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WOMEN IN PREHISTORIC ART.
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Discusses images of women in Paleolithic society.... More...
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Paper Abstract:
Discusses images of women in Paleolithic society. How depictions of women in prehistoric art can determine the traditions and lifestyles of their society. Features of the images found in caves and grottoes and figurines. Women as symbols of fertility, as matriarchs who ruled over their domestic environment. Specific examples.
Paper Introduction:
I. Introduction
Since the early discoveries of prehistoric art in the mid-19th century, scholars and archaeologists have sought to determine the functions and the significance of art in Paleolithic society. The uncovering of artistic images in caves and grottoes, along with figurines of various shapes and sizes, provides clues to the lives, culture, language and myths of prehistoric people. The emergence of the aesthetic perception of the prehistoric people from a strictly utilitarian lifestyle also offers evidence of how the human brain has developed over the centuries.
In this paper, the depictions of women in prehistoric art will be used to determine the traditions and lifestyles of prehistoric people in Paleolithi
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"What's In A Name?" Images of Women in Ancient Art (2 ): 5-8. Compared to the other parts of the body, these body partsare given cursory treatment. Because ofthe physical appearance of these statuettes, other researchers believe thatthey might have been used as a charm or amulet for pregnant women(Witcombe, Earth Mother-Mother Goddess 17). 2 1. 2 1. The extraordinary attentionplaced in the carving of the hair by the artist also suggests that hairmust play an important role in prehistoric culture. The most famous coal figurine was discovered atPeterfels in southwest Germany. 23 Nov. Concomitantly, the womenwere able to gather food quickly without investing too much time in theirdaily responsibilities. Unlike the bulging figurines with the bulbous breasts, thetwo-dimensional human image on the mammoth tusk contains "egg-shapedbreasts..., a horizontal oval womb..." (Marshack 3 3). Women were not only worshipped as symbols offertility because of their birthing capacity, they were also matriarchs whoruled over their domestic environment. 23 Nov. The Gate of Horn: A Study of the Religious Conceptions of the Stone Age, Their Influence upon European Thought. A richer interpretation would assume each image asrepresentative of a set of stories designated for a young girl, adeveloping woman or an old woman. At an overhanging rock shelter, a famous bas-relief of a naked woman,17 centimeters tall, was found in Laussel (Marshack 333-5). Hypotheses that Explain the Creation of Prehistoric Art Various researchers have promulgated their hypotheses about thecreation and functions of prehistoric art. Internet. Thisevidence shows that the artists were most likely right-handed because right-handed artists would need to hold their light source on the left in orderto prevent the shadow of their hand from falling on their tool. This femaleimage is known as the "Venus of Laussel." This woman carries a bison's hornthat is shaped like the crescent moon and marked with thirteen notches inher right hand. An engraved bone discovered in the foothills of the Pyrenees had twofaces: On one side were two human figures, on the other, two bisons. At first glance,the other figure with the short hair appears to be a man who is chasingafter the woman with his arms outstretched, therefore suggesting a sexualsetting. For many early researchers, the blatant sexuality of theseprehistoric Venuses suggests that they were made and used by men for erotictitillation and sexual enjoyment. Her left hand points to her pregnant belly. I. The examination of the art from the Upper Paleolithic era indicatesthe level of sophistication of the brain of a prehistoric hunter. 