Cave Paintings Research Articles

Provision of "Isms" and Spontaneous Art: From the Development of Art History

This paper explores the development of art from early cave paintings to modern Provisionism and spontaneous art, analyzing how art, as a significant form of human cultural expression, has continuously evolved with changes in society and technology. As time progresses, the definition and boundaries of art are no longer fixed but have expanded along with the shifting roles of artists. The rise of Provisionism indicates that artists are no longer merely creators of works but designers of audience experiences, with the meaning of artworks further extended and enriched through audience participation. At the same time, spontaneous art blurs the line between art and everyday life, suggesting that ordinary actions and improvisations can be considered art in the right context. This paper also discusses how these emerging art forms challenge traditional art concepts and provide new perspectives for the future development of art.

A Study on Pigment Composition of Buddhist Cave Paintings Based on Hyperspectral Technology

The value of the Buddhist cave lies not only in the Buddha statues but also in the surface painting. Hyperspectral imaging technology, as an emerging and effective method for component identification, offers a non-contact and non-destructive approach to the preservation and restoration of oil paintings. This study employed hyperspectral cameras to capture common pigments on the surfaces of Buddhist caves. Then, the results were processed and used as a database to identify the paintings. Additionally, a series of experiments were conducted to examine the impact of binder, substrate types, and pigment sizes on the reflectance spectrum of the paints. The Spectral Angle Matching (SAM) algorithm was then used to analyze the Yuanjue Cave and Qiqushan Stone Carvings of the Tang Dynasty in China. The findings revealed that the position of absorption peaks in the reflectance spectra is not significantly influenced by the substrate but is affected by the binder. Moreover, the absorption depth varies regularly with particle size. Furthermore, the spectral matching results demonstrate that components can be accurately identified even for similar colors. Based on the pigment distribution, the study also inferred specific details of ancient paintings, including the painting steps and hidden information in the manuscript layout. These findings hold significant implications for the restoration of representative surface paintings of the Tang Dynasty Buddhist cave, providing a reference for the selection of restoration materials and methods.

Characterizing the chemical composition of red coloring matter samples from the Altamira cave using synchrotron µXRF imaging

The chemical in situ study of red coloring matter from Paleolithic cave art is challenging because the same trace elements can be present both in the matter and in the calcitic support, and the two present a heterogeneous composition. In this study, thirteen red iron oxide-based coloring matter samples obtained at drip points coming from eight locations within the Techo de los Polícromos, Altamira cave (Spain), have been analyzed by highly sensitive synchrotron-induced micro-X-ray fluorescence (SR-µXRF). Our analyses improved the characterization of red Paleolithic pigments by establishing characteristic trace element patterns, additionally facilitating a comparison of the distinct representations within the cave. Furthermore, new differentiation criteria between the composition of the calcitic walls and that of the red coloring matter could be established, helping to improve future non-invasive analyses.

Evolution of Communication: A Comparative Study from Cave Paintings to Emojies

Communication has always been an essential part of human existence, which makes us different from other creatures. This research paper explores the evolution of communication from its primitive forms in ancient times with a comparative analysis of communication in the modern age. The researcher traced the evolution of communication, starting from cave paintings and smoke signals and moving to advanced tools such as writing systems, printing, and communication in the digital era. This study highlights the significant milestones in the history of human communication and its evolution. In the ancient era, when communication was static, the method of giving messages and information that people used changed the passage of time and the con conversion. The paper focuses not only on evolution but also on the comparison of old and new methods and how these are similar in the modern age. It underlines the transition of communication from the static form, localized methods, to the dynamic and globalized forms of communication, advancing to the pervasive use of emojis. The analysis in this paper draws a comparison between communication in the ancient era and the techniques used for different messages and communication in modern times, such as digital expressions, focusing on the continuous expedition for effective and efficient ways to share information and emotions.

The Concealment of Erotic Images in Art History: An Inquiry Inspired by Cave Paintings at the Brazilian Archaeological Site of Serra da Capivara

Dado que las pinturas rupestres brasileñas con un contenido erótico no se publican ampliamente en los libros de historia del arte, surgieron preguntas sobre las razones de su ocultamiento o posible censura: ¿se ocultan estas imágenes o simplemente se desconocen? ¿Se esconderían por su contenido erótico o incluso pornográfico? ¿Qué campos del saber están autorizados para ver y hablar de estas imágenes? Tales indagaciones llevaron esta investigación hacia cuestiones como la relación entre obra de arte y sexualidad, así como entre arte visual e imagen técnica, además de considerar la hipótesis de un abordaje poscolonialista en el caso de su desconocimiento. Se pretende así abordar el lugar de las imágenes eróticas en el contexto artístico, así como el significado mismo de las artes visuales en un mundo lleno de imágenes técnicas.

