Primitive art is inseparable from primitive consciousness and can be correctly understood only with the correct socio-cultural context. This book examines the ancient art of Siberia as part of the integral whole of ancient society.

'Arnold Hausers Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hausers extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989

It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture. Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors. Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition.

There have been many accounts of prehistoric 'art', but nearly all of them begin by assuming that the concept is a useful one. In this extensively illustrated study, Richard Bradley asks why ancient objects were created and when and how they were used. He considers how the first definitions of prehistoric artworks were made, and the ways in which they might be related to practices in the visual arts today. Extended case studies of two immensely popular and much-visited sites illustrate his argument: one considers the megalithic tombs of Western Europe, whilst the other investigates the decorated metalwork and rock carvings of Bronze Age Scandinavia.

The 27 papers in this volume harken to the themes that Jeffrey Soles has influenced during his illustrious career in Aegean Bronze Age archaeology: ancestry, burial customs, religion, trade, jewelry, the development of the Minoan settlement of Mochlos in eastern Crete, and the rise and fall of the Minoan civilization.

The First Signs is the first-ever exploration of the little-known geometric images that accompany most cave art around the world-the first indications of symbolic meaning, intelligence, and language. Join renowned archaeologist Genevieve von Petzinger on an Indiana Jones-worthy adventure from the open-air rock art sites of northern Portugal to the dark depths of a remote cave in Spain that can only be reached by sliding face-first through the mud. Von Petzinger looks past the beautiful horses, powerful bison, graceful ibex, and faceless humans in the ancient paintings. Instead, she's obsessed with the abstract geometric images that accompany them, the terse symbols that appear more often than any other kinds of figures-signs that have never really been studied or explained until now. Part travel journal, part popular science, part personal narrative, von Petzinger's groundbreaking book starts to crack the code on the first form of graphic communication. It's in her blood, as this talented scientist's grandmother served as a code-breaker at Bletchley. Discernible patterns emerge that point to abstract thought and expression, and for the first time, we can begin to understand the changes that might have been happening inside the minds of our Ice Age ancestors-offering a glimpse of when they became us.

This volume describes the discovery in 2003 and excavation between 2004 and 2009 of a Minoan ship that sunk near the island of Pseira around 1725/1700 BC. The recovered cargo constitutes the largest known corpus of complete and almost complete clay vessels from a single Middle Minoan IIB deposit in several categories. The 140 artifacts recovered from the area of the wreck include 46 oval-mouthed and other amphorae, 41 spouted jugs, and 11 hole-mouthed jars. The activity of each season is described, followed by a catalog with extensive discussion of the pottery, a petrographic analysis, and catalogs of weights and stone tools. The picture that emerges is of an ordinary transport boat, loaded with products from towns on the northern coast of East Crete, and it provides a rich set of information on a society that revolved around seafaring.

What France's ancient cave drawings may reveal about the origin of language, art, and human thought--insights into one of the greatest mysteries in anthropology They roam deep underground in the recesses of French (and some Spanish) caves: Bulls and bison. Horses and stags. Rhinos, bears, human-like creatures, and more. Painted, drawn, or engraved, these incredible images are 32,000 years old, yet they seem full of personality and life. Who were the artists? How did they make these paintings miles into labyrinthine caves with only stone candles to light the way? Why did the artists make them and what do they mean? What about the undecipherable signs accompanying the art? Popular science writer Amir Aczel examines the cave drawings and the theories scientists have put forward to explain them, including religious iconography, hunting trophies, and a leap in human brain development. Drawing on years of research and his own visits to Paleolithic caves, Aczel takes us underground on an unforgettable journey of discovery at the crossroads of art, science, and history in the quest to solve the mysteries of this Stone Age art and deepen our understanding of human evolution. Amir D. Aczel (Brookline, MA) is a research fellow in the history of science at Boston University and former visiting scholar at Harvard University. He is the author of 14 books, including Fermat's Last Theorem (978-0-385-31946-1), Descartes's Secret Notebook (978-0-7679-2034-6), and The Jesuit and the Skull (978-1-59448-956-3). He has appeared on the CBS Evening News, CNN, CNBC, and ABC's Nightline, as well as NPR's Weekend Edition and Morning Edition.

Rock Art and the Wild Mind presents a study of Mesolithic rock art on the Scandinavian peninsula, including the large rock art sites in Alta, Namforsen and Vingen. Hunters' rock art of this area, despite local styles, bears a strong commonality in what it depicts, most often terrestrial big game in diverse confrontations with the human realm. The various types of compositions are defined as visual thematizations of the enigmatic relationship between humans and big game animals. These thematizations, here defined as motemes, are explained as being products of the Mesolithic mind 'in action', observed through repetitions, variations and transformations of a number of defined motemes. Through a transformational logic, the transition from 'animic' to 'totemic' rock art is observed. Totemic rock art reaches a peak during the final stages of the Late Mesolithic, and it is suggested that this can be interpreted as representing an increasing focus on human society towards the end of this era. The move from animism to totemism is explained as being part of the overall social development on the Scandinavian peninsula. This book will be of interest to students of rock art generally and scholars working on the historical developments of prehistoric hunter-gatherers in northern Europe. It will also appeal to students and academics in the fields of art history and aesthetics and to those interested in the work of Levi-Strauss.

This book presents the results of the study of the wall paintings from the Northeast Bastion at Ayia Irini, situating them within the wider social context of the island of Kea and the Aegean world. Like the spectacularly well-preserved town of Akrotiri on Thera, with which these paintings are contemporary, Ayia Irini thrived 3,500 years ago. But unlike Akrotiri, Ayia Irini was not protected by a layer of volcanic ash. When the site was excavated in the 1960s-1970s by the University of Cincinnati under the auspices of the American School of Classical Studies at Athens, the paintings had long since collapsed, fracturing into thousands of small pieces and becoming mixed with stones, broken pottery, and accumulated debris. This study attempts to bring the wall paintings back to life through the best-preserved fragments. Within the Northeast Bastion was a miniature frieze and, in the adjacent room, large-scale panels of plants. Human action set within townscapes, landscapes, and the sea presents a vivid account of the social life and environment of the people for whom this harbor town was vital within the trading network of the time. In this book the social implications of the fascinating and often unique iconography is explored, and the setting within a fortification wall is quite extraordinary. The volume contains many catalog entries, which contain color images of the fragments, and it is also abundantly illustrated with color drawings, visualizations, and photographs.

A CHOICE OUTSTANDING ACADEMIC TITLE The earliest rock art - in the Americas as elsewhere - is geometric or abstract. Until Early Rock Art in the American West, however, no book-length study has been devoted to the deep antiquity and amazing range of geometrics and the fascinating questions that arise from their ubiquity and variety. Why did they precede representational marks? What is known about their origins and functions? Why and how did humans begin to make marks, and what does this practice tell us about the early human mind? With some two hundred striking color images and discussions of chronology, dating, sites, and styles, this pioneering investigation of abstract geometrics on stone (as well as bone, ivory, and shell) explores its wide-ranging subject from the perspectives of ethology, evolutionary biology, cognitive archaeology, and the psychology of artmaking. The authors' unique approach instills a greater respect for a largely unknown and underappreciated form of paleoart, suggesting that before humans became Homo symbolicus or even Homo religiosus, they were mark-makers - Homo aestheticus.

An awe-inspiring study of the enduring power of Paleolithic art The cave art of France's Dordogne region is world-famous for the mythology and beauty of its remarkable drawings and paintings. These ancient images of lively bison, horses, and mammoths, as well as symbols of all kinds, are fascinating touchstones in the development of human culture, demonstrating how far humankind has come and reminding us of the ties that bind us across the ages. Over more than twenty-five years of teaching and research, Christine Desdemaines-Hugon has become an unrivaled expert in the cave art and artists of the Dordogne region. In her new book she combines her expertise in both art and archaeology to convey an intimate understanding of the "cave experience." Her keen insights communicate not only the incomparable artistic value of these works but also the near-spiritual impact of viewing them for oneself. Focusing on five fascinating sites, including the famed Font de Gaume and others that still remain open to the public, Stepping-Stones reveals striking similarities between art forms of the Paleolithic and works of modern artists and gives us a unique pathway toward understanding the culture of the Dordogne Paleolithic peoples and how it still touches our lives today.

