across thousands of kilometres.
The researchers developed highly detailed 3D scans and models of the Iberian rock carvings to study the shapes and details more accurately.
They also mapped where the carvings were located and analysed the surrounding areas – in particular their proximity to coastlines, rivers and waterways.
These details were then compared with thousands of known Scandinavian examples to identify similarities.
The similarities helped the research team date the Iberian carvings to around 1300-800 BCE which aligns them, chronologically, with known Scandinavian maritime technologies. This dating suggests that, regardless of whether the engravings were left by visiting foreign crew or local sailors adopting foreign naval technologies, coastal communities in Northwest Iberia were actively engaged with expansive, long-distance maritime networks.
Almost all the Iberian boat rock art sites were near to a river or sea or positioned where water was visible, suggesting they were deliberately placed in maritime landscapes.
The team also identified cosmological elements on both Iberian rock art, such as sun crosses near boats, similar to Nordic iconography, hinting at a shared focus on solar mythology.
Boat 1 of Laxe Auga dos Cebros. Left: 3D visualizations from the RAW project. Top right: landscape setting of the panel. Bottom right: interpretation of boat 1. Reprinted under a CC BY 4.0 license, with permission from Marta Díaz-Guardamino, Ashely Green, and Boel Bengtsson.
3D model of the panel 6 of Laje da Churra, North Portugal, highlighting some of the boat depictions. Credit: Boel Bengtsson and Ashely Green.
RTI capture (left) and 3D visualization (right) of the Penedo do Muro 2 panel. Reprinted under a CC BY 4.0 license, with permission from Johan Ling, Marta Díaz-Guardamino and Ashely Green.
Aerial view of the site of Santo Adriao, North Portugal. Credit: Mikael Agaton.
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‘Triangular boat’ petroglyph in the panel 18 of Laje da Churra, North Portugal. Photo credit: Ana M. Bettencourt.
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