Durrington Stonehenge, photo and henge by Rhys Bliszko
Here is the latest update on the small Stonehenge being built outside the Stonehenge Inn in Durrington, Wiltshire. Daniel King of the Stonehenge Inn commissioned Bliszko Studio to sculpt and erect the Stonehenge replica because many tourists who visited Stonehenge complained about not being allowed to get close to Stonehenge or touch the stones.
“But people will be allowed to climb all over mine if they want,” King said. “It might be a bit smaller and not quite as old but at least you can get up close.”
We will no doubt post about about this again when it has been completed. We just felt it was time to applaud the work being done by artist Rhys Bliszko of Bliszko Studio !
Rumor has it the whole thing will light up at night. We can’t wait to see! Meanwhile it’s a great place to get a picture of a friend or yourself sitting on a trilithon.
And yes, we know we still have to post about the curious matter of Indonesia and its five Stonehenge replicas. We’re either just lazy or we’re trying to whet your appetite for it. You decide! 😉
Kavishaila in Kuppalli, Bangalore, India: photo by @nikhilvshetty on Instagram.
This one is lovely.
It is rare to run across a replica that is built for reasons that are truly moving, but this is one. Kuvempu, the poet playwright and novelist in whose honour it was built (portrayed in a Google doodle on the anniversary of his birth in 2017*) when he died in 1994, was and is truly beloved by many speakers of the Kannada language in which he wrote, especially those who love the natural world and high-minded philosophy. Wikipedia says of this monument:
“Kavishaila is a rock monument made of megalithic rocks and dedicated to Kuvempu. It is on the top of a small hill in Kuppalli. Arranged in a circular fashion, the rocks have been placed to resemble the Stonehenge in England. At the centre of this rock monument is the place where Kuvempu was laid to rest after his death and a memorial has been constructed at that location. Near this monument, is a small rock where Kuvempu used to sit and discuss about literature and other topics with his other literature friends.”
The view from this high place is said to be breathtaking, green forest stretched out below with a view to the hills. It is recommended to be there at sunset when, as you see in the picture above, on a clear evening the light streams through the trilithons onto the place where the poet was laid to rest.
We know of many monuments and sculptures that resemble Stonehenge around the world, but that we hesitate to post here because we are not certain they were built with Stonehenge in mind. In this case, however, there seems to be no doubt. We don’t know what the connection is that inspired someone to erect a Stonehenge in this man’s honour (and perhaps we could discover that if we could read his language), but maybe it was just that the mystery and beauty and sense of something truly great that Stonehenge represents to so many people is the same feeling that the writings of this poet and thinker inspire in people.
Yes, as far as form goes, it is only a partial circle of straight-sided stone trilithons. But as with the beautiful partial Stonehenge in the far north of the Galician section of Spain placed high and looking out to sea to honour those who died at the hands of the brutal Franco regime, its meaning helps it to transcend its form. If we were still awarding our (humourously meant! Yes, we know they had nothing to do with it.) druid scores, this would get a solid 8 druids. A thing of beauty.
Before we finish talking about it, here is a fun addition. Looking through Instagram one day, as you do, we found an image of a replica of this replica. If you know us, you know we love the meta quality of that. Here it is, built for a display at the Lalbagh Botanical Garden in Bengaluru, India. It also speaks to how well known Kavashaila is in India.
Our thanks to friend Barry Teague for making us aware of this memorial, and to Nikhil V. Shetty for kind permission to use his lovely photograph here.
Oh, wait! We almost forgot to mention, Clonehenge was mentioned in the Guardian newspaper this week! We got a mention and a link in the thoughtful and many-faceted article about the Stonehenge tunnel dilemma, The Battle for the Future of Stonehenge, by Charlotte Higgins. Truly a privilege and a little moment of fame for this humble blogger. Many thanks to you, Ms. Higgins, and to whatever little bird may have whispered our name in your ear!
And so until next time, Gentle Readers, once again we wish you happy henging!
*The Kuvempu Google doodle, in which he appears to be seated at the site where Kavishaila was built:
“As it is, I’m probably the only man in history to build two full-size replicas of Stonehenge,” says Cline. “And to think it took the Neolithic people 1,500 years just to build one.” —from the article “How Stonehenge Replicas Became The World’s First Meme,” by Jed Oelbaum.
“You know, I’ve got some more plans for doing more structures in southern Alabama. Let’s put it this way, when the aliens land, they’re going to be really surprised and confused. That’s all I’m going to say.” —Mark Cline quoted on this site, by Brian Kelly.
