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Chapter 1:
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Paleolithic
1
Prehistoric
Paleolithic
1
Background
2
Upper Paleolithic
General
3
4
•
makes stone tools
birth of the making of images and symbols
(characteristic human capability)
Upper Paleolithic cave dwellers = able to fix in
place the world of their existence
gathered and named animals
Upper = Later
beginning of
imagination
paleo = “old”
lithos = “stone”
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Paleolithic
Upper Paleolithic Periods
General
periods named from sites
Upper = Later
Birth of characteristic human capability-- the
making of images and symbols
Upper Paleolithic cave dwellers = able to fix in
place the world of their existence
they gathered and named animals
3
Lower Perigordian
32,000-28,000 BC
4
3
4
Aurignacian
32,000- 28,000 BC
Began between the early and main advances of
the last glaciers
was temperate for awhile then got cold toward
the end
ice sheet extended from Scandinavia over the
plains of north central Europe, and glaciers
spread down from the Alps and other
mountain ranges to produce a tundra and
forest-timber climate
Cro- Magnon man
3
Upper Perigordian
22,000-18,000 BC
4
3
Solutrean 18,000- 15,000 BC
4
3
4
2
Magdalenian
16,000 - 9000 BC
final recession of glaciers
onset of temperate weather began
In cold periods- human hunters / food
gatherers took refuge in caves
beginning to be fewer animals
final phase of cave painting
beginning of
imagination
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PO1-MES
Paleolithic
Tool making
4 million years ago = man- probably used tools
connection between form and function
Do not know how they used their hands
First selected/ appointed sticks/ stones as
tools
because they had begun to connect form and
function
sticks have not survived but a few stones
have (large pebbles that show marks of
repeated use for the same operation)
Then refined shapes, first probably by
accident then recognized that could chip away
at stone to refine the shape
no one had to rely on teeth
4
3
Making tools first demands the ability to think of
sticks or stones as a tool "bone crackers",
"nut crackers
2 million years ago = earliest evidence of
tool making
When were
dinosaurs
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3
Am4903
G1-1
J32A
Hall of Bulls, (ca
15,000- 10,000
BC). Dordogne,
Lascaux Cave
PO1-MES
Paleolithic
4
Earliest Examples of Art
Timeline
4
Earliest known artworks belongs to the
last stage of Paleolithic
which began c 35,000 years ago
Stokstad
Chapter 1 map
Refinement shows that they are part of
tradition 100's of years old
Most Art = Painting and Engraving
3
AURIGNACIAN
32,000- 28,000 BC
Cro- Magnon man
Magdalenian
16,000 - 9000 BC
final phase of cave
painting
final recession of
glaciers
Ice Age
4
The Ice Age was drawing to close in Europe
Last of 4 which
alternated with subtropical warmth.
People lived in caves or under overhanging
rocks.
Magdalenian
16,000 - 9000 BC
final recession of
glaciers
begin to be fewer
glaciers
final phase of cave
painting
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Paleolithic
5
Stone Age People
3
Grouping/Categories
4
Cave men divided into several groups each
named after characteristic site.
i.e. AURIGNACIANS | particularly noted
MAGDALENIANS | for gifted artists
and
for imp role of art in lives
3
AURIGNACIAN
32,000- 28,000 BC
Cro- Magnon man
Magdalenian
16,000 - 9000 BC
final phase of cave
painting
final recession of
glaciers
Characteristics
4
Stone Age people
Become totally human
4
Development of characteristics HUMAN
CAPABILITY of
MAKING IMAGES and SYMBOLS
=
Invention of Representation
Most Art = Painting and Engraving
2
What do we know about Stone Age
people?
3
4
4
3
Architecture
•
•
•
No written records
No surviving architecture
Evidence indicates that natural caves may
have provided space for:
• shelter
• habitation
• ceremonial ritual
Archaeological and anthropological methods of
study of objects and images may yield more
Groups
Evidence indicates:
• people gathered in groups / communities
• lived in caves, tents or other kinds of
shelters
• traces of fires inside some caves suggest
• need to gather for warmth
• or cooking or eating
Animals were important to the community
This ultimately =
ABSTRACTION
and Birth of ART
and Science
Both = methods for
control of human
experience and
mastery of
environment
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1
Cave Painting
2
Location of Imagery
6
Remote location
3
4
Paleolithic
Remote - Deep inside caves
- Almost inaccessible
Often crawl on
hands and knees
Away from Daylight
In uninhabited caves
no hearths or dumps
2
Purpose / Function of Imagery
No decorative purpose- Why?
