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1. Cave art [2017]

256 pages : color illustrations, maps ; 21 cm.
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.
(source: Nielsen Book Data)9780500204351 20170327
Art & Architecture Library (Bowes)
xxiv, 480 pages : illustrations (some color), color maps ; 26 cm
  • Preface and Acknowledgements -- List of Illustrations -- Introduction -- 1. The Discovery of Ice Age Art -- 2. The Oldest 'Art' in the World -- 3. A Worldwide Phenomenon -- 4. Making a Record -- 5. How Old is the Art? -- 6. Fakes and Forgeries -- 7. Portable Art -- 8. Blocks, Rock-Shelters, and Caves -- 9. Art in the Open Air -- 10. What Was Depicted? -- 11. Reading the Messages -- 12. Conclusion -- Notes -- References -- Index.
  • (source: Nielsen Book Data)9780199686001 20160919
Images of the Ice Age, here in its third edition, is the most complete study available of the world's earliest imagery, presenting a fascinating and up-to-date account of the art of our Ice Age ancestors. Authoritative and wide-ranging, it covers not only the magnificent cave art of famous sites such as Lascaux, Altamira, and Chauvet, but also other less well-known sites around the world, art discovered in the open air, and the thousands of incredible pieces of portable art in bone, antler, ivory, and stone produced in the same period. In doing so, the book summarizes all the major worldwide research into Ice Age art both past and present, exploring the controversial history of the art's discovery and acceptance, including the methods used for recording and dating, the faking of decorated objects and caves, and the wide range of theories that have been applied to this artistic corpus. Lavishly illustrated and highly accessible, Images of the Ice Age provides a visual feast and an absorbing synthesis of this crucial aspect of human history, offering a unique opportunity to appreciate universally important works of art, many of which can never be accessible to the public, and which represent the very earliest evidence of artistic expression.
(source: Nielsen Book Data)9780199686001 20160919
Green Library
207 pages : illustrations ; 23 cm
  • Introduction
  • What is the correct way to approach art in caves and shelters?
  • Encountering multiple realities on other continents
  • Perceptions of the world, functions of the art, and the artists
  • Conclusion.
Was it a trick of the light that drew our Stone Age ancestors into caves to paint in charcoal and red hematite, to watch the heads of lions, likenesses of bison, horses, and aurochs in the reliefs of the walls, as they flickered by firelight? Or was it something deeper--a creative impulse, a spiritual dawn, a shamanistic conception of the world efflorescing in the dark, dank spaces beneath the surface of the earth where the spirits were literally at hand? In this book, Jean Clottes, one of the most renowned figures in the study of cave paintings, pursues an answer to this "why" of Paleolithic art. While other books focus on particular sites and surveys, Clottes's work is a contemplative journey across the world, a personal reflection on how we have viewed these paintings in the past, what we learn from looking at them across geographies, and what these paintings may have meant--what function they may have served--for their artists. Steeped in Clottes's shamanistic theories of cave painting, What Is Paleolithic Art? travels from well-known Ice Age sites like Chauvet, Altamira, and Lascaux to visits with contemporary aboriginal artists, evoking a continuum between the cave paintings of our prehistoric past and the living rock art of today. Clottes's work lifts us from the darkness of our Paleolithic origins to reveal, by firelight, how we think, why we create, why we believe, and who we are.
(source: Nielsen Book Data)9780226266633 20170327
Art & Architecture Library (Bowes)
3 v. : ill., map ; 21-30 cm
  • Vol. 1. Interpretation
  • v. 2. Supplement
  • v. 3. Plates
Green Library

