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The currently accepted interpretation of parietal art contends that the majority of the cave images are manifestations of shamanic ritual mediated through visionary experience in altered states of consciousness.
Most studies of Upper Palaeolithic art are characterized by a focus on the interpretation of imagery and the (often implicit) view that temporal and spatial variability is primarily stochastic in nature.
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Are animal figures in movement interpreted by Ethol cave art Ogy?
This paper discusses how recent advances in technology have revolutionized the study and interpretation of Paleolithic cave art. The interpretation of Paleolithic symbolic systems is a complex process and hypotheses must be applied to cave art with the greatest of precision.
- oscar moro abadia
This eclectic and creative thesis takes in a diverse series of case studies tracing the prehistory of painting in light of these cognitive propensities, from the beginnings of human culture in Southern Africa to abstract designs and hand-prints in the Palaeolithic caves, from Bushman rock art depicting swift-people to the reported experiences ...
Apr 1, 1988 · The Signs of All Times: Entoptic Phenomena in Upper Palaeolithic Art. April 1988. Current Anthropology 29 (2) DOI: 10.1086/203629. Authors: David Lewis-Williams. University of the Witwatersrand. T ...
Azéma M. 2008. – Representation of movement in the Upper Palaeolithic: An ethological approach to the interpretation of parietal art. [DVD-ROM]1. Anthropozoologica 43 (1): 117-154. ABSTRACT The earliest known figures produced by humans are mainly reproductions of animals. In this study (PhD thesis), which is limited to parietal art in France,
Representation of movement in the Upper Palaeolithic bisons (females in heat) and two composite animals (half-reindeer, half-bison) fleeing towards him and introducing a “supernatural” dimension to the whole panel of the “little sorcerer with the musical bow”.