32-44.Levy, G. The exaggerated shape of the body hasheightened the perception of this figurine as a fertility idol. In addition, the interconnectionsbetween the bison's horn, the pregnant woman and the moon also suggest acomplex mythology involving the lunar notation, the seasons of hunting,ceremony and sacrifice. In addition, the red ochre found in the statuettes, which wasassociated with the menstrual blood, has also yielded otherinterpretations. The celebration of these figures also suggests that amatriarchal society might have existed in the Paleolithic era in whichwomen ruled over men (Witcombe, Women in the Stone Age 13-4). The analysis of the physical appearance of thesefigurines has triggered tremendous conflict among scholars. Her breasts, buttocks and thighs aredisproportionately larger than the rest of the body. In their opinion, theprehistoric images of women are symbolic representations of the goddessesof fertility. Once again, the absence of thesefeatures has also heightened the scholar's attention on the exaggeratedbody parts of the statuettes, such as the breasts, bellies and buttocks. The emphasis of the birthing parts of the women's bodies has led manyexperts to speculate that the Venus figurines were used to celebratefertility in Paleolithic society. Onceagain, this image shows that the depiction of these prehistoric women doesnot yield simple explanations (335).II. According toWitcombe, the Venus figurines are ideal for holding in the hand. The Venus of Willendorf is characterized by her bulging belly, largebuttocks and thighs, along with her full breasts. Nonetheless, there are researchers who believe strongly that thecreators of the prehistoric art were women. In fact, Marshack's analysis of the prehistoric art covers a widerange of images from the Venus figurines to the abstract images engraved ona mammoth tusk. The creation of the effects ofthe tidily arranged plaited hair demonstrates tremendous sophistication andcomplexity that is unusual for Paleolithic art. This interpretation of the presence of red ochre has alsobeen used to reinforce the conception of women as goddesses of fertility. With his article, McDermott has generated tremendous controversy bypromulgating his unique hypothesis about the creation and creators of theprehistoric artwork. R.L. Online. Apart from the Venus figurines, other prominent female images havealso been discovered. With a thin and elongated head and aflat upper chest, the statuette draws attention to the parts of the bodythat revolve around birthing. Nonetheless, the examination of the speculations raised byscholars, researchers and archaeologists in this paper offers a rich andcomplex source of information for further exploration.II. Makers of the Artwork and the Development of Art During the PrehistoricPeriodA. During the early period, the cortical cells at the primary visualcortex enabled prehistoric people to work with simple lines (36-7). Only 1¾ inches tall, the figurine was usedas a pendant with a hole through the top. Online. Although the Classical Venus is alsonaked, she shows a sense of modesty by covering the sexual parts of herbody. In contrast, the Venus of Willendorf displays her sexuality withoutinhibition. Therefore, the hypotheses about thefigurines as symbols of fertility or magic are reductionist interpretationsof the artwork. According to Baringand Cashford, the ten lines carved from under her buttocks to the back ofher knees project the image of the "waters of birth falling profusely fromthe womb" (7). London: Faber and Faber, 1948.Marshack, Alexander. Atkinson. The wrists with small markssuggest the inclusion of bracelets. Introduction Since the early discoveries of prehistoric art in the mid-19thcentury, scholars and archaeologists have sought to determine the functionsand the significance of art in Paleolithic society. Moreover, McDermott concludes that the women who created images ofthemselves were also highly conscious of the need to take care of theirbodies. R. During the 195 s, researchers challenged the hypotheses thatemphasized sexuality, fertility and hunting by emphasizing the need tostudy the contexts of the discoveries of the artwork. Considering the factthat the hair has been traditionally regarded as an erotic symbol, thedetailed carving of the hair further contributes to the overall sexualityof the statue (Witcombe, The Venus of Willendorf 1 -1). Therefore,one possible explanation for its function is as a doll for a child.Nonetheless, Witcombe qualifies his speculation by noting that the high-level of artistry displayed in the Venus of Willendorf indicates that itwould not be simply used as a plaything (Witcombe, The Venus of Willendorf11-2). The Myth of Matriarchal Prehistory: Why an Invented Past Won't Give Women a Future. According to Witcombe, the corpulentimages of these statues challenge the interpretation that they were made tobe realistic representations of prehistoric women who were expected togather and hunt for food. Their capacity to gather food, provide social supportand reproduce clearly placed them on a pedestal. Greenbaum. Therefore, their artwork indicated that they inspected themselveson a periodic basis. 