43,000-33,000 years old Aurignacian Figurine Marks, like at the Swabian Jura caves in Germany

Damien Marie AtHope’s Art

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“The Caves and Ice Age Art in the Swabian Jura are a collection of six caves in southern Germany which were used by Ice Age humans for shelter about 33,000 to 43,000 years ago. The caves are located in the Lone and Ach Valleys. Within the caves one statuette of a female form, carved figurines of animals (including cave lions, mammoths, horses and cattle), musical instruments and items of personal adornment have been discovered. Some of the figurines depict creatures that are half animal, half human.” ref 

Swabian Jura’s six caves: Bocksteinhöhle, Geißenklösterle, Hohler Fels,  Hohlenstein-Stadel, Sirgensteinhöhle, and Vogelherd Cave  

“The sites of the Swabian Jura stand at the beginning of human artistic expression and represent with more than fifty pieces the richest region for Aurignacian art and mobile art from the Aurignacian in general is abundant. Artistic creativity in the Aurignacian time was therefore not unusual, but – more and more discoveries confirm this – rather the rule. And the Swabian Aurignacian is currently the oldest known Aurignacian in Europe. No precursor of these artworks has yet been discovered and thus the findings from the four caves of Vogelherd, Hohlenstein-Stadel, Geissenklösterle and Hohle Fels represent the oldest figurative art  worldwide to date. At the beginning of the Aurignacian strong changes in material culture are visible, suddenly, ‘at least 600’ artistic creations ‘from a total of at least 20 sites’. But the sites of the Swabian Jura stand at the beginning of human artistic expression and represent with more than fifty pieces the richest region for Aurignacian art.” ref 

A research approach to the Figurine Marks

“A striking, though still insufficiently studied feature of the figurative art of the Swabian Jura are the numerous markings. Many figurines bear sequences of marks, usually found in the form of parallel lines, crosses and cross-lines, diamonds, V-shaped signs and points. An important comprehensive categorization counted all signs on the then-known figurines and discussed them in relation to the representations. A current interprets the marks as ‘clearly reflective’ and with an evident ‘scoring’ character, sometimes with astronomical information. Harald Floss emphasises the amount of decorated objects and the importance of the individuality of each figurine and its marks. About half of all hitherto examined figurines bear marks (54%).” ref 

“The ones from Vogelherd Cave located in the eastern Swabian Jura, south-western Germany.  are included as far as possible; the figurines for the other sites are to be regarded only as preliminary results. From Vogelherd Cave at least 31 reliable figures and fragments of figures are known, 22 of them bear markings of various kinds. Another 21 potential, not certainly identifiable fragments were recorded, of which 8 bear marks. Thus 58% of the figurative elements from Vogelherd are marked. The finds from this site alone show the enormous importance of marks in the Swabian Aurignacian.” ref   

Damien Marie AtHope’s Art

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“The Adorant from the Geißenklösterle cave is a 35,000-to-40,000-year-old section of mammoth ivory with a depiction of a human figure, found in the Geißenklösterle cave in the Swabian Jura near Blaubeuren, Germany. The front face has a human figure of uncertain sex in relief, with raised arms and outstretched legs, but no hands. The posture is usually interpreted as an expression of worship, which is why in German the figure is called an “adorant”, a word meaning “worshipper”. It has been claimed that a belt and sword can be seen, although these are probably natural features of the ivory. On the plate’s reverse are rows of small notches. The piece is 38 mm (1.50 in) tall, 14 mm (0.55 in) wide, and 4.5 mm (0.18 in) thick. Traces of manganese and ochre can be found on it by microscope analysis. It is somewhat like the Lion-Human of Hohlenstein-Stadel ivory statue also found in Germany.” ref

“The Löwenmensch figurine, also called the Lion-Human of Hohlenstein-Stadel, is a prehistoric ivory sculpture discovered in Hohlenstein-Stadel, a German cave. The German name, Löwenmensch, meaning “lion-person” or “lion-human”, is used most frequently because it was discovered and is exhibited in Germany. Determined by carbon dating of the layer in which it was found to be between 35,000 and 40,000 years old, it is one of the oldest-known examples of an artistic representation and the oldest confirmed statue ever discovered. Its age associates it with the archaeological Aurignacian culture of the Upper Paleolithic. An example of zoomorphic art, the Lion-Human was carved out of mammoth ivory, using a flint stone knife. Seven parallel, transverse, carved gouges are on the left arm.” ref

