Re: LASCAUX -- MOVEMENT, SPACE, AND TIME
Posted: Sat Sep 12, 2015 11:59 pm
THE PANEL OF THE IMPRINT
Immediately underneath, in a broad recess in the wall, the Panel of the Imprint (ill. 118) extends over 4 metres. Its location and its proximity to the floor make it the least conspicuous of the major compositions of the cave. Nevertheless. it contains no fewer than twelve figures, divided between two themes: nine horses, the most accomplished of which face the exit, and three bison, two of which are incomplete. All the species have a technical unity due to the combined use of painting (to fill in the outlines) and engraving (for the structure). Two colours were used: brown for the body and black for both the fore- and hindlimbs and for certain other anatomical elements, such as the mane of the horse and the horns of the bison. The successive removal of material during engraving produces straw-yellow lines, which contrast with the darker background.
117 The composition of the Imprint is organized around the themes of the horse and the bison. The latter appears, at first sight, to be represented only once, but with greater attention it is possible to identify two further subjects, one of them reduced to a head, the other to the croup and the hindlimbs
The bison on the right has several outlines, which may simulate movement but could also represent the superimposition of figures in their own right. The horns of this large bovine are confused by a second pair of horns in the background. The croup and the hindquarters of a third bison obliterate these two neighbouring images (ill. 118). The central subject of the frieze of the horses also shows signs of animation (ill. 120), bringing together six superimposed and associated heads and manes. The agitation demonstrated by this multiplicity of forms, the powerful neck and the covering of the croup of the equid in front, possibly a mare with more rounded outlines, all support the argument that this equid is male.
118 Their position, in a recess and at the foot of the wall, marginalizes to some extent the figures of the Panel of the Imprint. Nonetheless, this is one of the major compositions of the southern sector of the sanctuary.
There are horse heads at each end of the panel: two on the left, close to a quadrangular sign, another to the right, associated with an identical sign. These same quadrangular motifs are found on the neck of the horse at the base of the panel and between the two large equids of the upper level. There are further signs on these last two equids. On the left. a series of nested elements is found next to a barbed sign with a long central branch. Seven equally barbed signs are aligned along the flank of the stallion to the right. There is an identical number of oblique, hooked traces on the flank of the bison.
119 This elongated herd of horses, partially hidden by the Great Black Cow, extends across several metres. The majority of its subjects face the entrance. Only the separate heads face the back.
120 The animation given by the repetition of the lines of the head and the mane, the powerful neck and the covering of the croup of the horse in front, a mare with a more rounded outline, show that this horse is male.
THE PANEL OF THE GREAT BLACK COW
The panel of the Great Black Cow stands on the left wall (ill. 119), in the centre, and extends horizontally, in contrast to the sloping floor. Over the entire 7-metre length of the composition. this creates a significant difference in height relative to the floor, from 1.8 metres close to the entrance to 3.5 metres at the far end, The panel lies on the overhang and covers two adjacent cavities of unequal size. The vertical ridge, which marks their division some three quarters of the way along, follows the front line of the Great Black Cow. This panel is underlain by a continuous ridge covered with a very dark deposit. A platform of irregular width provides access to all its areas.
The organization of the panel centres on bovines and equids. Nevertheless, after careful examination, a small engraved head and two pairs of ibex horns (ill. 121) were identified, on the flank of the horse furthest from the entrance. This association of figures is not unlike that of the panel of the Falling Cow, which has similar numbers of individuals for each theme. With the exception of one of the ibexes, the orientation of the figures also contributes to the similarity of these two panels. It is extremely rare to discover such convincing analogies in Palaeolithic parietal art, particularly from the same site.
121 Two incomplete engravings of ibexes disturb the homogeneity of the brown coat of this horse. Thematically, their presence is somewhat reminiscent of the panel of the Falling Cow in the Axial Gallery. This latter composition also contains numerous horses and a cow, turned in the opposite direction.
Some twenty horses face the entrance, in a single or double line, This herd is partially obliterated by a very large black cow (ill. 122), which is 2.15 metres long and looks in the opposite direction. It is distinguished from the other female aurochs by the numerous repetitions of the outlines of the upper and lower lines, as well as the croup, which have made the cow look larger. Only the tips of the horns, the muzzle and the lower lip are drawn with a brush. The outline is covered by a field of even black colour, which is completed in its upper part by a brown band emphasizing the line of the back. Over time, weathering has created several fine lines or gaps in the colour. These marks may look like subsequent engraving, but they are entirely beneath the colour. The passage of the engraver's tool across the wall had the effect of increasing the friability of the rock locally, which weakened the adherence of the pigment to the wall.
122 The Great Black Cow obliterates numerous horses and signs. Its outline shows traces of a number of adjustments, particularly on the croup, the back and the line of the belly.
123 It is difficult to make out this engraved outline of an equid, which rears up at the centre of the broad expanse of black colour of the coat of the Great Black Cow.
124 At the left edge of the panel of the Great Black Cow, on the flanks of a brown horse outlined in black, a smaller, engraved horse can be detected inside its silhouette.
The horses at the periphery are not the only figures to have been obliterated by the Great Black Cow. Overlapping the belly of the cow is a complete equid (ill. 123), whose hindlimbs extend beyond the boundary of the aurochs. This horse is rearing up and has remarkable vitality. The partial horses along the first metres of the panel are turned towards the back of the gallery. There are two heads straddling a third individual, whose outline is completed by the line of the back Beyond this, there is a long procession of seventeen equids facing the entrance, all painted and engraved. The technique, very dependent upon the support, is identical to that used for the Imprint. A faint line, incised for the pre-positioning of the figure, defines the limits of the field of colour applied by spraying (ill. 124). Peripheral elements, particularly the fore- and hindlimbs and the tail, were painted with a brush. In a final stage, the outline was accentuated by engraving or scraping, As in the previous panel, certain anatomical elements have a double or even triple outline, an operation often preceded by scraping, as if it had been necessary to suppress the original image (ill. 125), These successive corrections affect the tail, the head and the fore- and hindlimbs.
125 The original position of the head of this horse may not have conformed to accepted conventions because it was subsequently scraped and then redrawn.
This herd is divided graphically into two parts. The boundary is the aurochs, which masks subjects belonging to each of the groups. The morphological variations, although recognizable, nonetheless remain insufficient to be able to identify a different artist. The observed similarities are more numerous than the differences, The horses placed behind the Great Black Cow have, among other details, a slightly more gracile form and oblong hooves, whereas the equids located at the front are stockier and have round hooves (ill. 126). This difference is nor specific to this panel since it is found in other sectors of the cave, In fact, the first group has similarities to the red horse and the brown horse in the Hall of the Bulls, while the second resembles the group of black painted horses immediately underneath, but also those of the Axial Gallery and, more specifically, the Chinese Horses. There are far fewer geometric signs than figures. Nonetheless, the panel contains a total of three quadrangular signs (ill. 127), at the centre of the composition and underneath the large bovine, The extremities of the hindlimbs and the tail of the cow touch the lett upper line of each one, They are all constructed on the basis of juxtaposed coloured fields of rectangular shape, An engraved line completes their partitioning. The colours are identical to those used for the animals. Nevertheless, two of the elements of the quadrangular sign on the left are mauve (ill. 145). This colour is found only exceptionally.
126 The silhouettes of the painted and engraved horses in front of the Great Black Cow differ from those of the second group on the other wing of this panel.
127 Numerous quadrangular signs punctuate the majority of the decorated walls. The most accomplished belong to the panel of the Great Black Cow. They are blazons and have been painted by juxtaposing small squares or rectangles of composite colours with deeply engraved outlines.
Immediately underneath, in a broad recess in the wall, the Panel of the Imprint (ill. 118) extends over 4 metres. Its location and its proximity to the floor make it the least conspicuous of the major compositions of the cave. Nevertheless. it contains no fewer than twelve figures, divided between two themes: nine horses, the most accomplished of which face the exit, and three bison, two of which are incomplete. All the species have a technical unity due to the combined use of painting (to fill in the outlines) and engraving (for the structure). Two colours were used: brown for the body and black for both the fore- and hindlimbs and for certain other anatomical elements, such as the mane of the horse and the horns of the bison. The successive removal of material during engraving produces straw-yellow lines, which contrast with the darker background.
117 The composition of the Imprint is organized around the themes of the horse and the bison. The latter appears, at first sight, to be represented only once, but with greater attention it is possible to identify two further subjects, one of them reduced to a head, the other to the croup and the hindlimbs
The bison on the right has several outlines, which may simulate movement but could also represent the superimposition of figures in their own right. The horns of this large bovine are confused by a second pair of horns in the background. The croup and the hindquarters of a third bison obliterate these two neighbouring images (ill. 118). The central subject of the frieze of the horses also shows signs of animation (ill. 120), bringing together six superimposed and associated heads and manes. The agitation demonstrated by this multiplicity of forms, the powerful neck and the covering of the croup of the equid in front, possibly a mare with more rounded outlines, all support the argument that this equid is male.
118 Their position, in a recess and at the foot of the wall, marginalizes to some extent the figures of the Panel of the Imprint. Nonetheless, this is one of the major compositions of the southern sector of the sanctuary.
There are horse heads at each end of the panel: two on the left, close to a quadrangular sign, another to the right, associated with an identical sign. These same quadrangular motifs are found on the neck of the horse at the base of the panel and between the two large equids of the upper level. There are further signs on these last two equids. On the left. a series of nested elements is found next to a barbed sign with a long central branch. Seven equally barbed signs are aligned along the flank of the stallion to the right. There is an identical number of oblique, hooked traces on the flank of the bison.
119 This elongated herd of horses, partially hidden by the Great Black Cow, extends across several metres. The majority of its subjects face the entrance. Only the separate heads face the back.
120 The animation given by the repetition of the lines of the head and the mane, the powerful neck and the covering of the croup of the horse in front, a mare with a more rounded outline, show that this horse is male.
