Primitive people hunting mammoths drawing. For everyone and about everything

Now they formed curvaceous female figures with big breasts and wide buttocks: “figurines of Venus.” A new erotic leitmotif swept the whole of Europe. At the end of the Ice Age, in Magdalena, the style became even more durable: rock paintings depict sexual scenes.

Their departure, however, took on the power of images, the flow of imagination in the Ulm area. Only: Why did the person achieve the goal of brushing his teeth? He gnawed on the berries and killed his game without a weapon. He had nothing to do with art. The idea of ​​a gradual development of art was a mistake, explains Jean-Clotes, chief curator of the Grotto Grotto. The human imagination has exploded - and at the same time at a very high level.

No other discoveries emerge from the caves at Ulm. There were also four flutes, two of which were made from swan bones. These are the oldest instruments in the world. This means that even music that has reached highest point in the unsurpassed symphonies of Beethoven and Mahler, has its roots there.

We are met simply by a barren shadow world, a drummer and a drummer, a violinist. Rhythm and sound illuminate his world. The craftsman split the cane lengthwise. He then hollowed it out, cut three holes, and air-glued the two halves together with a birch step. Even this is considered a "one-time execution". But the artisan managed much more. He turned horror into sounds. A melody sounded from the bulge of the angry elephant.

Many of the answers were aimed at explaining the cultural explosion in the Upper Paleolithic. Some experts interpret the animal figures from the Ulm region simply as "toys". Others believe so. Fred Feuerstein decorated his home. Or are ivory mines an art form created during periods of idleness and boredom, as an expression of man's genetically innate play instinct?

Maria Malina, an excavation engineer from Tübingen, has a different idea. Maybe a little elephant in the bag. Born to express “family closeness.” All the relatives of a clan were supposed to have once been grouped around a specific totem. In this sense, the game would act as a distinctive sign: as a solid identity card.

It is undeniable that there is art in carving - at least in the sense of the German word. And the masterminds have always been creators of fine motor skills, skilled hands and precise imaginations. However, it is important to pay attention. Hardly any other phenomenon has been so highly charged in modern times, it has increased in spiritual science, scrambled and overflowed with lush reflections as art.

Inattentive pleasure, Kant said in the century, must use them. It was not enough for Hegel; he demanded from true art “the sensual appearance of the idea” and, therefore, had something very moral in mind. What followed was Nietzsche's artistic philosophy, a kind of aesthetic alternative religion.

To the horror of two world wars and an increasingly fragile society, many poets and masons have lost the pleasure of good looks. They became prophets of the ugly. In theory, too, everything became more and more difficult. According to Auschwitz, lyric poetry was impossible, the philosopher Theodor Adorno decreed and submitted to his confession with a 500-page "aesthetic theory". Many disciples worshiped this book as the Bible - hardly anyone understood it.

Today the debate is less heated, but even more so. Only financial world still depends on the commercial nature of the art and pays millions of sums for paintings. The entry currently includes a Jackson Pollock painting: it has reached a price of $140 million.

In all the postmodern confusion, it is forgotten that even the artists of antiquity were not at all: they were engaged in worship. The Greek theater was not an entertainment machine, but rather disseminated the suffering and death of Dionysus in tragedy. The actors acted in his honor.

Only the modern era has given rise to the cult of genius. Singles and all the saints unmarried, surrounded by falling skies and "transcendental homelessness", but at the same time with an inexorably harsh gaze, the artist now began. This idea of ​​the lone aesthetic striker developed in Renaissance Italy.

Naturally, Stone Age people were not yet encapsulated. Their taste may also be questioned. Only the Greeks developed the idea of ​​beauty around 450 BC. Glacier hunters had different problems. In the midst of the untwisted bones, which they threw carelessly into the corner, the clans clung to the tents in the tents. Emergency was hardly prohibited, even nudity. After 25 years, life ended. There was so much in the competition.

Instead of reading, Fred Flintstone read in nature's cruel book. His opera was the song of birds, his drama about a family quarrel in Felztet. Linear figures from the Fumane Cave in northern Italy, as well as the recently discovered double grave of Krems in Austria, where two ornate infants lay, show that archaeologists are constantly capturing fascinating evidence from the ground.

