scholarly journals VISITING PALAEOLITHIC ART – EXPLORATIONS AND ARCHAEOLOGICAL IMPLICATIONS IN CUEVA DE LAS MONEDAS, SPAIN

2021 ◽  
Author(s):  
Marcos García‐Diez ◽  
Peter Smith ◽  
Emilio Muñoz ◽  
Daniel Garrido ◽  
Álvaro Ibero ◽  
...  
Keyword(s):  
Palaeolithic Art

Thematic changes in Upper Palaeolithic art: a view from the Grotte Chauvet

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

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.

Altered States of Consciousness and Palaeoart: an Alternative Neurovisual Explanation

2006 ◽  
Vol 16 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Derek Hodgson
Keyword(s):  
Alternative Explanation ◽  
Altered States Of Consciousness ◽  
Viable Alternative ◽  
Altered States ◽  
Upper Palaeolithic ◽  
States Of Consciousness ◽  
Palaeolithic Art

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.

scholarly journals Palaeolithic art: Old masters, early cultures

Nature ◽  
2016 ◽  
Vol 532 (7599) ◽  
pp. 310-311
Author(s):  
Jill Cook
Keyword(s):  
Old Masters ◽  
Palaeolithic Art

Wrestling with Analogy: A Methodological Dilemma in Upper Palaeolithic Art Research.

1991 ◽  
Vol 57 (01) ◽  
pp. 149-162 ◽  
Author(s):  
J. D. Lewis-Williams
Keyword(s):  
Western Europe ◽  
Upper Palaeolithic ◽  
Prehistoric Art ◽  
Scientific Opinion ◽  
Art Research ◽  
Analogical Argument ◽  
Palaeolithic Art

In 1902 Emile Cartailhac published hisMea Culpa d'un Sceptique. His acceptance of the high antiquity of prehistoric art in western Europe followed Capitan and Breuil's convincing discoveries in Font de Gaume and Les Combarelles and reflected a widespread change of opinion. Despite previous scepticism, researchers were beginning to allow that the parietal as well as the mobile art did indeed date back to the Upper Palaeolithic. But this swing in scientific opinion opened up an even more baffling problem: why did Upper Palaeolithic people make these pictures? In the year following Cartailhac's turn-about Salomon Reinach tried to answer this question by developing an analogical argument based on ethnographic parallels. He could see no other way of approaching the problem: ‘Our only hope of finding outwhythe troglodytes painted and sculpted lies in asking the same question of present-day primitives with whom the ethnography reveals connections’ (Reinach 1903, 259; my translation, his emphasis).

scholarly journals El arte paleolítico en el cine = Paleolithic Art in Cinema

2019 ◽  
pp. 13
Author(s):  
Alberto Lombo Montañés
Keyword(s):  
Paleolithic Art ◽  
Palaeolithic Art

El artículo investiga la difusión del arte paleolítico en el cine, desde R.F.D 10000 BC (1916) de Willis O’Brien a Alpha de Albert Hughes (2018). Establece una metodología para clasificar y estudiar el «arte paleolítico fílmico» en tres tipos: creado, recreado y reproducido. Se analiza la cronología de los tipos, los referentes (Lascaux, Altamira y Chauvet), los temas, las funciones y los significados. Se observa una tendencia al realismo que acerca el «arte paleolítico fílmico» al «arte paleolítico científico».AbstractThe aim of this article is to investigate the spread of Palaeolithic art in the cinema, from R.F.D 10000 BC (1916) of Willis O’Brien to Alpha of Albert Hughes (2018). A methodology to classify and study the film «Palaeolithic art» is established in three aspects: the created art, the recreated art and its reproduction. The chronology of these types is analysed; as well as their references (Chauvet, Lascaux and Altamira), items, functions and meanings. There is a tendency to the realism that approaches from the «filmed Palaeolithic art» to the scientific «Palaeolithic art».