Damien Marie AtHope’s Art

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“On the left arm of the Lion Man, seven or eight clearly incised notches appear which are not found on the right arm. Additionally, the left ear bears some incisions that were recognized on the Lion Man. The situation is similar with the Adorant from Geissenklösterle. Although the relief of the anthropomorphic figure is no longer preserved in the uppermost layer, on the left of the raised arms at least five notches are clearly visible. In addition, the piece bears a total of 39 notches along the edges and 48 points on the back, which are often interpreted as a moon calendar.” ref  

Damien Marie AtHope’s Art

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“TÜBINGEN, GERMANY—Two fragments of a female figurine carved from mammoth ivory have been found in Hohle Fels Cave. The fragments resemble a breast and part of the stomach of the 40,000-year-old figurine known as the Venus from Hohle Fels, which was discovered in 2008. This carving may have been slightly larger, however, than the approximately two-inch-tall Venus. “The new discovery indicates that the female depictions are not as rare in the Aurignacian as previously thought, and that concerns about human sexuality, reproduction and fertility in general have a very long and rich history dating to the Ice Age,” Nicholas Conard of the University of Tübingen said in a press release. To read about another masterpiece of Paleolithic art, go to “New Life for Lion Man.” ref 

Damien Marie AtHope’s Art

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An inventory of Aurignacian sites in Europe and examples of graphic representations attributed to this period. Link 

Damien Marie AtHope’s Art

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Aurignacian Culture

Gravettian Culture

Magdalenian Culture

Kebaran culture

U6 related Culture Haplogroup U6 (Back migration to Africa of U6: 30,000 years ago) 

Iberomaurusian Culture

Ust’-Ishim man

Basal Eurasian

The distribution of cave-art, primary in Palaeolithic locations in Eurasia. ref, ref 

Grasping the long evolution to modern writing goes far back, way past simply looking to arcane writing. One must first track symbolic meaning, which, to me, is indeed a key cultural innovation is better understood as a complex.  

“The distribution of cave art is worldwide but in Eurasia it is most abundant in areas that are also rich in decorated objects including:

• the Périgord, the French Pyrenees, and Cantabrian Spain;
• Portugal, where there are Palaeolithic decorated caves;
• the very south of Spain to the north of France;
• southwest Germany, where traces have been found;
• Italy and Sicily, which have some concentrations;
• Slovenia, Romania, Bulgaria and Russia.

The current total for Eurasia is about 280 sites. Some like Creswell Crags, England, contain only one or a few figures on the walls, others like Lascaux or Les Trois Frères have hundreds.” ref 

Damien Marie AtHope’s Art

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In Kostënki 17, Russia, there were numerous pendants recovered and at least one, seen above, was dated to 43,000 years ago, which was made from fossil belemite rostrum. The artifacts include a group of more than 40 pendants made from fox canines teeth. In addition, there were pendants made from stone and fossils as well. Along with shell beads from the lower layers of Kostënki 14 and the Kostënki 17 pendants are the earliest good evidence for personal adornment anywhere in Eastern Europe. The occupations at Kostenki include several Late Early Upper Paleolithic levels, dated between 42,000 to 30,000 calibrated years ago (cal BP). Kostenki, the Aurignacian sequence was considered the oldest component associated with modern humans at archaeological sites in Europe, underlain by Mousterian-like deposits representing Neanderthals. Kostenki 14, also known as Markina Gora, is the main site at Kostenki, and it has been found to contain genetic evidence concerning the migration of early modern humans from Africa into Eurasia. ref, ref 

“Thirteen pendants from stratum 2 of Kostenki 17, three polar fox canines, three perforated gastropod shells, four belemnite fragments and three stone objects.” ref 

“There are 25 cultural layers of 15 Kostenki’ sites provide evidences of symbolic activity, which can be classified as: 1. undoubtedly figurative art objects; 2. sculptural artifacts of non-clear definitions; 3. personal ornaments objects from natural origin with holes for suspension are also included here; 4. decorations on tools, personal ornaments, artifacts of non-clear functions or fragments of bones, mammoth tusks and soft stones. Arts of 42/?/-36 years ago involving two cultural unities of the most ancient chronological group –Spitsynean (Kostenki 17, cultural layerII) and Kostenki 14, cultural layer IVb– provide a numerous series of ornamental objects.” ref 

