Statues of Prehistoric Venuses Found All Over the World by Gaetano Bugelli

Total Page:16

File Type:pdf, Size:1020Kb

Statues of Prehistoric Venuses Found All Over the World by Gaetano Bugelli Statues of Prehistoric Venuses found all over the World By Gaetano Bugelli There are many venuses that have either big bubies or big buttocks. I think I have an idea why they are carved like that. I think that at the time many people were suffering from steatopygia. Venus Number 1: The Venus of Willendorf The Venus of Willendorf dates back to 25,000 years BC and is made of Oolithic limestone. The statue was found in the Palaeolithic archaeological sites at Willendorf in Austria as part of the Wachau railway construction. Venus Number 2: The Venus of Lespugue The Venus of Lespugue dates back to 23,000 years BC and is made of mammoth ivory tusk. The statue was found in the Rideaux cave of Lespugue in the foothills of the Pyrenees, part of the Haute Garonne region of France. Venus Number 3 : The Venus of Dolni Vestonice The Venus of Dolni Vestonice dates back to 26,000 years BC and is made of a mixture of animal bone meal and clay. The statue was found in the palaeolithic settlement of Dolní Vestonice which is in slopes of the Pavlov Hills in Czech Republic. Venus Number 4: The Venus of Mal’ta in Siberia The Venus of Mal’ta dates back to 21,000 years BC and is made of mammoth ivory tusk. The statue was found in a cave at Mal'ta, at the Angara River, near Lake Baikal in Irkutsk Oblast, Siberia. Venus Number 5: The Venus of Brassempouy The Venus of Brassempouy dates back to 23,000 years BC and is made of mammoth ivory tusk. The statue was found near Brassempouy, in a place known as the Galerie des Hyènes (Gallery of the Hyenas) and the Grotte du Pape (the Pope's Cave). Venus Number 6: The Venus of Laussel Venus Number 7: The Venus of Hohle Fels The Venus of Hohle Fels is made of mammoth ivory. Venus Number 8: The Venus of Savignano Dates back to 25,000 years BC. Venus Number 9: The Venus of Kostenky Dates back to 30,000 years BC. Venus Number 10: The Venus of Moravany Dates back from 22,000 years to 24,000 years BC. Venus Number 11: The Venus of Montpazier Dates back to 30,000 years BC. Venus Number 12: The Venus of Garagino Dates back to 22,000 years BC Venus Number 13: The Venus of Tan Tan The Venus of Tan Tan was found in Morocco from about 300,00 to 500,000 years BC. By Homo Erectus. Venus Number 14: The Venus of Berekhat Ram Venus Number 15: The Venus of Zaraysk Venuses Numbers 15 and 16: Venuses from Çatalhöyük Dates back from 5,500 to 7,000 years BC and is made of marble or calcite. Dates back from 5,500 to 7,000 years BC and is made of clay. Numbers 17, 18, 19, 20, 21: Venuses from Keros sdffg Venuses Numbers 22, 23, 24: Venuses of Mesopotamia Venus Number 25: Venus of the Nile River Goddess Dates back to 4,000 years BC Venus Number 26: The Mezin Venus Venus Number 27: The Venus of Parzadzik Venus Number 28: Venus of the Turriga Mother Goddess Dates back from 2,800 to 3,200 years BC. .
