the mind in the cave consciousness and the origins of art pdf

The Mind In The Cave Consciousness And The Origins Of Art Pdf

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The Mind in the Cave: Consciousness and the Origins of Art

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Mind in the Cave: Consciousness and the Origins of Art

Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. DOI: Lewis-Williams Published Art. Preface Three Time-Bytes 1.


PDF | Lewis-Williams David. The mind in the cave: consciousness and the origins of art. London: Thames and Hudson. pp, index.


The Mind in the Cave: Consciousness and the Origins of Art

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If you have enjoyed visiting this section of the website please consider adding a link www. Lewis-Williams has two main hypotheses: the first contends that mankind could only engage in image-making upon developing "fully modern consciousness," or an ability to process mental images in a variety of manners. The second argument insists that cave painting was a byproduct of religious belief and helped maintain a society with strict class distinctions.

The mind in the cave : consciousness and the origins of art

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Wallis would later characterise this as "one of the most controversial papers" in rock art research. Lewis-Williams opens The Mind in the Cave with a preface, in which he outlines the methodology that he is working with, and emphasises his position that "we do not have to explain everything to explain something". In the first chapter, entitled "Discovering Human Antiquity", Lewis-Williams explores the early scholarly understanding of Upper Palaeolithic art, stemming from the increased interest in the origins of the human species sparked by the publication of Charles Darwin 's On the Origin of Species. He proceeds to discuss early attempts to analyse both portable and parietal art, and the early belief that cave paintings were forgeries, being too sophisticated to have been produced by "primitive" humans, before scholars eventually came to accept their authenticity. Finally, he notes the developments in radiocarbon dating , which enabled far more accurate dating of archaeological sites, allowing scholars to appreciate the exact antiquity of the Upper Palaeolithic. Chapter two, "Seeking Answers", proceeds to examine the various different interpretative approaches that scholars have taken to the Upper Palaeolithic cave art of Europe.

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Stacymoore

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