This excavation of a Late Bronze Age town on the island of Mochlos in northeastern Crete includes the House of the Metal Merchant (with two large bronze hoards) and 13 other structures. Each building is described with its stratigraphy, architecture, small finds, ecofactual materials, function, and room use. This is a two volume set. Volume 1 contains the text and Volume 2 contains the Concordance, Tables, Figures, and Plates.

It has long been known that all forms of art rock paintings, carvings and scribings, and also portable sculpture are present at various locations throughout Africa. This book was the first inclusive survey and brings together in one volume accounts of African rock art which were previously scattered in scholarly monographs, journals and travellers tales. The range of the coverage is geophysically comprehensive, from the Atlas Mountains to the Cape of Good Hope. The art styles are set into a firm chronological framework, and are displayed against a background of human, physical and cultural evolution. Considerable discussion is also devoted to the varied purposes which the paintings and carvings served in the communities which produced them, looking at the differing interpretations fully and fairly. A fascinating collection of illustrations, some in colour, truly reflects the variety of forms in which African rock art is manifested. Originally published 1984."

Painted Caves, a beautifully illustrated introduction to the oldest art of Western Europe, charts the historical background to the acceptance of a Palaeolithic age for the very ancient paintings found in caves. Offering an up-to-date overview of the geographical distribution of the sites found in southern France and the Iberian Peninsula, and examples known in Britain, Italy, Romania, and Russia, Lawson's expert study is not restricted to the art in caves, but places this art alongside the engravings and sculptures found both on portable objects and on rock faces in the open air. Written from an archaeological perspective, the volume stresses how the individual images cannot be considered in isolation, but should rather be related to their location and other evidence that might provide clues to their significance. Although many scholars have put forward ideas as to the meaning and function of the art, Lawson discusses some of the substantive theories and offers glimpses of his own experience in the field and enduring fascination for the subject.

This comprehensive reconstruction and interpretation of Louise and Walter Arensberg's groundbreaking collection of modern and pre-Columbian art takes readers room by room, wall by wall, object by object through the couple's Los Angeles home in which their collection was displayed. Following the Armory Show of 1913, Louise and Walter Arensberg began assembling one of the most important private collections of art in the United States, as well as the world's largest private library of works by and about the philosopher Sir Francis Bacon. By the time Louise and Walter died--in 1953 and 1954, respectively--they had acquired some four thousand rare books and manuscripts and nearly one thousand works of art, including world-class specimens of Cubism, Surrealism, and Primitivism, the bulk of Marcel Duchamp's oeuvre, and hundreds of pre-Columbian objects. These exceptional works filled nearly all available space in every room of their house--including the bathrooms. The Arensbergs have long had a central role in the histories of Modernism and collecting, but images of their collection in situ have never been assembled or examined comprehensively until now. Presenting new research on how the Arensbergs acquired pre-Columbian art and featuring never-before-seen images, Hollywood Arensberg demonstrates the value of seeing the Arensbergs' collection as part of a single vision, framed by a unique domestic space at the heart of Hollywood's burgeoning artistic scene.

Named after an archaeological site discovered in 1951 in Zhengzhou, China, the Erligang civilization arose in the Yellow River valley around the middle of the second millennium BCE. Shortly thereafter, its distinctive elite material culture spread to a large part of China's Central Plain, in the south reaching as far as the banks of the Yangzi River. The Erligang culture is best known for the remains of an immense walled city at Zhengzhou, a smaller site at Panlongcheng in Hubei, and a large-scale bronze industry of remarkable artistic and technological sophistication.

