The noted archaeologist explores the varieties of prehistoric cave art across the world and offers surprising insights into its purpose and meaning. What drew our Stone Age ancestors into caves to paint in charcoal and red hematite, to watch the likenesses of lions, bison, horses, and aurochs as they flickered by firelight? Was it a creative impulse, a spiritual dawn, a shamanistic conception of the world? In this book, Jean Clottes, one of the most renowned figures in the study of cave paintings, pursues an answer to the “why” of Paleolithic art. Discussing sites and surveys across the world, Clottes offers personal reflections on how we have viewed these paintings in the past, what we learn from looking at them across geographies, and what these paintings may have meant—and what function they may have served—for their artists. Steeped in Clottes’s shamanistic theories of cave painting, What Is Paleolithic Art? travels from well-known Ice Age sites like Chauvet, Altamira, and Lascaux to visits with contemporary aboriginal artists, evoking a continuum between the cave paintings of our prehistoric past and the living rock art of today. Clottes’s work lifts us from the darkness of our Paleolithic origins to reveal surprising insights into how we think, why we create, why we believe, and who we are

Publisher Description

Drawing on the most up-to-the-minute research on prehistoric art, an anthropologist presents a global survey, starting with the first explosion of imagery that occurred approximately 40,000 years ago but also including the creations of essentially "prehistoric" peoples living as recently as the early 20th century. 226 illustrations.

Did your child enjoy the school discussions on prehistoric art? Then feed that excitement even more by supplementing with this book of social studies. Through the lessons discussed in these pages, your child will learn to examine and describe the key characteristics of prehistoric cave art. Get a copy for your child today.

Whitley, one of the world's leading experts on cave paintings, rewrites the understanding of shamanism and its connection with artistic creativity, myth, and religion by interweaving archaeological evidence with the latest findings of cutting-edge neuroscience.

Using his background in political theory and philosophical anthropology, Barry Cooper is the first political scientist to propose new interpretations of some of the most famous extant Paleolithic art and artifacts in Paleolithic Politics. This book is inspired by Eric Voegelin, one of the major political scientists of the last century, who developed an interest in the very early symbolism associated with the caves and rock shelters of the Upper Paleolithic, but never finished his analysis. Cooper, who has written extensively on Voegelin’s theories, takes up the enterprise of applying Voegelin’s approach to an analysis of portable and cave art. He specifically applies Voegelin’s philosophy of consciousness, his concept of the compactness and differentiation of consciousness, his argument regarding the experience and symbolizations of reality, and his notion of the primary experience of the cosmos to images previously regarded as pedestrian. Cooper demonstrates the political significance of the earliest expressions of human existence and is among the first to argue that political life began not with the Greeks, but 25,000 years before them. Archaeologists, prehistorians, and political scientists will all benefit from this original and provocative work.

Art of indigenous peoples.