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Paleoart of the Lower Paleolithic

Profile image of Robert BednarikRobert Bednarik

2014

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Abstract

The earliest known art-like productions by humans are comprehensively summarized in this paper. Its purpose is to fathom the origins of what today are the Arts and the Humanities, both of which are based on the constructs of reality originally created by our early ancestors. The primary evidence we have of these concepts are the few surviving examples of paleoart from the period of the earliest humans, the Lower Paleolithic period. A variety of objects and non-utilitarian practices are reviewed, which indicate that the use of the external storage of memory traces, called exograms, may have begun at least a million years ago. KeywordsPaleoart; Pleistocene; Epistemology; Engraving; Petroglyph; Figurine; Bead; Pigment Use

Key takeaways
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  1. Paleoart evidences cognitive complexity in Lower Paleolithic hominins, challenging traditional archaeological views.
  2. Existence of exograms may date back at least 1 million years, indicating early memory storage practices.
  3. Lower Paleolithic art-like artifacts include beads, petroglyphs, and proto-figurines, suggesting symbolic behavior.
  4. Findings include 325 bead-like specimens, 498 cupules, and numerous pigment traces across multiple sites.
  5. Cognitive evolution likely occurred gradually, countering models of a sudden leap during the Late Pleistocene.
Figures (7)
Fig. 1 Some of the porosphaera globularis fossils from the Acheulian of Bedford, England, many of which show enlargement of the orifices and substantial use wear facets indicating they were worn on strings.
Fig. 1 Some of the porosphaera globularis fossils from the Acheulian of Bedford, England, many of which show enlargement of the orifices and substantial use wear facets indicating they were worn on strings.
Fig. 2 Wolf incisor from Repolust Cave, Austria, perforated at its root.
Fig. 2 Wolf incisor from Repolust Cave, Austria, perforated at its root.
Fig. 3. Cupules on vertical quartzite wall in Daraki-Chattan Cave, India, of the Acheulian. (Kumar 1996). Because apparent y Middle Paleolithic and Acheulian lithics occur on the surface of the cave’s floor deposit, it was suggested that these cupules might be of great age as well (Fig. 3). Similarly, two further cupule sites in Rajasthan, of exposed boulders as well as in a further quartzite shelter, were also considered to be of great antiquity, although here the evidence remained circumstantia Early Indian Petroglyphs (EJP) (Bednarik 2001a). As part of the This led to the excavation at t occupation deposit. These rock (Kumar & Sharma 1995). In response to these discoveries G. Kumar and I established the Project, with the intention of testing these claims by an international panel of specialists EIP Project, major excavations were commenced at Bhimbetka and at Daraki-Chattan in 2002. he latter site of numerous exfoliated wall fragments found within the Lower Paleolithic slabs bear a total of 28 cupules, identical to those on the walls above. Also, two deeply engraved grooves were found on a boulder excavated in the Lower Paleolithic deposit. Stone tools exhibiting Lower Paleolithic characteristics were found above and together with these slabs, in a deposit that is considered undisturbed. Dating of the deposit at Daraki-Chattan and at two Bhimbetka sites is in progress (Bednarik et al. 2005) but there can be no doubt that the cupules were made by hominins with a chopping tool industry resembling the Oldowan, found well below the site’s Acheulian horizons.
Fig. 3. Cupules on vertical quartzite wall in Daraki-Chattan Cave, India, of the Acheulian. (Kumar 1996). Because apparent y Middle Paleolithic and Acheulian lithics occur on the surface of the cave’s floor deposit, it was suggested that these cupules might be of great age as well (Fig. 3). Similarly, two further cupule sites in Rajasthan, of exposed boulders as well as in a further quartzite shelter, were also considered to be of great antiquity, although here the evidence remained circumstantia Early Indian Petroglyphs (EJP) (Bednarik 2001a). As part of the This led to the excavation at t occupation deposit. These rock (Kumar & Sharma 1995). In response to these discoveries G. Kumar and I established the Project, with the intention of testing these claims by an international panel of specialists EIP Project, major excavations were commenced at Bhimbetka and at Daraki-Chattan in 2002. he latter site of numerous exfoliated wall fragments found within the Lower Paleolithic slabs bear a total of 28 cupules, identical to those on the walls above. Also, two deeply engraved grooves were found on a boulder excavated in the Lower Paleolithic deposit. Stone tools exhibiting Lower Paleolithic characteristics were found above and together with these slabs, in a deposit that is considered undisturbed. Dating of the deposit at Daraki-Chattan and at two Bhimbetka sites is in progress (Bednarik et al. 2005) but there can be no doubt that the cupules were made by hominins with a chopping tool industry resembling the Oldowan, found well below the site’s Acheulian horizons.