Anyone who knows Clonehenge by now will know by these two quotations that we must be great fans of Mr. Mark Cline, and indeed we are! In the early days of the blog we were in touch with him by email several times, about his first replica, Virginia’s Foamhenge. We enjoyed his intelligence, enthusiasm, and humour. And, well, sheer wackiness!
Why it has taken us years to do an entire post about his fantastic fibreglass Stonehenge in the state of Alabama is difficult to understand. The truth is, we had forgotten that we had only posted about it on Facebook and Twitter and not here on the blog itself (except, of course, for listing it on the list of Large Permanent Replicas). Today at last we rectify that situation.
This replica was commissioned by George Barber, who is, among a number of other things, owner of a marina in Elberta, Alabama. It is impressive, but one could argue that, because the stones are more uniform in shape, this is not as fine a replica as was Foamhenge. There are no bluestones, either, no ditch and bank, no extra or outlier stones. But—this henge goes one better. In the woods all around it, there are dinosaurs! The addition may not make a more perfect replica for the Stonehenge perfectionist, if there is such a thing, but in the eyes of Clonehenge, this rockets it into the rarified stratosphere of The Greats! A much better choice than Easter Island heads!
As Atlas Obscura puts it on its Bamahenge post:
“Cline’s work is big, typified by the dinosaurs that dot the landscape around his Virginia studio. It was these sculptures that caught the eye of Alabama billionaire George Barber, who wanted some dinosaurs for himself. He had Cline install four—a brontosaurus, a T-Rex, a stegosaurus and a triceratops—along the edge of the woods near Barber Marina in Elberta. Barber was so happy with the ginormous creatures, he commissioned Cline to create a replica Stonehenge for the marina property, reminiscent of the “Foamhenge” that Cline built in Virginia in 2004.”
The whole thing has become quite an attraction in Alabama, with the only complaint being that it is somewhat difficult to find. Meanwhile, in the article by Jed Oelbaum that we quoted from above (and in which we figure prominently, so be sure to read it! 😉 ), Cline hinted at yet another Stonehenge replica commission that may come from George Barber. Owning two full-sized Stonehenges may never have been done before. Surely making three has not. Stay tuned for any news on that!
We leave you with this smattering of photos from a “Bamahenge” Google search. That’s Mark Cline in the third down on the left! He is truly a Clonehenge hero, contributing with humour, style, and a very American taste, to the Clonehenge epidemic. May he have joy, health, and prosperity as he henges!
And until we meet here again, dear readers, we wish you, too, some very happy henging!
From @EH_Stonehenge on Twitter:
“No, your eyes aren’t deceiving you, there are two monuments at Stonehenge today. One is a giant cake fit for 2,500 hungry guests! #SH100
Look at this! (And yes, we include the obvious rain in that demand.) Look at the lichen on those lintels! Look at the shapes of those stones, including the little bumps and creases! The three-lintel stretch and Stone #56! This has to be the most accurate Stonehenge cake ever (and we’ve heard it includes spiced apple and blackberry cream, or similar. We will look into this and report back with corrections to that crucial information). And there it is, with Stonehenge in the background! *sigh* Perfection.
Not far away, at the Visitor Centre, Jeremy Deller’s inflatable bouncy Stonehenge is inflated and ready for bouncing. What a day for Stonehenge and English Heritage, yes, but more importantly, what a day for Stonehenge replicas! How we wish we were there, gentle readers.
Still, we are a humble blog about Stonehenge replicas, sitting safely in the warm and dry an ocean away from the festivities and for now we are enjoying the clonehenges associated with this celebration! Congratulations to all, including everyone at English Heritage, and may Stonehenge continue to reign in the hearts and minds of people around the world!
(And inspire them to build more and better models of it!)
We are finally posting our interview with historian Brian Edwards, Visiting Research Fellow at University of the West of England, Bristol. Even if he were connected with Clonehenge in no other way, the fabulous Stonehenge replica above would cement his fame on this blog! We have never seen one with this level of detail: the bus, the Visitor Centre, the ice cream truck (!), little replicas of replica round houses (we always love little metas!), Stonehenge landscape mounds, and much more, including the bustard we saw when we were hosted at Stonehenge by Mr. Edwards three years ago, and, underneath, the much-dreaded tunnel! This Stonehenge replica is absolutely brilliant.
