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Figures and drawings have been found in all parts of the world dating back to the Cro-Magnon man as late as 60,000 years ago. There are two different periods of overlapping periods. The first, dating between 14,000-13,500 B.C., is the Aurignacio-Perigordian. This period included the contents of the Lauscaux cave paintings, the many sculptures at Laussel, and the voluptuous feminine figures called Venuses (Columbia Press, 1). The second, named the Solutres-Magdalenian period, dating back to 14,000-9,500 B.C., includes murals of Rouffignac and Niaux, and the ceiling decors in Spain (Columbia Press, 1). Paleolithic art falls into two distinct categories: portable pieces and cave art. Portable art was carved from bone, stone, or modeled from clay. Most has been found in Europe, Africa, and Siberia (Encarta, 1). The cave art comprised mostly of drawings and paintings recovered in mostly Spain and France (Versaware, 1). A possible third art category is mentionable also. Rock art is comprised of carvings and drawings on rock surfaces, but little of this art has been discovered (Encarta, 1). This form of art has founded many of today’s drawings, languages, and cultures. The first discovery was in the 1860’s by French Paleontologist, Eduard Lartet. The decorations were estimated back to the Stone Age because of the use of Ice Age animal bones. Researchers soon were digging everywhere in search of objects, ignoring cave drawings (Encarta, 1). In the 1880’s, a landowner discovered a cave in Spain filled with art and structural objects. Hiding it at first, researchers revealed it to the world that helped people learn to accept cave art for what it really was, an art. Many sites were uncovered shortly after, dating back to over 32,000 years (Versaware, 1). Since 1981, archeologists have also found art outside of the caves such as engravings of humans, horses, and cattle, which were about 20,000 years old. Paleolithic findings, if surviving erosion, are now becoming more common throughout the world (Columbia, 1). Paleolithic art is often classified in two different categories: figurative and non-figurative (Encarta, 2). The figurative side of art deals with depicting animals and humans. It is found more commonly than non-figurative. Cave art, such as paintings, engravings, and objects that consist of bison, fish, deer, and even some imaginary animals. Many of the numerous images are drawn incompletely. Some are layered on top of one another. Human drawings are less commonly found in this type of category. The second, non-figurative art, deals with depicted symbols and signs. They are more common in cave areas. The structural symbols can be complex, ranging from dots to linear markings, or simple in form, such as handprints (Versaware, 1). When first discovered, cave art wasn’t believed to have held any particular meaning, only for decoration purposes. After scientists discovered many of the same symbols and drawings in different areas, it was studied and found to have some underlying meaning (Mulder-Slater, 1). Because of the developed ideas, many scientists began to develop theories to explain such. The first theory, stated in the early 20th Century, concluded that the Stone Age drew pictures of animals for the purpose of affecting real animals in some way (Encarta, 2). Ritual destruction was used to explain the broken cave figures and was used as a datable theory (Versaware, 1), (Mulder-Slater, 1). Few figurative figurines, animals and humans, have weapons drawn on them, which is inconclusive of the original ritual paintings. The bones of different animals, than drawn on the walls, were found inside of the caves (Columbia, 1). Another similar theory suggests that humans drew pictures of the animals that they hoped would reproduce and provide food for them in the future. It is explored that cave art was created for renewing a species or anticipating a return (Encarta, 3), (Versaware, 1). The theory set by Laming Emperaire Lersi-Gourhan suggests that the people interpreted animals as symbols. Evidence of men and women figures were found with many body parts exaggerated (Mulder-Slater, 1). Evidence of sound played at the ceremonies were also found and believed to accompany the formation of the cave art (Encarta, 4). In order to form the art, many natural objects were modified or carved into. By using clay, the Prehistoric man was able to form figurines and matter into any desired shape (Encarta, 4). Some images, drawn out of the natural contours such as stalagmites, have been discovered. They also used their fingers, bones, wood, and clay. The paint was made from charcoal, pigments in ores, ground up sedimentary rock, and talc (Mulder-Slater, 1). Lumps of hard clay, sticks, and animal bones were used for application of the paint and powders. They also used spray paint, which was blown either out of a tube or out of their mouths (Versaware, 1). Because they had none of the advantages that we have today, their creations, which was more difficult to fully complete, can be considered a precious, unique works of art. To be sure that these items are genuinely prehistoric, radiocarbon dating was used (Encarta, 4). Scientists can determine the true age from only a tiny amount of pigment in the paint. One of the oldest, found in Europe and Asia, was carved in ivory and dates back to about 32,000 years. Another, discovered in England in 1996, was found to be about 60,000 years old (Columbia, 1)! Few endure erosion, but the survivors make excellent timelines of the era’s that remain unclear to researchers. This beautiful Stone Age present to our time suggests that art was visible and practiced from close to the beginning of time. The decorated caves and figures have helped us learn of other cultures and their distinctive expressions of life-forms. Still indistinct about the main purpose of this creative art form, archaeologists continue to dig and discover new pieces that may add to the picture and help to solve this ongoing puzzle. Bibliography: Word Count: 1031
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