Fig.4 Middle Acheulian quartzite figurine with modified grooves, Tan-Tan, Morocco. Both these issues were resolved shortly later with the report of a second stone proto-figurine from the general Mediterranean region. The object from Tan-Tan, Morocco, is of quartzite and comes from a Middle Acheulian occupation layer thought to be about 400 ka old on the basis of the lithic typology (Bednarik 2003). Its anthropomorphous form is more pronounced than that of the Levantine specimen and is emphasized by eight symmetrically arranged grooves (Fig. 4). Five of these lines were found to have been modified and microscopic traces of a brilliant red pigment seem to indicate that the proto- figurine had once been coated by red paint.
Fig.4 Middle Acheulian quartzite figurine with modified grooves, Tan-Tan, Morocco. Both these issues were resolved shortly later with the report of a second stone proto-figurine from the general Mediterranean region. The object from Tan-Tan, Morocco, is of quartzite and comes from a Middle Acheulian occupation layer thought to be about 400 ka old on the basis of the lithic typology (Bednarik 2003). Its anthropomorphous form is more pronounced than that of the Levantine specimen and is emphasized by eight symmetrically arranged grooves (Fig. 4). Five of these lines were found to have been modified and microscopic traces of a brilliant red pigment seem to indicate that the proto- figurine had once been coated by red paint.
These and other consistent features in the earliest known palaeoart suggest that even in these remote times, long-lived onventions that are definable as “traditions” already existed (Bednarik 1995; Hodgson 2000). Fig.5 Comparison of two engraved bone fragments from Germany, one of those from the Lower Paleolithic of Bilzingsleben-Steinrinne (a), and one of those from the Micoquian of Oldisleben | (b).
These and other consistent features in the earliest known palaeoart suggest that even in these remote times, long-lived onventions that are definable as “traditions” already existed (Bednarik 1995; Hodgson 2000). Fig.5 Comparison of two engraved bone fragments from Germany, one of those from the Lower Paleolithic of Bilzingsleben-Steinrinne (a), and one of those from the Micoquian of Oldisleben | (b).
Fig. 6 Jasperite cobble manuport excavated in Makapansgat, South Africa, Pliocene, scale in cm. Oddly enough, the most-cited specimen of a Lower Paleolithic evidence of “symbolic cognition” is a hand-axe from Tofts, Norfolk (Oakley 1981). While it is quite possible that the well-preserved fossil cast on its surface was noted | maker of this artifact, this is not at all possible to demonstrate. Fossil casts occur occasionally in all sedimentary silica: there is a statistical probability that such a feature can appear on a large stone tool without intentionality having to accou its presence.
Fig. 6 Jasperite cobble manuport excavated in Makapansgat, South Africa, Pliocene, scale in cm. Oddly enough, the most-cited specimen of a Lower Paleolithic evidence of “symbolic cognition” is a hand-axe from Tofts, Norfolk (Oakley 1981). While it is quite possible that the well-preserved fossil cast on its surface was noted | maker of this artifact, this is not at all possible to demonstrate. Fossil casts occur occasionally in all sedimentary silica: there is a statistical probability that such a feature can appear on a large stone tool without intentionality having to accou its presence.
Similarly, the anthropomorphous dolomite piece from Mumbwa Caves, Zambia (Barham 2000), may well be a manuport, but until it is shown to have been either introduced or modified by hominins its status remains to be clarified. Dated to oxygen isotope stage 5e, it was found in debris associated with the foundations of a windbreak. This brings to mind the identical context of the Erfoud manuport from Morocco, which was found within the outline of a Late Acheulian windbreak or dwelling structure (Bednarik 2002). This fossil cast of Orthoceras sp. is distinctively reminiscent of a human penis in every aspect of form and size. Cuttlefish fossils are very common in other parts of Morocco, but they do not occur naturally in the region of the find site, so this is also a Lower Paleolithic manuport (Fig. 7). Fig. 7 Cuttlefish fossil cast, a Late Acheulian manuport from Erfoud Site A-84-2, Morocco, scale in mm.
Similarly, the anthropomorphous dolomite piece from Mumbwa Caves, Zambia (Barham 2000), may well be a manuport, but until it is shown to have been either introduced or modified by hominins its status remains to be clarified. Dated to oxygen isotope stage 5e, it was found in debris associated with the foundations of a windbreak. This brings to mind the identical context of the Erfoud manuport from Morocco, which was found within the outline of a Late Acheulian windbreak or dwelling structure (Bednarik 2002). This fossil cast of Orthoceras sp. is distinctively reminiscent of a human penis in every aspect of form and size. Cuttlefish fossils are very common in other parts of Morocco, but they do not occur naturally in the region of the find site, so this is also a Lower Paleolithic manuport (Fig. 7). Fig. 7 Cuttlefish fossil cast, a Late Acheulian manuport from Erfoud Site A-84-2, Morocco, scale in mm.