3
4
due to location deep in uninhabited caves
paintings never found in parts of caves that
were inhabited or were near daylight
So must
Special significance
Magical Meaning to Creators
3
4
=
remoteness of sites and difficulty of access, used
for centuries
indicates that hunter attributed magical
powers to them
confine/ control animal within limits of the
painting
attempt to be realistic connected to this
magical power related to lifelike
characteristics
4
•
Success in the Hunt
(see Bison from Niaux)
•
Ensure fertility of the herd
(see Chinese Horse, Lascaux))
Evidence that
hunters in caves
treated painted
animals like they
were alive
painted as pierced
by arrows but also
may have thrown
spears at them
while in frenzy from
magical rites &
dances
(Bison at Niaux
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Paleolithic
7
Magic not the sole purpose
3
4
PO1-MES
•
processions and groupings not totally
haphazard - there is suggestion of
preferences and concerns
cattle and horses regularly appear together
palimpsest effect of superimposing images
may be a spatial representation of time - one
hunting scene to another
4
animals may be a heraldic - totemistic image
• representative of their blood relationship to
different tribes
(see )
• Objects of worship as was the buffalo for
peoples of North American plains
3
Context & Diversity of Explanation
4
Andre Leroi - Gourhan & Annette Laming Emperaire (French anthropologists)
• noticed that animals representing
maleness dominate the peripheral areas of
caves
• animals representing femaleness
concentrate in central areas of caves
• extrapolated a complex society much more
complex than attributed to foraging societies
Frequently not the
animals used for
food
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Paleolithic
8
1
Cave Painting Sites
2
Authenticity Questioned
General
3
4
Hard to accept the Authenticity of Paintings at
Lascaux
Altamira
Because of technical mastery
2
Confirmation of Authenticity
3
4
Pairnon Pair cave
Pairnon Pair cave
discovered in 1896
Giorade region FRANCE
Paintings partially covered with calcareous
deposits that take 1000's of years to
accumulate
1st site to be considered Authentic
Chauvet Cave, France
General
S01-01
Chauvet Cave,
Southern France
•
•
•
•
•
•
•
discovered in December 1994
near Vallon-Pont-d’Arc, southern France
hundreds of animal and bird paintings
people returned to these caves again and
again over many generations sometimes
1000’s of years later
paintings of grazing, running, resting animals
• wild horse
• panther
• bison
• owl
• mammoth
• deer
• bear
• aurochs
• wooly haired rhino
occasional people (male & female)
handprints
geometric markings - grids, circles, dots
aurochs = extinct
ancestors of oxen
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•
•
•
•
•
subterranean
galleriesPO1-MES
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Paleolithic
uninhabited
evidence of artifacts and footprints suggest
they were gathering places where the social
bond was reaffirmed / strengthened
?celebrate initiation rites?
?sealing of social alliances?
• bar mitzvahs
• weddings
• funerals
• town meetings
(see Cosquer cave)
2
Altamira, Northern Spain
General
3
4
discovered in 1879
near Santander in northern Spain
by Marcelino de Sautuola & his daughter
first dismissed as forgeries until other
paintings were found
2
Cosquer Cave, at Cap Morigion
General
3
S01-01
Cosquer Cave,
4
•
•
•
•
discovered in
animal paintings
created c. 16,500 BCE
first handprints there as early as 25,000 BCE
In other caves painters worked not only in large
caverns but also far back in smallest
chambers and recesses ( almost inaccessible
today)
4
2
3
4
Font - de - Gaume
General
discovered in 1901 by Abbé Breuil
in Dordogne, France
3
G1-10
Reindeer, Fontde-Gaume, ,
c13,000 - 11,000
BC. Dordogne,
France.