23 Nov. Scholars have also attempted to discover clues about othercharacteristics of the art makers such as the handedness. Furthermore, certain critical features such as the faces, arms andfeet are often missing or incorporated without much detail in thesestatuettes (Baring and Cashford 6). If thesefigurines were meant to represent symbols of fertility, Eller contends thatmore obvious signs of fertility and childbirth such as images of the womenholding an infant or giving birth would have been carved into thesefigurines. In addition,it is also important to note that the images of women far outnumbered theimages of men. The emergence of the aesthetic perception of theprehistoric people from a strictly utilitarian lifestyle also offersevidence of how the human brain has developed over the centuries. What appears to be a chasing scene now resembles a sceneof two women in prayer. However, these characteristics are not present in the figurines(134). The unique features that have been highlighted by the scholars are thelarge breasts and hips, which accentuate the features of fertility. Available: http://witcombe.sbc.edu/willendorf/willendorfwomeninthe stoneage.html.Witcombe, C.L.C.E. Hubel and Weiselspeculate that the creation of the artwork from the Upper Paleolithic erawas derived from a long process of artistic experimentation starting withthe simple crude line drawings typical of the Lower to Middle Paleolithicera. Boston: Beacon P, 2 .Hubel, D.H., and T.N. Theunearthing of the fragments of prehistoric past has thus been invaluable inunveiling the origins of humanity. At this point, the prehistoric art and current interpretations providelittle clue as to the gender identity of the creators of the artwork. New Haven: HRAF P, 1973.Coon, C. Unlike the realistic portrayals of females orabstract symbols of a single part of the body such as the vulva, this imagecaptures another aspect of the female nature that transcends all previousinterpretations. Theprevalence of these Venus figures that were found all over Europe alsoindicates that the creation of these figures was based on a system ofshared values and conceptions about a specific type of woman. 2 1. Each of these images wasalso accompanied by a series of markings and notations. In reality, prehistoric people, especially women,established a society that was characterized by a sense of community,culture and mythology. Ed. Althougharchaeologists and feminists concede that some of the figurines depictpregnant women, many others that have been considered to be pregnant aresimply images of fat women. However, ethnographic data indicate that food was in plentiful andsteady supply during the Upper Paleolithic era. Development of prehistoric art According to scholars, most of the sophisticated images ofprehistoric artwork came from the Upper Paleolithic era. Although some of the women shared similar characteristics such as thedisproportionately large breasts and hips, they also had distinguishingfeatures. According to Eller, many of the figurines do not show evidenceof pregnancy, childbirth or lactation. 23 Nov. "Self-Representation in Upper Paleolithic Female Figurines." Current Anthropology 37.2 (1996): 227-275.Rice, Patricia C. "Earth Mother-Mother Goddess." Images of Women in Ancient Art (2 ): 14-18. Possibly, it was used to ensure thesafe pregnancy of the woman or for ritualistic purposes (Marshack 286-7).B. Therefore, these faceless images were likelyused for particular social or religious rituals (Eller 136). "Brain Mechanisms of Vision." Mind and Behavior: Readings from Scientific American. Eller also believes that these Venuses might have served a social orreligious function because of the lack of attention given to the faces, thearms and feet. Prehistoric Men and Their Art. Although the contours of the bodysuggest the shapeliness of a woman, this figurine omits vulva, breasts,stomach, head, hands and feet. The other figure also wears a necklace and bracelets. In a more challenging endeavor, researchers have also tried to figureout the artists who were responsible for the drawings: Was there a minoritygroup of talented individuals? At thatstage, the people produced "vertical, horizontal, titled, circular, zigzagand lattice lines" (Bednarik 61 ). The most obvious finding is that theprehistoric people of the Upper Paleolithic era possessed a complexintellect that enabled them to appreciate the aesthetics of art andpainting. Certainly, therevelation of the gender identity of the makers of the prehistoric art mayoffer additional clues to the function and purpose of these images: Arethese images simply creations to honor the important role that women playin the