5. San rock art [2013]

1 online resource (157 pages) : illustrations, map.
  • An ancient tradition in today's South Africa
  • Conflicting perspectives and traditions
  • Keys to the past
  • Threads of light
  • The mind in the brain
  • Capturing the rain
  • Making an image.
San rock paintings, scattered over the range of southern Africa, are considered by many to be the very earliest examples of representational art. There are as many as 15,000 known rock art sites, created over the course of thousands of years up until the nineteenth century. There are possibly just as many still awaiting discovery. Taking as his starting point the magnificent Linton panel in the Iziko-South African Museum in Cape Town, J.â D. Lewis-Williams examines the artistic and cultural significance of rock art and how this art sheds light on how San image-makers conceived their world. It also details the European encounter with rock art as well as the contentious European interaction with the artists' descendants, the contemporary San people.
(source: Nielsen Book Data)9780821420454 20180521
113 p. : ill., maps ; 25 cm.
Since the discovery of Britains first Ice Age cave art in 2003, the site of Creswell Crags has gained international recognition as one of Britains leading Palaeolithic sites. This accessible volume explores the history of research on the site and draws together and interprets the findings, paying particular attention to the cave art. Documenting the early fieldwork at the site it uncovers antiquarian discoveries such as the famous horse engraving, excavations in the 1920s that saw our understanding of our early ancestors take shape, discusses the demise of the Neanderthals and the emergence of Modern Man, and looks at how Creswell Crags grew as a heritage attraction of potential World Heritage Status. The book also challenges the term Creswellian, an isolated British culture that occupied the fringe lands of western Europe, and instead offers hard evidence for viewing Creswell Crags and its inhabitants as being part of a vast Ice Age world.
(source: Nielsen Book Data)9781905739509 20160614
Green Library
248 p. : ill. (chiefly col.), maps ; 21 cm.
  • Preface Cave art Maps ENGLAND Church Hole and Robin Hood's Cave FRANCE La Chaire a Calvin Font de Gaume Les Combarelles Cap Blanc Abri Pataud and Cave Pataud (Abri Movius) Rouffignac Bernifal Abri du Poisson (and Laugerie Haute) Bara-Bahau Villars Abri Reverdit (Castel-Merle) Lascaux II Musee National de Prehistoire (Les Eyzies) Cougnac Grotte des Merveilles Pech-Merle Pair Non Pair Musee d'Aquitaine Isturitz and Oxocelhaya Gargas Bedeilhac Niaux Parc de la Prehistoire Musee d'Archeologie Nationale SPAIN Covalanas Altamira II Chufin El Castillo Las Monedas Hornos de la Pena El Pendo Salitre II (Sopena) El Pindal El Buxu Tito Bustillo La Loja La Pena de Candamo (and Interpretation Centre) Los Casares La Pileta Ardales (Cueva de Dona Trinidad) Ambrosio Siega Verde Domingo Garcia (Cerro de San Isidro) Museo Arqueologico Nacional PORTUGAL Escoural Coa Valley ITALY Levanzo (Grotta del Genovese) Grotta dei Puntali - Carini (PA) Grotta del Caviglione e Balzi Rossi Riparo de Romito Acknowledgments Index.
  • (source: Nielsen Book Data)9780711232570 20160609
The decorated Ice Age caves are some of mankind's greatest artistic achievements, and there is no substitute for seeing the caves themselves. There you can see the art - paintings, engravings, bas-reliefs or drawings - in its original, natural setting, and stand where the artists did 30,000-10,000 years ago. For speleologists and holidaymakers alike - indeed anyone who wants to add a visit to a cave to their itinerary - here is an essential handbook. The first guide to all the decorated Ice Age caves in Europe that are open to the public, Cave Art covers more than 50 caves in England, France, Spain, Portugal and Italy, as well as relevant museums and centres. This second edition has been fully revised and includes three additional caves and four new facsimiles.
(source: Nielsen Book Data)9780711232570 20160609
Art & Architecture Library (Bowes)
xii, 169 pages : illustrations ; 22 cm
  • Acknowledgements Outside Cave Opening Doxa Caves Doxa Caves Caves and Doxa Outside - Again Notes References Index - Names and Caves.
  • (source: Nielsen Book Data)9781137271969 20160610
In the late 19th century in northern Spain and southern France prehistoric mural paintings and engravings were discovered. Cave Art, Perception and Knowledge inquires into epistemic questions related to images, depicting and perception that this rich and much debated material has given rise to. Focusing respectively on the historical and scientific circumstances and controversies and on the epistemic and perceptual problems and questions the discovery of these paintings and engravings gave rise to, the book traces the outline of the doxa of cave art studies. It criticizes the different ways of trying to make sense of the cave art. Furthermore it suggests, with the help of both Cornelius Castoriadis's concept of technique and Ernst Cassirer's notion of symbolic form, a yet untried way out of the hermeneutical impasse where the interpretation of the paleolithic pictures finds itself today.
(source: Nielsen Book Data)9781137271969 20160610
Green Library

