Helleristninger

300 Scandinavian petroglyph sites and the 3 artists who engraved them

Allan Krill, Professor of Geology
Trondheim, Norway

'Deep Dive' podcast   (30 minute audio, December 25, 2024)

In June 2021, while looking at the Alta petroglyphs (helleristninger) with my geology students, I realized that those engravings could not have been pecked with Stone Age tools. Stone points are brittle and shatter when struck. Quartz crystals, for example, are more brittle and break more easily than glass. Antler points and bone points would be too soft. We can see that the pecking tool was very sharp and could be accurately positioned. It kept its shape without breaking, strike after strike. The point must have been iron, and the petroglyphs must be from the Iron Age, not the Stone Age or Bronze Age. Wrought iron boat nails would be the perfect tool.

Nailpoint marks are clearly visible at Alta. 

Left: Longship with animal-head prow and a crew of 15 or 30 men.
     Center: Cervid (reindeer, moose, or elk.)
          Right: 'Bronze Age'-style boat, and 10,000 year old glacial striations.

Some of the petroglyph images are Viking-style longships with animal-head prows and large crews. Such boats are for long-distance travel, not for fishing. It would probably take about two weeks for a crew to paddle the full length of Norway. There would always be a hammer and spare nails on a longship for necessary repairs. A petroglyph artist who was a strong paddler would be welcome to join such trips. People with longships would not spend winters in arctic Alta, where the sun sets on November 24th and doesn't rise again until January 16th. They probably visited Alta in the midnight-sun season, like I do. Alta petroglyphs suggest that the visitors were obtaining reindeer products from the local Sámi people.

I identify individual artists by their quirks. From studying photographs and tracings of petroglyphs, I now think that only three artists —whom I call Steinn Stikkmann, Ingi Innrisser, and Oddr Omrisser— made nearly all the petroglyphs in Norway, Sweden, and NW Russia. There are no pecked petroglyphs in Finland, or in large parts of Sweden, or in Aust-Agder Norway, simply because none of the petroglyph artists went there. 

I think that Steinn Stikkmann invented the nailpoint technique, and the other two artists got the idea from him. There are runes at six of his sites (Stuberg, Tessem, Kårstad, Askum, Herrestad, Himmelstalund). The runes were written with characters of the Elder Futhark alphabet, which was in use about 400 CE. Swastikas from the same time period are engraved on three of those panels (Stuberg, Kårstad, Askum). That gives us the age of the earliest petroglyphs. All three artists sometimes showed longships with animal-head prows, precursors of Viking dragon-head prows. But since none of the hundreds of petroglyph boats show sails, the petroglyphs must have been made before 800 CE.

It is possible to consider the skills, motifs, and styles of the artists, and speculate about their artistic careers and travels. I explain my current interpretations below. You can find evidence and the reasoning for most of my hypotheses in the blog links at the bottom of this page.

Steinn Stikkmann discovered how to use a nail as a 'stabbing tool' (stikkvåpen) to engrave relatively soft rocks in Gauldalen, central Norway. He also tried engraving with a knife point. Archaeologists have noted that the petroglyphs in Gauldalen are relatively crude. Stikkmann practiced engraving by making round 'cup marks' and sets of matching shoe prints that never show a pattern of walking. His favorite motif was boats. He drew many longships with two extensions fore and two extensions aft, like the Iron Age boat that was buried at Hjortspring, Denmark in about 350 BCE. But most of Stikkmann's longships were more seaworthy, with high bows and sterns. Most of Stikkmann's boats are asymmetrical with long keel-extensions fore, and short keel-extensions aft. They are said to be Bronze Age boats, but I think they are from about 400 CE.
       Stikkmann's art is highly stylized and easy to recognize. He drew extremely skinny horses, men with exaggerated calf muscles, long necks, and often with phalluses —sometimes an obvious phallus and scrotum, but usually disguised as a possible knife, sword, stick, or extraneous line. He sometimes showed interactions among figures. He showed skinny horses pulling a chariot (at Staveneset, Begby, Björneröd, Brastad, Frännarp, and Kivik) and processions of about nine men (at Leirfall, Bakke, Tanum, Häljesta, Ekenberg, and Kivik). He exaggerated some things, such as extra-long longships with over a hundred crew members, and captains shown as giants standing in ships. At several places he showed an acrobat doing a backward somersault, usually above a longship.


       Stikkmann's petroglyph sites show where he traveled. I think he started at Foss, where he practiced engraving by making mostly cup marks on over 50 different panels. Foss was a wealthy settlement in 400 CE. Because of the waterfall ('foss') on the Gaula River, the chief of a travel station there could serve people traveling between central Norway and southern Norway. Archaeologists have found a chief's burial site at Foss containing artifacts of gold, and dated it to about 400 CE. A bog-iron smelting facility has also been found. Stikkmann may have been a chief's son, since he was educated enough to write with runes. Stikkmann's real name may have been Foss: place names have been used as surnames since Viking times, and there are currently over 3000 Norwegians with the surname Foss.
       From Foss, Stikkmann went to the lake Selbusjøen where he found granite boulders to engrave. I think he was impressed with the qualities of granite, which is practically nonexistent in central Norway. He then went to Stjørdal, where he may have stayed for a year or so. Then he went to Steinkjer, and further north to Nordland. He took a great journey, maybe looking for granite panels. He probably began at Foss in the spring. He walked to Rennebu and Oppdal. He left few petroglyphs on this part of his trip, probably because there was snow on the ground. He avoided the high snowy mountains of Dovrefjell by walking west to Gravem and out to the fjords. Then he traveled by longship around the coast all the way to the southern tip of Norway. He did not continue further, which explains why there are no petroglyphs in Aust-Agder. Instead, he made a U-turn and went back to Stavanger and then traveled inland to Telemark and Skien. From there he went wide around Oslofjord and then came to Østfold-Bohuslän, where he settled.
       Stikkmann spent many years working with the Bohus granite in the Østfold-Bohuslän area. He made petroglyphs on thousands of rock panels in that granite. The Bohus granite was ideal for his petroglyphs. It is hard and smooth, with no layering and relatively few fractures. (Gustav Vigeland used Bohus granite to carve statues and the monolith in Frognerparken.) Stikkmann took some long trips to check out other areas. He visited eastern Sweden, the southern tip of Sweden, and the islands Gotland and Bornholm. He must have been famous, because he was invited to engrave rock slabs in the 'King's Grave' of Kivik. I suppose that he owned no house or property, and that people gave him room and board wherever he went. Being well traveled and educated he was probably a popular house guest.
       Stikkmann's motifs were actually quite limited, considering the thousands of panels that he engraved. I think he was not getting suggestions or incentives to vary things. He was satisfied with the motifs that he had.