Recommended publications
  • Vilniaus Universiteto Komunikacijos Fakulteto Informacijos Ir Komunikacijos Katedra
    Vilniaus universiteto Komunikacijos fakulteto Informacijos ir komunikacijos katedra Ieva Šimkutė Tarptautinės komunikacijos magistro studijų programos 2 kurso studentė LIEKNUMO IDEALAI ŢINIASKLAIDOJE: TARPKULTŪRINIS ASPEKTAS Magistro baigiamasis darbas Vadovė: dr. Laima Nevinskaitė Vilnius, 2011 Pildo bakalauro / magistro baigiamojo darbo autorius Ieva Šimkutė (magistro baigiamojo darbo autoriaus vardas, pavardė) Lieknumo idealai ţiniasklaidoje: tarpkultūrinis aspektas (magistro baigiamojo darbo pavadinimas lietuvių kalba) Body Image Ideals in the Media: a Cross-cultural Dimension (magistro baigiamojo darbo pavadinimas anglų kalba) Patvirtinu, kad magistro baigiamasis darbas parašytas savarankiškai, nepaţeidţiant kitiems asmenims priklausančių autorių teisių, visas baigiamasis bakalauro/ magistro darbas ar jo dalis nebuvo panaudotas kitose aukštosiose mokyklose. (magistro baigiamojo darbo autoriaus parašas) Sutinku, kad magistro baigiamasis darbas būtų naudojamas neatlygintinai 5 metus Vilniaus universiteto Komunikacijos fakulteto studijų procese. (magistro baigiamojo darbo autoriaus parašas) Pildo bakalauro / magistro baigiamojo darbo vadovas Magistro baigiamąjį darbą ginti ____________________________________________ (įrašyti – leidţiu arba neleidţiu) _______________ _______________________________________________________ (data) (magistro baigiamojo darbo vadovo parašas) Pildo instituto/ katedros, kuruojančios studijų programą, reikalų tvarkytoja Magistro baigiamasis darbas įregistruotas _______________________________________________________________________________
    [Show full text]
  • Homo Aestheticus’
    Conceptual Paper Glob J Arch & Anthropol Volume 11 Issue 3 - June 2020 Copyright © All rights are reserved by Shuchi Srivastava DOI: 10.19080/GJAA.2020.11.555815 Man and Artistic Expression: Emergence of ‘Homo Aestheticus’ Shuchi Srivastava* Department of Anthropology, National Post Graduate College, University of Lucknow, India Submission: May 30, 2020; Published: June 16, 2020 *Corresponding author: Shuchi Srivastava, Assistant Professor, Department of Anthropology, National Post Graduate College, An Autonomous College of University of Lucknow, Lucknow, India Abstract Man is a member of animal kingdom like all other animals but his unique feature is culture. Cultural activities involve art and artistic expressions which are the earliest methods of emotional manifestation through sign. The present paper deals with the origin of the artistic expression of the man, i.e. the emergence of ‘Homo aestheticus’ and discussed various related aspects. It is basically a conceptual paper; history of art begins with humanity. In his artistic instincts and attainments, man expressed his vigour, his ability to establish a gainful and optimistictherefore, mainlyrelationship the secondary with his environmentsources of data to humanizehave been nature. used for Their the behaviorsstudy. Overall as artists findings was reveal one of that the man selection is artistic characteristics by nature suitableand the for the progress of the human species. Evidence from extensive analysis of cave art and home art suggests that humans have also been ‘Homo aestheticus’ since their origins. Keywords: Man; Art; Artistic expression; Homo aestheticus; Prehistoric art; Palaeolithic art; Cave art; Home art Introduction ‘Sahityasangeetkalavihinah, Sakshatpashuh Maybe it was the time when some African apelike creatures to 7 million years ago, the first human ancestors were appeared.
    [Show full text]
  • Paleolithic 3 Million + 10,000 BCE
    The Rupture “This is where we should look for the earliest origins, long before the age of metals, because it was about 300,000 years ago that the “fire pit” was starting to be utilized with some stone, wood and bone.. Silo - 2004 Paleolithic 3 Million + 10,000 BCE The term Paleolithic refers to the « Old Stone Age » The Paleolithic period begins with the first evidence of human technology (stone tools) more than three million years ago, and ends with major changes in human societies instigated by the invention of agriculture and animal domestication. Paleolithic, Lower, Middle and Upper Lower Paleolithic 3 Million + - 300,000 BCE the Lower Paleolithic, from the earliest human presence (Homo antecessor and Homo heidelbergensis) to the Holstein interglacial, c. 1.4 to 0.3 million years ago. Middle Paleolithic 300,000 – 40,000 BCE the Middle Paleolithic, marked by the presence of Neanderthals, 300,000 to 40,000 years ago Upper Paleolithic 45,000 – 12,000 BCE the Upper Paleolithic, c. 45,000 to 12,000 years ago, marked by the arrival of anatomically modern humans and extending throughout the Last Glacial Maximum The Aurignacian Period – 40,000-28,000 BCE • The Aurignacian cultural tradition is generally accepted as the first modern humans in Europe. • During this period an explosion of sudden and innovative changes take place. People begin to use musical instruments which indicates possible ceremony, ritual and dance. Plus all forms of art appears at this time which signifies the full emergence of modern symbolic expression. • The most significant development in stone tool making is the refinement of the manufacture of blades struck off conical cores or nuculi.