But there is more to this gentleman than this unique and wonderful replica. He is a historian whose broad area of interest contains within it the phenomenon of Stonehenge replicas and their history—perhaps the only such historian in the world! His article called ‘Mr Toagis’s Stonehenge: An exploration of an uncelebrated benchmark in replica henge monuments to mark the tenth anniversary of Clonehenge’, published in an academic journal, actually mentions us, and once he mentioned Clonehenge on the radio during an interview. Truly a friend of the blog!
That said, we found it advisable, due to the academic style of writing, to append a [tl;dr] at the end of his answer to the first question, for those who find it a bit intimidating. After that, the academic language eases up a bit and you’re on your own. The answers to questions 2 and 5 are particularly good, but if you are interested in Clonehenge and Stonehenge replicas, do read it all. And at the end we’ve posted a link to that Clonehenge mug you’ve all been meaning to buy. Solstice giving time is approaching!
Clonehenge: What do you do, and how does it tie in with Stonehenge replicas?
I am the author of ‘Mr Toagis’s Stonehenge: An exploration of an uncelebrated benchmark in replica henge monuments to mark the tenth anniversary of Clonehenge’ (The Regional Historian, Annual Journal of the Regional History Centre, New Series No 1, 2018, pp. 26-31). Although not central to what I do, Stonehenge replicas offer entertainingly informative examples that illustrate my focus as a Visiting Research Fellow at the Regional History Centre, at the University of the West of England. My field is public history and historiography in relation to monuments. My research involves highlighting and interpreting contemporary and historical impressions of the past in the public domain, in comparison to what academic and professional historians discuss through learned journals and scholarly tomes. Having in excess of a three hundred year history of expressing consciousness of a prehistoric original, Stonehenge replicas highlight that throughout history monuments have been increasingly adopted, interpreted and reproduced in a variety of forms through layer upon layer of lay public interest irrespective of, and sometimes in contrast to, learned analysis and official sanction. Stonehenge replicas are not just fun, they are an important route through which anyone and everyone can join in. Moreover, as ‘Mr Toagis’ illustrates, replicas and their individual and collective histories offer various routes to studying.
[tl;dr: Part of what he studies is the public’s impressions of historic monuments, including Stonehenge. Also, as we said, he mentioned Clonehenge and it’s 10th anniversary in an article he wrote that was published in an academic journal!]
Clonehenge: What and when was the earliest Stonehenge replica you know of?
It is commonly believed that the earliest known Stonehenge replica was produced in 1714 by the great antiquary William Stukeley (1687- 1765): a model of the stones “as is” that he put on display in London in 1751. Between these times a Stonehenge replica in the form of a stage set appeared in a pantomime, and Stukeley advised on a large scale “as was” replica of Stonehenge that was to be erected in nearby Wilton in Wiltshire. However, the earliest replica is potentially an item of very early eighteenth century jewellery, later recorded as being acquired for a royal collection in Europe. If confirmed, it would predate Stukeley’s model by between seven and twelve years. Even that may not be the earliest example in recorded history, and of course for all that is known a replica may have existed in prehistory.
Clonehenge: When did you first get interested in Stonehenge replicas? When and how did you first learn about Clonehenge?
From memory Clonehenge almost immediately started to feature in conversations, it was topically discussed online by Wiltshire based enthusiasts, so I imagine I was aware through archaeological forum chatter quite early on. My personal introduction probably dates to encounters as a child, but I don’t recall any specific examples before the experience of witnessing the original from the A303. This was a typical stimulating encounter as experienced on journeys to and from the West Country for hundreds of years of course. That first time, in my case as a nine or ten year old, stands out because it fosters interest and makes one alert to other potential opportunities. Around the same time, I inherited an old unused sepia postcard of a Stonehenge model ‘in origin’ (early twentieth century San Bride postcard) that had been used as a bookmark inside a 1950s copy of Heyerdahl’s Kon-Tiki Expedition. This was among several books passed on by a friend of my mother, whose sons had reached adulthood and flown the nest. From the same family I received an ostrich egg, a boomerang, and a pair of Indian clubs.
Clonehenge: How many Stonehenge replicas or models do you own?
Anything Stonehenge or Avebury related that I acquire, I tend to donate to a Wiltshire archive or museum sooner rather than later. The only example of a replica still in my possession is a large glass topped coffee table housing a model of Avebury henge, destined for Wiltshire Heritage Museum at some point.
Clonehenge: How many Stonehenge replicas have you made? Would you describe one? We understand English Heritage is in possession of one that was of your making. How did that come about?