“For a lower cultural layer of Kostenki 17, these are perforated teeth of polar fox; suspensions on stone, fossil shells, and belemnites. The assemblage of a lower cultural layer of Kostenki 14 (Markina gora), quite differs from Spitsynean according to technology and typological tool-kit, provides the more variable association of symbolic activity, including anthropomorphic sculptural object, bead on the shell of Mediterranean origin (Columbelidae), decorative bone tool, series of flint tools with natural holes (figure). The most important for the last site is the association of figurative, ornamental and decorative arts at the most ancient manifestation of Upper Palaeolithic.” ref 

“The modern model of the differentiation of Kostenki’ group of Palaeolithic sites (Voronezh district, Russia), based on the new excavation of last decade, consists of four chronological groups: 

– Initial Upper Palaeolithic (around 42,000-29,000 years ago) included two cultural unities: Spitsynean and assemblage of Kostenki 14 (cultural layer IVb); 

– Early Upper Palaeolithic (around 36,000-32,000 years ago), structure of which is typical for European association of Aurignacian and local “transitional” (here Streletskian) culture; 

– Early Middle Upper Palaeolithic (~28,000 years ago) identification of which is connected with Gravettian appearance, but in Kostenki together with Gorodtsovian; 

– particular East European cultural unity, unknown in the West; 

– recent Middle Upper Palaeolithic (rMUP: 23,000-20,000 years ago) as an association of Gravettian of 5 varieties and series of cultural traditions of non-Gravettian attribution. The backgrounds for cultural differentiation of Kostenki Palaeolithic, as everywhere, are technotypological features of lithic assemblages. But their other components (bone assemblages, dwellings constructions, arts…) do not coincide or not always with cultural entities, based on lithics.” ref  

“The two cultural entities of the earliest chronological stage of the Kostenki model – Spitsynean (archaeological layer II, Kostenki 17) and the archaeological layer IVb at Kostenki 14 – have yielded rich series of ornamented artifacts. Spitsynean and the lower archaeological layer at Kostenki 17 (site of Spitsyn) has yielded: a) about forty pendants made on teeth of arctic fox perforated by rotary biconical drilling b) pendants made on stone, fossil shells, and belemnites with perforations equally made by drilling from two opposite surfaces; c) shells of the fresh water mollusk Unio with a denticulate edge. Two of four pendants made on belemnite fragments (Belemnitella mucronata sahloth originating from Senonian deposits) bear clear transversally incised lines, artificially emphasized by the natural linear structure of the belemnites. In contrast, the lithic assemblage seems highly indicative of distinct cultural uniformity of the earliest Upper Palaeolithic.” ref 

“Only a little attention has been paid so far to the marks on tools and not precisely definable artifacts made of ivory, antler as well as bone and personal ornaments. Even if these are not to be found in such large numbers as on the figurines, they are still regularly present on the ivory finds from Hohle Fels and Vogelherd extensively. With many tools and tool fragments holding striking patterns, mainly involving cross lines and parallel lines. Hohle Fels and Geissenklösterle delivered the so-called ‘bands’; made in mammoth ivory and bearing parallel notches on the sides and interpreted as decorative elements.” ref  

Paleolithic Y–chromosomal haplogroups by chronological period

• Proto-Aurignacian (47,000 to 43,000 years before present; eastern Europe): F
• Aurignacian Culture (43,000 to 28,000 ybp ; all ice-free Europe): CT, C1a, C1b, I
• Gravettian Culture (31,000 to 24,000 ybp ; all ice-free Europe): BT, CT, F, C1a2
• Solutrean Culture (22,000 to 17,000 ybp ; France, Spain): ?
• Epiravettian Culture (22,000 to 8,000 ybp ; Italy): R1b1a
• Magdalenian Culture 17,000 to 12,000 ybp ; Western Europe): IJK, I
• Epipaleolithic France (13,000 to 10,000 ybp): I
• Azilian Culture (12,000 to 9,000 ybp; Western Europe): I2 ref

Damien Marie AtHope’s Art

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“How can the phenomenon be explained, that some marks look very similar to coat patterns and other or sometimes even the same marks appear to have elsewhere an abstracted symbolic content? This could reference the areas that are particularly necessary for human life, such as language, social intelligence, technical intelligence and the so-called natural history intelligence are the basic structures for the individual zones. Modern humans can perfectly and effortlessly transform objects or ideas into a variety of other fields.” ref  