This richly illustrated book is the first in a western language devoted to the Erligang culture. It brings together scholars from a variety of disciplines, including art history and archaeology, to explore what is known about the culture and its spectacular bronze industry. The opening chapters introduce the history of the discovery of the culture and its most important archaeological sites. Subsequent essays address a variety of important methodological issues related to the study of Erligang, including how to define the culture, the usefulness of cross-cultural comparative study, and the difficulty of reconciling traditional Chinese historiography with archaeological discoveries. The book closes by examining the role the Erligang civilization played in the emergence of the first bronze-using societies in south China and the importance of bronze studies in the training of Chinese art historians.

The contributors are Robert Bagley, John Baines, Maggie Bickford, Rod Campbell, Li Yung-ti, Robin McNeal, Kyle Steinke, Wang Haicheng, and Zhang Changping.

Deep underground, hidden from view, some of humanity's earliest artistic endeavours have lain buried for thousands of years. The most ancient artworks were portable objects, left on cave floors. Shell beads signal that 100,000 years ago humans had developed a sense of self and a desire to beautify the body; ostrich eggshells incised with curious geometric patterns hint at how communities used art, through the power of symbols, to communicate ways of doing things and bind people together. In time, people came to adorn cave walls with symbols, some abstract, others vivid arrangements of animals and humans. Often undisturbed for tens of thousands of years, these were among the first visual symbols that humans shared with each other. However, as archaeologist Bruno David reveals, we have ways of unlocking their secrets. Sometimes these lie in the art itself, sometimes lying on the ground, or buried beneath where people have left traces of what they did, footprints of the ancestors. In pictures and words, David tells the story of this mysterious world of decorated caves, from the oldest known 'painting kits', found virtually intact after their use 100,000 years ago in South Africa, to the magnificent murals of the European Ice Age that are so famous today. Showcasing the most astounding discoveries made in the past 150 years of archaeological exploration, Cave Art explores these creative achievements, from our remotest ancestors to recent times, and what they tell us about the human past and ourselves today.

This volume provides a catalogue of the ancient Egyptian imports and Egyptianising artifacts found in 1962 during the excavation of a cave near Tsoutsouros (ancient Inatos), Crete, Greece. The cave was a sanctuary dedicated to the Minoan and Greek goddess Eileithyia, the little known goddess of childbirth and motherhood whose offerings depict pregnant women, women in labour, and couples embracing, among other motifs. The Aegyptiaca of the Minoan and Mycenaean eras on Crete signify the political and economic relations between the Aegean rulers and the Egyptian royal court. Several of the objects are Egyptian scarabs, which certainly represent official Egyptian-Cretan affairs, especially those dating from the reign of Amenophis III to the end of the eighteenth Dynasty. Many of the objects catalogued come from the 10th to 7th centuries BC, linked to veneration of the goddess of childbirth and motherhood. The volume is illustrated with colour photographs depicting statuettes, seals, and vessels found at the site.

Our Voices: Indigeneity and Architecture is an exciting advance in the field of architecture offering multiple indigenous perspectives on architecture and design theory and practice. Indigenous authors from Aotearoa NZ, Canada, Australia, and the USA explore the making and keeping of places and spaces which are informed by indigenous values and identities. The lack of publications to date offering an indigenous lens on the field of architecture belies the rich expertise found in indigenous communities in all four countries. This expertise is made richer by the fact that this indigenous expertise combines both architecture and design professional practice, that for the most part is informed by Western thought and practice, with a frame of reference that roots this architecture in the indigenous places in which it sits.

The Element summarises the state of knowledge about four styles of prehistoric rock art in Europe current between the late Mesolithic period and the Iron Age. They are the Levantine, Macroschematic and Schematic traditions in the Iberian Peninsula; the Atlantic style that extended between Portugal, Spain, Britain and Ireland; Alpine rock art; and the pecked and painted images found in Fennoscandia. They are interpreted in relation to the landscapes in which they were made. Their production is related to monument building, the decoration of portable objects, trade and long distance travel, burial rites, and warfare. A final discussion considers possible connections between these separate traditions and the changing subject matter of rock art in relation to wider developments in European prehistoric societies.