4
Reindeer
elegant contours and subtle modeling
antlers = graceful demo of strength and
delicacy
examples of pictorial devices
darkening of forward contour of left hind leg to
visually bring it nearer to observer
9
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Paleolithic
Lascaux Caves, Southern France
c 13, 000 BC
10
Carbon -14 dating
confirms date of
13,000 BC
General
discovered in 1940
near Montignac, France
near Montignac in
DORDOGNE,
France
Most magnificent of all prehistoric art
Closed to public in 1943
Imagery includes:
• Paintings
• Engravings- more than 1000
Artistic activity relatively short period of time
with only several centuries of human
occupation in the caves
4
had served as subterranean water channels
4
from a few hundred to 4000 feet long
Direction circles at front of caves lead you to
paintings
Abbé André Glory
made tracings of
engravings
Images = 70 yards from entrance
Paintings far inside caverns away from
mouths and inhabitation areas
3
4
Images =
Bison - 2nd most
Horse - most
Mammoth
Boar
Reindeer
Wolf
3
Lighting =
4
Stone lamps
Marrow/ fat
moss wicks
3
Supports =
4
3
Recesses 7' above floor for
JOISTS for SCAFFOLDING
Chinese Horse
In all cave art
BOVINES are
dominant
> 130 found
light as strong as
candlelight lasting an
hour
G1-6
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Lascaux Cave,
Dordogne,
France
Chinese Horse,
Axial Gallery,
detail of G1-4, c
13,000 BC, Apx
56" long.
4
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Pregnant -> magic, increase fertility
ensure survival of herd
Named for resemblance to Chinese
brushwork- Fluid
Color tone - round belly
change in coat color
Paleolithic
11
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S01-08G1-5
Pech-Merle,
France
Spotted Horses &
Negative Hand
Imprints,
15,000-13,000
BC
11'2" long. Lot,
France
PO1-MES
Paleolithic
Pech-Merle, Lot, France
Spotted Horses
4
painted Magdalenian period
much later than hand prints
• shape of rock suggests shape of animal
here a horse head
• Add features = image of animal
•
4
4
Used rock surface and shape
to add to the illusion
Images found in 30 different parts of the
underground complex:
• Images of animals
• handprints
• apx. 600 geometric images
Earliest artists at Pech Merle specialized in
painting HORSES
•
•
•
heavy bodies
•
•
ordinary spots on animals coats
massive extended necks
legs tapering to almost nothing at the
hooves
All overlaid with bright red circles that some see
as
magic rock weapons hurled at painted
horses in ritual meant to ensure success in
hunt
4
2
3
4
3
G1-7
Bison with
Superimposed
Arrows, Niaux,
c 13,000 BC
50" long.
Ariège, France
Handprints:
• x
• x
• x
Niaux Cave, Ariège, France
Salon Noir
850 yards from entrance
Bison from Niaux
4
Arrows suggest representations
involved in magical ceremony
that would aid hunters in Hunt.
2
3
4
12
Trois Freres, Ariège, France
Level 3
Level 4
hands painted
Aurignacian period
apx 32,000 BCE
site used and
abandoned over
5000 years
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Paleolithic
Le Portel, Loubens, Ariège, France
Level 3
3
Level 4
4
2
Castillo, Santandu, Spain
Level 3
3
Level 4
4
2
Isturitz, Basses - Pyrenees
Level 3
3
Level 4
4
2
2
2
Central Europe
North Africa
Asia
13
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Paleolithic
Compositional
4
•
Painting on ceiling & upper wall area
not in easy reach
•
Single image fulfilled purpose
•
not unified compositions
(Chauvet cave has some
obvious compositions)
•
no compositional adjustment for
perspective
4
14
Characteristics at Lascaux
3
U554D
G1-1B
Lascaux Cave,
Dordogne,
France
15,000-10,000
BC
View of the Main
Hall
PO1-MES
•
•
no notion of separation or enframement
•
figures superimposed at random,
•
different sizes, different scale
ceremonial caves/ sites
•
animals added at same site
for thousands of years
•
Superimposed images and Bare areas
= special significance to location
•
attempt to not break outline of earlier
image
Apparently
they Made
no distinction
between
Image & Reality
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Technique
3
Pigment
PO1-MES
Paleolithic
15
Lascaux
4
Yellow
Red/ Yellow ocher
Black = Magnesium Oxide (poisonous)
Carbon residue from fires
Purple-yes?