Ingi Innrisser drew mostly cervids —deer, reindeer, moose, or elk. They are schematic, not naturalistic. They often have small pointed heads. The species of animal cannot usually be identified. A few at Vingen may be horses, since they seem to have riders. He liked to decorate the bodies of cervids and humans with ribs or various patterns, including geometric designs. He sometimes made story pictures: the migration of cervids at Gamnes and Nämforsen, Sámi people at Alta collecting their reindeer in corrals, bears at Alta leaving their winter dens and making long trails of footprints in the snow, men with bows and arrows hunting bears and reindeer at Alta, men on skis at Vyg and Kanozero hunting cervids and bears, and fleets of boats with animal-head prows harpooning beluga whales in the White Sea of Russia.
       From analysis of Innrisser's motifs and styles, I am trying to follow his career. I think that his first work was at Vingen, where there are about two thousand engravings. I think he made them all. They include his new-beginner attempts on loose rocks of various sizes. He engraved hundreds of strange hook figures. They comprise about 20% of his images at Vingen and are not really understood. He may have engraved the hook figures simply to practice engraving. He made many at Alta, and there we can see that they are animal-head sticks being held up by powerful people. He also made a few at Nämforsen. Maybe Innrisser was inspired by an animal-head walking stick that his father or grandfather had owned.
       There has never been a settlement at Vingen, and I suspect that Innrisser actually lived in the populated Skatestraumen area nearby. He probably knew about Stikkmann's nailpoint engravings. After engraving petroglyphs at Vingen, he took his first long trip to Tennes and Alta. I think he showed Omrisser how to engrave rocks on that trip. His next major work was probably at Ausevik. His human figures at Vingen, Storsteinen/Amtmannsnes (Alta) and Ausevik are all wildly experimental. At most of his sites (but not Vingen or Ausevik) he was together with Omrisser. Omrisser encouraged Innrisser to make his cervids more anatomically correct —with shoulder humps, larger heads, and muscular legs. Innrisser and Omrisser took a long trip together to eastern Norway, following the valleys and rivers of Gudbrandsdalen and Drammen. Those engravings may have all been done in one long summer.
       The last sites of Innrisser's career were the ones in Russia near the White Sea. There he drew humans mostly in profile, not face-on.



Oddr Omrisser usually made outlines of his objects —of animals, of boats, of people, and even of the antlers of reindeer and the penises of men. He made images large and even life size when possible. He was a naturalist, and many of his animals were highly naturalistic. It is usually possible to identify the species of his cervids, birds, fish, and whales. He often drew a line for the mouth, but no eye, and often ignored the feet, ending the legs as points. He usually drew two ears forming a V, but he showed only one foreleg and one hind leg. He sometimes indicated internal organs of animals. He put rhombic designs on many of his panels, including rhombs with a special 3D-effect (at Fångsjön, Hell, and Forselv). Those 3D-rhombs are so special that I think of them as Omrisser's signature or fingerprint. He rarely showed interactions among figures. However, at two sites (Bardal in central Norway, and Alta in northern Norway) he showed a large naturalistic man with an erection approaching a diminutive woman.
       Omrisser's engravings are typically overlapping and incomplete. He had the curious habit of defacing rock panels by carving large and inappropriate images right on top of others. He cluttered most of his own panels in that way, and Stikkmann's panels at Bardal and Stavanger, and Innrisser's panels at Alta and Bogge.
       Early in his career, Omrisser painted rock panels at dozens of sites in northern Sweden, and a few sites in central Norway, and maybe at Transfarelv in Alta. He used red ocher pigment, probably mixed with fat that penetrates the rock surface, leaving red traces that are still visible after more than a thousand years. He worked during the winter in Sweden, when he could stand on frozen lakes and paint rock panels on the lake edge. Later, he also engraved rocks while standing on frozen lakes. I suspect that he was born south of Strömsund Sweden, where there is a cluster of his rock paintings, all within skiing distance from each other. That is not far from Nämforsen, where he and Innrisser made nailpoint petroglyphs, also during wintertime when the river had little water.
       I think that Omrisser's earliest engravings were at Tennes with Innrisser, because his drawings there are amateurish. He probably engraved those petroglyphs without first drawing the images with charcoal. His next engravings were at Alta, also with Innrisser. He visited Alta other summers as well, after his drawing and engraving skills had improved.
       Omrisser used four different petroglyph techniques during his career. He started with red ocher stain, but mostly he used the nailpoint technique. On two panels of soft rocks (at Gärde and Hell) he engraved using a knife point. Late in his career, at the peak of his anatomical knowledge and drawing skill, he discovered that he could quickly and easily make large petroglyphs by scraping away black lichen that covers the surfaces of white granites. He made life-sizedimages of animals (and a 4.3 meter long boat) using that technique at seven coastal sites in Nordland (Leiknes, Fykanvatn, Mjønes, Nes, Sagelva, Valle, and Åmøya).






Tryggvi Tagger.  In our 'Urban Age' we are familiar with graffiti and tagging. Petroglyphs were graffiti art, and Stikkmann, Innrisser, and Omrisser were Iron Age 'Banksys'. A fourth person, whom I call Tryggvi Tagger, made cup marks on boulders in high mountain areas of southern Norway. Those engravings were not artistic, but simply marked his presence. I think he learned the nailpoint technique and the joy of making cup marks from seeing Stikkmann's engravings in Ullensvang on the east side of Hardangerfjord. Then Tagger made hundreds of cup marks on about 50 boulders near Stikkmann'a sites. From there he went north and northeast, tagging cup marks on over a hundred boulders over a huge area, as far away as 150 km from Ullensvang.

Runestones were engraved by other artists.  They also probably used the nailpoint technique. There are about 10 runestones written with Elder Futhark runes (24 character alphabet) in Norway and Sweden. I know of none that include images. There are over 2000 runestones with Futhark runes (16 character alphabet) from the Viking Age (800-1030 CE). Many of these runestones have images, but none resemble the images of Stikkmann, Innrisser, or Omrisser.