Earlier this year I built a replica from cheese puffs in order to photograph easy to follow stages for a competition. This was in connection with the Stonehenge Chubb Centenary Day, a village celebration of Cecil and Mary Chubb donating Stonehenge to the nation and us all one hundred years ago. Obliged to build a further replica for the same competition, but determined to be disqualified, I chose to make a model that was in excess of the size limit of 300 mm diameter. Supplemented by glue and paint, the materials were nearly all from what had been set aside for recycling. The basic idea started to expand as more and more of the contemporary dynamics that surround the original Stonehenge got included, and it grew into a three-tier construction.
The stones, visitors and official coaches formed the top layer, which also included some examples of the homes of some of the residents living on Byway 12, sometimes referred to as ‘The Drove’. A Great Bustard also features, in homage to the actual bird witnessed by the founder of Clonehenge when visiting Stonehenge. Complete with Perspex entrance kiosks and some of the replica huts seen at the actual site, the middle layer was a model of the visitor centre made from medicine boxes and water damaged cocktail sticks. The bottom layer included a replica of the Winterbourne Stoke barrow group, the other flanks featured the visitor centre car and coach parks, and on a corner a Speed-watch volunteer stood amidst road signage of the nearby village of Shrewton, the birthplace of Sir Cecil Chubb.
This section also included the proposed introduction of an A303 road tunnel, posed as a mock battle between skeletons and traffic within the World Heritage site. This idea of a tug-o-war between awakening skellies and the tunnel was prompted in particular by local traffic activists summarising contemporary traffic woes as the ‘living versus the dead’: this was the theme of a paper I presented at a post-medieval archaeology conference earlier in the year (“Slogans coined, songs written, rumours circulated,” … the withdrawal of post-medieval Stonehenge?) and is the basis of a forthcoming publication (The Living and the Dead: Public Engagement with Archaeology and the A303 at Stonehenge).
Clonehenge: Are there any particular things you like to see in a Stonehenge replica? Of those made by others, do you have any favourites?
Outside of competitions and such as predetermined school projects I am not keen on fixed rules, lest any sort of regulation would chicane imagination. Whilst broadly following a trend a replica doesn’t have to contain anything specific and doesn’t have to resemble the original, it merely requires thought and where possible an original idea or element. In my opinion it is counterproductive to adopt a stiff view about accuracy: to do so even in passing in connection with a painting or a model of Stonehenge, isn’t in the best interests of encouragement and so is not doing our collective experience, and therefore knowledge and understanding, any favours.
Among those of us tending to appreciate anything built in replication and model form, there is always an added element of admiration for anything created by lay individuals, with domestic, mundane and recycled materials, and of course by children. Of those smaller versions I have seen Doe-henge (created for the Stonehenge Chubb Centenary Day) was particularly inspired, but surely we all love the cakes and relate to the food-henges. As regards a full size Stonehenge, my favourite replica is the original, it is not after all a time-honoured ruin but reconstructed with available parts and propped up with concrete.
Clonehenge: What thoughts do you have about the worldwide phenomenon of Stonehenge replicas and the fact that so many people spontaneously make Stonehenges? What do you think it says about public perceptions of Stonehenge?
The worldwide phenomenon of Stonehenge replicas illustrates the extent to which people are not only fascinated by the mysteries posed by the original, but seek to join in and enjoy developing tactile ways of experimenting. What this says to me about public perceptions of Stonehenge, is that those that care for and manage the original have no chance whatsoever of keeping up with public ideas, trends and demands, so expensively fixing on and committing to any given interpretation or presentation will inevitably find it outmoded and frustrating to elements of the wider public by the time it is enacted.
Clonehenge: Are there any further points you would like to make in connection with Stonehenge or the replicas? Do you expect them to become more popular in the future?
There will be replicas as long as there are schools and museums that recognise that every new generation can benefit from a fun way of engaging with the prehistoric original.
There you have it, friends—Stonehenge replicas, Clonehenges, if you will, will be always with us, so as long as we at Clonehenge live forever—and we have every reason to believe that we will—there will always be a Clonehenge blog here, mostly not being posted to. We certainly have many new henges to post, and more are appearing all the time. We have at least three more Large Permanent Replicas to do posts about, so we hope to post more soon. To see frequent henges in the meantime, follow us on Twitter and the Facebook Group and/or Page to see more that are popping up everywhere all the time!
As promised, here is the link to where you can buy a Clonehenge mug, a unique gift for your megalith-loving friends!
