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Thefirstartists The First Artists The First Artists In Search of the World’S oldeSt art M Ichel lorblanchet And Paul bahn FOREWORd by PiERRE SOulAgES For Jean-Marie and Hélène Le Tensorer, Contents and for Colin and Jane Renfrew Foreword | Pierre Soulages 6 Introduction: what is ‘art'? 8 1 Theories, chimps and children: early attempts to tackle the problem 11 2 Finding art in nature: the first stirrings of an aesthetic sense 49 3 Can we see art in the first tools? Polyhedrons, spheroids and handaxes 95 4 All work and no play? Looking at marks on bones and stones 109 Frontispiece: 5 Figuring it out: 1. Finger-flutings in the soft rock surface at Pech-Merle (Lot). pierres-figures and the first carvings 156 6 Jingles and bangles: First published in the United Kingdom in 2017 by Thames & Hudson Ltd, the origin of music and decorated bodies 170 181A High Holborn, London WC1V 7QX 7 The first art in the landscape: The First Artists: In Search of the World's Oldest Art dots and lines 191 © 2017 Thames & Hudson Ltd, London 8 The writing's on the wall: All Rights Reserved. No part of this publication may be reproduced the earliest cave art 223 or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and 9 A global phenomenon: retrieval system, without prior permission in writing from the publisher. the appearance of rock art around the world 241 British Library Cataloguing-in-Publication Data Conclusion 261 A catalogue record for this book is available from the British Library Bibliography 272 ISBN 978-0-500-05187-0 Acknowledgments 291 Sources of illustrations 292 Printed and bound in India by Replika Press Pvt. Ltd. Index 293 Foreword When you go to the Louvre, you see five centuries of paintings, but even What interests me about these ancient paintings is what happened if you saw ten, what are ten centuries when compared to three hundred? with the people who made them, in terms of materials – that is the best Because you are seeing at least two or three hundred centuries in the way to approach these things, far better than trying to figure out their prehistoric painted caves, including the ones discovered recently, like meaning… because it’s well known that when you talk of meaning, you’re Cosquer or Chauvet. only talking about yourself. We don’t have the same myths, or the same So should we look for meanings? One is perfectly entitled to do so, and society, as the authors of the prehistoric paintings. Our view of them we may even find them one day – but we’ll never be able to verify them! is personal. So what is a ‘work of art’? What interests me are not the On the other hand, where the ancient artists’ techniques are concerned, reasons why the paintings were made, but the practices of the painters. if you put forward a hypothesis, you can verify it. This is what Michel What causes me to wonder and perplexes me is the way they painted. Lorblanchet does, and that’s why I was immediately interested in his work. Painting began with black… Black is an original material! Painting When I enter a painted cave, like everyone, I am overwhelmed; one is began with black, red, earth – and in the shadows, in the darkest places, entering a belly, the belly of the earth! And when, in a moment of intense beneath the earth, where one can imagine that people could have sought emotion, I discover the products of people from hundreds of centuries different colours… perhaps they already knew that black is the colour that ago, I am more profoundly moved than when I go to the Louvre. There are includes all colours – it is the colour of light! The word ‘presence' is the certainly things in the Louvre that overwhelm me, but they are far more key word for everything that is artistic: a work is eternally ‘present'. recent – they are only a few centuries old! I feel much closer to the lions of Chauvet than to the Mona Lisa. When I see their works, I consider the Pierre Soulages prehistoric artists to be my brothers. 7 aesthetic discourse, to see in figures on rocks and cave walls something more than their simple beauty and their formal qualities. The study of early art must strive to recreate how the people of the past perceived Introduction: and used the images. Some specialists have eluded the ‘rock art’ problem by avoiding such what is 'art'? a dangerous label and adopting alternatives such as, for example, ‘images of the Ice Age' (Bahn & Vertut 1988; Bahn 2016). However, although one should use the word ‘art’ prudently where ancient periods are concerned, the debate about the term is largely redundant. The notion of art certainly has a very long history, and its definition has often varied and has evolved through time, with a gradual loss of its sacred and religious character since the Renaissance. As H. Belting (1989: 10) put it: ‘From the Renaissance onwards there emerged the concept of “art”, and the “era of the image” ended.’ Though it is true that for a long time art had a primarily utilitarian function – most often religious – at the same time it has always had aesthetic content. It would be simplistic and utterly wrong to deprive early people of aesthetic feeling. It is even probable that art arose from the pleasure of the perception of shapes and colours, and that for hundreds of millennia it was essentially an aesthetic game, before becoming a religious activity for a few dozen millennia, only returning In this book, we shall strive to avoid imposing any personal point to its roots in recent times. of view onto the products of prehistoric societies, or promoting any There has never been the slightest opposition – indeed, on the kind of theory about art: in any case, what is ‘art’? In the words of contrary, there has always been a close association – between aesthetic Ernst Gombrich (1950: 4), ‘There really is no such thing as art: there functions and utilitarian, religious or magical functions. Through its are only artists!’ visual impact, religious art aims to impress believers and facilitate their Definitions of the word ‘art’ generally incorporate notions of communication with the divine. In traditional art, beauty also ensures ‘beauty’ and ‘pleasure’, but such notions tend to trouble archaeologists, the effectiveness of the magic of particular objects. Striking colours and who reject the term ‘prehistoric art’ because ‘art’, as we might propose shapes are an expression of the respect due to the forces that rule the to define it today (an accomplishment of human skill, the aim of which world, and of the effort to please them. Since at least the early Upper is the satisfaction of an aesthetic pleasure, not the meeting of any Palaeolithic, beauty – figurative or simply ornamental – has above all utilitarian need), was supposedly unknown to early human populations. been functional. This problem has sparked an international debate attempting to replace This book aims to analyse the earliest human creative behaviour and the term ‘rock art’ with something more accurate and suitable (although identify the first artistic expressions, trying to distinguish apparently nobody has succeeded so far!). Many scholars are concerned that the non-utilitarian products that were detached from the immediate needs term ‘art’ has led to monolithic, all-encompassing theories of artistic of survival. Artworks are defined here as ‘marks of the mind on nature behaviour, squeezing 40 millennia of hugely varied image-creation into that express a concern with aesthetics, theoretically linked to symbolic a single category. And what we today call ‘contemporary art’, with its or playful behaviour, even though one cannot always differentiate or notions of the ‘death of art’ or ‘end of art’, can shed little light on the demonstrate these aspects'. We shall seek out all the manifestations of world of prehistoric creations. One certainly needs to be wary of modern art at its very start, from human appropriation of nature’s curiosities to 9 Introduction: what is ‘art'? artificial creations that, whatever their purpose and content (of which we are totally ignorant), involve an interplay of materials, colours and shapes (which we can observe). Their production implies a transformation of material, a preconception of the object to be obtained through that transformation, and an elevation of the mind – that is, a form of spirituality involving a personal fulfilment and accomplishment. Our analysis will take the form of an enquiry, an investigation, with the (we hope) objective viewpoint of the archaeologist, yet always acknowledging all the risks and uncertainties of scientific research. 10 Introduction: what is ‘art'? Chapter 1 Theories, chimps and children: early attempts to tackle the problem A wide variety of theories have been put forward successively in an attempt to explain the emergence of figurative and parietal (i.e. wall) art during the Upper Palaeolithic in certain parts of the world, and during the Holocene in others. There have been two principal kinds: biological theories, which put the emphasis on humans themselves – their primate instincts, the functioning of their nervous system and their psychological characteristics – and on the arrival of a new human type, Homo sapiens sapiens; and socio-economic theories, which put the emphasis on specific social and economic contexts and progress in this domain, in order to explain the emergence of figurative art. Among the authors who made a major contribution to research on prehistoric art during the first three quarters of the twentieth century, three French specialists stand out for their particularly pertinent opinions, which are still contributing to research today: the psychologist Georges-Henri Luquet, and the prehistorians Henri Breuil and André Leroi-Gourhan.
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