    [Show full text]
  • A Female Figurine from the Basal Aurignacian of Hohle Fels Cave in Southwestern Germany
    Vol 459 | 14 May 2009 | doi:10.1038/nature07995 LETTERS A female figurine from the basal Aurignacian of Hohle Fels Cave in southwestern Germany Nicholas J. Conard1 Despite well over 100 years of research and debate, the origins of art dimensions. Four fragments were recovered in connection with water remain contentious1–3. In recent years, abstract depictions have screening and can be localized to a 10-l volume corresponding to a ,3- been documented at southern African sites dating to 75 kyr before cm-thick portion of a quarter metre.The pieces of the figurine lay about present (BP)4,5, and the earliest figurative art, which is often seen as 3 m below the current surface of the cave in an area about 20 m from the an important proxy for advanced symbolic communication, has cave’s entrance. All of the finds come from the southwest quadrant of a been documented in Europe as dating to between 30 and single square metre and were recovered from within 12 cm in the 40 kyr BP2. Here I report the discovery of a female mammoth-ivory vertical dimension (Fig. 2). Although, owing to their fragility and com- figurine in the basal Aurignacian deposit at Hohle Fels Cave in the plex depositional histories, many of the ivory artworks from the Swabian Jura of southwestern Germany during excavations in Swabian Jura are highly fragmentary, the Venus from Hohle Fels is 2008. This figurine was produced at least 35,000 calendar years nearly complete; only the left arm and shoulder are missing. The excel- ago, making it one of the oldest known examples of figurative art.
    [Show full text]
  • Survey of Paleoanthropological Discoveries in German-Speaking Nations
    Anderson 1 Dylan Anderson Carol Pannocione German 30 September 2019 Behold, der Mann: Survey of Paleoanthropological Discoveries in German-Speaking Nations 1. Introduction The German world, with its turbulent and important history from almost 600,000 years ago to this day, is immensely important to the study of humankind; from then and now. Fossils allow us a glimpse at the early inhabitants of Europe and Germany; tools allow us to see how our ancestors would have survived; and art allows us to see the symbolic capabilities of our ancestors. 2. Fossils and Tools Understanding and researching human prehistory is difficult due to the sheer volume of information. Moreover, there are few tools to examine said prehistory, with dental, isotopic, and mitochondrial analysis being some of the more recent tools. Early tools to examine prehistory would have been fossil analysis, stratigraphy, and comparative anatomy. 2.1. Neandertal 1 Neandertal 1 are a set of bones belonging to an extinct species of hominins now known as Homo sapiens neandertalensis. This was not the first Neandertal found, nor the first Neandertal discovered in the German world, but it was the first fossil to be named as Neandertal. After being discovered in 1856, the fossil was promptly given to local German teacher and naturalist Johann Carl Fuhlrott. Fuhlrott, along with German anatomist Hermann Schaaffhausen, published a joint Anderson 2 paper in 1857 in a German society for natural history posited that the skull belonged to a new species related to humans (Schaaffhausen, 1857). Their views were the subject of intense scholarly debate. At the time, the biological sciences were dominated by German cellular biologist Rudolf Virchow, who despised the theory of evolution and claimed Neandertal 1 was a human with a serious deformation (Glick, 1988).
    [Show full text]
  • Iron, Steel and Swords Script - Page 1
    Venus Figurines There are plenty of so-called Venus figurines. My Suebian ancestoress seems to be the oldest (and ugliest) of the bunch Just for the hell of it, here is a gallery of stone-age beauties. The ceramic one mentioned in the text is here. Here is a little table of what's around (partially adopted from Wikipedia). There are several more Venus figurines around, however, and many are probably patiently waiting for that good-looking archeologist to dig them out. Check this link for plenty of additional information and pictures: Don's Map; http://www.donsmaps.com/index.html. Some of the pictures following are from this site. Name Approx. age Location Material (x 1000 years) Hidden Venus of Hohle Fels 35–40 Suebian Alb, Germany Mammoth ivory Venus of Galgenberg 30 Lower Austria Serpentine rock Venus of Dolní Vestonice 27–31 Moravia, Czech Republic Ceramic Venus of Lespugue 24–26 French Pyrenees Ivory Venus of Willendorf 24–26 Lower Austria Limestone Venus of Mal'ta 23 Irkutsk Oblast, Russia Ivory Venus of Moravany 23 Záhorie, Slovakia Mammoth ivory Venus of Brassempouy 22 Aquitaine, France Mammoth ivory Venus of Laussel 20 Dordogne, France Limestone relief Venus' of Avdeevo 20 - 21 Switzerland Black jet Venus of Monruz 11 Near Kursk; Russia ivory Venus of Catal Huyuk 7.7 Turkey Clay (?) Suebian Venus of Hohle Fels Iron, Steel and Swords script - Page 1 Venus of Galgenberg Ceramic Venus of Dolní Vestonice Iron, Steel and Swords script - Page 2 Venus of Lespugue Venus of Willendorf Venus of Malta Iron, Steel and Swords script - Page 3 Venus of Moravany Venus of Brassempouy Venus of Laussel Iron, Steel and Swords script - Page 4 Venus' of Avdeevo Venus of Monruz Iron, Steel and Swords script - Page 5 Relatively recent "Venus" from Catal Huyuk; usually perceived as (birthing) Godess (Head restored) Finally, two modern versions.
