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The Art and Architecture of Thailand
The book, organized geographically and chronologically, covers four eras: the prehistoric period; the period characterized by the culture of the kingdom of Dvaravati; the centuries of Khmer dominance; and, as classical Khmer civilization waned, the period of the struggle for identity. A systematic and elucidating history of pre-fourteenth-century Thailand in a volume indispensable to historians of art, religion, politics, and society.
Image and Audience
There have been many accounts of prehistoric 'art', but nearly all of them begin by assuming that the concept is a useful one. In this extensively illustrated study, Richard Bradley asks why ancient objects were created and when and how they were used. He considers how the first definitions of prehistoric artworks were made, and the ways in which they might be related to practices in the visual arts today. Extended case studies of two immensely popular andmuch-visited sites illustrate his argument: one considers the megalithic tombs of Western Europe, whilst the other investigates the decorated metalwork and rock carvings of Bronze Age Scandinavia.
Interpreting Ancient Figurines
This book examines ancient figurines from several world areas to address recurring challenges in the interpretation of prehistoric art. Sometimes figurines from one context are perceived to resemble those from another. Richard G. Lesure asks whether such resemblances play a role in our interpretations. Early interpreters seized on the idea that figurines were recurringly female and constructed the fanciful myth of a primordial Neolithic Goddess. Contemporary practice instead rejects interpretive leaps across contexts. Dr Lesure offers a middle path: a new framework for assessing the relevance of particular comparisons. He develops the argument in case studies that consider figurines from Paleolithic Europe, the Neolithic Near East and Formative Mesoamerica.
Palaeolithic Cave Art at Creswell Crags in European Context
Cave art is a subject of perennial interest among archaeologists. Until recently it was assumed that it was largely restricted to southern France and northern Iberia, although in recent years new discoveries have demonstrated that it originally had a much wider distribution. The discovery in2003 of the UK's first examples of cave art, in two caves at Creswell Crags on the Derbyshire/Nottinghamshire border, was the most surprising illustration of this. The discoverers (the editors of the book) brought together in 2004 a number of Palaeolithic archaeologists and rock art specialists fromacross the world to study the Creswell art and debate its significance, and its similarities and contrasts with contemporary Late Pleistocene ('Ice Age') art on the Continent. This comprehensively illustrated book presents the Creswell art itself, the archaeology of the caves and the region, and thewider context of the Upper Palaeolithic era in Britain, as well as a number of up-to-date studies of Palaeolithic cave art in Spain, Portugal, France, and Italy which serve to contextualize the British examples.
Prehistoric Rock Art
Scandinavia is home to prolific and varied rock art images among which the ship motif is prominent. Because of this, the rock art of Scandinavia has often been interpreted in terms of social ritual, cosmology, and religion associated with the maritime sphere. This comprehensive review is based on the creation of a Scandinavia-wide GIS database for prehistoric rock art and reexamines theoretical approaches and interpretations, in particular with regard to the significance of the ship and its relationship to a maritime landscape Discussion focuses on material agency as a means to understanding the role of rock art within society.
Representations and Communications
In this volume, which is the outcome of the four-year long collaboration project SARA (Scandinavian and Atlantic Rock Art) between the archaeology department at University of Gothenburg and the Laboratory of Heritage of Spanish National Research Council, nine papers summarize new excavation and survey results, advanced studies of iconography and intriguing landscape studies. It addresses topics such as human activities in the vicinity and surroundings of rock-art panels, movement and communication, ritual and symbolism, and finally representations and constructions of landscapes. The book is a sophisticated study of the rock art of two major regions of prehistoric Europe, but one with implications for research over a much wider area. It is wide-ranging, topical and will no doubt also be controversial. Contributors include Per Nilsson, Manuel Santos Estévez, Yolanda Seoane Veiga, Johan Ling, Åsa C. Fredell, Marco García Quintela, Kristian Kristiansen, Lasse Bengtsson and Felipe Criado Boado.
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Cave Art
This book reveals some of the world's oldest and most remarkable works of art, the discovery of which transformed the way we think about the development of human artistic endeavour and creativity. A guided tour of European prehistoric caves by world-renowned expert Jean Clottes, Cave Art brings together an unparalleled selection of spectacular and beautiful images of wall paintings, mysterious rock engravings and refined sculptures, all accompanied by accessible, informative text.
