In This Simple Environment

The information expands [a hunting-gathering system in a simple environment is based on information, knowledge of the territory, data exchange, cultural mechanisms that promote expeditions and recognition of the territory]. Nomadism is based on information.[5] This expansion of information entails the cultural homogenization of a large space. It should come as no surprise, then, that we find the same or similar plastic shapes in areas of hundreds of square miles. Conversely, when human groups live in complex environments, there is a closure of social networks and, therefore, a cultural regionalization in a more restricted territory.

The figurines exempt from the Early Upper Paleolithic Vogelherd’s ivory figurines depict a beast made up of lions, bison, and horses, and Stadel’s specimen is a character, probably male, with a carnivorous head – reminiscent in attitude and theme of the Egyptian god Anubis. A whole series of statuettes of these German sites preserve in their bodies a set of linear signs based on parallel straight blades and beams, which according to Hahn [6] correspond to a way of emphasizing the internal anatomy of animals, although Marshack [7] states that they are signs of reuse.

However, The Existence

Of these signs requires an understanding by China phone number  some 32,000 years ago of the code of abstract elements. As for the small female sculptures of the early Upper Paleolithic, these faceless naked fat women who appear to be pregnant. She has been very lucid, putting them all in the same bag. Regardless of their differences. they were first thought to be real characters. That is, portraits, and therefore their basic motivation would be “art for art’s sake.” Anthropological studies have rejected this idea. As Leroi-Gouhan said it would be like deducing anthropological characters from twentieth-century women from Picasso’s cubist works. These figurines are full of conventionalisms and constructive norms, which is why it is infer that they are the embodiment of something and not of anyone in particular.

China Phone Number

They have also been said to be an aesthetic model, a Gravetian canon of beauty. The erotic ideal of the moment, and there has even been talk of paleopornography. They would be the sex symbols of the time. the most popular interpretation makes them goddesses. Symbols of fertility, prosperity or incarnation of some kind of divinity5 linked to animal and human fertility. But Paleolithic “Venus steatopigies” are never accompanied by children. As one would expect from the archetype of fertility. Taking Laussel’s bas-reliefs as a paradigm, it has been argu in favor of “priestesses” because when they carry. A horn in their hand they seem to be involve in some ritual in a sacred space.

Aside From The Fact That

Laussel’s is unique, one would have to wonder about the hieratic poses of the rest and the fact that they were found in the huts within a domestic context. from a medical-gynecological point of view [8] it has been said that there are pregnant or multiparous women (mothers with various parts) although recent reviews [9] point out that the same morphologies appear in current women who are not mothers are not even pregnant. since meaning is problematic, there are theories that have been oriented toward functionality. Some argue that these figurines served as a mechanism in the initiation rites of adolescents. Who had to abduct women from other clans to reduce the danger of inbreeding.

From a gender perspective, the “venus” would tell us about a matriarchal clan as opposed to the traditional perspectives of patriarchal societies of paleolithic hunters or, at the very least, of female supremacy lately, based on the most oriental specimens, White [10] identifies some sculptures as amulets involved in childbirth. Siberian female figurines have a perforation in their feet and therefore.  They could therefore be personal amulets to prevent problems and encourage childbirth. In any case, it seems that the only thing that can be seen is that they are supraregional. Pieces that define the cultural unity of the Gravetian in Europe, along 3,000 km from Brassempouy to Kostienki. Apart from the Siberian ones that might be another what.

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