THE PANEL OF THE GREAT BLACK COW
The panel of the Great Black Cow stands on the left wall (ill. 119), in the centre, and extends horizontally, in contrast to the sloping floor. Over the entire 7-metre length of the composition. this creates a significant difference in height relative to the floor, from 1.8 metres close to the entrance to 3.5 metres at the far end, The panel lies on the overhang and covers two adjacent cavities of unequal size. The vertical ridge, which marks their division some three quarters of the way along, follows the front line of the Great Black Cow. This panel is underlain by a continuous ridge covered with a very dark deposit. A platform of irregular width provides access to all its areas.
The organization of the panel centres on bovines and equids. Nevertheless, after careful examination, a small engraved head and two pairs of ibex horns (ill. 121) were identified, on the flank of the horse furthest from the entrance. This association of figures is not unlike that of the panel of the Falling Cow, which has similar numbers of individuals for each theme. With the exception of one of the ibexes, the orientation of the figures also contributes to the similarity of these two panels. It is extremely rare to discover such convincing analogies in Palaeolithic parietal art, particularly from the same site.
121 Two incomplete engravings of ibexes disturb the homogeneity of the brown coat of this horse. Thematically, their presence is somewhat reminiscent of the panel of the Falling Cow in the Axial Gallery. This latter composition also contains numerous horses and a cow, turned in the opposite direction.
Some twenty horses face the entrance, in a single or double line, This herd is partially obliterated by a very large black cow (ill. 122), which is 2.15 metres long and looks in the opposite direction. It is distinguished from the other female aurochs by the numerous repetitions of the outlines of the upper and lower lines, as well as the croup, which have made the cow look larger. Only the tips of the horns, the muzzle and the lower lip are drawn with a brush. The outline is covered by a field of even black colour, which is completed in its upper part by a brown band emphasizing the line of the back. Over time, weathering has created several fine lines or gaps in the colour. These marks may look like subsequent engraving, but they are entirely beneath the colour. The passage of the engraver's tool across the wall had the effect of increasing the friability of the rock locally, which weakened the adherence of the pigment to the wall.
122 The Great Black Cow obliterates numerous horses and signs. Its outline shows traces of a number of adjustments, particularly on the croup, the back and the line of the belly.
123 It is difficult to make out this engraved outline of an equid, which rears up at the centre of the broad expanse of black colour of the coat of the Great Black Cow.
124 At the left edge of the panel of the Great Black Cow, on the flanks of a brown horse outlined in black, a smaller, engraved horse can be detected inside its silhouette.
The horses at the periphery are not the only figures to have been obliterated by the Great Black Cow. Overlapping the belly of the cow is a complete equid (ill. 123), whose hindlimbs extend beyond the boundary of the aurochs. This horse is rearing up and has remarkable vitality. The partial horses along the first metres of the panel are turned towards the back of the gallery. There are two heads straddling a third individual, whose outline is completed by the line of the back Beyond this, there is a long procession of seventeen equids facing the entrance, all painted and engraved. The technique, very dependent upon the support, is identical to that used for the Imprint. A faint line, incised for the pre-positioning of the figure, defines the limits of the field of colour applied by spraying (ill. 124). Peripheral elements, particularly the fore- and hindlimbs and the tail, were painted with a brush. In a final stage, the outline was accentuated by engraving or scraping, As in the previous panel, certain anatomical elements have a double or even triple outline, an operation often preceded by scraping, as if it had been necessary to suppress the original image (ill. 125), These successive corrections affect the tail, the head and the fore- and hindlimbs.
125 The original position of the head of this horse may not have conformed to accepted conventions because it was subsequently scraped and then redrawn.
This herd is divided graphically into two parts. The boundary is the aurochs, which masks subjects belonging to each of the groups. The morphological variations, although recognizable, nonetheless remain insufficient to be able to identify a different artist. The observed similarities are more numerous than the differences, The horses placed behind the Great Black Cow have, among other details, a slightly more gracile form and oblong hooves, whereas the equids located at the front are stockier and have round hooves (ill. 126). This difference is nor specific to this panel since it is found in other sectors of the cave, In fact, the first group has similarities to the red horse and the brown horse in the Hall of the Bulls, while the second resembles the group of black painted horses immediately underneath, but also those of the Axial Gallery and, more specifically, the Chinese Horses. There are far fewer geometric signs than figures. Nonetheless, the panel contains a total of three quadrangular signs (ill. 127), at the centre of the composition and underneath the large bovine, The extremities of the hindlimbs and the tail of the cow touch the lett upper line of each one, They are all constructed on the basis of juxtaposed coloured fields of rectangular shape, An engraved line completes their partitioning. The colours are identical to those used for the animals. Nevertheless, two of the elements of the quadrangular sign on the left are mauve (ill. 145). This colour is found only exceptionally.
126 The silhouettes of the painted and engraved horses in front of the Great Black Cow differ from those of the second group on the other wing of this panel.
127 Numerous quadrangular signs punctuate the majority of the decorated walls. The most accomplished belong to the panel of the Great Black Cow. They are blazons and have been painted by juxtaposing small squares or rectangles of composite colours with deeply engraved outlines.