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.

17 March 2014

"The Venus Britannia. 400,000 B.C." demonstrates potential age of art traditions found in North America

Amazon site for $2.99 download, free Kindle reader available for download

"HERE FOR THE FIRST TIME WE INTRODUCE 400,000 YEAR OLD FIGURINES DISCOVERED IN BRITAIN BY FAMOUS ARCHAEOLOGISTS. THEY ARE HOUSED IN THE BRITISH MUSEUM AND PREVIOUSLY IN ROCHESTER MUSEUM, KENT. THE ARTEFACTS CONTAIN HOMININ FACES, MOTHER GODDESS FIGURINES AND CARVINGS OF ANIMALS, SOME OF WHICH ARE NOW EXTINCT.

THIS BOOK EXPLORES THE FIGURINES FROM THE PERSPECTIVE OF THE MOTHER GODDESS AND SHAMANISM. THROUGH THESE THEY REVEAL THAT IN THE DISTANT PAST BEFORE MODERN HUMANS EVOLVED, THE HOMININ HEIDELBERGENSIS HAD A RELIGIOUS UNDERSTANDING OF AN ALL POWERFUL MOTHER GODDESS AND THAT THIS KNOWLEDGE WAS MANIFESTED IN A FORM OF SHAMANIC WORSHIP AS STILL PRACTICED BY INDIGENOUS POPULATIONS AROUND THE GLOBE TODAY. HOMININ RELIGIOUS PRACTICE IS COMPARED WITH A PARTICULAR STUDY OF THE ANCIENT WAYS OF SIBERIAN SHAMANISM AND ITS USE OF TOTEM ANIMALS.

THE FIGURINES ARE ARTISTICALLY CRAFTED TO A HIGHER STANDARD THAN STONE AGE HUMAN ART AND REVEAL THAT HEIDELBERGENSIS WAS AS INTELLECTUALLY AND MORE ARTISTICALLY EVOLVED THAN EARLY HUMAN POPULATIONS."

Image Copyright (c) J.D. Shaman. Interpreted by Shaman as a human male facial profile facing right and a female facial profile facing left on the opposite side of the same stone. From Britain.

The book by Shaman had a couple of pictures of iconic flints which reminded me of finds made by North American amateur archaeologists such as the "combination figure stone" below from the David Boies Collection. The question here for Archaeology: are the North American art similarities because of a shared art tradition with the "Old World" or an independent convergence?

David Boies find near Austin, Texas, human facial profile looking right

Bird facing left

Human facial profile looking right

"There are people: Greg Reeder, Jan van Es, Jimmy Groen, Ken Johnston, Alan Day and Don Hitchcock who are actively involved in the study of Paleolithic art. However, there are few others if any who understand the full intricacies that British Lower Palaeolithic combination art from as far back as 400,000 years ago involves..." - J.D. Shaman

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UnknownNovember 18, 2014 at 2:36 PM
HEIDELBERGENSIS: TWYDALL ART BY J. D. SHAMAN IS NOW AVAILABLE. ROCHESTER MUSEUM TWYDALL FLINT TOOL NUMBER 1324 CASTS THE PERFECT SHADOW OF A HEIDELBERGENSIS FACE FOR SEVERAL MINUTES AT MIDDAY ON 21 DECEMBER WHICH IS MID WINTER SOLSTICE. INCREDIBLE! BUT SEE SOME OF THE PHOTOS FOR FREE ON THE NET.
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UnknownNovember 18, 2014 at 2:47 PM
HEIDELBERGENSIS: TWYDALL ART BY J.D.SHAMAN IS NOW AVAILABLE. ROCHESTER MUSEUM TWYDALL TOOL NUMBER 1324 CASTS A PERFECT SHADOW PROFILE OF A HEIDELBERGENSIS FACE. THIS HAPPENS FOR A FEW MINUTES AT MIDDAY ON MID WINTER SOLSTICE. IT ALSO APPEARS FOR ABOUT AN HOUR EVERY DAY IN JUNE AND JULY. INCREDIBLE BUT SEE SOME PICTURES FOR FREE ON THE NET.
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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

17 March 2014

"The Venus Britannia. 400,000 B.C." demonstrates potential age of art traditions found in North America

2 comments: