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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.
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