A variety of ceremonial bars and strange animal-people. Now the researchers have begun new look with deer antlers and loaches. Just recently, more than 30 experts from across Europe met in Aurignac, including zoologists and brain researchers, to explore the origins of human art.

The results point clearly in one direction: the birth of art was apparently carried out by the spirit of magic. “The small figure of the elephant is associated with shamanism,” judges such as Tübingen precistor Michael Bolus. Harald Floss agrees: he classifies them as a "talisman or amulet". "Perhaps it was an anti-spell protection sewn onto a hunting coat."

What makes the experts so confident is the findings from a completely different discipline. But there is a common thread that connects them: these are the “savages” and primitive peoples studied by ethnology. The natives of the Dark Continent worshiped fetishes. Shortly thereafter, Christophe Columbus reached the New World - a prelude to horror reports of Mayan and Aztec casualties. Then the Europeans came into contact with the Indians of North America.

Two fundamental findings emerged. Their world was full of spirits; every tree and animal had a soul. A substitute is created instead of the real object. “One of the most common magical procedures for harming an enemy is to make an image of him,” noted psychological researcher Sigmund Freud, who paid much attention to the early work of peoples. Disguised with masks, the witches imitated dangerous animals and screamed their souls. At the sound of the drums they fell into a trance. The goal was to pacify and interdict formidable forces.

There was enough reason for such metaphysical contact records: the ancestors threatened sorrow and disaster. A harsh world full of pain and horror surrounded the Glacier Hunters. He stood almost powerless against the merciless nature. Thus, through magic, he sought ways to influence and create a comforting world according to his own rules. Prehistoric art was an attempt to “free people from fear and give them hope and confidence,” said British ethnologist Edward Evans-Pritchard.

Analysis of prehistoric evidence shows that ice age was particularly difficult on two topics. This made them the leitmotifs of their art. Thus, Weidmanner also slaughtered dangerous animals in order to prohibit them while hunting for delights. Even in archaic societies there were taboos; the intoxication of love, passion could not live freely. The result of the impulse: the artists made “Venus figurines”, volvas and sticks.

Love and death - fear of hunters and repressed sexual desire: these were the themes that haunted Gerelheimer's mind. All art, according to Nietzsche, comes from a “veiled background of suffering.” This also applies to backstory. Only where there is wounding does beauty blossom.

With these generalities there is a pointer, a compass, perhaps. A disturbance in the tangled artistic jungle of the Paleolithic. Small hordes, armed with woodpeckers and flint knives on their headdresses, dared at that time from the Levant to the north. They first entered the Greek mainland through the Aegean Sea. The group moved south from the Alps towards Italy.

The rest of the colonists. Further north along the Danube forward. In the morning there was fog, women with shoulders, crowds walking along the river stream - nomads on the way to an unknown cold world. The teams surfed on an environmentally friendly wave. The breakthrough occurred during a slightly warmer period. This was a bridgehead for the invaders.

Advancing north meant stress. The boundaries of glacier destruction extended to Brandenburg. Was he deceived by the small new settlers? In any case, they will rise soon. They invented tip tips that prevented wound channels from closing at birth. They poured water into fur skins sunk into holes in the earth and inserted hot stones into it. Herbal soup was prepared.

The caves were used only in winter. This can be made from horse fetal bones that lie in limestone fragments. In the spring, the Marys abandon their foals. Otherwise, the clans lived close to valleys covered with grasslands. According to some researchers, "village structures" already exist.

“We are finding more and more signs that the population has grown greatly in Aurignac,” explains the prehistoric flos. In his opinion, this crowding and stagnation of people is the decisive reason why the biped mutated into an aesthete. “He separated himself from nature and lived by his own rules.”

The emergence of jewelry indicates an increasingly complex social system. Chains with teeth from ice dangled from Urjager's neck, adorned with lumps of fossil coal and white ivory bracelets. The young Paleolithic camp of Spendlingen in Rhineland-Palatinate was drilled for jewelry imported from the Mediterranean.

All this was used for marking. Society in Aurignac formed ranks and steps, it was divided into a hand and an empire. The surface of the body becomes the symbolic stage on which the drama of socialization takes place, explains Terence Turner, an anthropologist at the University of Chicago.