Hostname: page-component-cd9895bd7-q99xh Total loading time: 0 Render date: 2024-12-27T06:40:14.108Z Has data issue: false hasContentIssue false

Evidence for cave marking by Palaeolithic children

Published online by Cambridge University Press:  02 January 2015

Kevin Sharpe
Affiliation:
1Graduate College, Union Institute & University, Cincinnati, Ohio, USA; Harris Manchester College, University of Oxford, UK; 10 Shirelake Close, Oxford OX1 1SN, UK (Email: ksharpe@khsarpe.com)
Leslie Van Gelder
Affiliation:
2Walden University, Minneapolis, Minnesota, USA

Extract

Amongst the numerous images found on the walls of Palaeolithic caves, fluted lines, made by fingers dragged through a skin of wet clay remain some of the most intriguing. In their study of images at Rouffignac, the authors undertook experiments with a range of modern subjects who replicated the flutings with their hands. Comparing the dimensions of the experimental flutings with the originals, they conclude that the patterns on the roof of Chamber A1 at Rouffignac were made by the fingers of children aged between 2 and 5 years old. Given the current height of the chamber, such children would have needed to be hoisted aloft by adults. Who knows what lessons in art or ritual were thereby imparted to the young persons…

Type
Method
Copyright
Copyright © Antiquity Publications Ltd. 2006

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bahn, P.G. 1994. Some New Developments in Ice Age Art. Complutum 5: 197202.Google Scholar
Barrière, C. 1982. L'Art Pariétal de Rouffignac: La Grotte aux Cent Mammouths. Paris: Picard.Google Scholar
Bednarik, R.G. 1986a. Parietal Finger Markings in Europe and Australia. Rock Art Research 3 (1): 3061.Google Scholar
Bednarik, R.G. 1986b. Cave Use by Australian Pleistocene Man. Proceedings of the University of Bristol Speleological Society 17 (3): 227–45.Google Scholar
Bednarik, R.G. 19871988. The Cave Art of Western Australia. The Artefact 12: 116.Google Scholar
Bednarik, R.G. 1990. The Cave Petroglyphs of Australia. Australian Aboriginal Studies 2: 64–8.Google Scholar
Delporte, H.J. 2004. Human Evolution, in Encyclopædia Britannica, Encyclopædia Britannica Premium Service, http://www.britannica.com/eb/article?eu=127622 (accessed 18 June 2004).Google Scholar
d'Errico, F. 1992. Technology, Motion, and the Meaning of EpiPalaeolithic Art. Current Anthropology 33 (1): 94109.CrossRefGoogle Scholar
Flood, J. 1996. Culture in Early Aboriginal Australia. Cambridge Archaeological Journal 6 (1): 336.CrossRefGoogle Scholar
Leroi-Gourhan, A. 1958. La Fonction des Signes dans les Sanctuaires Paléolithiques. Bulletin de la Société Préhistoriques Française 55: 307–21.CrossRefGoogle Scholar
Lewis-Williams, D. 2002. The Mind in the Cave: Consciousness and the Origins of Art. London: Thames & Hudson.Google Scholar
Lorblanchet, M. 1992. Finger Markings in Pech Merle and their Place in Prehistoric Art, in Lorblanchet, M. (ed.) Rock Art in the Old World: 451–90. New Delhi: Indira Gandhi National Center for the Arts.Google Scholar
Marshack, A. 1977. The Meander as a System: The Analysis and Recognition of Iconographic Units in Upper Palaeolithic Compositions, in Ucko, P.J. (ed.) Form in Indigenous Art: Schematization in the Art of Aboriginal Australia and Prehistoric Europe, Prehistory and Material Culture Series, No. 13: 286317. Canberra: Australian Institute of Aboriginal Studies.Google Scholar
Mulvaney, J. & Kamminga, J.. 1999. Prehistory of Australia. Washington (DC): Smithsonian Institution Press.Google Scholar
Munn, N.D. 1973. Walbiri Iconography: Graphic Representation and Cultural Symbolism in a Central Australian Society. Ithaca (NY): Cornell University Press.Google Scholar
Nougier, L.-R. & Robert, R.. 1958. The Cave of Rouffignac. Transl. Scott, David. London: George Newnes.Google Scholar
Plassard, J. 1999. Rouffignac: Le Sanctuaire des Mammouths. Paris: Seuil.Google Scholar
Sharpe, K. 2004. Line Markings: Human or Animal Origin? Rock Art Research 21 (1): 5784.Google Scholar
Sharpe, K., & Lacombe, M.. 1999. Line Markings as Systems of Notation? In News 95: International Rock Art Congress Proceedings: 46. Pinerolo, Italy: IFRAO - International Federation of Rock Art Federations and NEWS 95 – International Rock Art Congress Proceedings files/sharp.htm.Google Scholar
Sharpe, K., Lacombe, M. & Fawbert, H.. 1998. An Externalism in Order to Communicate. The Artefact 21: 95104.Google Scholar
Sharpe, K., Lacombe, M. & Fawbert, H.. 2002. Investigating Finger Flutings. Rock Art Research 19 (2): 109–16.Google Scholar
Sharpe, K. & Van Gelder, L.. 2004. Children and Palaeolithic ‘Art’: Indications from Rouffignac Cave, France. International Newsletter on Rock Art 38: 917.Google Scholar
Sharpe, K. & Van Gelder, L., in the press. Trois Formes de Tracés Digitaux (ou Sevérines) en Grotte de Rouffignac, France. Préhistoire du Sud-Ouest.Google Scholar
Stringer, C.B. 1992. Evolution of Early Humans, in Jones, S., Martin, R. & Pilbeam, D. (ed.) The Cambridge Encyclopedia of Human Evolution: 241–51. Cambridge: Cambridge University Press.Google Scholar