A fascinating article by Judith Thurman, "First Impressions: What does the world's oldest art say about us?" (June 23, 2008) in The New Yorker explores the attempts we make to understand the artworks left by humans drawing on the walls of caves thousands of years ago.
She reflects on the Chauvet paintings found in south central France. These oldest known paintings predate the Lascaux and Altamira friezes by fifteen to eighteen thousand years. The history of interpretation of older artworks has suffered from too-ready assumptions about "primitive" people, in particular that, as mud slowly morphed into mind, art would gradually become more sophisticated. For example,
He had also made the Darwinian assumption that the most ancient art was the most primitive, and [i]n that respect, Chauvet was a bombshell. It is Aurignacian, and its earliest paintings are at least thirty-two thousand years old, yet they are just as sophisticated as much later compositions. What emerged with that revelation was an image of Paleolithic artists transmitting their techniques from generation to generation for twenty-five millennia with almost no innovation or revolt. A profound conservatism in art, Curtis notes, is one of the hallmarks of a "classical civilization." For the conventions of cave painting to have endured four times as long as recorded history, the culture it served, he concludes, must have been "deeply satisfying"—and stable to a degree it is hard for modern humans to imagine.
Go here, to the ID Arts site.
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