Petroglyphs cannot be dated directly, and that has been a problem in archaeology. People expect archaeologists to tell how old a petroglyph is, and everyone appreciates an artifact more if it is very old. Norwegian archaeologists adopted the 'shoreline dating' method a century ago, which maximizes the age of an artifact. Shoreline dating gives the time that the land area was lifted above the sea during post-glacial uplift. That is the oldest possible time of human activity on that land —not the most likely time. At many petroglyph sites, images high on the rock panel are said to be hundreds of years older than similar images a few meters lower down.
       Shoreline dating and the belief in Norwegian Stone Age archaeology became firmly established by the claims of Anders Nummedal. He was a school teacher with an education in geology. I contend that he made artifacts himself, and then said he found them on uplifted beach terraces from 1909 to 1939. Many of his artifacts were obviously chipped from polished beach cobbles of poor quality stone. There are no rust stains or lichens on the chipped surfaces, showing that they were freshly made, not 'found'. Nummedal's goal was to create a belief in Stone Age inhabitants, and to create an archaeology career for himself. I am certain that he falsified finds on uplifted Stone Age beaches at over 200 sites in central Norway and over 60 sites in Finnmark. He wrote that he easily found chipped stones, and that it was his fate to discover Norway's prehistoric settlements.
       Archaeologists were fooled by Nummedal's deceit for many years. Then they stopped including references to his groundbreaking publications in their own publications, and they try to avoid thinking about it. They do not want to jeopardize their own careers in Norwegian Stone Age archaeology. I have explained Nummedal's hoaxes in detail at Hoaxyz.com, and translated his most influential book Le Finnmarkien: Les origines de la civilisation dans l'extrême-nord de l'Europe. My goal is to encourage new archaeology students to read Nummedal's original works and be aware of his falsifications.

The maps below show the areas of all petroglyphs (excluding Tagger's cup marks.) If there were cultures responsible for petroglyphs, as archaeologists have maintained, I think petroglyphs would not be absent in places that would naturally be populated. The patterns suggest that only a few artists worked at places during their travels. I contend that Stikkmann made the "Bronze Age" petroglyphs, except for a few made by Omrisser at Nämforsen, Stavanger, and Alta. Then Innrisser and Omrisser made the "Stone Age" petroglyphs. All were made in the Iron Age, when Scandinavian geography was pretty well known by these early Vikings.


Archaeologists are committed to their paradigm that petroglyphs were the work of enigmatic cultures of the Stone Age and Bronze Age. Professionals have expertise that is suited to an established paradigm, and most of them will not shift paradigms. I know this from research for my book Not Getting the Drift about the paradigm shift from fixed continents to plate tectonics in geology. It's like American football players who now know about CTE brain disease, but their expertise is in football, and they can't shift to basketball or any other sport.
       No one likes an outsider telling them that they are wrong. Archaeologists have not answered my emails or come to my lectures, and journal editors have refused to send my manuscripts to peer review. But as a professor, I want to document my research, and warn students to be wary of Scandinavian Stone Age archaeology. If you would like to discuss this new paradigm, you may share your evidence and hypotheses here: https://groups.io/g/VikingRockArt

Allan Krill
allankrill@gmail.com

PS: Differing mindsets in geology and archaeology.  I map petroglyph artists in the way that geologists map rocks. A geologic mapper studies a rock’s minerals and textures at a key site and invents a name for that rock. (For example 'Jergul' Gneiss (Krill 1985)). Rocks vary from place to place. If the rock at another site seems about the same, a mapper uses the same color on the map, and the same rock name. If the rock seems too different, another color and name are used. Geologists who prefer few names are known as lumpers, whereas those who prefer many names are splitters. I am a lumper —I currently think there are only three petroglyph artists.
Here is a geologic map of Fennoscandia (Norden) from 1933. The rocks vary in age and appearance, and have been given local names. Note Stikkmann's favorite rock.
       Geologists and archaeologists interpret past events. One of the guidelines in geology is: “The present is the key to the past.”  Another might be: “An explanation should eliminate questions and require no further discussion.”  Guidelines in archaeology seem to be: “Present oddities may have been normalities in the past.”  And: “An explanation should popularize questions and encourage further discussion.”  Archaeologists make oddities such as cup marks, shoe prints, phalluses, and fluky site locations interesting, not mundane. For archaeologists, petroglyph images indicate remarkable cultures, with exotic superstitions and rituals. For me, petroglyph images indicate highly productive artists with normal interests and artistic expressions. We can look forward to hearing additional views.


