scholarly journals Palaeolithic art: Old masters, early cultures

Nature ◽  
2016 ◽  
Vol 532 (7599) ◽  
pp. 310-311
Author(s):  
Jill Cook
Keyword(s):  
Author(s):  
Marcos García‐Diez ◽  
Peter Smith ◽  
Emilio Muñoz ◽  
Daniel Garrido ◽  
Álvaro Ibero ◽  
...  
Keyword(s):  

Antiquity ◽  
1996 ◽  
Vol 70 (268) ◽  
pp. 276-288 ◽  
Author(s):  
Jean Clottes

Trustworthy dates on charcoal from the classic European painted caves have given a sharper view of images and their making in the later Palaeolithic. The new Grotte Chauvet has its own original themes, revealing a striking and an unexpected Aurignacian art with — again — dates from charcoal in which one can have confidence.


2006 ◽  
Vol 16 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Derek Hodgson

There has been much controversy recently regarding Lewis-Williams's assertion that altered states of consciousness and shamanism can explain Palaeolithic art. Evidence now seems to be accumulating that this account is unable to provide a sustainable explanation for Upper Palaeolithic depictions. This proposition will be explored and substantiated by examining further weaknesses contained therein. Additionally, in response to claims by those defending altered states that no alternative explanation for palaeoart has been proposed as a viable alternative, it will be shown that such a description does exist but has not been given the attention it deserves because of a misplaced concern for shamanism.


1998 ◽  
Vol 93 (3) ◽  
pp. 776
Author(s):  
Brian Vickers ◽  
Dolora A. Wojciehowski
Keyword(s):  

2021 ◽  
Vol 31 (3) ◽  
pp. 93-112
Author(s):  
David Chai ◽  

Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening.


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