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PETROGNANI S., (2014) Early Upper Paleolithic Parietal Art : Shred Characteristics and Different Symbolic Traditions, in White R, Bourrillon R. (eds.) with the collaboration of Bon F. Aurignacian Genius : Art, Technology and Society of the First Humans in Europe, , New York Univ., P@lethnology, 6.
Petrognani Stéphane

What symbolic traditions can be defined at the beginning of the Upper Paleolithic? Can we characterize specific Aurignacian, Gravettian or Solutrean approaches? This thematic-stylistic analysis applied to a sample of 2 000 representations in nearly 110 caves provides some partial answers to these questions and reveals continuity in the "artistic traditions" of early Upper Paleolithic groups. Other observations show the complexity of artistic representations through time-bound and location-bound "traditions" and speak to the plurality of symbolic behavior in prehistoric societies. We highlight a decrease in the diversity of stylistic resources used by Paleolithic groups throughout the Upper Paleolithic. Graphic standards imposed by the group tend to become more rigid, limiting the scope of the prehistoric artist and leading to a set repertoire of certain formal graphic representations. Due to this decrease in the "freedom" of iconographic codes, which become increasingly standardized, the role of the Paleolithic artist in society is reconsidered and appears to reflect social changes.

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Paleolithic Art: A Cultural History
oscar moro abadia

Journal of Archaeological Research

In this article we review the history of the terms and ideas that have been used to conceptualize Paleolithic art since the end of the 19th century. Between 1900 and 1970, prehistoric representations were typically divided into two main groups: parietal art (including rock and cave art) and portable (or mobiliary) art. This classification gave rise to asymmetrical attitudes about Paleolithic images. In particular, many portable and nonfigurative representations were overlooked while a small number of cave paintings were praised for their realism. Although the portable/parietal division has remained a popular divide among archaeologists, in the last 30 years increasing numbers of specialists have crossed the boundaries established by these categories. They have developed new frameworks within which more kinds of images are meaningfully approached and incorporated into the analysis of Paleolithic art and symbolism. The emergence of new approaches to Pleistocene imagery is the result of a number of interrelated processes, including the globalization of Paleolithic art studies, the impact of new discoveries, and the development of new approaches to art, images, and symbolism.