“It is so easy for us to use a certain object that acts as a basic commodity, such as a knife, as an expression of social ranking. Fortune tellers find it easy to read the flight of a bird and to make conclusions about upcoming events within a social society, and for the society, it is easy to believe this. Diverse examples can be found for it. Taking this into account, it is obvious that certain natural observations, such as the highly visible dorsal stripe in a wild horse, is incorporated in the presentation and probably has a content beyond the mere reproduction of what is seen and has a deeper meaning.” ref  

“Similarly, the appearance of wrinkles in the footprint of a mammoth may carry a broader cultural significance. And beyond, such signs can become independent and be used as a vehicle to transport this or other meanings to other objects. Even if this is difficult to prove, since we do not know the code for these symbols, it is very likely that the application of such marks goes beyond the mere decoration of objects. An approach to the ‘grammatical’ structure of the marks is aimed and should lead to a deeper understanding of the semantics of the Swabian Aurignacian signs repertoire.” ref  

“First, there is the identification of the tools and thereafter the applied movements and gestures, which are used for carving the marks. In a final step it will be investigated whether there are significant differences in the technique so that it will be possible to retrieve certain patterns and to identify characteristic styles of groups of people (for instance, right and left handed) or even individuals. This would help to understand the making of this art, to define if it was done by all group members or by several individuals as well as to comprehend the social context and impact of this artwork.” ref  

Damien Marie AtHope’s Art 

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Aurignacian Culture

“The Aurignacian is an archaeological industry of the Upper Paleolithic associated with European early modern humans (EEMH) lasting from 43,000 to 26,000 years ago. The Upper Paleolithic developed in Europe some time after the Levant, where the Emiran period and the Ahmarian period form the first periods of the Upper Paleolithic, corresponding to the first stages of the expansion of Homo sapiens out of Africa. They then migrated to Europe and created the first European culture of modern humans, the Aurignacian. An Early Aurignacian or Proto-Aurignacian stage is dated between about 43,000 and 37,000 years ago. The Aurignacian proper lasts from about 37,000 to 33,000 years ago. A Late Aurignacian phase transitional with the Gravettian dates to about 33,000 to 26,000 years ago. The type site is the Cave of Aurignac, Haute-Garonne, south-west France. The main preceding period is the Mousterian of the Neanderthals.” ref

“One of the oldest examples of figurative art, the Venus of Hohle Fels, comes from the Aurignacian or Proto-Gravettian and is dated to between 40,000 and 35,000 years ago (though now earlier figurative art may be known, see Lubang Jeriji Saléh). It was discovered in September 2008 in a cave at Schelklingen in Baden-Württemberg in western Germany. The German Lion-man figure is given a similar date range. The Bacho Kiro site in Bulgaria is one of the earliest known Aurignacian burials. A “Levantine Aurignacian” culture is known from the Levant, with a type of blade technology very similar to the European Aurignacian, following chronologically the Emiran and Early Ahmarian in the same area of the Near East, and also closely related to them. The Levantine Aurignacian may have preceded European Aurignacian, but there is a possibility that the Levantine Aurignacian was rather the result of reverse influence from the European Aurignacian: this remains unsettled.” ref

 “Aurignacian culture” (to me, connects to the birth of Totemism)

Around, Dates: 47/46-43,000 to around 26,000  years ago (later genetically connecting the Magdalenian)

• Pre-Aurignacian “Châtelperronian” (Western Europe, mainly Spain and France, possible transitional/cultural diffusion between Neanderthals and humans around 50,000-40,000 years ago) preceded by the Neanderthal  Mousterian.  
• Archaic–Aurignacian/Proto-Aurignacian (Europe around 46,000-35,000) 
• Aurignacian culture to me arose possibly from Châtelperronian diffusion between Neanderthals and humans and the European Bohunician culture in South-Central and East Europe dated at 48,000 years ago, thought to be related to Levant Emiran dated to around 50,000—40,000 years ago. Ahmarian culture in the Levant dated at 46,000-42,000 years ago and thought to be related to Levantine Emiran and younger European Aurignacian cultures which began spreading from the Middle East. Such as, in the likes of the Manot Cave, occupied from about 55,000 years ago to at least 30,000 years ago some of who moved toward Europe at least by 45,000 years. ref, ref
• Aurignacian “classical/early to late” (Europe and other areas around 38,000 – 26,000 years ago)

Aurignacians begins the human cultural expansions from EUROPE TO SIBERIA, roughly coinciding with the appearance of behavioral modernity and before the advent of agriculture. An Early Aurignacian or Proto-Aurignacian stage is dated between about 43,000 and 37,000 years ago. The main Aurignacian from around 37,000 to 33,000 years ago. A Late Aurignacian phase is transitional with the Gravettian dates to about 33,000 to 26,000 years ago. Aurignacian culture, toolmaking industry, and artistic tradition that followed the Mousterian industry, was contemporary with the Périgordian (around 35,000-20,000 years ago) and was succeeded by the Solutrean. The Périgordian have been regarded as being superseded by the Gravettian and may have culminated in the proto-Magdalenian, though no continuous sequence of Périgordian occupation has been found. 

