You may already know that the work at the Ness of Brodgar is supported by organisations including Orkney Islands Council, but a huge amount of money is raised through public donations, from people buying from the on-site shop, sponsoring a square or spending a few hours at one of the many other fundraising events.
I guess that this is one of the special things about the Ness of Brodgar-so many people make the excavation possible through their generosity in time and/or money.
One way in which you may want to help fund the excavation is to purchase a Ness of Brodgar Guide Book. This richly illustrated, 34 page book explains the history of the site in detail and looks at the work that is being completed at this important Neolithic Site. Costing just £6, this book makes an ideal stocking filler for those interested in archaeology.
The introductory paragraph to the guidebook introduces the Ness…..”Fifteen generations separate the early settlers on the Orkney archipelago from the architects of the Ness of Brodgar – an island centre that would endure for 60 generations. The last occupants left the Ness 4000 years ago and for 200 generations it has lain, forgotten, beneath the plough.”
The Ness Through Time
What is the Ness of Brodgar
Discovery and Excavation
The Ness in the Landscape
Mace Heads, Axes and Carved Stone Balls
Art of Stone
Structures 8 and 14 – Multiple Piers and Painted Walls
Structure 10 – 400 Head of Cattle
Structure 12 – Master Builders
Great Walls and Great Mounds
Who were the People of the Ness
The Big Questions
The money raised goes directly to making the Ness of Brodgar work each year.
Art and Architecture in Neolithic Orkney: Process, Temporality and Context. Antonia Thomas. Archaeopress. 2016
Caroline Wickham-Jones kindly wrote a detailed review of Art and Architecture in Neolithic Orkney, which was subsequently published in The Orcadian newspaper this week. Caroline writes….
We are all used to reading media snippets about amazing structures and spectacular artefacts from Orkney’s Neolithic past. How refreshing therefore to have a whole book devoted to one aspect in detail. Even more exciting: a book that takes information from our newest and most enigmatic site at Ness of Brodgar, and puts it into context with information from two of our oldest sites: Skara Brae and Maeshowe. Finally, and the icing on the cake, it is readable.
Art and Architecture in Neolithic Orkney is a handsome volume; it is well illustrated and clearly set out. It is designed to be read from cover to cover but in fact there is a lot of detail here and it also makes for an excellent ‘dipping’ book. The main thrust, as you might guess, is to provide an overview of the amazing suite of decorated stones found within the structures of Neolithic Orkney through detailed studies of these three key sites. Within each site, particular case studies are set out.
It is a comprehensive piece of work, taking us first through a history of the archaeological study of art, and then providing a brief guide to the Neolithic art of Britain and Ireland. This helps to put Orkney art into context, though one cannot help wondering, given the thoroughness of the present research and the ephemeral nature of many of the pieces recorded, whether decorated stones might be under represented outside of Orkney. Many of the pieces here were unknown before Thomas’ research.
We are led deeper into a fascinating detailed consideration of the individual sites. With regard to Skara Brae and Ness of Brodgar a wealth of useful material is provided, including up-to-date breakdowns of the architectural remains and stratigraphy. Even for Maeshowe, a site which you might think had been well published in all its glory, Thomas finds angles and information that have not been presented before.
After this is it time for some serious discussion and analysis. In common with archaeological thought today, Thomas has moved far beyond the old-fashioned ‘Art Historical’ approach and even beyond the ‘Technological/Functional’ approach that was all the rage when I graduated. You won’t find an explanation of ‘meaning’, nor detailed discussions of manufacture, but hopefully any disappointment will be assuaged by learning new ways of thinking about the pieces. Rather than focusing on possible interpretations of Neolithic Art as a sort of code from the past, Thomas teaches us to consider the ways in which it was used and how it may have functioned as part of everyday life.
This is done through three different examinations: first, the processes of incorporating material into Neolithic structures; second, the lifespan (often brief) of art as a visible element; and third the wider context of community and identity in Neolithic Orkney. We are never going to know exactly what the makers of the ‘Brodgar Butterfly’ or the Skara Brae Lozenges meant by them, just as we don’t know what Leonardo intended to convey in the Mona Lisa’s smile, or Banksy with his graffiti. But we can start to think about the roles that these pieces of art played in relationship to their surroundings and those who frequented them.
In this way, Thomas has identified very specific and differing forms of creation and deposition. For me perhaps the most surprising elements are the ways in which design appears to be less important than creation, and existence more important than visibility. Is this indeed ‘art’ as we understand it? Only in the way in which a hidden tattoo or plasterer’s doodle might be so defined.
There is a lot to take in. There is a lot to think about. It is a book that will linger and enrich any exploration of the remains of Neolithic Orkney. The ‘art’ itself is just wonderful, it was clearly an integral part of the lives of our Neolithic ancestors. I can’t help a slight regret that I’m still so far from ‘reading’ it, but I now know so much more about those who tramped the passages and halls of the past. I’m happy.
The book is based on Antonia Thomas’ PhD thesis (itself an exemplary piece of work I am told), and she has done an impressive job, not just in completing the thesis but in producing a publication less than a year after attaining her doctorate. It marks the inauguration of the Archaeology Institute’s Research Publications, judging by the ongoing projects in the Institute one can only wait with excitement for the next volumes in the series. Meanwhile, if you have an interest in the lives of those who lived and farmed in Orkney five thousand years ago, I urge you to go out and buy it.
Published by Archaeopress, this publication forms the first in a series by the University of the Highlands and Islands Archaeology Institute and it is available in print and e-format from www.archaeopress.com and is priced at £45 for the paperback and £19 for the eBook.
A new book co-edited by Sarah Jane Gibbon (lecturer in Archaeology at the University of the Highlands and Islands Archaeology Institute) has just gone on sale. The book draws on Sarah Jane Gibbon’s and James Barrett’s considerable knowledge of the Viking and Medieval world and focuses on the Baltic, North and Irish Seas in the Viking and the early Middle Ages. Individual chapters introduce maritime worlds ranging from the Isle of Man to Gotland. It is mainly an archaeological project, but also refers to historical archaeology, history and literature. The book explores the complex relationships between long range interconnections and regional identities that are characteristic of maritime societies. The volume seeks to understand communities that were brought into being by their relationship with the sea and who set waves in motion that altered distant shores.