Paleolithic Women’s Spirituality and its Relevance to us Today

Datos Bibliográficos

ID19573851
AutoresTina Lindhard (0000-0002-1305-2550, International University of Professional Studies, autor de correspondencia)
Año2021
Volumen7
Número2
Páginas113-131
Fecha de publicación2021-06-30
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaDialogo (JOURNAL)
Identificadores de la revistaISSN: 2393-1744 • E-ISSN: 2471-1039
EditorialDialogo Publishing House (PUBLISHER)
DOI10.51917/dialogo.2021.7.2.10
OpenAlexW3177005270
IdiomaEN
Citas recibidas3
Referencias citadas35

In this paper, I consider Paleolithic women's spirituality as expressed through various aspects of their artwork found in the caves of Spain and the ‘Venus figurines and suggest these icons may be seen as an attempt by some of early these women artists to translate their own inner experiences and insights cataphatically, and thereby reconcile the tension between the image-less I experience ineffable transcendence using didactic expression grounded in images. This method was used later by the Spanish mystic Santa Teresa, who clearly felt the mystery needs to be related to personally; it is not an abstract mystery, but a mystery that is alive, that vibrates through us and is what animates every cell in our body; we are an embodiment of this living mystery. Whereas in the 16 Century it was normal for Teressa to consider the mystery as God, it was most likely customary for Paleolithic women to think of the mystery as the Universal or Great Mother, an insight some of them probably arrived at through analogy with the creative force expressing itself through their pregnant bodies. Whereas Santa Teresa employed images that meant something to the people living during her time, these ancient women probably did the same. From this perspective, their artwork may be seen as pointers to this 'entity' or mystery, which, is both immanent in creation and at the same time is beyond duality and all definitions. Here, I also submit that they probably realized the creative aspect of the enigma through their pregnancies, and, in their death, they recognized it as the destructive or dark phase in the cycle of life that is so necessary for ‘rebirth’ to occur, and, in its expression through celestial events, they probably celebrated it through their rituals and their pilgrimages which took place at specific times of the year

Aesthetics · Analogy · Art · Epistemology · Literature · Mysticism · Spirituality · Visual arts · Archaeology and ancient environmental studies · Archaeology and Rock Art Studies · Historical and Architectural Studies · History · Philosophy