9. Avalokitesvara [2011]

14 unnumbered pages : all black and white illustrations ; 48 cm
Art & Architecture Library (Bowes)
31 pages : color illustrations, color map ; 21 cm
  • Le patrimoine archéologique du Somaliland -- Les recherches préhistoriques antérieures à 2002 -- Le site de Laas Geel -- L'abri 1 -- Les vaches -- Autres animaux et signes -- Les personnages -- Les hommes de Laas Geel aux temps néolithiques -- L'art rupestre du Somaliland dans le contexte régional de la Corne de l'Afrique.
"Le site de Laas Geel a été découvert en décembre 2002 à l'occasion d'une mission de recherche archéologique française au Somaliland. Ce site s'est très vite révélé comme le plus important ensemble de peintures rupestres de la Corne de l'Afrique. Il comporte plus de 20 abris rocheux ornés de peintures polychromes représentant principalement des vaches domestiques et des personnages aux bras tendus. Les archéologues qui l'ont étudié considèrent que Laas Geel appartient probablement à la plus ancienne phase d'art rupestre connue actuellement dans la Corne de l'Afrique, phase qu'ils situent à la fin du 4e ou au début du 3e millénaire avant notre ère. Cet art illustre magnifiquement l'univers mental des plus anciennes sociétés d'éleveurs de bétail de cette région. D'autres sites à peintures rupestres ont pu être étudiés au cours des missions archéologiques réalisées depuis 2002 au Somaliland. Le style des peintures de Laas Geel y est souvent présent mais il existe aussi plusieurs ensembles peints qui sont d'un style différent et se rapportent à des périodes plus récentes. Quoi qu'il en soit, le Somaliland apparaît aujourd'hui comme l'un des plus importants foyers d'art rupestre africain."--Page 4 of cover.
SAL3 (off-campus storage)

