Paleolithic Society and Culture

One of the earliest discoveries of prehistoricalal art ar the Paleolithic figurines, hailed as the "genus Venuses." Spread crossways Southern France to Siberia, most of the figurines were dated from 23,000 to 21,000 BCE. Although some of the women shared exchangeable characteristics such as the disproportionately enlarged breasts and hips, they also had distinguishing features. trance some of the figurines were clothed, separate(a)s were naked. Although galore(postnominal) of the figurines were small, they ranged in size from 3.7 to 40 centimeters in length (Eller 134).

The unique features that have been highlighted by the scholars are the large breasts and hips, which accentuate the features of fertility. While some of these tiny statuettes are work to resemble ordinary women, others possess the appearance of pregnant mothers with their bootless bellies (Baring and Cashford 6). The digest of the physical appearance of these figurines has triggered tremendous conflict among scholars. Although archaeologists and feminists cede that some of the figurines depict pregnant women, many another(prenominal) others that have been considered to be pregnant are simply images of fat women. Furthermore, the thin Venuses are often ignored in the analysis of these figurines (Eller 134).

In addition, many of the figurines are painted with red ochre that has been regarded by many scholars as the symbol of "life-giving blood" (Baring and Cashford 6). This interpretation of the nominal head of red ochre has also been used to reinforce the conce

Baring, Anne, and Jules Cashford. The Myth of the Goddess: Evolution of an Image. London: Penguin, 1993.

ption of women as goddesses of fertility.

Instead of facial features, rows of plaited sensory hair are neatly form onto her head and face in circular patterns. The creation of the effects of the tidily arranged plaited hair demonstrates tremendous sophistication and complexity that is unusual for Paleolithic art. The extraordinary attention placed in the carving of the hair by the artist also suggests that hair must play an important role in prehistoric culture.

Considering the fact that the hair has been traditionally regarded as an erotic symbol, the dilate carving of the hair further contributes to the overall versedity of the statue (Witcombe, The Venus of Willendorf 10-1).

An engraved bone discovered in the foothills of the Pyrenees had twain faces: On one side were two human figures, on the other, two bisons. The human side shows a nude pregnant charwoman wearing a necklace and ankle bracelet in a squatting position. The head of this female figure was broken off. The other figure also wears a necklace and bracelets. At first glance, the other figure with the short hair appears to be a man who is chasing after the woman with his arms outstretched, therefore suggesting a sexual setting. However, under the microscope, Marshack found that both of the figures are women. What appears to be a chasing scene now resembles a scene of two women in prayer. The complexity in the analysis of the depiction of prehistoric women illuminates why scholars have come up with varied interpretations and hypotheses about prehistoric art. While the initial impression of the bone image may lead to the erotic interpretation of prehistoric art, the latter analysis offers a sacred interpretation (Marshack 323-4).

Witcombe, C.L.C.E. "What's In A chassis?" Images of Women in Ancient Art (2000): 5-8. Online. Internet. 23 Nov. 2001. Available: hypertext transfer protocol://witcombe.sbc.edu/willendorf/willend
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