Click on a site name to see some of the petroglyph images.
  300 sites. Helleristning/helleristninger, helleristningar, hällristning/hällristningar.
Almfjellet, Trøndelag (Omrisser) [ocher technique]
Alta, Finnmark (Innrisser + Omrisser)
Alta Bergbukten 1, Finnmark (Innrisser shown in red) (Omrisser shown in blue)
Alta Kåfjord, Finnmark (Innrisser shown in black) (Omrisser shown in blue)
Alta Amtmannsnes, Finnmark (Innrisser)
Alta Apanes, Finnmark (Omrisser)
Arnstad, Trøndelag (Stikkmann)
Askum, Bohuslän +page (Stikkmann) [runes]
Askvoll, Vestland (Stikkmann)
Aspeberget, Bohuslän (Stikkmann)
Aubeberget, Rogaland +page (Stikkmann)
Auran, Trøndelag (Stikkmann)
Ausevik, Vestland (Innrisser)
Backa, Bohuslän +page (Stikkmann)
Bakke, Trøndelag (Stikkmann)
Bakke-Kalhagen, Vestland (Stikkmann)
Balken, Bohuslän (Stikkmann)
Bardal I, Trøndelag (Stikkmann + Omrisser)
Bardal I, Trøndelag (Omrisser, with Stikkmann's work not shown)
Bardal II, Trøndelag (Stikkmann + Omrisser) [39% cup marks, 21% shoe soles]
Bardal III, Trøndelag (Innrisser)
Bavnehøj, Bornholm (Stikkmann) [99% cup marks]
Begby, Østfold (Stikkmann)
Berga, Västmanland (Stikkmann)
Berget, Buskerud (Stikkmann)
Bingsfossen, Akershus +page (Stikkmann)
Björksta, Västmanland (Stikkmann)
Bjørngård, Trøndelag (Stikkmann)
Bjørset, Møre og Romsdal (Omrisser?)
Blindern, Oslo (Stikkmann)
Blåholt, Bornholm (Stikkmann) [44% cup marks]
Bogge/Boggestranda I, II, III, Møre og Romsdal (Innrisser + Omrisser)
Bogge I, Møre og Romsdal (Innrisser + Omrisser)
Bogge II, Møre og Romsdal (Omrisser)
Bogge III, Møre og Romsdal (Omrisser)
Boglösa, Uppland (Stikkmann)
Boglösaby, Uppland (Stikkmann)
Bokenäs, Bohuslän (Stikkmann) [95% cup marks]
Borgenveien, Østfold (Stikkmann)
Bornholm, Denmark (Stikkmann)
Brandskog, Uppland (Stikkmann)
Brastad, Bohuslän +page (Stikkmann) [36% cup marks]
Bremset, Trøndelag (Stikkmann)
Brennholtet, Nordland (Omrisser)
Brillinge, Uppsala (Stikkmann)
Bro, Bohuslän (Stikkmann) [74% cup marks]
Brobakken, Buskerud (Stikkmann)
Brogård, Bornholm (Stikkmann) [28% cup marks]
Bru, Rogaland (Stikkmann + Omrisser)
Bruteigsteinen, Vestland (Stikkmann)
Brændesgård, Bornholm (Stikkmann) [72% cup marks]
Buøy, Rogaland (Stikkmann)
Bärfendal, Bohuslän (Stikkmann) [57% cup marks]
Bø, Rogaland (Stikkmann)
Bøla, Trøndelag (Omrisser)
Dalbo, Akershus +page (Stikkmann)
Disåsen, Bohuslän (Stikkmann)
Dokkfløyvatnet, Innlandet (Innrisser? + Omrisser?)
Drotten, Innlandet (Innrisser + Omrisser)
Duved, Jämtland (Omrisser)
Egna hem, Norrköping (Stikkmann) [45% cup marks]
Eidefossen, Innlandet (Innrisser + Omrisser)
Ekeberg, Oslo (Stikkmann) [>90% cup marks]
Ekeberg, Oslo (Innrisser + Omrisser)
Ekenberg, Norrköping (Stikkmann)
Emelieborg, Bohuslän (Stikkmann)
Etne, Vestland (Stikkmann)
Evenhus, Trøndelag (Omrisser)
Evjestien, Østfold (Stikkmann)
Fandens keglebane Nexø, Bornholm (Stikkmann) [97% cup marks]
Fandens keglebane Åkirkeby, Bornholm (Stikkmann) [94% cup marks]
Finntorp, Bohuslän (Stikkmann)
Fiskeby, Norrköping (Stikkmann)
Fjøsnaneset, Vestland (Stikkmann)
Flatruet, Jämtland (Omrisser)
Fluberget, Rogaland (Stikkmann)
Flyhov, Västergötland (Stikkmann)
Fordal, Trøndelag (Stikkmann)
Forselv, Nordland (Omrisser) [3D rhombic 'signature']
Forshälla, Bohuslän (Stikkmann)
Foss, Trøndelag (Stikkmann) [68% cup marks]
Foss, Bohuslän (Stikkmann) [67% cup marks]
Fossum, Bohuslän (Stikkmann)
Frännarp, Skåne (Stikkmann) [45% cup marks]
Fykanvatn, Nordland (Omrisser) [lichen-scraping technique]
Fåglum, Västergötland (Stikkmann) [30% cup marks, 70% footprints]
Fångsjön, Jämtland (Omrisser) [ocher technique] [3D rhombic 'signature']
Fårö, Gotland (Stikkmann) [58% cup marks]
Gamnes, Finnmark (Innrisser)
Geithus, Buskerud (Innrisser + Omrisser)
Gerum, Bohuslän (Stikkmann)
Gjettum, Akershus (Stikkmann)
Gjerpen, Telemark (Stikkmann)
Gjeving, Trøndelag (Stikkmann)
Glemmestad, Innlandet (Innrisser + Omrisser)
Glömminge, Småland (Stikkmann) [69% cup marks]
Glösa, Jämtland (Innrisser)
Granaune, Trøndelag (Stikkmann)
Gravem, Møre og Romsdal (Stikkmann)
Grinneröd, Bohuslän (Stikkmann)
Grødby, Bornholm (Stikkmann) [99% cup marks]
Gärde, Jämtland (Omrisser) [knife-point technique]
Görlöf, Bohuslän (Stikkmann)
Gåshopen, Finnmark (Innrisser)
Hafslund, Østfold (Stikkmann)
Haga, Rogaland (Stikkmann)
Hagen, Trøndelag (Stikkmann)
Hamarhaug, Vestland (Stikkmann)
Hammer I, IV, V, VI, VIII, X, XIII, XIV, XV, Trøndelag (Omrisser)
Hammer II, III, XI, Trøndelag (Stikkmann)
Hammer IX, Trøndelag (Stikkmann + Omrisser)
Hammersholm, Bornholm (Stikkmann) [90% cup marks]
Hananger, Agder (Stikkmann)
Harastad, Rogaland (Stikkmann)
Hauge, Rogaland (Stikkmann)
Haugen, Vestfold (Stikkmann)
Hegre, Trøndelag (Stikkmann)
Helgaberget, Vestland (Stikkmann?)
Hell, Trøndelag +page, (Omrisser) [knife-point technique] [3D rhombic 'signature']
Hellestø, Rogaland (Stikkmann)
Hemsta, Uppland (Stikkmann)
Hennebygda, Vestland (Stikkmann)
Herrebro, Norrköping (Stikkmann)
Herrestad, Bohuslän (Stikkmann) [runes, 81% cup marks]
Himmelstalund, Norrköping +page (Stikkmann) [runes]
Hinna, Møre og Romsdal (Omrisser) [ocher technique]
Hjulatorp, Kronobergs län (Stikkmann)
Hodnafjell, Rogaland (Stikkmann)
Hogdal, Bohuslän (Stikkmann)
Holtås I, Trøndelag (Innrisser)
Holtås II, Trøndelag (Omrisser)
Honnhammerneset, Møre og Romsdal (Omrisser) [ocher technique]
Horsahallen, Blekinge (Stikkmann)
Husebø, Agder (Stikkmann)
Hvitlycke, Bohuslän (Stikkmann)
Häljesta, Västmanland (Stikkmann) [50% cup marks]
Hästhallen, Skåne (Stikkmann)
Hästholmen, Östergötland (Stikkmann) [61% cup marks]
Hästskotjärn, Jämtland (Omrisser) [ocher technique]
Högadal, Blekinge (Stikkmann)
Högsbyen, Dalsland (Stikkmann)
Håby, Bohuslän (Stikkmann) [96% cup marks]
Håhaugsteinen, Vestland (Stikkmann)
Isnestoften, Finnmark (Innrisser + Omrisser)
Jondal, Vestland (Stikkmann)
Järrestad, Skåne +page (Stikkmann) [58% cup marks]
Jätteberget, Älvsborg (Stikkmann)
Jörlov, Bohuslän (Stikkmann)
Kalleberg, Rogaland (Stikkmann)
Kalleby, Bohuslän (Stikkmann)
Kanozero, Russia (Innrisser)
