poster: visual communication on viking-age runestones

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Social context The Viking‐Age custom of carving runestones fits in the tradi;on of crea;ng large, costly monuments for someone’s death that featured prominently in the landscape as mounds and stone se@ngs and in cultural memory as furnished graves. Images on runestones include objects (e.g. ships, wagons), aHributes (e.g. weapons) and animals (e.g. horses, dogs, birds) that were used as grave goods. This suggests that certain images func;oned in the same context of commemora;on and status‐display as the objects in graves. Cogni;ve context When inscrip;ons and images are combined, pictures make an earlier and stronger impression on viewers than text. 1 Five inscrip;ons that use ráða in the meaning ‘interpret’ explicitly refer to the runes as needing interpreta;on, 2 but in six others this possibly also concerns other aspects of design or the whole runestone. 3 CONTEMPORARY ACCOUNTS OF VIEWING IMAGES The seeing‐in model on representa;on theory explains that viewers will think about a scene when perceiving a picture, and experience this as a single process. 4 The vocabulary in four skaldic poems which refer to images also gives the impression that these prompted the viewer to recall and recount the related narra;ves. 5 Such images possibly resembled those on the remains of Viking‐Age hangings from Överhogdal and Oseberg, which represent mul;ple stories. The similar images on runestones could also have evoked stories in the observer's mind. Other poems show that mul;ple stories could relate to the praised person, rather than to each other. 6 Introduc;on Ca 10 % of the roughly 3000 Viking‐Age runestones found in Scandinavia are decorated with figural images of human figures, animals, ships, etc. RESEARCH QUESTION Were the images part of a general method of visual communica;on employed on runestones and how did they func;on? VISUAL ANALYSIS:IMPRESSIONS &QUESTIONS Images are generally more prominent in the design than the text, both in size and posi;on. Because one‐to‐one rela;onships between images and inscrip;on‐ elements cannot be discerned it seems images communicate not only in another way than the inscrip;ons, but also a different kind of informa;on. Do inscrip;ons on stones with certain images contain more ojen informa;on addi;onal to the memorial formula, like a carver‐signature, a prayer or invoca;on, or informa;on about the commemorated person’s life or death? Visual Communication on Viking-Age Runestones Marjolein Stern [email protected] REFERENCES 1 Ann Marie Barry, “Percep;on Theory”, in Handbook of Visual Communica5on, ed. by Ken Smith et al. (2005), pp. 45‐62. 2 U 11 Hovgården, U 729 Ågersta, U 847 Västeråkers k:a, U Fv1959;196 Hammarby k:a, Vg 119 Sparlösa. 3 Öl 58 Böda k:a, Sö 213 Nybble, U 29 Hillersjö, U 328 Lundby, U 887 Skillsta, U 1167 Ekeby. 4 Keith Kenney, “Representa;on Theory”, in Handbook of Visual Communica5on, ed. by Ken Smith et al. (2005), pp. 99‐115 (111). 5 Úlfr Uggason’s Húsdrápa, Bragi Boddasons’ Ragnarsdrápa and Þórr's Fishing, and Þjóðólfr ór Hvíni’s Haustlǫng. 6 Illugi bryndœlaskáld’s Digt om Haraldr harðráði ; Kormákr Ǫgmundarson’s Sigurðardrápa; Þorfinnr munnr’s Lausavísur. Vs 17 Råby The ship is visible long before the inscrip5on can be read. What did this ship mean for Holmsteinn, who : let : resa : mer[ki : e-ir : .frit : gonu : sina : ok : i-ir] : sik : selfan : (had the landmark raised in memory of Tíðfríðr, his wife, and in memory of himself)? Supervised by Prof. Judith Jesch and Dr Christina Lee Sö 213 Nybble. Photo: Christer Hamp 2007 www.christerhamp.se/runor Example of axe‐burial. Ajer G. Trotzig, “An axe as sign of rank in a Viking community,” Archaeolo‐ gy and Environment 4 (1985), pp. 83‐87 (84). DR 282 Hunnestad Drawing: Ole Worm, Monumenta Danica Överhogdalsbonaderna fragment. Photo: www.jamtli.com Raþi : saR : kuni (Interpret who can!) at the end of this inscrip5on could refer back to the whole monument: stain […] s.ntn : at : uitum : bat : miþ : runum (the stone, painted as a marker, bound with runes). Par5cular burial types with riding equipment (and/or horses) and weapons such as swords and spears on the one hand and non‐equestrian graves with an axe as only weapon on the other can be dis5nghuished in various Scandinavian regions. There is a similar divide among the images of human figures with weapons on runestones: longsha[ed axes are the sole a\ribute of standing men on Sö 190 Y\erenhörna and DR 282 Hunnestad, while swords and spears are largely held by figures on horseback on Vg 119 Sparlösa, U 678 Skokloster, U 691 Söderby, U 855 Böksta, and U 1161 Altuna and occur in combina5on with each other on Ög 181 Ledberg. Vg 119 Sparlösa U 1161 Altuna Example of burial with horse, dog and various weapons, incl. sword. Ajer K. Kjallmark, “EH graffält från den yngre järn‐ åldern i Ås i Jämtland,” Ymer (1905), pp. 351‐372 (365).

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SocialcontextThe Viking‐Age custom of carvingrunestones fits in the tradi;on of crea;nglarge, costly monuments for someone’sdeath that featured prominently in thelandscape as mounds and stone se@ngsandinculturalmemoryasfurnishedgraves.

