43 Quotes About Upper-palaeolithic-art

The portable animal statuettes were therefore far more than decorative trinkets: they were reified three-dimensional spirit animals with all their prophylactic and other powers.

I now argue that entry into Upper Palaeolithic caves was probably seen as virtually indistinguishable from entry into the mental vortex that leads to the experiences and hallucinations of deep trance.

Certainly, the sensory deprivation afforded by the remote, silent and totally dark chambers, such as the Diverticule of the Felines in Lascaux and the Horse’s Tail in Altamira, induces altered states of consciousness.

To understand the ‘wounded men’ of Upper Palaeolithic art, I now consider somatic hallucinations; these include attenuation of the body and limbs, polymelia (having extra limbs or digits), and, the one on which I focus, pricking and stabbing sensations.

Shamans submit to death in order to serve their communities.

The Upper Palaeolithic figures known as ‘wounded men’ occur at Cougnac and Pech Merle, two sites in the Quercy district of France.

The ‘wounded men’ may, I argue, represent a form of shamanistic suffering, ‘death’ and initiation that was closely associated with somatic hallucinati

It is the task of San shamans to activate their supernatural potency, to cause it to ‘boil’ up their spines until it explodes in their heads and takes them off to the spirit realms – that is, they enter a state of trance at the far end of the intensified trajectory.

A shaman’s activities as a sorcerer, or his own conscious act of entry into the supernatural world, were a kind of “killing”.