Animal Influences In Paleolithic, Egyptian And Greek, Essay, Research Paper
Animal Influences in Paleolithic, Egyptian and Greek Art
There are numerous ways in which animals have resonated within the
human mind. Throughout history there have been representations ranging
from the realistic, to myths, legends, symbols, and even horrific murderous
beasts; at the same time providing fascinating perspectives of our own
humanity. Various forms of art have conveyed ideas and concepts of
animal’s intelligence, as well as behavior, from generation to generation.
Animal art is used as a tool to make the connection between different
cultures at different time periods and it relates historical and symbolic
meanings. In most cultures animals have been linked with the supernatural
forces which were believed to control the natural world and the destiny of
humans. They were often revered as the agents. or associates, of gods,
and goddesses, and were even the focus of worship as deities. Following
the tracks of historical animal art, through the human imagination
introduces a trail of creativity and unsurpassed beauty.
Paleolithic art:
Cave paintings are the earliest known example of human art dating
40,000 to 8,000 BCE. The paintings mainly feature various animals
running, sleeping, and eating. Some also contain a few humans,
geometrical shapes, and even hand prints. The artist used permanent
features like ceilings, floors, and walls of rock shelters and caves as their
canvas. Pigments of black, yellow, red, and brown were utilized to display
the observations of animals. The painters gathered a great deal of
information about finding food, and which foods were safe to eat or to
hunt, by closely observing animals. The valuable information was passed to
others through the detailes in the artwork. The construction of the figures
are sporadic over uneven surfaces and small confined areas in the caves.
Paintings in this position would have been difficult to view, and may not be
simple decorations, but possess a special or spiritual purpose.
Researchers, “took what they thought were the most important
features of the content of Paleolithic art (the animals, the arrows. etc.) and
stressing the locality of the art (deep done in caves far from habitation)
inferred a secret magical function.”1 The paintings depict strong,
dangerous, and swift animals which may be a form of sympathetic magic,
in an attempt to control them through representation.(fig. 1) Many
paintings have marks indicating wounds or bleeding, which may be
connected with hunting. One theory is that prehistoric hunters believed
that by depicting the animal on the wall they would capture it’s soul, and
inevitable death during the hunt. However there has also been evidence
“that the animals used most frequently for food were not the ones
traditionally portrayed in cave art.”2 The paintings reflect the human
relationship with animals; for admiration, fascination, the feared and the
hunted. Reasearchers have divided the animals into three major groups.
“The first comprises the large herbivores-bison, ox, mammoth, horse; the
second, the small herbivores-stag and ibex; and the third, the most
dangerous animals-lion, bear and rhinoceros, all of which occur by
themselves in the rear portions of the caves.”3(fig. 2) Smaller animals such
as rabbits were not painted, perhaps because they were very abundant. The
reason for the paintings will never be fully answered. They may be part of
rituals marking a successful hunt or maybe it is ‘art for art’s sake.’ Andre
Leroi-Gourhan feels, “By this route alone, thoughts of these men who are
the only people anywhere in the world, at any epoch, to have sheltered
their works of art in the dank depths of caves.”4
Egyptian art
Egyptians and animals (3150 to 2700 BCE) together symbolize many
mysterious and magical powers. Marilyn Stockstad states, “The many god
and goddesses were depicted in various forms, some as human beings,
others as animals, and still others as creatures half human, half animal.”5
The symbolic nature of the lion, like that of many animals, is ambivalent.
In Egypt it represented notably the living power of the sun in it’s
identification with the solar deity Ra, but also death and afterlife, because
of its association with Osiris, the ruler of the underworld. The lion was also
believed to guard the spirit realm. The Sphinx at Giza (fig. 3) is a
recumbent, lion bodied statue of the pharaoh Khafre. The tradition of the
sphinx combined the idea of the lion, the king of beasts with that of the
divine ruler, symbolize the union of intellectual and physical powers
incarnated into the pharaoh. The Ibis was widely associated with the
sacred to the moon god Aah, and the god Thoth, who were often depicted
with an ibis’s head. The wading bird was thought to be free from illnesses.
The bird’s ability to fly makes it a natural symbol of the flight of the human
soul
Tutankhamun’s burial chamber (fig. 4) combines the symbolism of the
leopard, death and the afterlife. It shows Tutankhamun’s successor, King
Ay, wearing the magical leopard skin mantle and engaged in the
ceremonial ritual of opening the mouth on Tutankhamun’s mummy, This
would ensure the passage of his soul into the other world. Whether
consciously or not, the Egyptians recognized the vital role animals played
in ensuring the constant recycling of elements that make life possible. H.
