Interpreting hidden chalk art in southern British Neolithic flint mines

Abstract

The Neolithic flint mines of Britain have been identified as sites of intense flint extraction. They occur chronologically in two phases: the earlier Neolithic examples in Sussex and Wessex (including the sites of Cissbury, Harrow Hill, Blackpatch, Church Hill, Easton Down, Martin's Clump, Long Down and Stoke Down) and the later Neolithic flint mine at Grimes Graves in Norfolk (Barber et al. 1999). Interpretations of prehistoric flint mines have commonly focused on the functional aspects of flint extraction: the method of extraction and quantity of flint that resulted (e.g. Mercer 1981a, 1981b; Sieveking 1979; Sieveking et al. 1973). Only recently has it been argued that prehistoric flint mines were monumental spaces and hence should be considered as monuments in their own right (Russell 2000, 2001). This paper further challenges the functional interpretation of flint mines as simple abstraction sites by discussing hidden in situ chalk art found within them. This art has wider parallels in markings discovered at other Neolithic sites and the examination of these mine and non-mine chalk examples suggests that collectively they indicate an early Neolithic art tradition that has hitherto been ignored.

Keywords:

• Neolithic Britain
• flint mines
• art
• archaeology
• aesthetics
• structured deposition

Acknowledgements

This research was completed as part of my PhD thesis at the University of Sheffield, funded by the AHRC. I am grateful to both institutions for their support and particularly to my supervisor Bob Johnston. Miles Russell, Pete Topping, Dave Field and Martyn Barber all spared their time to discuss mines with me, a process that was very inspiring. Thanks also to Worthing Art Gallery and Museum. Andrew Chamberlain is to be thanked for reading through this paper and offering improvements, in addition to the editor and three anonymous referees whose feedback was extremely helpful. Any errors or omissions remain my own.