The Solutrean style of the Final Gravettian, from around 22,000 to 17,000 years ago. Solutrean sites have been found in modern-day France, Spain, and Portugal. The Aurignacian culture was marked by a great diversification and specialization of tools, including the invention of the burin, or engraving tool, that made much of the art possible. Aurignacian culture represents the first complete tradition in the history of art, moving from awkward attempts to a well-developed, mature style. The earliest examples of the small, portable art objects produced during this period are from western Europe and consist of pebbles with very simple engravings of animal forms. Later, animal figures were carved in pieces of bone and ivory. 

At the same time, a tradition of true sculpture in the round grew up in eastern Europe, with vividly realistic, though simple, clay figurines of animals and highly stylized statuettes of pregnant women, the so-called Venus figures, presumably fertility figures. Cave art was produced almost exclusively in western Europe, where, by the end of the Aurignacian Period, hundreds of paintings, engravings, and reliefs had been executed on the walls, the ceilings, and sometimes the floors of limestone caves. In the later part of the Aurignacian Period, a fusion of Eastern sculptural and Western linear traditions occurred in the West, resulting in small carvings of greatly increased naturalism; the engraved details show attempts at foreshortening and shading with cross-hatched lines.

Aurignacian is not a specific time or a place, but rather it’s a name given to a particular way in which a society of people were living in Europe that emerged by at least as early as 34,000 years ago. This manufacturing technique or industry continued for approximately 5,000 years during the Upper Paleolithic Period in Europe. It also appears on some sites in the Levant (region around the eastern Mediterranean and the Aegean) and the tradition even continues far to the east into Siberia. The type site of Aurignac in the south of France (Haute Garonne) is where the name Aurignacian originates. Vogelherd Cave held a lion sculpted from mammoth ivory about 40,000 years Old. Vogelherd Cave, Vogelherdhöhlen, one of the four caves in Germany’s Swabian Jura Mountains that has produced evidence of the world’s earliest art and music. The lion has long been thought to be a relief, unique in Paleolithic art, says archaeologist Nick Conard of the University of Tübingen. 

For the last decade, Conard has been reexamining both the cave and spoil heaps left by earlier archaeological efforts. Among that material, his team found a carved lion’s face they soon realized was the missing half of the famous figurine’s head. It’s now clear that the lion was not a relief but rather, like the caves’ other Ice Age figurines (“Lion Man,”) also yielded several figurines around 2 to 4 inches in length carved from mammoth ivory, found in Aurignacian layers. They featured ornamentation like dots, lines and x-shaped markings. These seem to be not an attempt to depict actual surface features of the creature in question, but may well be of a ritual or even religious character. The Aurignacian stone tool industry ends in Europe by about 29,000 years ago, however, the making large long narrow core blades continues to move eastward across Siberia eventually ending sometime around 22,000 years ago. 1, 2, 3, 4, 5, 6, 7, 8 

Damien Marie AtHope’s Art

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I think the adding of dots could referencing starts, like the sun in the day and stats and moon at night or other celestial bodies.

Cave art dated to at least 40,800 years old, was discovered in the Cave of El Castillo, “the cave of castles”, in the Cantabria region of Spain. The El Castillo cave contains a large red stippled disk in the Panel de las Manos dated to more than more than 40,800 years old and is consistent with the tradition of cave painting originating in the Proto-Aurignacian. Modern humans are believed to have also been in the area at the time, arriving about 41,500 years ago. Habitation roughly involves 55 000 to 45 000 years ago there is occupation by Neanderthals. From then 45 000 to 35 000 years ago is a transition period, the first phase of occupation by modern man during the upper Palaeolithic. And it is believed that Aurignacian involves at least three phases of occupation, clearly evident from 35,000 to 30,000 when it turns to Gravettian seeming to involve two phases of occupation from around 30,000 to 25,000 years ago. Followed by Magdalenian, with two phases of occupation dated to around 20 000 to 15 000 years ago. ref, ref 