    [Show full text]
  • The Role of Art, Abstract Thincking and Social Relations in the Human Evolution
    Muzeul Olteniei Craiova. Oltenia. Studii şi comunicări. Ştiinţele Naturii. Tom. 32, No. 2/2016 ISSN 1454-6914 THE ROLE OF ART, ABSTRACT THINCKING AND SOCIAL RELATIONS IN THE HUMAN EVOLUTION CORNEANU Mihaela, CORNEANU C. Gabriel Abstract. Before the appearance of Homo sapiens sapiens, some pre-human genotypes that lived on the Earth, left material evidence concerning different events of their social, behavioural or artistic manifestations. One of the earliest proofs is the use of objects from the environment as primitive tools to extract bone marrow, action probably achieved by a population of Australanthropus olteniensis in Romania (Tetoiu, Bugiuleşti, Oltenia, about 2,000,000 BC). Current studies show that pre-human species originated in the African Rift Valley, which provided optimum benefits to its evolution and diversity. Proto-oceanic environmental quality and diet (rich source of polyunsaturated long fibres) ensured brain development and human evolution. Several pre-human species (Homo habilis, H. naledi, H. erectus, etc.) emerged and lived in this area prior to their migration to other continents. Fire making and use, both for cooking and protection against weather and wildlife, was the essential factor for human evolution. Benefiting from the cooked food, pre-human beings had access to richer food resources, which led to the increase of the skeleton, and, implicitly, of the skull and encephalus. This made possible the development of practical utilities, followed by abstract utilities, such as thinking and intelligence. Sexual dimorphism, the presence of the gene FOX-P2 and the development of language, social and tribal life led to the arrangement of the living spaces, family.
    [Show full text]
  • Priceless: a Magazine for the Liberation of Art an Honors Thesis
    Priceless: A Magazine for the Liberation of Art An Honors Thesis (ADS 480) By Eliza Roark Thesis Advisor John Morris Ball State University Muncie, Indiana May 2020 Expected Date of Graduation May 2020 Abstract Counter-culture activists and thinkers have been using print magazines as the primary means of disseminating information for decades. The most famous and prolific of these magazines ran during the 1960s and 1970s as communities began to organize around civil rights, anti-war efforts, and more. These magazines, though now are almost half a century old, are still as powerful as they were at the time of release. The historic publications like The Seed and The Black Panther along with contemporary zines (self-published regional or topical magazines) are what inspired both the content and visual aesthetic of my thesis. Priceless is magazine dedicated to art without capitalism and to the inherent humanness of art. Visually, it draws from the limited color palette and rule-breaking aesthetics of its inspirations to keep in line with the self-publishing D-I-Y process of these previous magazines. It contains a collection of submitted artwork and articles from fourteen students including myself that promote the notion that art is something everyone partakes in and is essential to being human. Acknowledgments I would like to thank Professor John Morris for advising me through this project. His guidance and art direction steered me toward this final work that I am very proud to have completed. I would also like to reiterate my thanks to all my submitters and encouragers, whose names are all listed within my thesis itself.
