Paleolithic Cave Art and Venus Figurines

Paleolithic Cave Art

Archeological discoveries across a broad swath of Europe (especially southern France and northern Spain) include over two hundred caves with spectacular paintings, drawings, and sculpture that are among the earliest undisputed examples of representational image-making. Paintings and engravings along the caves’ walls and ceilings fall under the category of parietal art .

The most common themes in cave paintings are large wild animals, such as bison, horses, aurochs , and deer. Tracings of human hands and hand stencils were also very popular, as well as abstract patterns called finger flutings. The species found most often were suitable for hunting by humans, but were not necessarily the typical prey found in associated bone deposits. For example, the painters of Lascaux, France left mainly reindeer bones, but this species does not appear at all in the cave paintings; equine species are the most common. Drawings of humans were rare and were usually schematic as opposed to the detailed and naturalistic images of animals.

The pigments used appear to be red and yellow ochre , manganese or carbon for black, and china clay for white. Some of the color may have been mixed with fat. The paint was applied by finger, chewed sticks, or fur for brushes. Sometimes the silhouette of the animal was incised in the rock first, and in some caves, many of the images were only engraved in this fashion, taking them out of a strict definition of “cave painting.” (4)

Main Examples of Cave Paintings: France and Spain

Image from the cave at Lascaux of wild animals. Among the most prominent in image are two bulls outlined in black facing one another. In the middle, there is a chalked entirely in black.
Figure 1-2: Lascaux painting by Prof saxx is licensed under CC BY-SA 3.0

Lascaux (circa 15,000 BCE), in southwestern France, is an interconnected series of caves with one of the most impressive examples of artistic creations by Paleolithic humans.

Discovered in 1940, the cave contains nearly two thousand figures, which can be grouped into three main categories   animals, human figures, and abstract signs. Over nine hundred images depict animals from the surrounding areas, such as horses, stags, aurochs, bison, lions, bears, and birds   species that would have been hunted and eaten, and those identified as predators. The paintings contain no images of the surrounding landscape or the vegetation of the time.

The Chauvet–Pont–d’Arc Cave (circa 30,000 BCE) in the Ard’che department of southern France contains some of the earliest known paintings, as well as other evidence of Upper Paleolithic life. The Chauvet Cave is uncharacteristically large, and the quality, quantity, and condition of the artwork found on its walls have been called spectacular. Hundreds of animal paintings have been catalogued, depicting at least thirteen different species   not only the familiar herbivores that predominate Paleolithic cave art, but also many predatory animals, such as cave lions, panthers, bears, and cave hyenas.

Image of a four multi-colored horses overlapping one another from the Chauvet Cave in France. The image demonstrates multi–dimensionality and a layered perspective.
Figure 1-3: Chauvet horses by an unknown author from Wikimedia is licensed under Public Domain

As is typical of most cave art, there are no paintings of complete human figures in Chauvet. There are a few panels of red ochre hand prints and hand stencils made by spitting pigment over hands pressed against the cave surface. Abstract markings   lines and dots   are found throughout the cave.

The artists who produced these unique paintings used techniques rarely found in other cave art. Many of the paintings appear to have been made after the walls were scraped clear of debris and concretions, leaving a smoother and noticeably lighter area upon which the artists worked. Similarly, a three-dimensional quality and the suggestion of movement are achieved by incising or etching around the outlines of certain figures. The art also includes scenes that were complex for its time   animals interacting with each other. For instance, a pair of wooly rhinoceroses are seen butting horns in an apparent contest for territory or mating rights. (4)

Spain

An image of a large red bison facing right, drawn on the light tan color rock wall
Figure 1-4: Altamira Bison by Rameessos is licensed under Public Domain

Altamira (circa 18,000 BCE) is a cave in northern Spain famous for its Upper Paleolithic cave paintings featuring drawings and polychrome rock paintings of wild mammals and human hands. The cave has been declared a World Heritage Site by UNESCO.

The long cave consists of a series of twisting passages and chambers. Human occupation was limited to the cave mouth, although paintings were created throughout the length of the cave. The artists used polychromy   charcoal and ochre or haematite   to create the images, often diluting these pigments to produce variations in intensity , creating an impression of chiaroscuro . They also exploited the natural contours in the cave walls to give their subjects a three-dimensional effect.

Like all prehistoric art, the purpose of these paintings remains obscure. In recent years, new research has suggested that the Lascaux paintings may incorporate prehistoric star charts. Some anthropologists and art historians also theorize that the paintings could be an account of past hunting success, or they could represent a mystical ritual to improve future hunting endeavors. An alternative theory, broadly based on ethnographic studies of contemporary hunter-gatherer societies, is that the paintings pertained to shamanism. (4)

Venus Figurines

“Venus figurines” is an umbrella term for a number of prehistoric statuettes of women that have been found mostly in Europe, but also in Asia and Siberia, dating from the Upper Paleolithic. These figures are all quite small, between 4 and 25 cm tall, and carved mainly in steatite, limestone, bone, or ivory. These sculptures are collectively described as “Venus” figurines in reference to the Roman goddess of beauty, as early historians assumed they represented an ideal of beauty from the time.

The Venus figurines have sometimes been interpreted as representing a mother goddess; the abundance of such female imagery has led some to believe that Upper Paleolithic (and later Neolithic) societies had a female-centered religion and a female-dominated society. Various other explanations for the purpose of the figurines have been proposed, such as the hypothesis that the figurines were created as self-portraits of actual women.

Venus figures are characterized by shared stylistic features, such as an oval shape, large belly, wide-set thighs, large breasts, and the typical absence of arms and feet. Hundreds of these sculptures have been found both in open-air settlements and caves. The Venus of Hohle Fels, a 6 cm figure of a woman carved from a mammoth’s tusk, was discovered in Germany’s Hohle Fels cave in 2008 and represents one of the earliest found sculptures of this type.

Image of the Venus of Hohle Fels. What remains of the hewn statuette are etchings across her pronounced torso as well as an accentuated bust to emphasize her child-bearing capabilities.
Figure 1-5: Venus of Hohle Felsby Thilo Parg is licensed under CC BY-SA 3.0

Additionally, the Venus of Willendorf is a particularly famous example of the Venus figure. While initially thought to be symbols of fertility, or of a fertility goddess, the true significance of the Venus figure remains obscure, as does much of prehistoric art. (5)

Image of the Venus of Willendorf. The ochre stained statuette included an accentuated bust and pronounced belly to emphasize her heightened fertility. While she is faceless, the carver of the Venus has etched woven hair into the statue.
Figure 1-6: Venus of Willendorf by MatthiasKabel is licensed under CC BY-SA 3.0