Damien Marie AtHope’s Art

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Ritual Pointillism, to me, references stars/ancestor worship in Aurignacian culture totemism, which I think relates to the Neanderthal Châtelperronian culture totemism. There was 16 engraved and otherwise modified limestone blocks, created 38,000 years ago, pointillist techniques: small dots to create the illusion of a larger image. ref

“Subjects depicted on the decorated blocks and fragments from Aurignacian sites in the Dordogne region: Belcayre, Blanchard, Castanet, Cellier, Ferrassie, Fongal, Laussel, Pataud, and Souquette.” ref   

“While all subjects are not present at all sites, there are clear stylistic similarities, particularly the female genitals isolated from the rest of the body. Their generally rounded shape, their outline sometimes split into two and “engraved” lines constructed of sequential punctuations are territorial and chronological markers. The animal figures, while often incomplete, show several common elements. They are systematically depicted from a side view, either representing the whole body or just the forequarters; or even metonymically through the depiction of paw prints.” ref   

“The horns and limbs (with spherical extremities for horses and pointed extremities for bovids) are parallel to each other and internal detail (eye, hair, groin, etc.) is exceedingly rare. Another example of marked intra-regional characteristics can be seen in the three ibex fore-quarters identified at Cellier and Blanchard. They are represented solely by the external outline of the head with (parallel) horns and only one of them shows the beginning of the back line. In terms of subjects represented, while the mammoth is one of the key subjects in European Aurignacian art, it is absent from the Vézère sample. At Castanet, Blanchard and La Ferrassie, the combination of feline representations and paw prints is a shared theme.” ref  

“An analysis on mammoth ivory samples from four Aurignacian sites in France (Abri Castanet, Grotte d’Isturitz) and Germany (Hohle Fels, Vogelherd) shows this  valued raw material support regionally distinct strategies of procurement in the Early Aurignacian. The evidence demonstrates that ivory procurement in the Swabian Jura focused on fresh local sources of ivory, while procurement strategies in Northern Aquitaine focused on ivory collection from natural deposits of varying age.” ref 

“Modern humans arrived in Europe as early as ~45,000 years ago and spread rapidly across Europe to as far as southern England between 43,000 to 41,000 years ago. The dates for the lower Aurignacian at Geissenklosterle fall in the same period and appear to pre-date the ages for the Proto-Aurignacian and Early Aurignacian in other regions. Evidence suggest that the caves of the Swabian Jura document the earliest phase of the Aurignacian, and the region can be viewed as one of the key areas in which a variety of cultural innovations, including figurative art, mythical images, and musical instruments, are first documented. These dates are consistent with the Danube Valley serving as an important corridor for the movement of people and ideas.” ref  

Damien Marie AtHope’s Art

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Around 37,500 to 32,500 years old Aurignacian bison skull from Régismont-le-Haut (Hérault). Possibility symbolic or ritualized item and certainly a major animal for them, as shown by the ornamentation of certain caves (for example, the Aurignacian of Chauvet Cave in France. The trophy-head belongs to a male individual. The many depictions of bison in Palaeolithic art back up, the symbolic interpretation as possible. ref

Damien Marie AtHope’s Art

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Chauvet cave

“The Chauvet-Pont-d’Arc Cave in the Ardèche department of southeastern France is a cave that contains some of the best-preserved figurative cave paintings in the world, as well as other evidence of Upper Paleolithic life. It is located near the commune of Vallon-Pont-d’Arc on a limestone cliff above the former bed of the river Ardèche, in the Gorges de l’Ardèche. The dates have been a matter of dispute but a study published in 2012 supports placing the art in the Aurignacian period, approximately 32,000–30,000 years ago. A study published in 2016 using additional 88 radiocarbon dates showed two periods of habitation, one from 37,000 to 33,500 years ago and the second from 31,000 to 28,000 years ago, with most of the black drawings dating to the earlier period.” ref