Karlsberget, Norrköping (Stikkmann)
Kattaberget, Rogaland (Stikkmann)
Katthammar, Rogaland (Stikkmann)
Kil, Trøndelag (Stikkmann)
Kivik, Skåne (Stikkmann)
Kjernevik, Rogland (Stikkmann)
Klockaretorpet, Norrköping (Stikkmann)
Krabbestig, Husevågøy, Vestland (Stikkmann)
Krokstad, Bohuslän (Stikkmann) [100% cup marks]
Kråkenes, Agder (Stikkmann)
Kvennavika, Trøndelag (Omrisser)
Kvernevik, Rogaland (Stikkmann)
Kviljo, Agder (Stikkmann)
Kville, Västergötland +page +page (Stikkmann)
Kyrkstigen, Västergötland (Stikkmann)
Kårstad, Vestland (Stikkmann) [runes]
Landverk, Jämtland (Omrisser)
Lane-Ryr, Bohuslän (Stikkmann)
Langeland, Rogaland (Stikkmann)
Leiknes, Nordland (Omrisser) [lichen-scraping technique]
Leirbukt, Finnmark (Innrisser)
Leirfall, Trøndelag (Stikkmann) [11% cup marks, 41% shoe prints]
Leirvåg, Vestland (Stikkmann)
Leonardsberg, Norrköping (Stikkmann)
Lier, Buskerud (Innrisser)
Lille Strandbygård, Bornholm (Stikkmann) [77% cup marks]
Litlevåg-Meling, Rogaland (Stikkmann)
Litsleby, Bohuslän (Stikkmann)
Ljung, Bohuslän (Stikkmann)
Lommeland, Bohuslän (Stikkmann)
Lunde, Agder (Stikkmann)
Lur, Bohuslän (Stikkmann)
Lycke, Bohuslän (Stikkmann)
Lyse, Bohuslän (Stikkmann) [47% cup marks]
Lärbro, Gotland (Stikkmann) [13% cup marks, 78% shoe prints]
Løkeberget, bohuslän (Stikkmann)
Løland, Rogaland (Stikkmann)
Lövåsen, Bohuslän (Stikkmann)
Lånke, Trøndelag (Omrisser)
Madsebakke, Bornholm (Stikkmann) [81% cup marks]
Maresø, Bornholm (Stikkmann) [73% cup marks]
Massleberg, Bohuslän (Stikkmann)
Melhus, Trøndelag (Stikkmann)
Melingsjøvegen, Rogaland (Stikkmann)
Mjønes, Nordland (Omrisser) [lichen-scraping technique]
Mo, Bohuslän (Stikkmann)
Molteberghellene, Østfold (Stikkmann)
Møllerstufossen, Innlandet (Innrisser)
Nag, Rogaland (Stikkmann + Omrisser)
Naverstad, Bohuslän (Stikkmann)
Nedre Tasta, Rogaland (Stikkmann)
Nes (Josarsaklubben), Nordland (Omrisser) [lichen-scraping technique]
Norr Edsten 15, Bohuslän (Stikkmann)
Norrfors, Norrland (Omrisser)
Nytjønna, Trøndelag (Innrisser)
Nämforsen, Västernorrlands län (Innrisser + Omrisser)
Näsinge, Bohuslän (Stikkmann)
Okkenhaug, Trøndelag (Stikkmann)
Onega, Russia (Innrisser)
Onsbæk, Bornholm (Stikkmann) [99% cup marks]
Oppeby, Södermanland (Stikkmann)
Orust, Bohuslän (Stikkmann) [96% cup marks]
Otterbäcken, Bohuslän (Stikkmann)
Penne, Agder (Stikkmann)
Pryssgården, Norrköping (Stikkmann) [100% cup marks, 520 total]
Pyntelund/Bjørnstaskipet, Østfold (Stikkmann)
Ramberg, Akershus +page (Stikkmann)
Rauhammer, Trøndelag (Omrisser) [ocher technique]
Re, Trøndelag (Stikkmann)
Reitaneset, Møre og Romsdal (Innrisser?)
Rennebu, Trøndelag (Stikkmann) [100% cup marks]
Revheim, Rogaland (Stikkmann)
Rickeby, Uppland (Stikkmann)
Ringeby, Bornholm (Stikkmann) [99% cup marks]
Roskar, Møre og Romsdal (Stikkmann)
Rudlo, Rogaland (Stikkmann)
Rykkje, Vestland (Omrisser)
Røkke, Trøndelag (Stikkmann)
Røsand, Møre og Romsdal (Omrisser)
Råhaugen, Østfold (Stikkmann)
Sagelva, Nordland (Omrisser) [lichen-scraping technique]
Salsnes, Trøndelag (Omrisser)
Salthammeren, Vestland (Innrisser + Omrisser)
Salthammeren upper panel, Vestland (Omrisser)
Salthammeren lower panel, Vestland (Stikkmann)
Samnøy, Vestland (Stikkmann)
Sandhalsen, Trøndelag (Omrisser) [ocher technique]
Sandåker, Bohuslän (Stikkmann)
Sanne, Bohuslän (Stikkmann) [100% cup marks]
Selbustrand, Trøndelag (Stikkmann)
Simrislund, Skåne (Stikkmann)
Sjøhagen-Meling, Rogaland (Stikkmann + Omrisser)
Skavberget, Troms (Omrisser)
Skee, Bohuslän (Stikkmann)
Skepplanda, Bohuslän (Stikkmann)
Skien, Telemark (Stikkmann)
Skogerveien, Buskerud +page (Innrisser)
Skredsvik, Bohuslän (Stikkmann) [75% cup marks]
Skälv, Norrköping (Stikkmann)
Slagsta, Södermanland +page (Stikkmann) [84% cup marks]
Slavlo, Trøndelag (Stikkmann)
Slettjord, Nordland (Omrisser)
Slettnes, Finnmark (Innrisser)
Sola, Rogaland (Stikkmann)
Solbakk, Rogaland (Stikkmann)
Solberg, Østfold +page (Stikkmann)
Sotorp, Bohuslän (Stikkmann)
Sporaneset, Telemark (Stikkmann)
St Almegård, Bornholm (Stikkmann) [99% cup marks]
Stavenes, Vestland (Stikkmann)
Stein, Innlandet (Innrisser) (+Omrisser)
Storløkkebakke, Bornholm (Stikkmann) [69% cup marks]
Storsteinen, Alta, Finnmark (Innrisser) (+Omrisser)
Strand, Trøndelag (Omrisser)
Stuberg, Trøndelag (Stikkmann) [runes]
Stugåsberget, Älvsborg (Stikkmann)
Stykket, Trøndelag (Omrisser)
Sundvollen, Buskerud +page +page (Stikkmann)
Surnadal, Møre og Romsdal (Innrisser)
Svanhalla, Blekinge (Stikkmann)
Svarteborg, Bohuslän (Stikkmann) [57% cup marks]
Sverstad Søndre, Vestfold (Stikkmann)
Søbstad, Møre og Romsdal (Omrisser)
Sør-Sunde, Rogaland (Stikkmann)
Tanum, Bohuslän (Stikkmann)
Tegneby, Bohuslän (Stikkmann)
Tennes, Troms (Innrisser)
Tennes, Troms (Omrisser)
Tessem, Trøndelag (Stikkmann) [runes]
Tjursåker, Uppland (Stikkmann)
Torhamn, Blekinge (Stikkmann)
Torsbo, Bohuslän (Stikkmann)
Tose, Bohuslän (Stikkmann)
Tossene, Bohuslän (Stikkmann)
Tro, Rødøy, Nordland (Stikkmann)
Tro, Rødøy, Nordland (Omrisser)
Ullshelleren/Valldalen, Vestland (Stikkmann)
Unneset, Vestland (Stikkmann)
Utsikten-Alvim, Østfold (Stikkmann)
Valla, Bohuslän (Stikkmann)
Valle, Nordland +page +page (Omrisser) [lichen-scraping technique]
Vallen, Västmanland (Stikkmann)
Verdal, Trøndelag (Omrisser)
Vigdel, Rogaland (Stikkmann)
Vik on Rolla, Troms (Omrisser)
Vikan, Trøndelag (Stikkmann)
Vitlycke, Bohuslän (Stikkmann)
Vingen, Vestland (Innrisser)
Vinja, Vestland (Stikkmann)
Vistnesdalen, Nordland +page (Omrisser)
Vrångstad, Bohuslän (Stikkmann) [77% cup marks]
Vyg, Russia (Innrisser)
Vågholmveien, Rogaland (Stikkmann)
Ydstines, Trøndelag (Stikkmann)
Ølbør, Rogaland (Stikkmann)
Örsta, Uppland (Stikkmann)
Åbodsjön, Ångermanland (Omrisser) [ocher technique]
Åby, Bohuslän+page (Stikkmann)
Åby, Norrköping (Stikkmann) [22% cup marks]
Åmøy, Rogaland (Stikkmann + Omrisser)
Åmøya, Nordland +page (Omrisser) [lichen-scraping technique]
Årby, Västmanland (Stikkmann + Omrisser)
Åskollen, Buskerud (Innrisser)
Åsvittinge, Norrköping (Stikkmann) [97% cup marks]

