Historic Bronze Age artefacts melted into the ground from glaciers flowing up Norway’s south coast at the beginning of the last Ice Age — affecting hundreds of thousands of people living across the region, some experts say.
The Northern State Speedways, a huge array of bunkers set back from an erupting Mount Kostrol near Gisror, are reportedly the largest and most extensively endangered glaciers in Norway and often burned by environmentalists who claim those scenery symbols betray Russia’s expansion ambitions.
The tradition began in the remote northern Arctic villages where people would set out to deposit the chunks in boulder outcrops. To do this and protect them from the fire, enthusiasts painted wooden mountainside decals over the artworks.
Roughly a third of all glaciers in the region evaporated in the last Ice Age, meaning the Haavard valley — once the greatest province of the Nordland region — was among the first to go.
That Ice Age ended more than 100,000 years ago, but traces of that time as well as the remaining reservoir still on the landscape are still evident today.
To check for signs of erosion, crews using a decadelong “Ectovertrail” paintbrush probe back on to the ground and painstakingly sift through the rubbish to uncover clues, according to Norway’s National Institute for Geological Surveys.
At present the Ectovertrail paintbrush probes are at peak use as only five to six color samples are sent out for examination every year to determine precisely how the glacier eroded in the past and whether they contributed to global warming.
“Many difficult and important evidence points to melting glaciers … the glacier deformation is obviously very concerning,” Gísli Harald Christensen, an Oslo volcanologist, told AFP.
“The stronger sediment is very hot, the more the sediment fills the hole and it appears as a plume, as if the entire glacier crashed down.”
Since the Dawn Wall ice-caps have recently melted and faded away, experts believe the Ectovertrail sample find could be one of the earliest solid records of glacier calving.
According to scientists, some land alone could yield a sediment record far greater than the state prints found on the moors and skiffs.
But several conservation experts argue that the Artgrafxe-star paintings and other sites identified in the Ectovertrail paintbrush hunt — buried beneath the schist glacier -are more of a threat than the glaciers themselves.
“Their loss is leading to a deterioration of the human way of life in the area, and the social values and skills that were generated by this work are about to be obliterated, potentially altering the cultural heritage that would remain in the region,” said Lars Tetrault of the Norwegian Institute of Culture.
“The theft is very bad, it’s a source of economic confidence of people who are using art for subsistence purposes.”
Denmark’s Collabrot Energie – “a prize project” backed by private foundations, environmental groups and government – includes the paintings which artists hope will be returned to their homeland.
A new work, called “Round Stoneface” is among a series of studies at Collabrot designed to map out northern Norway’s landscape in a way that can draw the public in a different direction for their help.
The paintings illustrate how a clump of rock resembling a neolithic version of Santa Claus in Norway’s main city, Reykjavik, arose from a spring in Iceland.
“The type of bush that grows there obviously has to do with astronomy and science and it’s part of our native tradition,” said Don Boyle, director of Collabrot Energie.
“That’s what it represents: a sign of discovery, understanding and understanding of the world around us and something that’s connected in a very direct way with art.”
The project’s goal is to provide contemporary interpretations of the art so visitors will step back in time to the times of peoples crossing the northern Arctic seas.