NO green
NO Blue
Red/ Brown = Iron Oxide
White = Calcite
3
4
3
Gould Media
Lascaux Cave,
Dordogne,
France
15,000-10,000
BC
Bull from Hall of
Bulls
Draw
mostly outline drawings
with chunks of pigment
charred sticks
Paint
4
Powder
Blow powder through reeds, Hollow Bones
Mix with medium -( Fat )
Brushes (Reed, grasses, feathers, chewed
sticks, fur pads)
Spit (Human airbrush)
Michel LORBLANCHET in 1979
reproduced Spotted Horses in 32 hours
4
3
4
3
G1-3
Engraved
reindeer,
Lascaux,
c 13.000 BC
Engraving on
rock,
28" long,
Dordogne,
France
Stone scrapers-.
for Smoothing walls
Engraving
4
Sharp Flint
>1000 engravings at Lascaux
Spit w/ pigment in
mouth
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Paleolithic
Style / Pictorial Devices
Naturalistic
-images w/ as convincing pose as possible
almost all in profile
Powder
Reflect keen observation
Extraordinary Memory
Selective Observation
4
Only essential information for Appearance/
Character
3
G1-6
Lascaux Cave,
Dordogne,
France
Chinese Horse,
Axial Gallery,
detail of G1-4,
c 13,000 BC,
Apx 56" long.
G1-10
Reindeer, Fontde-Gaume, ,
c13,000 - 11,000
BC. Dordogne,
France.
16
grace
awkwardness
cunning dignity
ferocity
Pictorial Essence of the Animal
4
Pictorial Definition of Animal
Essence of Animal
3
Fluid contours
3
Forms modeled to indicate --> MASS
4
Darkening forward contour of left Hind leg to
bring nearer to observer
Capture Essence
G1-4
Three Cows and One
Horse, ceiling of the
Axial Gallery, Lascaux,
13,00 BC, Apx life size,
Dordogne, France
see Lascaux, Chinese Horse
3
Am4936
Lascaux Cave,
Dordogne,
France
Axial Gallery,
Right Wall
Frieze of Little
Horses Det: L
Center,
Magdalenian,
12,000-8000 BC
4
Accompanied by geometric signs
Tectiforms
Dots Squares
Checkers Arrangement of lines
Tectiform Figures = Manmade forms
??Primitive Writing
?Snares
Traps
To ensure success of
the hunt
Add Tectiforms to
Glossary
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Paleolithic
17
Twisted Perspective
3
Slide ?
PO1-MES
Not optical approach of Fixed viewpoint
Descriptive -> suggests accurate Complete
animal
Heads in profile, horns from a different angle
CONCEPTUAL Approach
Twisted perspective was not used universally
A later developed style dispenses with it in
favor of illusionism
Negative Hand prints
3
G1-5
Pech-Merle,
France
Spotted Horses &
Negative Hand
Imprints,
15,000-13,000
BC
11'2" long. Lot,
France
4
• signatures
• some show Mutilation of fingers - ?