The links below explain my evidence and hypotheses (including hypotheses that I have abandoned).
   Index of the website https://groups.io/g/VikingRockArt

298/299. Fluky site locations: Absence of evidence is evidence of absence  (5/2025)

297. I now know of runes at six of Steinn Stikkmann’s petroglyph sites  (5/2025)

294. Differing mindsets in geology and archaeology  (5/2025)

293/296. Steinn Stikkmann's sites in eastern and southern Sweden  (5/2025)

290. Rennebu and Gravem petroglyphs show that Stikkmann began his long journey on foot

289. Steinn Stikkmann left his mark on the island Bornholm  (4/2025)

287. "Same ship, different day"  (4/2025)

286. Mostly cup marks on Orust, because there is no Bohus granite there  (4/2025)

285. Percentages of Stikkmann’s figures at sites in Bohuslän, and at Lista, Leirfall, & Foss

284. Steinn Stikkmann made a U-turn at the southern tip of Norway  (4/2025)

283. Only three traveling artists (not four)  (4/2025)

282. Steinn Stikkmann loved engraving cup marks  (4/2025)

281. Sites in Bohuslän with swastikas and Elder Futhark runes by Steinn Stikkmann  (4/2025)

279. The maypole (majstången) of Tanum was probably not engraved by Steinn Stikkmann

278. Stikkmann’s art at Kivik is from about 400 CE, but the monument is probably older

277. Tryggvi Tagger probably learned nailpoint technique from Stikkmann at Børve

276. Innrisser and Omrisser were together at Glemmestad (2/2025)

275. Stikkmann’s phalluses were about masculinity and power, not fertility  (2/2025)

274. Innrisser and Omrisser were together at Ekeberg, Oslo (2/2025)

273. Innrisser and Omrisser were together at Salthammeren, Hardangerfjord  (2/2025)

272. Petroglyph sites record Stikkmann’s journey from Bergen to Stavanger to Telemark

271. Four traveling graffiti artists and one traveling graffiti tagger (2/2025)

270. Petroglyph sites show how Stikkmann traveled from Skien to the Bohus granite

269. At Bardal, Innrisser’s deer got humps and bigger heads (2/2025)

268. How Innrisser's deer (finally) got their humps (2/2025)

267. At Selbustrand, I imagine Stikkmann thinking: 'These boulders are like from heaven!'

264. Innrisser and Omrisser were together on the island Langnesholmen in Altafjorden

263. Ingi Innrisser’s early styles of drawing humans at Vingen, Storsteinen, and Amtmannsnes

262. Ingi Innrisser’s birthplace was probably Skatestraumen near Vingen (1/2025)

261. Innrisser’s powerful animal-head sticks (Alta, Vingen, and Nämforsen) (1/2025)

258. Oddr Omrisser’s birthplace was probably between Strömsund and Nämforsen, Sweden

257/259. Porpoise images show that Omrisser visited Tennes early in his career (1/2025)

256. Stikkmann’s birthplace was probably Foss in Gauldalen, central Norway (1/2025)

  ResearchGate PDF with links to 220 petroglyph sites (12/2024)

220/252. Elder Futhark runes (c. 400 AD) at Stuberg, Tessem, & Kårstad, by Stikkmann

248/249/250. Stikkmann preferred Iddefjord (Bohus) granite panels for his petroglyphs

247. Petroglyphs in Skien, tracings by Marstrander (1969) (12/2024)

246. Examples (2) of petroglyphs from the book 'Hällristningar och Kultbruk'

245. Examples of petroglyphs from the book 'Hällristningar och Kultbruk' by Almgren (1927)

244. Stikkmann's petroglyphs date the Kivik King's Grave to about 400 CE (12/2024)

242. Petroglyphs of supposed 'Bronze Age boats' are all from the Iron Age (12/2024)

241. Distinctive images: Another huge Stikkmann longship discovered this month (11/2024)

238. Ingi Innrisser could have made all the 'Østnorske veideristninger' in a single summer

237. Distinctive images: Outlines of bears, by Oddr Omrisser (11/2024)

236. Alphabetical list of petroglyph sites and artists (11/2024)

235. The rock art painting motifs in Finland are very different than those in northern Sweden

234. Ramqvist map shows limited motifs of ocher petroglyphs in northern Sweden (11/2024)

233. Map from Jamtli.com of all known ocher-paint petroglyph sites in northern Sweden

232. Ocher-paint petroglyphs in Mid-Norway (11/2024)

231. Distinctive images: Porpoises, by Oddr Omrisser (11/2024)

230/239. Omrisser made ocher paintings in Sweden in winter, standing on ice-covered lakes

226/227/228/229. Did Innrisser carve the 'Surnadal man' before or after the 'Ausevik men'?