11. San rock art [2011]

157 p. : ill., map ; 18 cm.
The new Jacana series of pocket guides is meant for those who are looking for a brief but lively introduction to a wide range of relevant topics of South African history, politics and biography. Written by some of the leading experts in their fields, the individual volumes are informative and accessible, inexpensive yet well produced, slim enough to put in your pocket and carry with you to read.
(source: Nielsen Book Data)9781431401000 20160605
Green Library
xviii, 516 p. : ill. (some col.), maps (some col.) ; 28 cm.
The Mogao grottoes, a World Heritage Site near Dunhuang in western China, are located along the ancient caravan routes--collectively known as the Silk Road--that once linked China with the West. Founded by Buddhist monks in the late fourth century, Mogao grew gradually over the following millennium, as monks, local rulers, and travelers carved hundreds of cave temples into a mile-long rock cliff and adorned them with vibrant murals portraying Buddhist scripture, Silk Road rulers, and detailed scenes of everyday life. The sixty-five papers address such topics as the principles and practices of wall paintings conservation; site and visitor management; scientific research, particularly in the environmental and geotechnical aspects of conservation; and relevant historical and art historical research.
(source: Nielsen Book Data)9781606060131 20160604
Art & Architecture Library (Bowes)
xix, 222 p., 8 p. of plates : ill. (some col.), maps ; 25 cm.
  • Freshly plowed fields in the Vézère Valley
  • Font de Gaume
  • Millions of years ago
  • Neanderthals and Homo sapiens
  • Combarelles
  • Venus figures, blades, beads, and bone
  • Rouffignac
  • Laurel leaves and needles
  • Cap Blanc
  • Art at its peak
  • Bernifal.
Well-written and eminently accessible, this book explores and celebrates the Upper Palaeolithic art of the Dordogne, admirably conveying the author's enthusiasm for her subject. Desdemaines-Hugon's text reads as a personalised guided tour to five famous sites, all of which are still open to the public: Font de Gaume, Combralles, Cap Blanc, Rouffignac and Bernifal. The descriptions are beautifully done, marrying the art with its setting, and portable and decorative arts are also covered, giving the reader a real feel for the sophistication of Cro-magnon culture, as well as insights as to its development.
(source: Nielsen Book Data)9780300152661 20160604
Art & Architecture Library (Bowes)
xiv, 242 p., [8] p. of plates : ill. (some col.) ; 24 cm.
  • Preface. Acknowledgments. 1. The Adventure of Niaux. 2. The Greatest Mystery. 3. The Neanderthal Enigma. 4. The Roots of Language. 5. Abbe Breuil. 6. Font-de-Gaume and Combarelles. 7. The Tale of a Missing Dog. 8. The Sign of the Bull and the Legend of the Minotaur. 9. Rouffignac and Pech Merle. 10. The Discovery of Lascaux. 11. The Enigma of the Pit. 12. The Groundbreaking Work of Annette Laming-Emperaire. 13. Prehistoric Objets d'Art. 14. The Sign of the Hand. 15. The Legend of the White Lady. 16. Shamans of the Tundra. 17. Stonehenge and Signs in the Sky. 18. The Mediterranean, Australia, and Patagonia. 19. Leroi-Gourhan's Theory. 20. The Relationship between Signs and Animals. 21. The Chauvet Cave. Notes. References. Illustration Credits. Index.
  • (source: Nielsen Book Data)9780470373538 20160528
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' 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".
(source: Nielsen Book Data)9780470373538 20160528
Green Library
322 p., [8] p. of plates : ill. (some col.) ; 24 cm.
  • Preface-- Foreword-- The World#s Earliest Cave Art-- Inside Chauvet-- The Dating Game-- Finding Coa-- The Myth of Ecstasy & the Origins of Religion -- Entry into the Volp Caves-- Creativity & the Emotional Life of the Shamans-- Art Beyond Belief: Creativity & Religion in Perspective-- Endnotes.
  • (source: Nielsen Book Data)9781591026365 20160528
The magnificent prehistoric art discovered in caves throughout France and Spain raises many questions about early human culture. What do these superbly rendered paintings of horses, bison, and enigmatic human figures and symbols mean? How can we explain the sudden flourishing of artistic creativity at such a high level? And in what ways does this artwork reflect the underlying belief system, worldview, and life of the people who created it? In this fascinating discussion of ancient art and religion, Dr David S Whitley - one of the world's leading experts on cave paintings - guides the reader in an exploration of these intriguing questions, while sharing his firsthand experiences in visiting these exquisite, breath-taking sites.To grasp what drove these ancient artists to create these masterpieces, and to understand the origin of myth and religion, as Whitley explains, is to appreciate what makes us human. Moreover, he broadens our understanding of the genesis of creativity and myth by proposing a radically new and original theory that weds two seemingly warring camps from separate disciplines. On the one hand, archaeologists specialising in prehistoric cave paintings have argued that the visionary rituals of shamans led to the creation of this expressive art. They consider shamanism to be the earliest known form of religion. By contrast, evolutionary psychologists view the emergence of religious beliefs as a normal expression of the human mind. In their eyes, the wild and ecstatic trances of shamans were a form of aberrant behaviour.Far from being typical representatives of ancient religion, shamans were exceptions to the normal rule of early religion. Whitley resolves the controversy by interweaving the archaeological evidence with the latest findings of cutting-edge neuroscience. He thereby rewrites our understanding of shamanism and its connection with artistic creativity, myth, and religion. Combining a colourful narrative describing Whitley's personal explorations at key archaeological sites with robust scientific research, "Cave Paintings and the Human Spirit" makes for engrossing reading. It provides a profound and poignant perspective on what it means to be human.
(source: Nielsen Book Data)9781591026365 20160528
Green Library
xix, 332 p. : ill., maps ; 29 cm.
Art & Architecture Library (Bowes)

