The Origins of Iconic Depictions
A Falsifiable Model Derived from the Visual Science of Palaeolithic Cave Art and World Rock Art
Bibliographic Data
| ID | 6044449 |
|---|---|
| Authors | D Hodgson (0000-0003-1509-3732, University of York, corresponding author), P Pettitt (0000-0002-6195-9376, Durham University) |
| Year | 2018 |
| Volume | 28 |
| Issue | 4 |
| Pages | 591-612 |
| Publication date | 2018-11-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Cambridge Archaeological Journal (JOURNAL) |
| Journal identifiers | ISSN: 0959-7743 • E-ISSN: 1474-0540 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0959774318000227 |
| OpenAlex | W2801979304 |
| Language | EN |
| Citations received | 22 |
| References cited | 79 |
Archaeologists have struggled for more than a century to explain why the first representational art of the Upper Palaeolithic arose and the reason for its precocious naturalism. Thanks to new data from various sites across Europe and further afield, as well as crucial insights from visual science, we may now be on the brink of bringing some clarity to this issue. In this paper, we assert that the main precursors of the first figurative art consisted of hand prints/stencils (among the Neanderthals and early Homo sapiens) and a corpus of geometric marks as well as a hunting lifestyle and highly charged visual system for detecting animals in evocative environments. Unlike many foregoing arguments, the present one is falsifiable in that five critical, but verifiable, points are delineated
Archaeology · Art · Biology · Cave · CLARITY · Epistemology · Falsifiability · Homo sapiens · Linguistics · Literal and figurative language · Naturalism · Aesthetic Perception and Analysis · Archaeology and Rock Art Studies · History · Philosophy · Pleistocene-Era Hominins and Archaeology · Geology · Paleontology
Narrativas paleolíticas
The age of hand stencils in Maltravieso cave (Extremadura, Spain) established by U-Th dating, and its implications for the early development of art
Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia
Neanderthal Language
Beyond the image
Visual attention to early red Palaeolithic cave markers
Upper Palaeolithic art as a perceptual search for magical images
Neanderthal cave art? A proposal from cognitive archaeology
Deleuze and the ontology of prehistoric rock art
Vision and visual experience in European Celtic Art
The visual psychology of European Upper Palaeolithic figurative art
Illuminating palaeolithic art using virtual reality
Visions of light
Entanglements
Seeing different motifs in one picture
Conversations with Caves
Upper Palaeolithic Installation Art
The Natural Inspiration for Natufian Art
Ages for Australia's oldest rock paintings
Bringing science to the study of ancient senses - archaeology and visual psychology
Children as playful artists
Peirce and Archaeology
Adaptive attention
Quaternary International
Symbolic use of marine shells and mineral pigments by Iberian Neandertals 115,000 years ago
Changes in grey matter induced by training
Use of red ochre by early Neandertals
An Experimental Study of Imagination
Palaeolithic ivory sculptures from southwestern Germany and the origins of figurative art
The experience of landscape
The Visual Brain, Perception, and Depiction of Animals in Rock Art
Chapter 8. The living as symbols, the dead as symbols
Homo Symbolicus
Emotions Evoked by Viewing Pictures may Affect Temporal Aspects of Visual Processing
Integration of natural stone features and conservation of the Upper Palaeolithic Côa Valley and Siega Verde open-air rock-art
La grotte de Niaux, théâtre des illusions
L’art aurignacien dans la décoration de la Grotte de Fumane
Plants before farming
Newly discovered Aurignacian engraved blocks from Abri Cellier
A new Aurignacian engraving from Abri Blanchard, France
Same as it ever was? The Aurignacian of the Swabian Jura and the origins of Palaeolithic art
Dating Palaeolithic cave art
Cave Art in Context
U-series dating of Palaeolithic rock art at Fuente del Trucho (Aragón, Spain)
Uranium series dating reveals a long sequence of rock art at Altamira Cave (Santillana del Mar, Cantabria)
Second Radiocarbon Intercomparison Program for the Chauvetpont d'Arc Cave, Ardèche, France
La grotte ornée Mayenne-Sciences (Thorigné-en-Charnie, Mayenne)
The visual brain and the early depiction of animals in Europe and Southeast Asia
Australia's Ancient Warriors
Naturalism, Nature and Questions of Style in Jinsha River Rock Art, Northwest Yunnan, China
A New Look at the Berekhat Ram Figurine
Towards the Reconstruction of Magdalenian Artistic Techniques
Seeing the ‘Unseen
The Visual Dynamics of Upper Palaeolithic Cave Art
Altered States of Consciousness and Palaeoart
Tracking in Caves
Engraved ochres from the Middle Stone Age levels at Blombos Cave, South Africa
Precise minds in uncertain worlds
Thinking strings
Aesthetics and Rock Art
Reconnecting with darkness
The Origin of Art
New views on old hands
An alternative chronology for the art of Chauvet cave
The global implications of the early surviving rock art of greater Southeast Asia
The hidden paintings of Angkor Wat
Anthropology of the Night
A Figurine from the African Acheulian
Systematic Pigment Use in the Middle Pleistocene of South-Central Africa
Shamanism, Phosphenes, and Early Art
The Origins of Image Making
| Unique citing works | 22 |
|---|---|
| Citations per year | 3,14 |
| Citation span | 2019 - 2026 (8) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 22 |