Literature on Paleolithic cave paintings - A Short Research Essay

Essay

The online Newsweek article titled 'Secrets Of The Cave's Art' made headlines after "archeologist Jean Clottes, a science adviser to France's Ministry of Culture, won permission to lead a team into the cave in 1998". Published on May 23rd, 1999 by Sharon Begley, this article showed how the caves of The Grotte Chauvet provided archaeologists and us with what they guessed had been a big source of spiritual symbolism and perhaps even pilgrimage. Ultimately, the inhabitants of this particular cave revered animals and believed that they held special spiritualistic qualities which translated into animals possessing specific symbols; yet these specific images had been painted "to capture the essence of" the animals" (Newsweek,'Secrets Of The Cave's Art').

In Unesco's 'Cave of Altamira and Paleolithic Cave Art of Northern Spain" we learn about a specific and well-kept series of cave paintings which are noted to "...bear[ing] an outstanding testimony to human History, from the Aurignacian era to the Magdalenian period". Finally, "[these particular cave paintings are] considered to be a unique artistic illustration of this period, in particular of the Magdalenian culture" (UNESCO, 'Cave of Altamira and Paleolithic Cave Art of Northern Spain'.

Lastly, Anna Gibbs of ScienceNews brings us our final source with unique and new information as to possibly why these particular pieces of art and history were made. First though, Gibbs clarifies that" These [particular] markings include dots, lines and the symbol "Y," and often accompany images of animals." Nonetheless, "Some archaeologists have speculated that the markings might relate to keeping track of time, but the specific purpose has remained elusive (SN: 7/9/19)." Interestingly enough, these markings were usually placed within a larger image or symbol which meant a specific thing to the natives such as a means of communication, time and even record keeping on any and everything (even being used for "recording )."

According to the article in Newsweek titled "Secrets of the Caves Art," these paleolithic cave paintings had symbolic value and held spiritual beliefs that shed light on a long-lost culture and time in human history. Second, and more specifically, I learned about how the Spanish Paleolithic Humans/Artists of Magdalenian Culture expressed their distinctive culture and special artistic abilities in their work through UNESCO's "Cave of Altamira and Paleolithic Cave Art of Northern Spain." Thirdly, Anna Gibbs of ScienceNews gave us fresh perspective on a variety of possible explanations for why such paintings were created, including time constraints, record-keeping, and communication for both indigenous people and outsiders. Ultimately, I believe that cave paintings were made so that centuries and even decades later, we civilized humans could get a golden glimpse into the past, specifically our past and the culture that demonized our race during a specific time. Such specific cave paintings have allowed us to note the different spiritual beliefs back then, ways of life, and even how they kept track of important dates, practices, and so on- the possibilities are endless.

In the end, and from what I have learned, I think that cave paintings were created in order for us to receive a golden insight into the past, namely our past and the civilization that during a specific time stood out. We can now notice the various spiritual practices, lifestyles, and even how they kept track of significant events, practices, and so forth thanks to these precise cave paintings. It is difficult to identify one or even two fundamental explanations for why cave paintings were created in the first place because so many archaeologists and regular people like you and me have offered their own theories.

In conclusion, we may employ ethnographic studies of modern hunter-gatherers who create comparable art to better understand our Paleolithic ancestors and learn what they generally saw as vital or important for both their present and future populations. Examples include illustrations of hunting techniques and the spiritual beliefs/approaches that a particular group or origin of Paleolithic ancestors held. Second, what they utilized for pleasure back then reflects how our Paleolithic predecessors went about their daily lives, including addressing the six essential requirements of a human. Thirdly, by using these ethnographic stories of modern hunters and gatherers, we can improve our understanding of these forebears or even dispel any preconceived notions we may have about them. Finally, in classes and fields of cultural anthropology like this one, where we now understand that culture is integrated, symbolic, and diverse, these can be used as a teaching tool and as a topic for any discussion if we run out of things to say or want to specifically speak about where and how history and art collide.