Communicating with the World of Beings : The World Heritage Rock Art Sites in Alta, Arctic Norway
The rock art found in the World Heritage sites in the Alta area, Arctic Norway, comprise thousands of images including reindeer and elk as well as fish, birds, boats, humans and geometric patterns. They contain information about peoples who lived in this northern area from about 5000 BC up until the birth of Christ; such as possible social organizations, hunting and trapping, beliefs, rituals,stories, legends, myths, cultural changes and continuities. Communicating with the world of beings addresses an understanding of the rock art in terms of communication with other people and other than-human beings. The figures could have been seen and experienced as symbols in rituals or as expressions of identity, position, power and rights, as depictions of real events and perhaps for use in storytelling. Through rock art, people might also have been able to communicate with other-than-human beings who ruled parts of the environment - in order to petition favors for themselves or others. These other-than-human beings may have been perceived as good and evil powers and spirits of the different worlds of the universe; the dead or souls; which also included the animals depicted or were even embodied in the stone. This communication may have been based on a belief that both living beings and inert objects and natural phenomena had souls, a belief that may have existed ever since the earliest settlements. Such an animistic belief means that everything was seen as having a consciousness and identity of its own, independent and imbued with a will. Therefore, it was essential that the different participants communicated with one another as equal partners. In this beautifully illustrated book Knut Helskog provides a lyrical and personal interpretation of the chronology, patterning and possible meanings behind this extraordinary landscape of prehistoric rock art.
Ice Age Art
This unique book explores the extraordinary sculpture and drawings created during the last European Ice Age, between 40,000 and 10,000 years ago - the oldest known figurative art in the world. Over 100 objects are featured alongside stunning illustrations, including small but exquisite sculptures made from mammoth ivory, engraved drawings, and jewellery from the age of the great painted caves, in addition to celebrated masterpieces. Featured are the Swimming Reindeer (13,000 years old), the so‐called Willendorf Venus (25,000 years old) and the Vogelherd horse (32,000 years old), examining them in a new light. This compelling narrative is also illustrated with a wealth of contextual images, from classical sculpture to twentieth‐century painting and even contemporary advertising campaigns, which demonstrate surprising aesthetic parallels between these ancient works and familiar modern pieces. In this way, Ice Age Art will bring home the point that the minds that created these objects in all their diversity and inventiveness were modern minds like our own, capable of highly sophisticated thought and expression.
Images of the Ice Age
Images of the Ice Age, here in its third edition, is the most complete study available of the world's earliest imagery, presenting a fascinating and up-to-date account of the art of our Ice Age ancestors. Authoritative and wide-ranging, it covers not only the magnificent cave art of famoussites such as Lascaux, Altamira, and Chauvet, but also other less well-known sites around the world, art discovered in the open air, and the thousands of incredible pieces of portable art in bone, antler, ivory, and stone produced in the same period. In doing so, the book summarizes all the majorworldwide research into Ice Age art both past and present, exploring the controversial history of the art's discovery and acceptance, including the methods used for recording and dating, the faking of decorated objects and caves, and the wide range of theories that have been applied to this artisticcorpus. Lavishly illustrated and highly accessible, Images of the Ice Age provides a visual feast and an absorbing synthesis of this crucial aspect of human history, offering a unique opportunity to appreciate universally important works of art, many of which can never be accessible to the public,and which represent the very earliest evidence of artistic expression.
Picturing the Bronze Age
Pictures from the Bronze Age are numerous, vivid and complex. There is no other prehistoric period that has produced such a wide range of images spanning from rock art to figurines to decoration on bronzes and gold. Fifteen papers, with a geographical coverage from Scandinavia to the Iberian Peninsula, examine a wide range of topics reflecting the many forms and expressions of Bronze Age imagery encompassing important themes including religion, materiality, mobility, interaction, power and gender. Contributors explore specific elements of rock art in some detail such as the representation of the human form; images of manslaughter; and gender identities. The relationship between rock art imagery and its location on the one hand, and metalwork and networks of trade and exchange of both materials and ideas on the other, are considered. Modern and ancient perceptions of rock art are discussed, in particular the changing perceptions that have developed during almost 150 years of documented research.Picturing the Bronze Age is based on an international workshop with the same title held in Tanum, Sweden in October 2012.
What Is Paleolithic Art?
Was it a trick of the light that drew our Stone Age ancestors into caves to paint in charcoal and red hematite, to watch the heads of lions, likenesses of bison, horses, and aurochs in the reliefs of the walls, as they flickered by firelight? Or was it something deeper--a creative impulse, a spiritual dawn, a shamanistic conception of the world efflorescing in the dark, dank spaces beneath the surface of the earth where the spirits were literally at hand? In this book, Jean Clottes, one of the most renowned figures in the study of cave paintings, pursues an answer to this "why" of Paleolithic art. While other books focus on particular sites and surveys, Clottes's work is a contemplative journey across the world, a personal reflection on how we have viewed these paintings in the past, what we learn from looking at them across geographies, and what these paintings may have meant--what function they may have served--for their artists. Steeped in Clottes's shamanistic theories of cave painting, What Is Paleolithic Art? travels from well-known Ice Age sites like Chauvet, Altamira, and Lascaux to visits with contemporary aboriginal artists, evoking a continuum between the cave paintings of our prehistoric past and the living rock art of today. Clottes's work lifts us from the darkness of our Paleolithic origins to reveal, by firelight, how we think, why we create, why we believe, and who we are.
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