practical lives of their society or do they serve a sacred function?If the makers of the prehistoric art were women, would they more likelycelebrate their practical lifestyles or their mysterious powers by carvingthese images? Prehistoric Art. For example, theengravings in the Ice Age caves of Europe that were not apparent whenilluminated from the front appeared clearly when lit from the side. For many decades,researchers had presumed that men made the artwork because they were theonly ones who would have the time to create the figurines (Rice 412).Furthermore, early researchers' interpretations of prehistoric art asprimarily related to hunting and fertility magic led them to believe thatthe subjects of the prehistoric art reflected the central preoccupations ofmen (Bahn 172). Therefore,McDermott believes that these self-generated images reflect a heightenedawareness of the women about their bodies and their reproductive status(227).VI. Thus, thefocus is placed on the sexuality of her physical body, instead of otherfeatures (Witcombe, The Venus of Willendorf 9). The comparison ofphotographs of modern women looking down upon themselves produced imagesthat were remarkably similar to those of the prehistoric women. Prehistoric Artwork and the Society of the Prehistoric People The analysis of the prehistoric artwork offers pieces of informationabout the prehistoric people. Internet. With herhead leaning towards the moon-like horn, the phase of the moon seems to beinterwoven with her growing womb, thus further emphasizing her as a symbolof fertility (Baring and Cashford 6). On the other hand, Witcombe has come up with an alternativeexplanation for the absence of the feet of the statuettes. Engraving, one of the most commontechniques used for creating parietal art in rock shelters or open rocks,could also have been accomplished by using stone picks and grinders (Bahn1 1-2). One of thestrategies to determine whether the artists were right- or left-handed isto illuminate the engravings from different angles. Marshack speculates that this imagecould have been used as a part of a shamanistic performance. The Spanish researcher Juan-Maria Apellaniz has developed statistical techniques to measure differentparts of the outlines of the images. In considering the analysis of these images, it is importantto note that various scholars might have shaped their analysis andinterpretation of the images in accordance with their theories aboutprehistoric society. Available: http://witcombe.sbc.edu/willendorf/willendorfwhatsinaname.html.Witcombe, C.L.C.E. Thus, this representation constitutes another clue to thestories of the prehistoric people. Based on these facts, many researchers have deduced that theimage represents a famous female deity such as the Earth Mother or theMother Goddess (Witcombe, Women in the Stone Age 13-4). Nonetheless, the endeavor has notyielded conclusive results (Bahn 172-3).B. These discoveries produced a newhypothesis that these prehistoric figurines were used as female ancestorsof worship in a highly matriarchal society (Abramova 81). The artdocuments his acute and meticulous observations of the unique behavior ofanimals. Therefore, Marshack suggests that this female imagemay be a precursor of the "Mistress of Animals" of the later Neolithicagricultural goddesses with their crescent signs and animal symbols. Online. Furthermore, the thin Venuses are often ignoredin the analysis of these figurines (Eller 134). Instead of facial features, rows of plaited hair are neatly carvedonto her head and face in circular patterns. "Woman from Willendorf." Images of Women in Ancient Art (2 ): 8-12. One of the techniques was to study theimages closely to determine whether some of them could be categorizedtogether based on similar stylistic qualities. "Prehistoric Venuses: Symbols of Motherhood or Womanhood?" Journal of Anthropological Research 37.4 (1981): 4 2-414.SAPAR. A. In heranalysis, Rice elaborates on the pragmatic perspective of the lives of theprehistoric women, as reflected in the art. Thus, while the men traveled far awayfrom home to hunt for food for several days, Paleolithic women gatheredfood near their homes, took care of their homes and ensured the stabilityof the community. However, Ellerrefutes hypothesis that these figurines were considered as symbols offertility. However, under the microscope, Marshack found that both of thefigures are women. The wide range of speculations by the researchers offers a rich anddiverse picture of the Prehistoric society. More recently, Marshack has pointed out that prehistoric art reflectsa "storied, time-factored symbolic system" that captures the essentialprocesses and functions, which are unique to women, such as "menstruation,pregnancy, birth and lactation" (282). Because women's bodies undergo tremendous changesduring different time periods such as puberty, menstruation, pregnancy,childbirth and lactation, it is vital for women to observe their bodies.The prevalence of these figurines indicates that women examined theirbodies frequently in order to control their reproductive activity. Removables: Figurines or other three-dimensional objects that werecarved out of soft stone or parts of animals such as antlers and amammoth's tusk (SAPAR 1). In this paper, the depictions of women in prehistoric art will beused to determine the traditions and lifestyles of prehistoric people inPaleolithic society. Park Ridge: Noyes P, 1973.Bourguignon, E., and L. These figures might have been touched andfondled by men similar to men's preoccupation with female images incontemporary society (Levy 48; Barton 131). Thehuman side shows a nude pregnant woman wearing a necklace and anklebracelet in a squatting position. Atkinson and R.C. In addition,ethnographic testimony from different cultural groups also suggests thatwomen might have produced sacred rock art such as the Aboriginal women ofAustralia and North American Indians (Bahn 172). Available: http://witcombe.sbc.edu/willendorf/willendorfwomanfromwillendorf.html.Witcombe, C.L.C.E. Therefore, it is likely that this figurinewas an artwork that came from the earlier period of the Paleolithic erawhen the artists were working with line images. In this compositetableau, the stories of the woman, the animals and the seasonal passage oftime become interwoven together (Marshack 3 7). In fact, many of the figurines thatdepict fat women have been misinterpreted as being pregnant women. "Women in the Stone Age." Images of Women in Ancient Art (2 ): 12-14. Therefore, the Venuses couldhave been sculpted to control the power of women (Rice 411). Of all the Venuses, it is the "Venus of Willendorf," one of theearliest icons of prehistoric art that has captured the imagination of manyscholars. Non-removables: Flat surfaces that were covered with engravings orpaintings and small reliefs found in caves, grottoes and other naturalsettings (SAPAR 1). Sharp tools such as sharp-edged flint and stone picks might have beenused for the engraving of bas-reliefs. "Concept-mediated Marking in the Lower Paleolithic." Current Anthropology 36 (1995): 6 5-34.Berenguer, Marin. A Vision of the Brain. These images of prehistoric artcapture the reverence and honor given to the prehistoric women. In addition, her genitalarea was carved in great detail to show the labia of her vulva. Therefore, Rice refutes theprevalent interpretation of the Venuses as symbols of fertility andmotherhood. Available: http://witcombe.sbc.edu/willendorf/willendorfmothergoddess.html.Zeki, S. The uncovering ofartistic images in caves and grottoes, along with figurines of variousshapes and sizes, provides clues to the lives, culture, language and mythsof prehistoric people. Anthropological evidence obtained from the same era showthat a system of symbols existed that connected the menstrual blood ofwomen to the blood of the game animals and the male hunters. However, with the expansion of theirbrain to 14 cc and the activation of the high level of cortical cellsthrough their etchings, the prehistoric people of the Upper Paleolithic erawere able to produce representational images found during this period (Zeki355). 2 1. Since clothing and jewelry can be seen on some of the statuettesand the parietal images, it is likely that the prehistoric people also knewhow to make clothes and decorative items. While some of the figurines were clothed, others were naked.Although many of the figurines were small, they ranged in size from 3.7 to4 centimeters in length (Eller 134). However, the variety of styles apparent in the statuettes, rather thana single prototype, and the realism also suggests an alternative scenario(Rice 411). The importance of religion in Paleolithic society is alsodemonstrated in many of the prehistoric artwork that might have been usedfor ceremonies or symbols of worship. This image thus suggeststhe prehistoric people's awareness of the strong interconnections betweentheir lives and those of the animals and their surrounding environment. What is empowering about the prehistoric statuette is that itdefies the patriarchal society's definition of standards of sexuality anddecorum for women. Artists whoapplied red ochre onto some of the figurines were likely to have used smallbushes of wood with tips of wool covered with red ochre. Thewomen's awareness of the need to control their reproductive lives wasdemonstrated by the reduction in the pregnant figurines from the Gravettian(68 percent) to the Magdalenian era (36 percent) (247). In the same image, theheads of a deer and a bird were also incorporated. Nonetheless, the artistry and effort involved inthe creation of these life-like images suggest that these statues wereconsidered to be significant to the artists and their people. Regardless ofits actual meaning, this image has certainly added another layer to thetableau of the lives of the prehistoric people (3 4-5). Dated from the 24, to 22, B.C., during the UpperPaleolithic Era, the exaggerated and bulbous form of her body has made theVenus of Willendorf a symbol of "natural femaleness, of uninhibited femalepower" (Witcombe, What's In a Name 7). For example, acontrolled excavation at Russian sites discovered Venus-style figurines onhut floors, storage pits and corners. In fact, Baring and Cashfordbelieve that the emphases of the birthing parts of the figurines suggestthat these sculptures are goddesses of life and fecundity (8). Internet. Another prevalent image found in nonremovable prehistoric art werestencils of hands, feet and objects that were created by spraying paintonto the rock by blowing through a tube or from the mouth (Bahn 113, 126).V. While the initialimpression of the bone image may lead to the erotic interpretation ofprehistoric art, the latter analysis offers a sacred interpretation(Marshack 323-4). Weisel. It is probable thatprehistoric artists were inspired to carve the figurines in order tocelebrate the vital functions and roles of women in Paleolithic society(411). On the other hand, if men were the creators of the art, werethey demonstrating their appreciation of the women's secular contributionsto their daily lives, or seeking to control their sacred powers by carvingthe female figurines (Rice 412)? With the assistance of themicroscope, scholars found that this piece of work was carved quickly,perhaps to serve a one-time function. Although many discoveries of prehistoric art have beenmade, the difficulties in the analysis of the depictions of the images andthus the multiple interpretations of the same piece of artwork increase thechallenge of providing definitive answers to the lives of prehistoricpeople. Cambridge: Cambridge UP, 1998.Baring, Anne, and Jules Cashford. Based on his detailed examination of the femalefigurines and modern photography, McDermott concludes that thedisproportionate images stem from the women painters painting themselves.It is also important to recognize that in producing their self-portraits,these women were not aided by the presence of mirrors. Theperception of this figurine as an idol, instead of an ordinary person, isenhanced by the absence of distinctive features on the face. Oxford: Blackwell Scientific Publications, 1993. The Roots of Civilization: The Cognitive Beginnings of Man's First Art, Symbol and Notation. The Myth of the Goddess: Evolution of an Image. In addition, most of the male-female activities such aspair-bonding and sexual partnering also occurred in the female-controlleddomain. Creation of the Artwork Figurines from the Upper Paleolithic era were generally carved instone, bone, coal, ivory and fired loess (McDermott 231). In addition, many of the figurines are painted with red ochre that hasbeen regarded by many scholars as the symbol of "life-giving blood" (Baringand Cashford 6). The Hunting Peoples. Mount Kisco: Moyer Bell, 1991.McDermott, LeRoy. In fact, Berenguer asserts that the womenduring that era were principally regarded as mothers or reproducers ofchildren. The head of this female figure was brokenoff. For example, McDermottmaintains that the disproportionate bodily characteristics of the figurinescan be explained by the fact that the artwork was self-generated.Essentially, the prehistoric women had created their own images throughautogenous visual information (227). 