sacrifice
•
-
4
•
Magical significance
• Hand prints always confined to specific
areas
= were these areas more powerful
?Perhaps
hope to gain power from sacred rock
•
3
occasionally were positive hand prints
Long History of Worship of Sacred Stones
Worship of Sacred Stones
4
•
attempt to gain power from sacred rock
• gain gift of speech from kissing
Blarney Stone
Hands painted
Aurignacian period
apx. 32,000 BC
Horse painted
Magdalenian
c. 13,000 BC
descendants hoped
to gain gift of speech
from kissing
Blarney Stone
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Paleolithic
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Origin of Imagery
DOODLES
ancient people sat around fire
DOODLES
Resemblance of chance shape
4
Primal Experience resemblance of chance
shape and memory of recent hunt
THEN- Begin
Engraving/ Painting
draw w/ charred stick
used naturally irregular surfaces of walls to
help attain illusion of real presence to form
image
(see Pech-Merle, Spotted Horse)
still
G1-5
Pech-Merle,
France
Spotted Horses &
Negative Hand
Imprints, 15,00013,000 BC 11'2"
long. Lot, France
4
painted Magdalenian
Pech-Merle, Spotted Horse-• shape of rock suggests shape of animal
here a horse head
• Add features = image of animal
•
2
3
4
much later than
handprints
Used rock surface and shape
to add to the illusion
Power of Images
Hunters treated images as if alive
Evidence
Paintings pierced by arrows
May have thrown spears while in frenzy
during ritual rites and dances
4
Similar to magic still practiced where harm
done to image does actual harm
-- VOODOO
4
ProbablyBegan as
hunting magic
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Paleolithic
Representation of Human Beings
Background
Human figure RARE in Paleolithic Painting
Almost never appears among animals
portrayed
A few notable exceptions
3
G1-8
241-1-07
DETAIL: Man
Lascaux Cave,
Dordogne,
Montignac,
France
Well: Rhinoceros,
man & Bison
(55" high)
G1-8
Sandak 1 606
0017
Lascaux Cave,
Dordogne,
Montignac,
France
Well: Rhinoceros,
man & Bison
(55" high)
Lascaux: Well Scene: Rhino, Man & Bison
4
Stick figure man
Falling or FALLEN before bison
disemboweled by rhino to the left
Animals- skillfully rendered
Man- crude, clumsy, touch of unskilled artist
ambiguous position
4
Why difference?
? No images suitable for self-depiction
? afraid to cast spell on self
4
Perhaps (Joseph Campbell Theory)
Male figure in trance
Shamans in many cultures serve as
intermediaries between Human and Spirit
world and many assumed an alter ego who
could communicate with animals. They
commonly went into a trance in which they
experienced visions of flying and crossing
long distances. They would come back with
reports of where the animals could be found
What ceremony is being represented
Not disguised as animal
Bird-like head may be that he wears MASK
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Paleolithic
STAFF - Bird on staff, spear, throw stick
Staff gives support to idea that the man
participates in ancient ritual
BIRD may be aspect of the
GREAT GODDESS that was seen as giver of
life & nourishment
as well as
symbolizing DEATH t
through association with Birds of Prey
4
STAFF Lends Credence to view that man
participating in ancient RITUAL
20
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PO1-MES
Paleolithic
Sorcerer
Trois Freres in the Pyrenees
humanoid creatures--> erect stance/ human legs
G1-9
Sorcerer, Trois
Frères, c13,000 11,000 BC. 24"
high. Ariège,,
France.
masked
wears antlers of a reindeer
memory sketch of
a god or shaman or witch doctor in a trance
4
Appears in chamber crowded with beasts
?Figure may be their god-- descended into
the witch doctor and filled him w/ bestial
power.
? Hunter camouflaged to hunt deer?
?Figure disguised to avoid self involvement
In Paleolithic art man Almost never appears
among animals portrayed
3
Other Examples
4
Many tribal culturesShaman acts out role of animal, participating
in its power
4
EQUIV.- 16th c drawing of
Northeastern American Indians
showing hunters wrapped in deer skins
creeping up to mingle with herd.
4
Traditional Mexican dance the principal
dancer
wears head of stag
associates himself with powerful image
21
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Paleolithic
22
1
Sculpture
2
3
Large Scale
General
4
Produced sculpture in deep relief and in the
round
Creator of animal more likely to strive for
quality than one who sets up image to kill.
3
G1-12A
U509B
Bison,
Tuc d'Audoubert,
c 13,000-8,000
BC
Unbaked clay,
each about 2'
long,
Ariège, France
Mid Magdalenian.
4
Some sculptural images
modeled in high relief
propped against rock wall
Placement provides strong shadows for 3D
illusion
4
2
3
U508C-c1
Antler with
Carved Bison
15,000 - 10,000
BC
Bison, Tuc d'Audoubert
c 13,000 - 8,000 BC
4
Creator of animal more likely to strive for quality
than one who sets up image to kill.
Magdalenian ( final
phase of cave ptg
Altamira
Lascaux
=
Fertility
=
make animals
Cave =
womb of the earth
Small Scale
Characteristics
In addition to large scale cave art
Earliest sculptures =
small scale
Small, hand sized drawings and carvings
date c. 32,000 BCE
tools
Most of the small sculptures of Upper
Paleolithic
women
animals
3
Materials
4
Stone Bone
Ivory Antler clay
Shapes suggested form
Then = skillfully carved with flint
3
Magic stones
1000s have been found
in Europe and Asia
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PO1-MES
Paleolithic
Magic stones
1st collection of pebbles whose
natural shape suggested something that
made them magic.
