Miriam N. Haidle Nicholas J. Conard Michael Bolus Editors Based on an Interdisciplinary Symposium
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Art in the Stone Age Terminology
Art in the Stone Age Terminology ● Paleolithic- (Greek) ○ Paleo-Old ○ Lithos-Stone. ○ 40,000-9,000BCE ○ Characteristics, Hunter Gatherer, Caves. Migration ● Mesolithic, ○ Meso-Middle ○ Lithos- Stone Age ○ 10,000-5,000 bce ○ Characteristics, Beginnings of Cities, Dog Domestication, Transition to agricultural and animal domestication ● Neolithic, ○ Neo-New ○ Lithos-Stone ○ 8,000-2300 BCE ○ Development of Cities, Animal Husbandry Herding, Agriculture, People Began to stay in one place Mistakes in Art History The saying Goes.. “History is Written by the victors.” Niccolo Machiavelli Mercator Map Projection. https://youtu.be/KUF_Ckv8HbE http://www.npr.org/sections/thetwo- way/2016/01/21/463835225/discovery-of- ancient-massacre-suggests-war-predated- settlements Radio Carbon Dating https://youtu.be/54e5Bz7m3do A process Archaeologists use among others to estimate how long ago an artifact was made. Makapansgat Face Pebble resembling a face, Makapansgat, ca. 3,000,000 bce. This pebble of one of the earliest examples of representation of the human form. Apollo 11 Cave Animal facing left, from the Apollo 11 Cave, Namibia, ca. 23,000bce. Charcoal on stone, 5”x4.25”. State Museum of Namibia, Windhoek. Scientists between 1969-1972 scientists working in the Apollo 11 Cave in Namibia found seven fragments of painted stone plaques, transportable. The approximate date of the charcoal from the archeological layer containing the Namibian plaques is 23,000bce. Hohlenstein-Stadel Human with feline (Lion?) head, from Hohlenstein-Stadel Germany, ca 40,000- 35,000BCE Appox 12” in length this artifact was carved from ivory from a mammoth tusk This object was originally thought to be of 30,000bce, was pushed back in time due to additional artifacts found later on the same excavation layer. -
Ap Art History Image Set Snapshot #1 Image
AP ART HISTORY 2015-2016 1 AP ART HISTORY IMAGE SET SNAPSHOT #1 IMAGE SET identification: Apollo 11 stones. Namibia. c. 25,500-25,300 B.C. E. Charcoal on stone. Snapshot: This pre-historic charcoal drawing of an unknown animal is one of the oldest known artworks that originated from the African continent. At the time of its creation it would have been considered nothing more than a drawing, but today this collection of drawings is some of the first evidence we have of early human communication. These stones originate from the Apollo 11 caves in Namibia and were likely meant to illustrate the game that could be found in the region at that time. It is unclear if there is a story being told by the drawings but it is probable that they all display a continuity that could be understood by the people in the region during the time frame of their creation and could be used to communicate some idea. Through very precise carbon dating, these drawings are able to give scientists a timeframe of when changes in human behavior occurred and when social and biological evolution was happening among the human race, as well as show us where humanity’s first hunter and gatherer societies began. This ancient art was what the humans of its day used to communicate with each other and would seem very insignificant at the time, but in today's society this piece lets us study more about humanity’s humble beginnings. AP ART HISTORY 2015-2016 2 AP ART HISTORY IMAGE SET SNAPSHOT #1 Possible Themes: Reverence of Nature, Hunting Possible Subthemes: Animal qualities, Communication Possible Connections with other works in the IMAGE SET: Running Horned Woman. -
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. -
Who Lived in the Stellenbosch Winelands Before 1652?