23 Nov. Although Rice agrees with the critics that these facelessfigurines are not representative of specific individuals, Rice views thesefigurines as general representations of womanhood at various stages ofdevelopment, instead of motherhood (4 8-9). The following paragraphs offer a more detailed analysis of some ofthe famous figurines. By calling this statuette a Venus,the 19th century scholars attempted to make an analogy between thestatuette and the Classical Venus. Unlike the beautiful classical Venus, the Venus ofWillendorf will not be subjected to the traditional standards of femininityand beauty as created by men (Witcombe, What's In a Name 7). In contrastto the rest of her body, her arms are thin. According to Bourguignon andGreenbaum who surveyed 863 societies, the hunting-gathering culture mostsuited the prehistoric society (119). For example, Baring and Cashford are scholars whobelong to the fertility school of thought. Non-removables are vital for the understanding of the Paleolithicsociety because they often link images together in relationships with oneanother. Different Types of Art and the Depictions of Women Prehistoric art can be primarily divided into two different types:A. Marshack's broad perspective of the prehistoric art as beingrepresentative of the women at different stages of their lives is alsoreiterated by Rice's examination of the body attributes of 188 Venuses.According to Rice, only 17 percent of the Venuses represented pregnantwomen while the remainder of the group was divided between therepresentations of young girls below the age of 15 (23 percent),nonpregnant women between the ages of 15 and 35 (38 percent) and olderwomen exceeding the age of 35 (22 percent). "Portable Art." Prehistoric Art (1999): 1-2. Whilesome of these tiny statuettes are carved to resemble ordinary women, otherspossess the appearance of pregnant mothers with their swollen bellies(Baring and Cashford 6). Diversity and Homogeneity in World Societies. Furthermore, the art also demonstrates efforts at comparison andunification of a story. Online. Clearly, conventional images ofprehistoric people as unknowledgeable and uncivilized are challenged bythese interpretations. "The Palaeolithic Beginnings of Religion: An Interpretation." Proceedings of the American Philosophical Society 82 (194 ): 131-49.Bednarik, R.G. Apart from being afamous deity, women could also have been regarded as being possessors ofsupernatural powers, either sacred or evil. Online. For example, a limestone slab discovered in the foothills ofMassif Central, France contains a drawing of an abstracted image of afemale with hanging breasts and rounded buttocks. According to Baring andCashford, the fact that many of the tiny statuettes taper to the endwithout feet suggests that they were meant to be planted upright in theground for the performance of rituals (6). 2 1. Boston: Little Brown and Co., 1971.Eller, Cynthia. Works CitedAbramova, Z.A. According to Baring and Cashford, the thirteen notches arerelated to the "thirteen days of the waxing moon and the thirteen months ofthe lunar year" (6). Essentially, the ideal woman was "conceived as a machine forgiving birth and feeding efficiently" (51). The complexity in the analysis of the depiction ofprehistoric women illuminates why scholars have come up with variedinterpretations and hypotheses about prehistoric art. San Francisco: Freeman, 198 . The interweaving of the different sets ofstories may ultimately produce a rich tableau of images that will trulycapture the complexity and richness of the Paleolithic society (Marshack282-3). Makers of the artwork In spite of the numerous findings of the figurines, experts andresearchers still have not been able to determine the gender identity ofthe sculptors, let alone the individual creators. Therefore, women must have held a significant position inPaleolithic society. Therefore,these statuettes could have been incorporated into a magic ritual that wasused to ensure the success of the hunt (Witcombe, Earth Mother-MotherGoddess 17). Internet. Thus, they possibly had time to create thefigurines and carve images on the cave walls (Rice 412). One of the earliest discoveries of prehistoric art are thePaleolithic figurines, hailed as the "Venuses." Spread across SouthernFrance to Siberia, most of the figurines were dated from 23, to 21, BCE. Available: http://vm.kemsu.ru/en/palaeolith/plastic/.Witcombe, C.L.C.E. "Palaeolithic Art in the U.S.S.R." Arctic Anthropology 17 (1967): 1-179.Bahn, Paul G. Tails of animalscould have also been used for painting (Bahn 11 ). Forresearchers such as Rice, the attempt to determine the gender identity ofthe creators of prehistoric art raises even more questions. Internet. London: Penguin, 1993.Barton, G. Thus, it is likely that the prehistoric artists whohave developed a complex level of thought will also be able to apply thesame level of cognition and sophistication in the creation of figurines andparietal images of women (Marshack 282).III. Without closeobservation of the entire image, each body part could have been dismissedas a decorative pattern. The "Venus of Lespugue" typifies the accentuation of the breasts,hips and buttocks on the statuettes.
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