    [Show full text]
  • Cahn's Quarterly 2/2020
    Cahn’s Quarterly 2/2020 English Edition Editorial Dear readers These are indeed strange times. In March we were suddenly reminded of how much na- ture can challenge us with the sudden out- break of new diseases. Our entire economic system, which is so finely balanced, was profoundly shaken by the abrupt halt caused by the lockdown. We had just complet- ed the painstaking preparations for TEFAF Maastricht and were on our way to Holland when it became clear how threatening the situation in Europe had become. During the build-up of the fair, the organizers of TEFAF had several daily on-site consultations with the Dutch health authorities. It was unclear whether the fair would open at all, so we made short films during the build-up to Screenshot from the video “David, Ulrike, and Lily discuss an important Late Roman bronze Chlamydatus” document our booth. These films were up- loaded on our YouTube channel on the day and its neighbouring countries have man- to you in other, innovative ways. As already of the private preview so that we could wel- aged to contain the spread of the disease, mentioned, our mail messages and videos come you to the fair without you having to albeit at an enormous cost. It goes without have been positively welcomed. If you have travel to Maastricht. The numerous positive saying that the art market, too, has experi- not received them, please let us know your responses that we received encouraged us to enced drastic changes. In the context of the email address. We have also expanded our continue sending you short videos from the current economic crisis, we have reduced offering with online auctions of inexpensive gallery in Basel after the fair had shut its gallery operations and you will find that objects (further information in the box be- doors.
    [Show full text]
  • The Pagan Religions of the Ancient British Isles
    www.RodnoVery.ru www.RodnoVery.ru The Pagan Religions of the Ancient British Isles www.RodnoVery.ru Callanish Stone Circle Reproduced by kind permission of Fay Godwin www.RodnoVery.ru The Pagan Religions of the Ancient British Isles Their Nature and Legacy RONALD HUTTON BLACKWELL Oxford UK & Cambridge USA www.RodnoVery.ru Copyright © R. B. Hutton, 1991, 1993 First published 1991 First published in paperback 1993 Reprinted 1995, 1996, 1997, 1998 Blackwell Publishers Ltd 108 Cowley Road Oxford 0X4 1JF, UK Blackwell Publishers Inc. 350 Main Street Maiden, Massachusetts 02148, USA All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. British Library Cataloguing in Publication Data A CIP catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Hutton, Ronald The pagan religions of the ancient British Isles: their nature and legacy / Ronald Hutton p. cm. ISBN 0-631-18946-7 (pbk) 1.
    [Show full text]
  • Upper Paleolithic Art: a Creative Teaching Tool Ginger L
    Regis University ePublications at Regis University All Regis University Theses Summer 2010 Upper Paleolithic Art: a Creative Teaching tool Ginger L. Trovik Regis University Follow this and additional works at: https://epublications.regis.edu/theses Part of the Arts and Humanities Commons Recommended Citation Trovik, Ginger L., "Upper Paleolithic Art: a Creative Teaching tool" (2010). All Regis University Theses. 461. https://epublications.regis.edu/theses/461 This Thesis - Open Access is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in All Regis University Theses by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. Regis University College for Professional Studies Graduate Programs Final Project/Thesis Disclaimer Use of the materials available in the Regis University Thesis Collection (“Collection”) is limited and restricted to those users who agree to comply with the following terms of use. Regis University reserves the right to deny access to the Collection to any person who violates these terms of use or who seeks to or does alter, avoid or supersede the functional conditions, restrictions and limitations of the Collection. The site may be used only for lawful purposes. The user is solely responsible for knowing and adhering to any and all applicable laws, rules, and regulations relating or pertaining to use of the Collection. All content in this Collection is owned by and subject to the exclusive control of Regis University and the authors of the materials. It is available only for research purposes and may not be used in violation of copyright laws or for unlawful purposes.
    [Show full text]
  • FROM ARTIFACT to ICON: an Analysis of the Venus Figurines in Archaeological Literature and Contemporary Culture
    Durham E-Theses From artifact to icon: an analysis of the Venus gurines in archaeological literature and contemporary culture Lander, Louise Muriel How to cite: Lander, Louise Muriel (2005) From artifact to icon: an analysis of the Venus gurines in archaeological literature and contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3027/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 FROM ARTIFACT TO ICON: An Analysis of the Venus Figurines in Archaeological Literature and Contemporary Culture Volume 5 of5 Louise Muriel Lander A Thesis Submitted for the Degree of Doctor of Philosophy University of Durham Department of Archaeology 2004 A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged.
    [Show full text]