Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-5nwft Total loading time: 0 Render date: 2024-05-01T09:58:12.320Z Has data issue: false hasContentIssue false

Chapter 11 - Composite creatures in European Palaeolithic art

Published online by Cambridge University Press:  21 April 2018

Jean Clottes
Affiliation:
11 rue du Fourcat, 09000 Foix, France
Get access

Summary

IDENTIFYING COMPOSITE CREATURES

In Palaeolithic art, whether parietal or portable, composite creatures (anthropozoomorphs or therian thropes) are defined as “representations with mor pho logical characteristics indisputably attributable on the one hand to Man and on the other hand to Beast” (Clottes 1993: 198). When they were re-evaluated within the framework of the systematic general survey of the Groupe de Réflexion sur l´Art Pariétal Paléolithique (GRAPP 1993) on the theme of ‘methodology’, we took the narrowest definition. In effect, we accepted neither ‘phantoms’, where Leroi- Gourhan (1965: 9697) saw a deliberate ambiguity between humans and birds or other animals, nor humans with prognathous heads, even though Leroi- Gourhan (1965: 96) admitted that in this case a “certai n pursuit of animal likeness” cannot be excluded. We omitted both the bird-headed humans in the shaft at Lascaux and at Altamira, and the frogheaded ones at Los Casares. Our objection at that time was that “too many human heads are wilfully deformed and [that] one finds so many intermediaries between the most realistic human heads and those with characteristics of an animal that it is difficult to draw an unequivocal line when dealing with representations that are relatively lacking in detail” (Clottes 1993: 198). As a result, the GRAPP list of parietal composite creatures was very short, with only seven individuals in three caves: three at Gabillou, three at Trois-Frères and one at Hornos de la Peña. In the portable art were mentioned those observed at Espélugues, at Enlène, at Tuc-d'Audoubert, and at Hohlenstein-Stadel in Germany. We could have quoted others such as the ‘little devils’ of l'Abri Mège at Teyjat (Dordogne) (Capitan et al. 1909: 72, figure 11).

Strict restraint justified our position within the framework of a work explicitly dedicated to methods where rigorous steps must be taken to determine such and such a figure and to classify it within a precise category only if the identification is certain. It is too easy to move from ‘probable’ or even ‘possible’ to ‘certain’ the moment statistics are compiled (Clottes 1989). Furthermore, it was clearly indicated that the elimination of heads which had been distorted, voluntarily resulted from difficulties in determining an obvious boundary between categories.

Type
Chapter
Information
Seeing and Knowing
Understanding Rock Art With and Without Ethnography
, pp. 188 - 197
Publisher: Wits University Press
Print publication year: 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×