225. Stikkmann traveled to Østfold-Bohuslän via Sporaneset, missing Aust-Agder (11/2024)

224. Maps of Bårdr Båtmann's sites in Stavanger and SW Norway, from Fett & Fett (1941)

223. Oddr Omrisser’s sites and works in Mid Norway and Sweden (11/2024)

222. Stikkmann, Båtmann, Innrisser & Omrisser were 'pre-Viking Banksys'

221. Distinctive images: A big fish (by Omrisser) on top of petroglyphs at Alta and Stavanger

219. How could one artist produce petroglyphs at 2700 sites in the Østfold-Bohuslän area?

216. Distinctive images: Deer looking back, by Oddr Omrisser (11/2024)

214/217. Distinctive images: A few 'giants' on a longship, by Steinn Stikkmann (11/2024)

213/215. Distinctive images: Complex scenes, by Ingi Innrisser (10/2024)

212/260. Distinctive images: Large, naturalistic animals, by Oddr Omrisser (10/2024)

211. Distinctive images: Chariot pulled by 2 thin horses, by Steinn Stikkmann (10/2024)

209. Distinctive images: Isolated deer head, by Oddr Omrisser (10/2024)

208. Distinctive images: Man approaching tiny woman from behind, by Oddr Omrisser

207. Distinctive images: Rhombs with 3D effect, by Oddr Omrisser (10/2024)

206/243. Distinctive images: Processions, by Steinn Stikkmann (10/2024)

204. Map of sites where 4 petroglyph artists worked, and 3 areas with no known petroglyphs

199. Petroglyphs tell about the 'Pre-Viking Age' in Scandinavia (10/2024)

198. Photos from Bøe (1932) show that a sharp point was used to peck Vingen petroglyphs

197. 'Omrisser' (Outliner) never visited Vingen (10/2024)

196. All the helleristninger at Vingen were made by one visiting artist: 'Innrisser'   (10/2024)

195. 'Inliner' may have used boat nails from Slettnes III at Slettnes IV (5/2024)

194. Inliner's work now recognized on boulders at Slettnes (5/2024)

193. Stickman (the first) and Outliner (the last) of the great petroglyph artists (12/2023)

191. Lecture on Stickman and Outliner (20 figures) (11/2023)

(Video) Lecture on Stickman and Outliner (first 40 seconds in Norwegian)

190. Map of 90 petroglyph sites and typology used to identify 7 artists (10/2023)

181. Red-ochre painting at Tingvoll and at Fångsjön: a fourth technique used by Outliner

178. Map of 90 sites where petroglyph artists worked, and 3 areas where none are known

173. Stickman may have made all of the petroglyphs in the Østfold-Bohuslän area (8/2023)

172. Why are there no known petroglyph sites in Aust-Agder? (8/2023)

171. Outliner's large humans at Alta, Bardal, Bøla, Evenhus, Forselv, and Lånke (8/2023)

170. Futhark runes and a swastika independently date the Kårstad petroglyphs to 400 AD

165. Kårstad petroglyphs (200-500 AD) show runes and Hjortspring-style boats (7/2023)

163. Outliner learned to draw longships at Stavanger and then drew them at Alta

161. At Bogge, chasing after petroglyph artists (7/2023)

158. Longship and boat petroglyphs at Apana gård Alta (7/2023)

155. Matching images at 9 and 23 meters above sea level at Alta (7/2023)

121/154. Lumpers and splitters: I am a lumper, whereas archaeologists have refused to lump

152. Who made the longships of Iron-Age-style at Apana, Alta? (7/2023)

148. Learn to recognize Outliner's boats (7/2023)

147. "...depictions comparable to the South Scandinavian Bronze Age and Iron Age boats"

146. Bergbukten 1 (Alta): two artworks for the price of one (7/2023)

141/145. Inliner's 'nailpoint' reindeer at Apana gård (8-10 m. above present sea level) (7/2023)

144. The famous petroglyph 'Man on skis' was probably a man standing in a boat

143. Two 'owners' of reindeer at Bergbukten 4B Alta ('Inliner' and 'Outliner') (7/2023)

142. Animal-head sticks and animal-head boats in Alta petroglyphs (7/2023)

140/149/153. Map of six petroglyph artists and sites where they worked (3) (7/2023)

139. Amtmann — another petroglyph artist that can be recognized at Alta (7/2023)

137/138. A few hours' work by Outliner at Kåfjord, Alta (2) (7/2023)

136/150. Outliner carved petroglyphs on top of previous artworks at Bogge, Bardal, Alta