(If anyone in the UK would prefer the silver-tone rimmed enamel mugs below, much like the ones we gave to friends and people we admire in the UK, leave a message in the comments or email us at firstname.lastname@example.org. They are £10.10 per mug, shipping included. Shipping costs make it impractical to sell that model outside Europe.)
And so, until next time, Gentle Readers, we wish you happy Halloween*, joyous Samhain, and of course, happy henging!
A translation from German of the original caption of this photo reads:
“Stonehenge in Magdeburg
During a walk around the Salbker Lake, you can see a replica of Stonehenge, which is the stone circle cult site of the Celts in southern England.
Stone mason Jörg Sorge from Magdeburg has built this on his property.”
There is so much to unpack here.
For one thing, a little research makes it clear that although he is a stone mason, Sorge has fashioned these ‘stones’ out of concrete, texturing and painting them to resemble stone. A lot of time and creativity, and so presumably love and enthusiasm, has gone into this.
And then of course there is the whole Celtic thing, which we learn more about in another article, where Sorge, who plays the bagpipe and sometimes wears a kilt, asserts that “inside i am a Celt”. In one article, featuring a picture of him in said kilt, standing in his Stonehenge, we read:
“The culture of the rugged Scottish highlands has fascinated Jörg Sorge for years. He has long felt like a Celt, last summer he also fulfilled the dream of Stonehenge. Now the replica of the Bronze Age stone circle stands in his garden and serves as a backdrop to the Celtic Fire Festival.“
Copyright Dennis Kotzian, used with permission
Well, we’ll allow them the Bronze Age bit. Stonehenge was started and much work was done long before that, but the stone circle the replica depicts does seem to have been completed in the Bronze Age. Certainly the dagger art on the stones dates to that time.
But by all accounts, whether ‘Celtic’ culture (no, we’re not going to enter the discussion of whether the term Celtic itself is so broad as to be almost meaningless, an attempt to lump together too many diverse smaller groupings–such discussions are for serious people and we just ain’t one of them, thank whatever gods there be!) washed in like a tide over peoples already in Britain or if it arrived along with new groups of people landing on the island from the continent, it had not yet arrived when Stonehenge was completed. Of that we can be sure. There is certainly no evidence of kilts and bagpipes in any burial in the area of Stonehenge, then or since!
But luckily, Stonehenge replicas are just for fun, and far be it from us to discourage people from championing their inner Celt, whatever they fancy that means, or their inner Viking, or their inner Elf or Ent for that matter. It is useful to explore what has meaning for you, however outlandish it might seem to others. We may find real hidden parts of ourselves by starting with fanciful things we’re drawn to. We at Clonehenge have seen it happen.
This replica that Sorge has built from his inner inspiration and by the work of his own hands has already brought delight to other people, like those who attended the Celtic Fire Festival, and it is certainly worthy of inclusion on our list of large permanent replicas. Well done,sir, say we!
Let this be a lesson to us all, Gentle Readers, and let us not fear to pursue or more whimsical inclinations, regardless of what others think of them. They may turn out to be a way to enhance not only our lives but the lives of others, and encourage them to be more free as well.
So until next time (which may well be after the official Clonehenge trip to Stonehenge and environs!*), dear friends, happy henging!
*if you are at Stonehenge equinox access on the morning of the 23rd, we may see you there!
We would love to know!* But for now we just know that this Stonehenge exists in Dalat, in Vietnam’s central highlands, and it is on the grounds of a park that was created because of gorgeous waterfalls there.
We do know that, although the stone shapes are way off, there is a three-lintel stretch and the inner trilithons are taller than the outer circle. So bravo to someone! A few things right is better than none. And it is another for our list of Large Permanent Replicas, which is now up to 90, and could soon be 91, pending information on a Stonehenge sculpture in Kansas.
What makes someone build a Stonehenge replica in a park in Vietnam? That is just part of the mystery that keeps us in a state of wonder here at Clonehenge headquarters!
We have more posts coming up for you. One is about a Stonehenge replica in Magdeburg Germany, built by a man who is enthusiastic about Scottish culture. We have seen a picture of him wearing a kilt and standing inside his Stonehenge. So that’s fun, isn’t it?
And we have another long-ish interview post, this time with a historian who has a unique perspective on Stonehenge and the proliferation of Stonehenge replicas.
In the meantime, follow @Clonehenge on Twitter, or join the Facebook group or page to keep up with frequent postings of henges large and small, or to send us henge photos of your own!
And until next time, Gentle Readers, thank you and happy henging!
*If you have any information on this henge, please comment below or send it to nancy at clonehenge.com .