WHO LIVED IN THE STELLENBOSCH WINELANDS BEFORE 1652? This short essay describes what is currently known about the archaeology and history of the Stone Age people who lived in the vicinity of Stellenbosch and adjacent Winelands in the Western Cape before European colonisation. When and where did the human story begin? There is abundant archaeological evidence from stone tools, and a few human remains, that Stone Age hunter-gatherer people lived in the Western Cape for about a million years. As yet, there is no evidence in this region for the earliest stone tools and fossil hominin remains that date to between 1 and at least 3 million years ago in the Cradle of Humankind in Gauteng, Limpopo and North-West provinces. It is not clear whether this is a result of a limited ecological range in which the early hominins lived, or of the absence of suitable geological formations for the preservation of bone. What do we mean by the Stone Age? The Stone Age was the time when most of the tools that hunter-gatherer people used were made by striking one stone against another – a hammerstone against a core – so that sharp edges were created on the sides of the core and on the flakes that were detached. Many fine-grained rocks will produce flakes with edges that are sharper than a metal knife, but stone becomes blunt much more quickly than metal. Archaeologists focus on stone tools as the primary source of evidence for the presence of people in the landscape in the past because the tools are almost indestructible and therefore are often all that is left behind after bones, wood, plant remains and shells have disintegrated. -
Palaeoart of the Ice Age
Palaeoart of the Ice Age Palaeoart of the Ice Age By Robert G. Bednarik Palaeoart of the Ice Age By Robert G. Bednarik This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Robert G. Bednarik All rights for this book reserved. No part of this book 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 copyright owner. ISBN (10): 1-4438-9517-2 ISBN (13): 978-1-4438-9517-0 TABLE OF CONTENTS Chapter One ................................................................................................. 1 Outlining the Issues Introduction ............................................................................................ 1 The nature of palaeoart .......................................................................... 3 About this book ...................................................................................... 6 About Eve .............................................................................................. 9 Summing up ......................................................................................... 21 Chapter Two .............................................................................................. 37 Africa Earlier Stone Age (ESA) and Lower Palaeolithic ............................... -
Recognising and Supporting Territories and Areas Conserved by Indigenous Peoples and Local Communities: Global Overview and National Case Studies
Secretariat of the CBD Technical Series No. 64 Convention on Biological Diversity RECOGNISING64 AND SUPPORTING TERRITORIES AND AREAS CONSERVED BY INDIGENOUS PEOPLES AND LOCAL COMMUNITIES Global overview and national case studies Published by the Secretariat of the Convention on Biological Diversity. ISBN: 92-9225-426-X (print version); ISBN: 92-9225-425-1 (web version) Copyright © 2012, Secretariat of the Convention on Biological Diversity The designations employed and the presentation of material in this publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the Convention on Biological Diversity concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The views reported in this publication do not necessarily represent those of the Convention on Biological Diversity, the Parties to the Convention, or those of the reviewers. This publication may be reproduced for educational or non-profit purposes without special permission from the copyright holders, provided acknowledgement of the source is made. The Secretariat of the Convention would appreciate receiving a copy of any publications that uses this document as a source. Citation Kothari, Ashish with Corrigan, Colleen, Jonas, Harry, Neumann, Aurélie, and Shrumm, Holly. (eds). 2012. Recognising and Supporting Territories and Areas Conserved By Indigenous Peoples And Local Communities: Global Overview and National Case Studies. Secretariat of the Convention on Biological Diversity, ICCA Consortium, Kalpavriksh, and Natural Justice, Montreal, Canada. Technical Series no. 64, 160 pp. For further information please contact Secretariat of the Convention on Biological Diversity World Trade Centre 413 St. -
Chapter 1 Multiple Choice 1. an Important Series of Caves With