Then-recognition & elaboration
of chance resemblance
skillfully carved with flint
23
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S01-03
Lion-Human,
from HohlensteinStadel, Germany
c. 30,000-26,000
BCE
height 11 5/8”
4
PO1-MES
Paleolithic
Lion-Human
from Hohlenstein-Stadel, Germany
c 30,000 - 26,000 BCE
Mammoth ivory
height 115/8”
4
see pp. 38-9
24
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PO1-MES
Paleolithic
Horse,
from Vogelherd Cave, c 28,000 BC.
25
Not in Stokstad
one of earliest examples
obviously result of 1000s yrs. of artistic
tradition
Details worn through years of handling
J36
Horse, from
Vogelherd Cave,
c 28,000 BC.
Mammoth ivory,
length 2 1/2"
(6.4 cm).
Private collection
4
two converging lines on shoulder indicating a
dart or wound,
were not part of the original design
in the end-this horse has been "killed" or sacrificed
3
G1-11-c2
J38-c2
15440-c2
Bison from La
Mageleleine, near
Les Eylies,
c 15,000-10,000
BC
St Germain-enLaye, Mus Nat.,.
Reindeer Horn
4
Bison with Turned Head
c 15,000- 10,000 BC
4.5” high
simplified economical
Head turned
so framed by massive bulk of Body
curve and counter curve
Surface contrast =
decorative hatching indicates mane.
Not in Stokstad
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G1-13A
J37A
U513S- A
15434- A
Venus of
Willendorf (stone)
3/4 view
25,000-20,000) or
(15,000-10,000
BC, Vienna,
NatHistMus.
G1-13B
J37B
U513S- B
15434- B
Venus of
Willendorf (stone)
3/4 view
25,000-20,000) or
(15,000-10,000
BC, Vienna,
NatHistMus.
4
PO1-MES
Paleolithic
26
Representation of Human Beings
in Paleolithic & Neolithic
"Venus" Figures - General
Earliest = tiny female figures
Aurignacian
(Paleolithic)
Found with Hearths and Burial sites
Willendorf, Austria
Gravettian culture
28,000- 20,000 BC
Produced artifacts from Rhine to Russia
most abundant in Central Europe
Best known = small sculptures in round
known as Venus figures
These figures are the exception to the rule of
the exclusion of the human figure in cave art
Magdalenian culture and early cultures were
not uniquely French-Spanish
4
Anatomical exaggeration suggests FERTILITY
FETISH
Need for game and human offspring in
dangerous life
different approach from depiction of animals
do not aim for heightened realism
some do not even have heads
Idea is not to show female of species but the
idea of female fecundity
NOT woman but FERTILITY
4
Aurignacian
(Paleolithic)
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Paleolithic
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Woman from Willendorf (Venus of)
c 22,000 - 21,000 BC
10, 000 years before Lascaux
4 3/8” tall
<5" tall but appears monumental
simplified form
Navel, central point of design
= natural cavity in the stone
Fertility- exaggerated breasts and buttocks
SELDOM see Facial features
some without heads
4
Carved from limestone
originally colored with red ocher
Round shapes- stability, dignity permanence
Conveys body fleshiness
Gender neutral parts = face, arms, legs = more
vestiges
4
So many surviving figures are female that some
scholars speculate that:
 prehistoric societies were matriarchal
(dominated by women)

figures are reflection of religious notions:
- early religions chiefly concerned with
perpetuating familiar cycles of nature

4
ensuring the continuing life
of people, animals, vegetation
 fertility symbols
Also possible:
represents actual people
ancestor figures
dolls to help young girls learn women’s roles
Due to diversity of ages & physical types
any of these types = possible
4
Archaeologists Marija Gimbutas believes:
Goddess symbolizes Powers of nature
Giver of Life
Taker of Life
Renews herself through
Eternal cycles of Death and Rebirth
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S01-05
Woman from
Ostrava Pekovice
c. 23,000 BCE
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PO1-MES
Paleolithic
28
Woman from Ostrava Petkovice
Czech Republic c 23,000 BCE
hemalite
m
1 ¾”
see page 39
4
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Paleolithic
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Woman from Brassempouy
Grotte du Pope
Brassempouy, Landes, France
c 22,000 BC
ivory
1 ¼” tall
simplified form
4
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PO1-MES
Paleolithic
1
Architecture
2
3
level 2
Head 3
4
term architecture usually reserved to
enclosure of space with some aesthetic intent
Upper Paleolithic Shelters
•
•
circular or oval huts
15’ to 20’ diameter
some colored the floors with ocher
(yellowredbrown)
activities centered around inside firepit /
hearth for food prep where tools, utensils
made
Larger dwellings
• more than one hearth
•
other spaces for
• working stone
• making, clothing
• sleeping
• dumping refuse
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PO1-MES
Paleolithic
Mammoth bone houses
From Ukraine, Russia
S1-2
Reconstruction
drawing of
mammoth bone
house from
Ukraine c.