“Hundreds of animal paintings have been cataloged, depicting at least 13 different species, including some rarely or never found in other ice age paintings. Rather than depicting only the familiar herbivores that predominate in Paleolithic cave art, i.e. horses, aurochs, mammoths, etc., the walls of the Chauvet Cave feature many predatory animals, e.g., cave lions, leopards, bears, and cave hyenas. There are also paintings of rhinoceroses. Typical of most cave art, there are no paintings of complete human figures, although there is one partial “Venus” figure composed of what appears to be a vulva attached to an incomplete pair of legs. Above the Venus, and in contact with it, is a bison head, which has led some to describe the composite drawing as a Minotaur. There are a few panels of red ochre hand prints and hand stencils made by blowing pigment over hands pressed against the cave surface. Abstract markings—lines and dots—are found throughout the cave. There are also two unidentifiable images that have a vaguely butterfly or avian shape to them. This combination of subjects has led some students of prehistoric art and cultures to believe that there was a ritual, shamanic, or magical aspect to these paintings.” ref

“One drawing, later overlaid with a sketch of a deer, is reminiscent of a volcano spewing lava, similar to the regional volcanoes that were active at the time. If confirmed, this would represent the earliest known drawing of a volcanic eruption. The artists who produced these paintings used techniques rarely found in other cave art. Many of the paintings appear to have been made only after the walls were scraped clear of debris and concretions, leaving a smoother and noticeably lighter area upon which the artists worked. Similarly, a three-dimensional quality and the suggestion of movement are achieved by incising or etching around the outlines of certain figures. The art is also exceptional for its time for including “scenes”, e.g., animals interacting with each other; a pair of woolly rhinoceroses, for example, are seen butting horns in an apparent contest for territory or mating rights.” ref

Aurignacian burials (around 37,000-30,000 years ago) belong to the early phase of this period in Europe. Examples have been excavated at Cave of Cavillon, Liguria – a burial wearing a cap of netted whelk shells with a border of deer’s teeth, red ochre around the face, and a bone awl at the side. ref

Aurignacian in the Zagros region dates back to about 35,500 years ago at Yafteh Cave, Lorestan, Iran. ref 

Damien Marie AtHope’s Art

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Damien Marie AtHope’s Art

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“In addition, to the figures and the figurative fragments from Hohle Fels, some ornamented rod fragments, points, jewelry, and not specifically identified objects are known. From Hohlenstein-Stadel a pierced cervid canine with four parallel lines on the front and two on the back is known. From the Swabian caves, which have not yielded any figurative art, some other decorated artifacts are known. In Bockstein Törle a ring of siliceous shale with lateral notches was found. From Sirgenstein an ivory rod with notched edges is known and from the Göpfelstein Cave derives a bone splinter grooved with X-patterns.” ref 

“Looking at the interpretive possibilities, the first interpretation as fur drawings, especially in the case of animal figures, comes to mind. In some cases, this interpretation cannot be excluded, as, for example, in the case of the horse from Vogelherd, which carries a line of X-marks from the head to the tail, with a break in the part of the front legs. This could reflect the typical dorsal stripe that wild horses and many of today’s horse breeds possess. Also, the irregular crossing lines on the soles of the complete mammoth figurine found in Vogelherd could reflect the wrinkles that are clearly visible in elephant footprints.” ref  

“Despite these rather easily explainable features, other signs are enigmatic and it is not obvious what they could represent. As found, for example, on the figurative art of a mammoth there are several parts of the body bear cross lines and other signs. The cross lines are usually located in prominent places, such as the shoulder or the high forehead. This could be explained by the highlighting of those body parts, but many signs on the animal cannot simply be interpreted with natural features. On the right hip area a series of seven points is represented that does not occur on the other side. Also on the lower back, above the cross line on the tail area, a series of three marks appears. On the right head area there is a row of three points. The asymmetry of these markings stands especially against an interpretation as coat pattern – this is rather distinctive information, noted in a specific code.” ref  

Damien Marie AtHope’s Art

Damien Marie AtHope’s Art

The “Atheist-Humanist-Leftist Revolutionaries”

Cory Johnston ☭ Ⓐ Atheist Leftist @Skepticallefty & I (Damien Marie AtHope) @AthopeMarie (my YouTube & related blog) are working jointly in atheist, antitheist, antireligionist, antifascist, anarchist, socialist, and humanist endeavors in our videos together, generally, every other Saturday.

Why Does Power Bring Responsibility?

Think, how often is it the powerless that start wars, oppress others, or commit genocide? So, I guess the question is to us all, to ask, how can power not carry responsibility in a humanity concept? I know I see the deep ethical responsibility that if there is power their must be a humanistic responsibility of ethical and empathic stewardship of that power. Will I be brave enough to be kind? Will I possess enough courage to be compassionate? Will my valor reach its height of empathy? I as everyone, earns our justified respect by our actions, that are good, ethical, just, protecting, and kind. Do I have enough self-respect to put my love for humanity’s flushing, over being brought down by some of its bad actors? May we all be the ones doing good actions in the world, to help human flourishing.