W. Janson observes, “Egyptian art alters between conservatism and
innovation, but is never static. Some of its great achievements had a
decisive influence on Greek and Roman art, and thus we can still feel
ourselves linked…by a continuous, living tradition.”6
Greek art
It is often possible to trace the evolution of a myth almost like the
development of a real animal. There are few imaginary beasts that do not
contain some element of zoological truth. The early adventures of warriors,
and sailors, with sea animals, conjured imaginative stories that when they
returned to Greece, theses stories inspired Homer to create the Cyclops, in
his epic, “Odyssey.” A feature throughout history has been imagining
animals that are the magnification of the human body to superhuman size
and power. The Greek’s Centaur (900-400 BCE) were said to have the
power and speed of a horse with the intelligence and emotions of humans
(fig.4). The frieze at the Parthenon (fig. 5) shows the battle between the
Lapiths and the Centaurs. Stockstad detects, “What should be a grueling
tug-of-war between man and beast appears instead as an athletic ballet…”7
Many pieces have broken off but what is left is a masterpiece of it’s time.
“Of all Greek originals which have come down to us the sculptures from the
Parthenon reflect this new freedom perhaps in the most wonderful way,”8as
commented by E.H. Gomribrich. An influenced of the Egyptian art ,is the
sphinx. It’s appearance and envolved into a lion’s body and the wings of
an eagle with a woman’s head. It was a enhanced feature on the helmet
Athena, the warrior goddess of Athens, and a frequent image on
gravestones. The Greeks were inspired from the past, which created a new
and original period. This style of art is a delicate mixture of artistic styles,
and image, which blend the realism and idealism, mythology, and
monstrous beasts (fig. 6). Robert Scranton says, “Greek art is
notable,…for it’s concentration of focus; there is almost always a
well-established dominant to which all else is subordinate and related in a
definable scale.”9
Different cultures grab on to different attributes to construct very
different mythologies, but all cultures, have integrated a close observation
of the animal kingdom into their artistic style, symbols, and stories. The
evolution of animals in the human imagination stretches from teachers to
ancestors, to protective and finally gods. Humans have developed a world
where animals were once beyond control, or understanding, could now be
understood and affectionately appreciated through the arts.
Bibliography:
Avery, Catherine B. The New Century Classical Handbook. New York, 1962
Beckett, Sister Wendy. The Story of Painting. New York, 1994
Boardman, John, Greek Art. London, 1964
Durant, Will. Our Oriental Heritage. New York, 1935
Fleming, William. Arts & Ideas. New York
Gombrich, E. H. The Story of Art. London, 1967
Hall, James. Dictionary of Subjects & Symbolism in Art. New York, 1974
Kirk, G. S. The Nature of Greek Myths. New York, 1975
Janson, H. W. History of Art. New York, 1969
Leroi-Gourhan, Andre. Treasures of Prehistoric Art. New York
MacClintock, Dorcas. Animals Observed. New York, 1993
Metropolitan Museum of Art. Treasures of Tutankhamun. New York, 1976
Richter, Gisela M. A. A Handbook of Greek Art. New York, 1987
Scranton, Robert L. Aesthetic Aspects of Ancient Art. Chicago, 1964
Stockstad, Marilyn. Art History. New York, 1995
Avery, Catherine B. The New Century Classical Handbook. New York, 1962
Beckett, Sister Wendy. The Story of Painting. New York, 1994
Boardman, John, Greek Art. London, 1964
Durant, Will. Our Oriental Heritage. New York, 1935
Fleming, William. Arts & Ideas. New York
Gombrich, E. H. The Story of Art. London, 1967
Hall, James. Dictionary of Subjects & Symbolism in Art. New York, 1974
Kirk, G. S. The Nature of Greek Myths. New York, 1975
Janson, H. W. History of Art. New York, 1969
Leroi-Gourhan, Andre. Treasures of Prehistoric Art. New York
MacClintock, Dorcas. Animals Observed. New York, 1993
Metropolitan Museum of Art. Treasures of Tutankhamun. New York, 1976
Richter, Gisela M. A. A Handbook of Greek Art. New York, 1987
Scranton, Robert L. Aesthetic Aspects of Ancient Art. Chicago, 1964
Stockstad, Marilyn. Art History. New York, 1995