16,000-10,000
BC
well preserved
solid, weatherproof shelter in treeless
grasslands
settlements up to 10 houses
bones of wooly mammoth (extinct elephant)
best preserved site MEZHIRICH, Ukraine
c 16,000 - 10,000 BCE
from 13’ - 26’ diameter
largest 24’ x 33’
skulls, shoulder blades,
pelvis bones, tusks
curving tusks made excellent roof supports
- arched door openings
bone framework
prob. covered with animal hides and turf
Inside =
15 small hearths
still with ashes & charred bones
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Paleolithic
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Religious architecture
Cave as Temple
The Sacred Cave
Assoc. with her worship
for it was from the WOMB
that men and women came
and it is believed
that these early people returned back to the
womb of Earth.
4
Religious architecture features found in some
cave sites
later Paleolithic magic may have been
developing into religious ritual and communal
belief
4
1000s of years later have cave-like spaces of
sanctuary where most sacred and hidden
mysteries are kept and gods dwell in silence.
3
Example:
El Juyo, North Spain
c. 12,000 BC
near Santander
near Altamira
North Spain
4
Found "Sanctuary" with altar like stone slab
(apx 1 ton) supported by other Stone slab
--- see Gardner,
9th edition, p 32--
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J35
H1-11
Ritual Dance,
Rock engraving.
c 10,000 BC
Height of figures
c 10" (25.4 cm)
Cave of Addaura,
Monte Pellegrino
(Palermo) Sicily
PO1-MES
Paleolithic
Cave Rituals
Existence of Cave rituals relating to human &
animal fertility
Ritual Dance
cave of ADDAURA, near Palermo, Sicily
4
c 10,000 BC
Engraving
discovered 1950s
humans & some animals
dance like movements
several layers of images superimposed.
4
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Variety of attitudes
perhaps includes acts of fortune
vigor and freedom of movement similar to
modern artist- Henri Matisse.
Not in Stokstad
some say Mesolithic
10,000 - 8000 BC
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PO1-MES
Paleolithic
Transition to Mesolithic
Art of Old Stone Age in Europe =
Highest achievements of way of life that
began to decline soon after
Was adapted almost perfectly to
conditions of receding ice age
gave way to new Developments in Mesolithic
New images - c 10,000 - 5,000 BC
1
"Modern" Stone Age
2
3
General
Stone Age lasted longer
where nothing challenged or disturbed it
or where area inhospitable
4
Last remnants were/ are
Bushmen of South Africa
Aborigines of Australia
2
3
J39
A Spirit Man
Spearing
Kangaroos.
Aboriginal
painting from
Western Arnhem
Land, North
Australia, c 1900
AD.
Tree bark
Level 2
4
2
34
Bushmen of South Africa
Aborigines of Australia
A Spirit Man Spearing Kangaroos.
Aboriginal painting - c 1900 AD.
Tree bark
Paleolithic features
Less skillful than cave paintings of Europe
Similar interest
in movement and
keen observation of detail
Including X-ray view of inner organs
Here it is kangaroos rather than bison on
which hunting magic is being worked.
include in Mesolithic
also