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The Start of Art
Harald Floss

At what point in human history there first appeared modes of behaviour that went beyond the use of tools and other basic subsistence processes -behaviours also associated with many animal species -is a subject of ongoing debate in many fields of study, including anthropology, genetics, cognition and image recognition theory, neurology, social sciences, culture theory, philosophy and pre-and protohistory. My method as an archaeologist differs from certain other approaches in its insistence on empirical evidence, albeit in the knowledge that human behaviour has countless facets that have no connection with the testimony of material culture and as such must remain invisible to archaeology. another factor is the poor conservation conditions for very old artefacts. it would therefore be wrong to conclude that certain modes of behaviour did not exist simply because certain categories of objects have not been found: "The absence of evidence is not the evidence of absence". nonetheless, i believe that after 150 years of research the archaeological record of the Palaeolithic now provides a reasonably good picture of how human behaviour evolved. In other words, we believe we are now justified in making statements about the evolution of behaviour based on similarities or differences within the spectrum of objects and artefacts that make up the human legacy. since the growth of archaeological knowledge proceeds on the basis of concrete evidence, the search for modes of behaviour connected in the broadest sense with aesthetics, symbolism and art must depend on the discovery of objects and artefacts to which such symbolic meaning can be attributed. regarding the european Palaeolithic, it has been customary to note a marked increase in such artefacts around 40,000 years ago. A clear difference in the spectrum of finds, attested to not only by a change in stone and bone technology but also by a significant increase in objects of personal ornament and artworks, has led researchers to redefine the boundary between the middle and the upper Palaeolithic. in the debate about the origins of art this phase of human history has now come to be called the 'creative Big Bang'. In the same context, justified attempts to rehabilitate very early forms of hominids, such as Neanderthals, have in recent years increasingly focused on artefacts of the Lower and middle Palaeolithic. similar attention has been given to early forms of sapiens in the african middle stone age, with early evidence of the use of pigments, simple engravings, objects of personal ornament and others finds, such as the controversial 'protofigurines' that attest to a high degree of "cultural modernity" in these peoples long before the onset of the upper Palaeolithic in europe. a symbolic significance might also be attributed to some early stone artefacts, such as hand axes, on account of their beauty, symmetry and the complex manner of their manufacture. indeed, reading some authors one almost gets the impression that the transition from the Middle to the Upper Palaeolithic was (no more than) an arbitrary moment essentially no different from earlier or later phases of human history.

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The Biological Foundations of Upper Palaeolithic Art: Stimulus, Percept and Representational Imperatives
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The representational art of the Upper Palaeolithic continues to be viewed largely from a socio-cultural perspective. This paper takes a radically different approach by investigating graphic mark-making in early humans as a behavioural outcome contingent on a species-specific perceptual predisposition. This is premised on the view that the human perceptual pathways will have been established by the same evolutionary determinants that have shaped the perceptual faculties of other primates. It is the interrelationship between humans, faunas and environment throughout evolutionary time that will be held as the critical factor mediating these systems. Accordingly, because Palaeolithic art, as a visually guided activity, must necessarily engage perceptual mechanisms, it must also be related to the functional constraints appertaining. It is to the nature of these constraints, and the relationship between perceptual factors and palaeoart, that the substance of this paper will be directed.

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Categories and Principles of Proto-Art: Hypotheses on Early and Middle Palaeolithic Art, Symbol and Religion (2001)
James Harrod

Early Palaeolithic and Middle Palaeolithic sites throughout the world have yielded objects which been identified as non-utilitarian and which may be viewed as possible instances of “proto-art” (or “palaeo-art” after Bednarik 1997, 1994a, 1994b, 1992). In general, I use the term ‘proto-art’ to refer to Palaeolithic art, especially non-utilitarian and aesthetic objects, dating earlier than the Upper Palaeolithic, which may thematically survive into the Upper Palaeolithic. Given the state of research to date, it is possible to propose some basic categories of proto-art and to derive from the archaeological evidence and interpretations by archaeologists and prehistorians a tentative list of principles which appears to inform the artifacts believed to be proto-art. Due to taphonomic preservation problems or to archaeological or other theoretical biases against the very possibility of such art, the evidence is limited. Nevertheless there is enough material to draw some inferences. The categories and principles suggested below may be viewed not as conclusions but as hypotheses for further research. I leave aside for now the question of how this art may have provided selective advantage or generally what its role was in hominid evolution and cognitive development.

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