17. Cave art [2008]

326 p. : col. ill., maps ; 29 cm.
  • The book is arranged chronologically and geographically, by caves. It is divided into four parts. The first three chapters correspond to three major periods of time, each named after a famous cave: Time of Chauvet (35 000 - 22 000 BP), Time of Lascaux (22 000 - 17 000 BP) and Time of Niaux (17 000 - 11 000 BP Within each chapter, the first section is devoted to the emblematic cave of that period, which often yielded spectacular finds, and is followed by a guided tour of other caves of that same period. In total 85 caves are explored. The last chapter examines examples of similar prehistoric artistic expressions around the world after the ice age.Time of Chauvet 35 000 - 22 000 BPTime of Lascaux 22 000 - 17 000 BPTime of Niaux 17 000 - 11 000 BPAfter the Ice Age 11 000 -.
  • (source: Nielsen Book Data)9780714845920 20160528
Ever since they were discovered over a hundred years ago, the paintings and rock engravings deep in the caves of Europe have captured the public imagination, provoking wonder and amazement at their great age, their technical mastery and their sheer beauty. Some of the oldest art known to man turns out to be highly accomplished, and also to have been made in extremely difficult conditions in absurdly inaccessible locations. These facts have presented a puzzle and a challenge that have never ceased to exercise the imagination of both scholars and the wider public. This interest is kept alive by the beauty, vivacity and realism of these mammoths, bison, horses and other animals, which have the same power and freshness to modern eyes that they must have had for their creators. Jean Clottes' book is the first one to provide a simple, accessible, orderly and easy to use pictorial introduction to this remarkable art.A concise introduction tells the story of the discovery of the caves, and gives a clear outline of current knowledge and research. It also discusses the modern debates about the meaning and purpose of the art, and sets these debates in the wider context of prehistory. The author also raises questions about this art in relation to modern sensibilities - why do we find it so compelling? The core of the book is a carefully selected and organized sequence of 300 images, presenting the finest examples of cave art, including not only the most famous caves such as Lascaux, Altamira, Pech-Merle and Niaux, but also dozens of others that have yielded remarkable finds. A wonderful range of animals is presented, as well as the mysterious abstract signs, and the puzzlingly crude and schematized representations of human beings. Some examples of portable art and sculpture are also included in order to make important comparisons and links.
(source: Nielsen Book Data)9780714845920 20160528
Art & Architecture Library (Bowes)
xxiii, 247 p. : ill. (some col.) ; 29 cm.
  • Elements : a graphic ice age vocabulary
  • Basic structures : a graphic ice age syntax
  • Illusion : making the imagined seem real
  • Analogy : finding likeness in the unlike
  • Ambiguity : playing with multiple meanings
  • Paradox : reconciling the irreconcilable.
Art & Architecture Library (Bowes)
xv, 292 p., [8] p. of plates : ill. (some col.), maps ; 25 cm.
  • 1. Prologue-- 2. The historical background to the discovery of cave art at Creswell Crags-- 3. The Palaeolithic rock art of Creswell Crags: prelude to a systematic study-- 4. Verification of the age of the Palaeolithic cave art at Creswell Crags-- 5. 3D laser scanning at Church Hole, Creswell Crags-- 6. Zoological perspectives on the Late Glacial-- 7. Cave archaeology and palaeontology in the Creswell region-- 8. The Stone Age archaeology of Church Hole, Creswell Crags-- 9. Cultural context and form of some of the Creswell images: an interpretative model-- 10. The engravings of Gouy: France's northernmost decorated cave-- 11. Palaeolithic art in isolation: the case of Sicily and Sardinia-- 12. The horse in the Palaeolithic parietal art of the Quercy: outline of a stylistic study-- 13. A topographical approach to parietal figures: the monumental sculptures of the Roc-aux-Sorciers (Vienne, France)-- 14. Dating Magdalenian art in North Spain: the current situation-- 15. Rock art and the Coa Valley Archaeological Park: a case study in the preservation of Portugal's prehistoric rupestral heritage-- 16. Rewriting the history books: the Magdalenian art of Creswell Crags.
  • (source: Nielsen Book Data)9780199299171 20160528
Cave art is a subject of perennial interest among archaeologists. Until recently it was assumed that it was largely restricted to southern France and northern Iberia, although in recent years new discoveries have demonstrated that it originally had a much wider distribution. The discovery in 2003 of the UK's first examples of cave art, in two caves at Creswell Crags on the Derbyshire/Nottinghamshire border, was the most surprising illustration of this. The discoverers (the editors of the book) brought together in 2004 a number of Palaeolithic archaeologists and rock art specialists from across the world to study the Creswell art and debate its significance, and its similarities and contrasts with contemporary Late Pleistocene ('Ice Age') art on the Continent. This comprehensively illustrated book presents the Creswell art itself, the archaeology of the caves and the region, and the wider context of the Upper Palaeolithic era in Britain, as well as a number of up-to-date studies of Palaeolithic cave art in Spain, Portugal, France, and Italy which serve to contextualize the British examples.
(source: Nielsen Book Data)9780199299171 20160528
Green Library
266 p. : col. ill., map ; 30 cm.
Green Library


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