Chapter 1 Multiple Choice 1. An important series of caves with paintings from the Paleolithic period is located in ________. a. Italy b. England c. Germany d. France Answer: d 2. Which of the following describes the Venus of Willendorf? a. It is a large Neolithic tomb figure of a woman b. It is a small Paleolithic engraving of a woman c. It is a large Paleolithic rockcut relief of a woman d. It is a small Paleolithic figurine of a woman Answer: d 3. Which of the following animals appears less frequently in the Lascaux cave paintings? a. bison b. horse c. bull d. bear Answer: d 4. In style and concept the mural of the Deer Hunt from Çatal Höyük is a world apart from the wall paintings of the Paleolithic period. Which of the following statements best supports this assertion? a. the domesticated animals depicted b. the subject of the hunt itself c. the regular appearance of the human figure and the coherent groupings d. the combination of men and women depicted Answer: c 5. Which of the following works of art was created first? a. Venus of Willendorf b. Animal frieze at Lascaux c. Apollo 11 Cave plaque d. Chauvet Cave Answer: d 6. One of the suggested purposes for the cave paintings at Altamira is thought to have been: a. decoration for the cave b. insurance for the survival of the herd c. the creation myth of the tribal chief d. a record of the previous season’s kills Answer: b 7. The convention of representing animals' horns in twisted perspective in cave paintings or allowing the viewer to see the head in profile and the horns from the front is termed __________. -
A New Hypothesis on the Creation of the Hohle Fels “Venus” Figurine
CLOTTES J. (dir.) 2012. — L’art pléistocène dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo Actes du Congrès IFRAO, Tarascon-sur-Ariège, septembre 2010 – Symposium « Art mobilier pléistocène » A new hypothesis on the creation of the Hohle Fels “Venus” figurine Gillian MORRISS-KAY* Female figurines, or “Venuses”, are well known from the Gravettian culture (Cohen 2003; Conard & Wolf 2010, and references therein). Their geographical spread extends from western France to Siberia, and their age from 24-29,000 years ago (kya). They are typically characterised by enlarged breasts and belly. If the face is depicted at all, it is purely stylised; in some examples, the head is not represented, or appears to have been broken off. The legs are usually fused in the midline and the feet absent. It seems likely that they are symbolically related to fertility and/or pregnancy, perhaps as amulets to protect against the dangers of childbirth; fingerprints on clay examples from Pavlovian sites indicate that they were made by women (Caldwell 2010, and references therein). They are commonly around 10cm in height. In 2008 a female figurine was excavated from Hohle Fels Cave in the Swabian Jura, Southwest Germany (Conard 2009). Excavations in this cave had already yielded three non-human figurative carvings (Conard 2003) and the oldest known musical instruments, bone and ivory flutes (Conard et al. 2009). Calibrated radiocarbon dating of the charcoal-rich material around the figurine yielded dates ranging from 36 to 40 kya. Given its position at the base of the Aurignacian deposit (28-40 kya), the older end of the range is thought to be more likely. -
New Ages from Boomplaas Cave, South Africa, Provide Increased Resolution on Late/Terminal Pleistocene Human Behavioural Variabil
AZANIA: ARCHAEOLOGICAL RESEARCH IN AFRICA, 2018 https://doi.org/10.1080/0067270X.2018.1436740 New ages from Boomplaas Cave, South Africa, provide increased resolution on late/terminal Pleistocene human behavioural variability Justin Pargetera, Emma Loftusb, Alex Mackayc, Peter Mitchelld and Brian Stewarte aAnthropology Department, Stony Brook University, Stony Brook, NY 11790, United States of America and Centre for Anthropological Research & Department of Anthropology and Development Studies University of Johannesburg, PO Box 524, Auckland Park, 2006, South Africa; bResearch Laboratory for Archaeology and the History of Art, South Parks Road, Oxford, OX1 3QY, United Kingdom and Department of Archaeology, University of Cape Town, Rondebosch, 7700, South Africa; cCentre for Archaeological Science, School of Earth and Environmental Sciences, University of Wollongong, Wollongong, NSW 2522, Australia and Department of Archaeology, University of Cape Town, Rondebosch, 7700, South Africa; dSchool of Archaeology, University of Oxford/St Hugh’s College, Oxford, OX2 6LE, United Kingdom and School of Geography, Archaeology and Environmental Studies, University of the Witwatersrand, PO Wits 2050, South Africa; eMuseum of Anthropological Archaeology and Department of Anthropology, University of Michigan, 1109 Geddes Ave., Ann Arbor, MI 48109-1079, United States of America and Rock Art Research Institute, University of the Witwatersrand, PO Wits 2050, South Africa. ABSTRACT ARTICLE HISTORY Boomplaas Cave, South Africa, contains a rich archaeological -
5.2UNIT FIVE Superstructure Art Expressive Culture Fall19