I create the world I want to live in, striving for flourishing. Which is not a place but a positive potential involvement and promotion; a life of humanist goal precision. To master oneself, also means mastering positive prosocial behaviors needed for human flourishing. I may have lost a god myth as an atheist, but I am happy to tell you, my friend, it is exactly because of that, leaving the mental terrorizer, god belief, that I truly regained my connected ethical as well as kind humanity.

Cory and I will talk about prehistory and theism, addressing the relevance to atheism, anarchism, and socialism.

At the same time as the rise of the male god, 7,000 years ago, there was also the very time there was the rise of violence, war, and clans to kingdoms, then empires, then states. It is all connected back to 7,000 years ago, and it moved across the world.

Cory Johnston: https://damienmarieathope.com/2021/04/cory-johnston-mind-of-a-skeptical-leftist/?v=32aec8db952d  

The Mind of a Skeptical Leftist (YouTube)

Cory Johnston: Mind of a Skeptical Leftist @Skepticallefty

The Mind of a Skeptical Leftist By Cory Johnston: “Promoting critical thinking, social justice, and left-wing politics by covering current events and talking to a variety of people. Cory Johnston has been thoughtfully talking to people and attempting to promote critical thinking, social justice, and left-wing politics.” http://anchor.fm/skepticalleft

Cory needs our support. We rise by helping each other.

Cory Johnston ☭ Ⓐ @Skepticallefty Evidence-based atheist leftist (he/him) Producer, host, and co-host of 4 podcasts @skeptarchy @skpoliticspod and @AthopeMarie

Damien Marie AtHope (“At Hope”) Axiological Atheist, Anti-theist, Anti-religionist, Secular Humanist. Rationalist, Writer, Artist, Poet, Philosopher, Advocate, Activist, Psychology, and Armchair Archaeology/Anthropology/Historian.

Damien is interested in: Freedom, Liberty, Justice, Equality, Ethics, Humanism, Science, Atheism, Antiteism, Antireligionism, Ignosticism, Left-Libertarianism, Anarchism, Socialism, Mutualism, Axiology, Metaphysics, LGBTQI, Philosophy, Advocacy, Activism, Mental Health, Psychology, Archaeology, Social Work, Sexual Rights, Marriage Rights, Woman’s Rights, Gender Rights, Child Rights, Secular Rights, Race Equality, Ageism/Disability Equality, Etc. And a far-leftist, “Anarcho-Humanist.”

I am not a good fit in the atheist movement that is mostly pro-capitalist, I am anti-capitalist. Mostly pro-skeptic, I am a rationalist not valuing skepticism. Mostly pro-agnostic, I am anti-agnostic. Mostly limited to anti-Abrahamic religions, I am an anti-religionist. 

To me, the “male god” seems to have either emerged or become prominent around 7,000 years ago, whereas the now favored monotheism “male god” is more like 4,000 years ago or so. To me, the “female goddess” seems to have either emerged or become prominent around 11,000-10,000 years ago or so, losing the majority of its once prominence around 2,000 years ago due largely to the now favored monotheism “male god” that grow in prominence after 4,000 years ago or so. 

My Thought on the Evolution of Gods?

Animal protector deities from old totems/spirit animal beliefs come first to me, 13,000/12,000 years ago, then women as deities 11,000/10,000 years ago, then male gods around 7,000/8,000 years ago. Moralistic gods around 5,000/4,000 years ago, and monotheistic gods around 4,000/3,000 years ago. 

Damien Marie AtHope’s Art

Damien Marie AtHope’s Art

Damien Marie AtHope (Said as “At” “Hope”)/(Autodidact Polymath but not good at math):

Axiological Atheist, Anti-theist, Anti-religionist, Secular Humanist, Rationalist, Writer, Artist, Jeweler, Poet, “autodidact” Philosopher, schooled in Psychology, and “autodidact” Armchair Archaeology/Anthropology/Pre-Historian (Knowledgeable in the range of: 1 million to 5,000/4,000 years ago). I am an anarchist socialist politically. Reasons for or Types of Atheism

My Website, My Blog, & Short-writing or Quotes, My YouTube, Twitter: @AthopeMarie, and My Email: damien.marie.athope@gmail.com