Sexual dimorphism in Upper Palaeolithic hand stencils

Antiquity ◽  
2006 ◽  
Vol 80 (308) ◽  
pp. 390-404 ◽  
Author(s):  
Dean R. Snow
Keyword(s):  
Sexual Dimorphism ◽  
Adult Male ◽  
Human Hand ◽  
Upper Palaeolithic ◽  
Men And Women ◽  
Sexual Roles ◽  
Adult Females ◽  
Palaeolithic Art ◽  
Cave Art

Sexual roles in deep prehistory are among the most intriguing puzzles still to solve. Here the author shows how men and women can be distinguished by scientific measurement in the prints and stencils of the human hand that occur widely in Upper Palaeolithic art. Six hand stencils from four French caves are attributed to four adult females, an adult male, and a sub-adult male. Here we take a step closer to showing that both sexes are engaged in cave art and whatever dreams and rituals it implies.

Palaeolithic art at Grotta di Cala dei Genovesi, Sicily: a new chronology for mobiliary and parietal depictions

Antiquity ◽  
2018 ◽  
Vol 92 (361) ◽  
pp. 38-55 ◽  
Author(s):  
Gianpiero di Maida ◽  
Marcos García-Diez ◽  
Andreas Pastoors ◽  
Thomas Terberger
Keyword(s):  
Image Position ◽  
Palaeolithic Art

Abstract

scholarly journals How Do We Explain ‛Autistic Traits’ in European Upper Palaeolithic Art?

2018 ◽  
Vol 4 (1) ◽  
pp. 262-279
Author(s):  
Penny Spikins ◽  
Callum Scott ◽  
Barry Wright
Keyword(s):  
Psychotropic Drugs ◽  
Autistic Traits ◽  
Autism Spectrum ◽  
Autism Spectrum Conditions ◽  
Local Processing ◽  
Upper Palaeolithic ◽  
Processing Bias ◽  
Local Processing Bias ◽  
Palaeolithic Art

AbstractTraits in Upper Palaeolithic art which are also seen in the work of talented artists with autism, including most obviously an exceptional realism, remain to be explained. However any association between the famously evocative animal depictions created in the European Upper Palaeolithic and what is commonly seen as a ‘disorder’ has always been contentious. Debate over these similarities has been heated, with explanations ranging from famous works of Upper Palaeolithic art having been created by individuals with autism spectrum conditions, to being influenced by such individuals, to being a product of the use of psychotropic drugs. Here we argue that ‘autistic traits’ in art, such as extreme realism, have been created by individuals with a cognitive extreme of local processing bias, or detail focus. The significance of local processing bias, which is found both as a feature of autism spectrum conditions and in artists with exceptional talent at realistic depiction who aren’t autistic, has implications for our understanding of Upper Palaeolithic society in general, as well as of the roles played by individuals with autism spectrum conditions.

Light, Human Evolution, and the Palaeolithic

2017 ◽  
Author(s):  
Paul Pettitt ◽  
Stefanie Leluschko ◽  
Takashi Sakamoto
Keyword(s):  
Western Europe ◽  
Human Perception ◽  
Evolutionary Significance ◽  
Middle Palaeolithic ◽  
Upper Palaeolithic ◽  
Low Light ◽  
Light Production ◽  
Constituent Component ◽  
Palaeolithic Art ◽  
Cave Art

Human light-producing technology (i.e. the controlled use of fire) evolved during the Palaeolithic. Among its more obvious advantages to survival (heat, cooking, protection), fire-provided light in the form of hearths and lamps probably had considerable evolutionary significance. As human symbolic systems spread with the late Middle Palaeolithic and Upper Palaeolithic in Eurasia, it became a constituent component of European cave art. After reviewing the biological basis of human perception in low-light situations, we examine the existing evidence for the evolution of controlled use of fire (light production), and focus on its use in the performance of Upper Palaeolithic art and other activities in the deep caves of Western Europe.

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