5.2 Superstructure: Art and Expressive Culture Focus on Horticultural Societies 1 Superstructure: Art and Expressive Culture Overview: This section covers aspects from the Cultural Materialist theory that relate to Superstructure: the beliefs that support the system. Topics include: Religion, Art, Music, Sports, Medicinal practices, Architecture. 2 ART M0010862 Navajo sand-painting, negative made from postcard Credit: Wellcome Library, London. Wellcome Images [email protected] http://wellcomeimages.org Navajo sand-painting, negative made from postcard, "All publication rights reserved. Apply to J.R. Willis, Gallup, N.M. Kodaks-Art Goods" (U.S.A.) Painting Published: - Copyrighted work available under Creative Commons Attribution only license CC BY 4.0 http://creativecommons.org/licenses/by/4.0/ Key Terms & Concepts • Art • Visual arts • Anthropology of art • The problem of art • Purpose of art • Non-motivated purposes of art: basic human instinct, experience of the mysterious, expression of the imagination, ritualistic & symbolic • Motivated purposes of art: communication, entertainment, political, “free zone”, social inquiry, social causes, psychological/healing, propaganda/commercialism, fitness indicator • Paleolithic art: Blombos cave, figurative art, cave paintings, monumental open air art, petroglyphs • Tribal art: ethnographic art, “primitive art”, African art, Art of the Americas, Oceanic art • Folk art: Antique folk art, Contemporary folk art 3 • Indigenous Australian art: rock painting, Dot painting, Dreamtime, symbols • Sandpainting: Navajo, Tibetan Buddhist mandalas • Ethnomusicology • Dance • Native American Graves Protection And Repatriation Act (NAGPRA): cultural items Art Clockwise from upper left: a self-portrait by Vincent van Gogh; a female ancestor figure by a Chokwe artist; detail from The Birth of Venus by Sandro Botticelli; and an Okinawan Shisa lion. -
(Neanderthal) Men: the Small Mammal Record of the Middle to Upper Paleolithic Transition in the Swabian Jura, Germany
Of Mice and (Neanderthal) Men: The small mammal record of the Middle to Upper Paleolithic transition in the Swabian Jura, Germany Dissertation der Mathematisch-Naturwissenschaftlichen Fakultät der Eberhard Karls Universität Tübingen zur Erlangung des Grades eines Doktors der Naturwissenschaften (Dr. rer. nat.) vorgelegt von Sara E. Rhodes, M.Sc. aus Toronto (Kanada) Tübingen 2019 Gedruckt mit Genehmigung der Mathematisch-Naturwissenschaftlichen Fakultät der Eberhard Karls Universität Tübingen. Tag der mündlichen Qualifikation: 8. Juli 2019 Dekan: Prof. Dr. Wolfgang Rosenstiel 1. Berichterstatter: Prof. Nicholas J. Conard, PhD 2. Berichterstatter: PD Dr. Britt M. Starkovich Table of Contents I ABBREVIATIONS ................................................................................................................ III II ACKNOWLEDGEMENTS .................................................................................................. IV III SUMMARY ......................................................................................................................... VI IV LIST OF PUBLICATIONS ............................................................................................... XIV V PERSONAL CONTRIBUTION .......................................................................................... XIV 1.0 INTRODUCTION ............................................................................................................... 1 1.1 NEANDERTHALS IN THE EUROPEAN CONTEXT .................................................................... -
Human Paleoecology During the Magdalenian in the Swabian Jura of Southwestern Germany
Human Paleoecology during the Magdalenian in the Swabian Jura of Southwestern Germany Dissertation der Mathematisch-Naturwissenschaftlichen Fakultät der Eberhard Karls Universität Tübingen zur Erlangung des Grades eines Doktors der Naturwissenschaften (Dr. rer. nat.) vorgelegt von Gillian L. Wong aus Fresno/USA Tübingen 2020 Gedruckt mit Genehmigung der Mathematisch-Naturwissenschaftlichen Fakultät der Eberhard Karls Universität Tübingen. Tag der mündlichen Qualifikation: 12.06.2020 Dekan: Prof. Dr. Wolfgang Rosenstiel 1. Berichterstatter: Prof. Nicholas J. Conard, PhD 2. Berichterstatter: PD Dr. Britt M. Starkovich ii Table of Contents Acknowledgements ................................................................................................................ v Abbreviations ..................................................................................................................... viii Summary ............................................................................................................................... ix Zusammenfassung ................................................................................................................. xi List of Publications ............................................................................................................. xiii Personal Contribution .......................................................................................................... xiv Chapter 1: Introduction ..........................................................................................................