133. Outliner's petroglyphs are easy to recognize, and found only in the north (2) (7/2023)

132. Stykket is an example of 'distressed' art by Outliner (7/2023)

131. Petroglyphs at Leiknes: rock art from one year, or from five hundred years? (2) (7/2023)

130. Petroglyphs at Alta that I ascribe to Outliner and Inliner (tracings in the book by Helskog)

128. Some petroglyph moose at Alta that I ascribe to Outliner and Inliner (7/2023)

126. Some petroglyphs in central Scandianvia that I ascribe to Outliner and Inliner (7/2023)

124. Outliner's petroglyphs are easy to recognize, and found only in the north (7/2023)

123. Outliner drew 'bulging' eyes at Brennholtet and Leiknes, and unique mouth lines (7/2023)

122. Iron longship nails were ideal for making 'nailpoint' petroglyphs (7/2023)

120. Photos taken at Tennes (Gråberget, Balsfjord) in northern Norway (6/2023)

118. Photos taken at Tennes (Kirkely, Balsfjord) in northern Norway (6/2023)

117. Photos taken at Tennes (Bukkhammaren, Balsfjord) in northern Norway (6/2023)

116. Petroglyphs at Leiknes: rock art from one year, or from five hundred years? (6/2023)

115. No petroglyphs or Viking artifacts have been found in Finland (6/2023)

114. Outliner's nailpoint art at the Ole Pedersen site, Hjemmeluft, Alta (6/2023)

113. Why my manuscripts were rejected by the journals ‘Viking’ and ‘Primitive Tider (6/2023)

112. Stickman's early showpiece at Leirfall is currently closed to the public (6/2023)

109. Outliner's elegant pose: deer looking backward (6/2023)

108. Close-up photos of Inliner's 'nailpoint art' at the Ole Pedersen site, Hjemmeluft, Alta

106. Map of five petroglyph artists and sites where they worked (6/2023)

103. Outliner 'scraped' his petroglyphs in Nordland (he did not 'polish' them) (6/2023)

102. Ismo Luukkonen shows petroglyphs of 83 Scandinavian sites for you to study at home

101. Outliner's reindeer and moose at Fykanvatnet, near Glomfjord (6/2023)

100. Outliner's scraped moose petroglyph at Mjønes (Vågan) (6/2023)

99. Outliner's reindeer and man at Bøla, near Steinkjer (6/2023)

98. Outliner's 'design-signature' at Hell (near Stjørdal) and Forselv (near Narvik) (6/2023)

97. Inliner's 'nailpoint art' at Kåfjord, Alta (6/2023)

96. Outliner's 'nailpoint art' in a one-man show at Apanes, Alta (6/2023)

95. No petroglyphs are found in suitable rocks near the shorelines (why not?) (6/2023)

93. Map of three main petroglyph artists (6/2023)

92. It was typical of Outliner to ignore the feet (5/2023)

91. Alta - Kåfjord petroglyphs seem to show early Sámi culture and early Viking culture

89. Distinguishing between Inliner's work and Outliner's work at Alta (5/2023)

87 & 88. Outliner drew collars on some of his reindeer (2) (5/2023)

86. A boat with a square sail (5/2023)

85. Sámi people lived with domesticated reindeer also before Viking times (5/2023)

84. Stickman trained in soft sedimentary rocks in the Stjørdal area (5/2023)

82. Outliner used three different techniques to outline bodies and body parts (5/2023)

81. Three artists made nearly all the petroglyphs around Trondheimsfjorden (5/2023)

80. Runes and petroglyphs at Ystines / Ydstines near Stjørdal (5/2023)

79. Petroglyph artists probably spoke a Scandinavian language (5/2023)

78. Inliner probably traveled to Ekeberg (Oslo) by boat, not by foot (5/2023)

77. Artist's names are not set in stone (5/2023)

76. Digital caliper: a new tool for describing petroglyphs (5/2023)

75. A paradigm for Scandinavian petroglyphs (manuscript to journal Primitive Tider) (5/2023)

66. Shoe prints. Artists often learn or copy from others (2/2023)

64. Names of places where petroglyph artists exhibited their work (2/2023)

62. Five petroglyph artists recognized by their motifs and artistic styles (manus. in prep)

61. An alternative interpretation of some petroglyphs in Finnmark (manus. to journal Viking)

59. Boats with animal heads among petroglyphs at Peterborough Canada (1/2023)

56. Vikings visited many coasts and rivers in their longships (1/2023)

55. Petroglyphs in Peterborough Canada, probably made by a Viking artist (1/2023)

53. "Shoreline dates" are not really dates at all. Better to call them "Shore maximum ages"

52. Hard rocks can't be engraved using stone-age tools. Most Scandinavian rocks are hard.

51. A simple explanation for petroglyph cup marks (12/2022)

45-49. 'Iron-age Banksys': how widely did they spread their wall-art? (5) (11/2022)

44. Most petroglyphs were made within sight and shouting distance of the shoreline (11/2022)

43. Petroglyph shoreline dates should be referred to as «shore-limiting dates» (11/2022)

42. Lichen grows on all exposed rocks in Norway (11/2022)

39. Shoreline dating improperly used to date Vyg whale hunting (11/2022)

38. Petroglyph evidence for cultural exchange between Vikings and Sámi (11/2022)

36. Nämforsen petroglyphs supposedly show a 4000-year spread of carvings (7/2023)

34. Petroglyph artists (300-800 AD) were Scandinavian and did not visit Finland (11/2022)

33. What does this strange petroglyph really show? (11/2022)

32. Spoiler alert: my musings kill good stories and eliminate fun puzzles (11/2022)

31. Arctic summer hunting trips, destination Alta (11/2022)

30. The Gamnes petroglyph and knapped-flint site can be no older than 1700 years

29. See how flint arrowheads are knapped (Youtube) (11/2022)

27. Newly discovered petroglyphs at 26 m show shoreline-dating gives us falsely old ages

26. Grahame Clark (1975): The Earlier Stone Age Settlement of Scandinavia (11/2022)

24. How 'shoreline dating' has been used for Alta petroglyphs (11/2022)

21. A petroglyph of a longship with an animal-head prow nails its age (11/2022)

20. Biases maximize the age and archaeological value of Leirfall petroglyphs (11/2022)

19. The Professor's Old Claims (12/2022)

17. A Viking-age neck ring (torc) brought to Alta and abandoned there (11/2022)

16. Why Alta petroglyphs do not include women and children (11/2022)

15. "Here's our stuff. Ready to use again this summer!" (11/2022)

14. 30 rowers (15 pairs) in a longship in Alta (11/2022)

13. Ships with an animal-head prow, manned by long-distance rowers (10/2022)

12. The Kvalsund ship from 780 AD resembles an Alta petroglyph (10/2022)

11. The Hjortspring boat (350 BCE) had a crew of 20 rowers. It was built without nails

10. Alta petroglyph boats. Myth vs. reality (10/2022)

9. Could Alta boats really have been made before iron nails were available? (10/2022)

8. The words "Viking" and "Iron" are taboo in publications on Nordic petroglyphs

7. Lødøen (2015) on the experimental production of petroglyph images using a stone tool

6. The petroglyph artist at Storsteinen had no "sketchbook", only one "page" to draw on

5. Deep narrow engravings could not have been made before metal chisels were available

4. Bård Amundsen's article on the Viking-like culture that is said to be over 3000 years old

3. Jan Magne Gjerde (2010) Rock art and landscapes (10/2022)

2. Alta rock art is probably Viking rock art (10/2022)

1. Boat petroglyphs at Alta, Norway (photos at Donsmaps.com) (10/2022)

Allan Krill
allankrill@gmail.com