Imagesonrunestonesincludeobjects(e.g.ships, wagons), aHributes (e.g. weapons)andanimals(e.g.horses,dogs,birds)thatwere used as grave goods. This suggeststhat certain images func;oned in thesame context of commemora;on andstatus‐displayastheobjectsingraves.

Cogni;vecontextWhen inscrip;ons and images arecombined, pictures make an earlier andstrongerimpressiononviewersthantext.1

Five inscrip;ons that use ráða in themeaning ‘interpret’ explicitly refer to therunesasneedinginterpreta;on,2butinsixothers this possibly also concerns otheraspectsofdesignorthewholerunestone.3 CONTEMPORARYACCOUNTSOFVIEWING IMAGES

The seeing‐in model on representa;ontheory explains that viewers will thinkaboutascenewhenperceivingapicture,andexperiencethisasasingleprocess.4

Thevocabularyinfourskaldicpoemswhichrefer to images also gives the impressionthat these prompted the viewer to recallandrecounttherelatednarra;ves.5

Suchimagespossiblyresembledthoseonthe remainsofViking‐Agehangings fromÖverhogdal and Oseberg, whichrepresent mul;ple stories. The similarimages on runestones could also haveevokedstoriesintheobserver'smind.

Other poems show that mul;ple storiescouldrelatetothepraisedperson,ratherthantoeachother.6

Introduc;onCa10%oftheroughly3000Viking‐Agerunestones found in Scandinavia aredecoratedwithfiguralimagesofhumanfigures,animals,ships,etc.

RESEARCHQUESTIONWeretheimagespartofageneralmethodof visual communica;on employed onrunestonesandhowdidtheyfunc;on?

VISUALANALYSIS:IMPRESSIONS&QUESTIONS•  Images are generally more

prominent in the design than thetext,bothinsizeandposi;on.

•  Because one‐to‐one rela;onshipsbetween images and inscrip;on‐elementscannotbediscerneditseemsimages communicate not only inanotherwaythantheinscrip;ons,butalsoadifferentkindofinforma;on.

•  Doinscrip;onsonstoneswithcertainimagescontainmoreojeninforma;onaddi;onal to the memorial formula,like a carver‐signature, a prayer orinvoca;on, or informa;on about thecommemoratedperson’slifeordeath?

VisualCommunicationonViking­AgeRunestones

[email protected]

REFERENCES1AnnMarieBarry,“Percep;onTheory”, inHandbookofVisualCommunica5on, ed.byKenSmithetal. (2005),pp.45‐62.

2U11Hovgården,U729Ågersta,U847Västeråkersk:a,UFv1959;196Hammarbyk:a,Vg119Sparlösa.

3Öl 58 Böda k:a, Sö 213Nybble,U 29Hillersjö,U 328Lundby,U887Skillsta,U1167Ekeby.

4 KeithKenney, “Representa;onTheory”, inHandbook ofVisualCommunica5on, ed.byKenSmithetal. (2005),pp.99‐115(111).

5ÚlfrUggason’sHúsdrápa,BragiBoddasons’RagnarsdrápaandÞórr'sFishing,andÞjóðólfrórHvíni’sHaustlǫng.

6Illugibryndœlaskáld’sDigtomHaraldrharðráði;KormákrǪgmundarson’sSigurðardrápa;Þorfinnrmunnr’sLausavísur.

Vs17Råby

Theshipisvisiblelongbeforetheinscrip5oncanberead.

WhatdidthisshipmeanforHolmsteinn,who:let:resa:mer[ki:e-ir:.frit:gonu:sina:ok:i-ir]:sik:selfan:(hadthelandmarkraisedinmemoryofTíðfríðr,hiswife,andinmemoryofhimself)?

SupervisedbyProf.JudithJeschandDrChristinaLee

Sö213Nybble.Photo:ChristerHamp2007www.christerhamp.se/runor

Exampleofaxe‐burial.AjerG.Trotzig,“AnaxeassignofrankinaVikingcommunity,”Archaeolo‐gyandEnvironment4(1985),pp.83‐87(84).

DR282HunnestadDrawing:OleWorm,MonumentaDanica

Överhogdalsbonadernafragment.Photo:www.jamtli.com

Raþi : saR :kuni (Interpretwhocan!)at theendof thisinscrip5on could refer back to the whole monument:stain […] s.ntn : at : uitum : bat : miþ : runum (thestone,paintedasamarker,boundwithrunes).

Par5cularburialtypeswithridingequipment(and/orhorses)andweaponssuchasswordsandspearsontheonehand and non‐equestrian graves with an axe as only weapon on the other can be dis5nghuished in variousScandinavianregions.There isasimilardivideamongthe imagesofhumanfigureswithweaponsonrunestones:longsha[ed axes are the sole a\ribute of standingmen on Sö 190 Y\erenhörna and DR 282 Hunnestad, whileswordsandspearsarelargelyheldbyfiguresonhorsebackonVg119Sparlösa,U678Skokloster,U691Söderby,U855Böksta,andU1161Altunaandoccurincombina5onwitheachotheronÖg181Ledberg.

Vg119Sparlösa

U1161Altuna

Exampleofburialwithhorse,dogandvariousweapons,incl.sword.AjerK.Kjallmark,“EHgraffältfråndenyngrejärn‐ålderniÅsiJämtland,”Ymer(1905),pp.351‐372(365).