Archaeology of Portable Rock Art

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.

Showing posts with label handaxe. Show all posts

20 October 2013

Art of Homo erectus: two additional Acheulean handaxes, this time from Africa, may include worked zoomorphic forms

Acheulean handaxe from the Sahara, west Africa, interpreted as including a facial profile of a monkey-like creature like other examples noted by Ken Johnston on this blog.

ORIGIN: WEST AFRICA (Sahara desert), from an old collection.
length : 15.5 cm ( 6.10 inches)
width : 8 cm ( 3.14 inches)
thickness : 5 cm ( 1.96 inches)
made of JASPER with Saharan patina

These kinds of Acheulean "decorated handaxes" have been documented by scholars and amateur archaeologists in Europe for several decades and are predicted to be found in existing archaeological and museum collections if time and care is made to inspect for them. Some of the facial profiles are human and some are animals.

Face profile on middle right edge on this handaxe from Dunbridge, Hampshire, was featured in an earlier posting on this blog. The handaxe is centered on stone cortex (light feature) which was intentionally retained by the artifact's creator. This face is similar to the new identification from north Africa above.

Another Sahara desert Acheulean handaxe which appears to have an area worked out to present a face of a creature, perhaps a human or feline.

A European handaxe identified in an earlier posting compares favorably to the new handaxe from Africa above it. Both have anthropomorphic/zoomorphic faces on the lower right edge.

The "fish mouths" interpreted on two artifacts a couple of postings ago were also in this approximate position, hinting that these so-called tools also served as a kind of display frame for expression of symbolic zoomorphic forms.

John Feliks, a co-founder of the Pleistocene Coalition, has demonstrated in a series of falsifiable proofs that homo erectus was highly intelligent and creative:

"Hence, the following advanced cognitive qualities may be quite easily assumed for the species Homo erectus by way of geometric analogy: interrelationship sensitivity and complex organizational skill; language; use of metaphor and hidden meaning; philosophy; mysticism or other “spiritual” perspectives; and a general ability to discern, appreciate, and create the most subtle nuance within any area of intellectual endeavor."

Baboon head depiction on a handaxe. Part of the stone's cortex was retained to depict the animal's nose and mouth.

Here is an example of a baboon head depiction I discovered on an Acheulean handaxe from the Île-de-France, along with a human head depiction on the obverse, which was featured in an earlier posting.

04 June 2011

France handaxe is a literal bi-face: human head profile on one side, baboon/macaque head on the other

Partial cordiform bifacial handaxe from France is a literal bi-face:

human head on one side, baboon/macaque head on the other side.

Top left is baboon/macaque head, top right is human head.

This handaxe photo was located while browsing the internet looking at artifacts. The artifact was posted "For sale" at a now defunct web site. It was identified as being found just outside of Paris, France, and as being a Paleolithic handaxe. It is possible to detect iconography in existing archaeological collections, even while browsing the internet. This, then, is an example of an iconographic tool. Archaeologists should open up dated artifacts to examination by students of portable rock art for possible imagery or iconography identification.

Human head with marked up blue eye, white nose and red lips. I noticed a possible human face depiction based on a ground eye, protruding nose and a flaked mouth, forehead and chin.

When I studied the other photos I noticed a baboon or macaque type head depiction on the side opposite the human face. The two images give context to each other, increasing the likelihood of artifactuality and intent to create the imagery in this piece.

Baboon/macaque head with marked up brow line, eyes, nose and mouth.

It looks as if the artist may have retained and utilized the rock cortex surface to depict the mouth area in a rougher, darker, material (inside the white triangle in above photo). A visually foreshortened nostril may be depicted just above the upper right point of the white triangle.

