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Motifs
The following 10 motifs are defined (M.J. O'Kelly and C. O'Kelly [1983,
page 159-160]):
- circles,
- spirals,
- arcs,
- serpentiforms,
- dot-in-circles,
- radials,
- zigzags,
- lozenges/triangles,
- offsets and
- parallel lines.
Subdivided in curvilinear (circles, spirals, arcs, serpentiforms,
dot-in-circles
and radials) and rectilinear (zigzag, lozenges/triangles, offsets
and
parallel
lines).
Cupmarks are not a motif in the above scheme, because it was
difficult
to distinguish between natural hollows and man made ones.
Compositions
A complete corpus of known megalithic art is provided for Newgrange
(M.J.
O'Kelly [1982]) and Dowth (M.J.
O'Kelly
and C. O'Kelly [1983]). Cup marks are
not
depircted.
Interesting issues
Almost no pick dressing has taken place at Dowth, while at Newgrange
almost
every orthostats is pick dressed.
The quality of the technique or artistry of the megalithic art at
Dowth
is lower than at Newgrange or Knowth.
It is possible to distinguish Newgrange, Knowth and Dowth by the use
of motifs. E.g. Newgrange has relatively much more
triangles/lozenges,
dot-in-circles and zigzags than Dowth.
In Newgrange lozenge and zigzags are the commonest, then circles,
dot-in-circles,
radials (but they are in inconspicuous places), than spirals. The
rarest
motifs at Newgrange are radials, parallel lines and offsets.
Alignments
The alignment of Newgrange is given towards winter solstice. The
True
north direction in the general plan of Newgrange (page 15) is
wrong. Below is a better alignment of the True north:
Accurate information
on the direction of the roofbox can be found at this
page.
The alignments measured by O'Kelly at Dowth
are: Dowth North 250°
and Dowth South: 234°. New measurements have been taken with a
magnetic compasss [Prendergast and Ray, 2002].
See for evaluation of these values my Dowth
measurement
page.
Cut-through of the passage
It looks that the cut through of the passage on page 88 is not
correct. The heights are ok, but the incline of the passage is not
correct (wonder how this was achieved;-). Page 94 and 108 look to
be ok.
Symbolism
... that the symbolical meaning was the original
inspiration
for Irish passage-grave art, beginning with the random carving
of
motifs
which had a meaning for those who applied them, or caused them
to be
applied,
and that it was only with the passage of time, as the tomb
builders
became
more expert and sophisticated generally, that the aesthetic
element in
the carvings began to emerge and develop and designs and
patterns began
to be achieved, though perhaps this aspect never entirely
overruled the
symbolism, latent or otherwise (O' Kelly [1982],
page 147-148).
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Last content related changes: Aug. 18, 2001