Subjectivity in Stone Age art works such as figure stones, engravings, sculptures, effigies and curated manuports. See how images and icons have been realized in portable rock media since the dawn of humanity. Here, archaeologists and art historians are becoming aware of these forsaken artifacts. “And this our life, exempt from public haunt, finds tongues in trees, books in the running brooks, sermons in stones, and good in every thing." -in W. Shakespeare, As You Like It, 1599.
Denisovan Ancestry in East Eurasian and Native American Populations
Hans Grams of Germany has kindly submitted this figure stone with his interpretative notes "Child, Mother & Father in tenderness." On the right side, view the man's head from the left rear. The nape of his neck and jawline are visible. On the left, the woman's forehead is pressed against the man's forehead, her face is nuzzled against him in right profile with a closed eye lid. The baby is depicted as being behind her head, presumably on her back in a sling.
Grams has noted the elephant iconography in the overall shape of the stone. This family is united in form with what may have been a revered animal. Mr. Grams writes:
Family in Elephant
Finding date: 03/10/2006
Finding place: D-41748 Viersen-Helenabrunn
This stone from pure quartz weighs 132 gr. and has the dimensions 5x4x2 cms.
The very pure material lets suppose a very valuable motive with a figural representation. The man covers the right one, the child and the woman the left side of the relief. Eyes and mouth of man and woman subtend themselves. The faces are leaned towards each other. The whole figure has the outline of an Elephant. Still today this animal is marked by his stove love. The back of the stone is absolutely level and smooth. Here only the quality of the material works. The picture side contained two elated parts as a physical structure. These were used by the palaeolithic artist to model relief-like the faces of a man, a woman and a child. The child seems to carry a kind of pointed cap.
In a mail from the 12.10.2006 Jan van Es, Roermond, (Netherlands) dates the origin of the sculpture in a period from before 750,000 to 1,000,000. At that time in the Rhineland there was the flint - lighter to be worked on - only seldom. It was transported only with the glaciers of the ice age of the Baltic States to there. At that time the prehistoric artists helped themselves of the lydit- or the quartz-stones, which existed here always. Also for the treatment of this stone they have had quite excellent technologies."