The hamadryas baboon and human beings originate near each other in Africa.
http://www.flamingoland.co.uk/park/mammals/66-hamadryas-baboon.html

Wild olive baboons lived on the Iberian Peninsula, Spain, until 2001.

http://en.wikipedia.org/wiki/Olive_baboon
http://www.iberianatureforum.com/index.php?topic=2837.0

Barbary Macaque from Gibraltar, Southern Iberian Peninsula

A Mediterranean character, from north Africa to south Europe

http://en.wikipedia.org/wiki/Barbary_macaque

The site with original handaxe photo, ITEM NO. FA-21
http://www.stoneageartifacts.com/html/Artifact-Hand%20Axes.html

-kbj

Warren K. Moorehead on the imperitive to collect "rough and rude" art

“… The museums are full of axes, celts, pipes, banner stones, discoidals, hematites, tubes, slate ornaments and ceremonials, pestles, hammers, etc. What the museums need (as of great value to Archaeological Science) are collections from a single locality including everything found in that locality. They want the finds of the village site, the studies in unfinished specimens, the poor and the good, the imperfect as well as the perfect. In this regard, the collectors make a great error. Most of them do not save everything but cling to the ‘pretty relics’ and discard the rough and the rude. Personally, I would give more for a collection, provided it contained all the types, all the finds of a certain valley than for just the fine, perfect objects of that valley. From a collection of the latter, I would be misled, for if I accepted it as indicative of the people of that valley, I would say they made the most beautiful works of aboriginal art, nothing rude or unfinished being turned out by their artisans. In such a statement, I would be unpardonably wrong.”

Warren K. Moorehead, 1884

Sculptor Henry Moore

"The most striking quality common to all primitive art is its intense vitality. It is something made by people with a direct and immediate response to life. Sculpture and painting for them was not an activity of calculation or academism, but a channel for expressing powerful beliefs, hopes and fears.

Primitive art is a mine of information for the historian and anthropologist, but to understand and appreciate it, it is more important to look at it than to learn the history of primitive peoples, their religions and social customs…But all that is really needed is response to the carvings themselves, which have a constant life of their own, independent of whenever and however they were made, and remain as full of sculptural meaning today to those open and sensitive enough to receive it as on the day they were finished." --Henry Moore, 1941

Ursel Benekendorff is recognized in the vanguard of Stone Age art inquiry and study

(This image is Copyright (c), Ursel Benekendorff, All Rights Reserved. May not be copied or distributed in any way. Used here with permission of Ursel Benekendorff for purpose of linking to her web site Schafftwissen) Stone age art pioneer Ursel Benekendorff has 2000 photographs and demonstrates standardization in the production of the world's oldest art. “My work was a pioneer work, without help of curators or technical experts. Self developed methods helped me, to stay on top of thousands of pieces of extraordinary shapes, excavated by digging machines. I was fast but not that fast and not all artifacts could have been rescued, still Menhir sizes, microlithic material, handsize stones and Un- PORTABLE sized stones were documented. That was more than most collectors assembled or documented, as I learned later on. I had invited large numbers of people to my site, so I know how they go about it all, they operate on a personal preferences, thus a wide open field, possessing is the goal, not so much the unsolved research questions. You see it was not my goal to find the best but the goal was, to clear misleading pictures and find those, who got repeated. This needed a large variety of stone types to detect the repetition by former artists. (Not looking pictures into the stones). But I wanted and still want to know, how the logo face stone on my website created his surrounding.” -Ursel Benekendorff

A book on Siberian portable rock art could provide clues to North American possibilities

Early art of the northern Far East : the Stone Age, by M. A. Kiriyak. This book is about the portable rock art of the Russian north east area. It was written in Russian but has been translated to English by the United States National Park Service's Shared Beringia Heritage Program. The hundreds of iconographic artifacts described and pictured here should inform North American archaeologists regarding the possibilities for art modalities having arrived via Beringia during peopling of the Americas migrations. The book is available for preview at the link here.

Denisovan Ancestry in East Eurasian and Native American Populations

20 October 2013

Art of Homo erectus: two additional Acheulean handaxes, this time from Africa, may include worked zoomorphic forms

04 June 2011

France handaxe is a literal bi-face: human head profile on one side, baboon/macaque head on the other