O USO DE GEOTINTAS NA PINTURA – A EXPERIÊNCIA DO ATELIÊ TERRA & TELA

Historically, natural pigments have been central to artistic expression, from prehistoric cave paintings to techniques employed by ancient and medieval civilizations. Recently, there has been renewed interest in these materials for their unique aesthetic and eco-friendly qualities. This study investigates the use of geotints, natural pigments derived from soils and sediments, in contemporary art through the experience of Terra & Tela studio. The research focuses on the process of creating geotints from soil and sediments samples collected in Tocantins state, Brazil, a region known for its rich geodiversity. The research details the process of geotint production, from material collection to application on canvas, and discusses the artistic and environmental implications of this practice. The project integrated geotints into artistic practice through exhibitions and workshops that highlighted their unique textures and colors. Key findings show that geotints effectively merge scientific concepts with art. Workshops, where participants prepared and used these pigments, demonstrated the approach’s educational value. By linking art with science, geotints provided a hands-on understanding of soil properties and geological processes, enriching both artistic creativity and scientific literacy. This study emphasizes art’s role in bridging scientific knowledge with creative expression.

A review of Dr Wrangham’s book, ‘the Goodness Paradox . . . ‘, and insights into the evolution of human language, aesthetics, and free will

Dr Richard Wrangham’s book and YouTubes are helping to explain our evolved psychology as primarily occurring in African hunter-gatherer bands before the end of the last ice age. This perspective is supported by the exquisite cave paintings and tool artifacts from this ancient time. The most important evidence about our origins, however, comes from recent anthropological studies of current bands that represent the earlier age. Results showed that 5-psychosocial-behaviors produced both the environment and the natural selection for our psychology. These are: 1) language, coalitional activities and egalitarianism organization, 2) problems of bullies for egalitarianism, 3) management of the problems by gossip, ostracism and executions, 4) those targeted by the management had shorter lives and fewer children demonstrating strong natural selection, 5) reduced targeting occurred for those showing high-quality activities or high status, which increased the complexity of the selection to include all of our psychological abilities. The evolved psychological abilities include those highlighted by Dr Wrangham: emotions, intelligence, conscience and personality, as well as those with only supporting evidence: developmental and social learning, theory of mind, language, aesthetics, and free will. Further support for the importance of the 5-psychosocial-behaviors is provided by evidence from the domestication syndrome, natural selection pressure, and a positive feedback model. In addition, these perspectives can explain issues such as why 50% of our thoughts and behaviors comes from our environment and development as demonstrated in identical twin studies, and why we experience life with agency and free will. Dr Wrangham’s work is producing a new explanation of our nature that can help us all to understand why we are the way we are.

Observações de campo nos materiais lateríticos de Mosqueiro (Belém, Pará) como potenciais pigmentos minerais naturais

Back in the 1980s, when I began exploring the cliffs of Baía do Sol (Mosqueiro, Belém, Pará), carved into immature laterite profiles derived from clayey and sandy sedimentary rocks of the Barreiras Formation, I was very impressed by the colorful tones of the mottled horizon in these profiles. With my children (they were still “children”) we played painting each other and it was really fun. When reading and studying cave paintings in the Amazon and around the world, it was evident, obviously, that these paintings were made with different materials, mainly Fe and Mn oxyhydroxides, coal, ash and organic extracts.

Baseline survey of environmental parameters, radiation, and drip water hydrochemistry in Niah Caves (Sarawak, Malaysia)

Relict caves in fenglin karst may typically have numerous entrances and openings. Hence, they host a variety of environments in which parameters such as light, airflow, humidity, and temperature may vary significantly over short distances. Similarly, drip water hydrochemistry, including isotopic values, may vary due to different contributions of various sources and residence time in the karst. This study investigated environmental parameters, including radiation, using hand-held instruments, along a transect within several major caves in the Niah karst of Sarawak (Malaysia). This has led to a baseline data set which showed an inverse relationship between humidity and temperature, gamma radiation levels that are about 25% of that in surrounding non-karst region, and high percentages of twilight zones in the studied caves. Airflow was found to be variable, with high values of 530 m3/s in Painted Cave and 122 m2/s in parts of Gan Kira passage, with flow towards the southeast at the time of the study. The hydrochemistry of the drip water and surface water was also analyzed and found to be dominantly Ca–Mg–Cl water type which indicates dissolution of minerals through water–rock interaction. In addition, the cave environment, particularly air temperature, humidity, and ventilation, also influences the drip water composition and isotopic values. Three different origins (precipitation, evaporation, and paleo-recharge) of drip water have been identified through the δ18O-δ2H diagram. Enriched isotopic values were observed in the cave entrance due to increased evaporation caused by lower humidity and higher air temperature. Factor analysis identifies the key geochemical processes responsible for the drip water chemistry. The outcome of this study provides the first baseline environmental data for the Niah caves, which could support future initiatives for sustainable management of this famous archeological site in southeast Asia.

The presence of the past: temporality, ontology, and the prehistory of performance

ABSTRACT While the ontology of performance remains contested between mandates of essential disappearance and essential persistence, the theories of performance’s temporality remain underdeveloped. This paper utilizes a limit-case of performance criticism—Paleolithic cave art—as a means of examining alternative temporalities and ontologies of performance made possible through new materialist and posthumanist frameworks.

The Impact of Augmented Reality Tourism on Tourist Experience and Behavior —A Case Study of the Mogao Caves Cultural Heritage

Background and Aim: The Mogao Caves, representing the pinnacle of Chinese cave art evolution, enjoy esteemed historical significance. With backing from the local government's "Belt and Road" initiative and the establishment of the "Dunhuang Cultural Tourism Economic Circle," Mogao Caves tourism is undergoing high-quality development. However, the surge in tourist numbers has compromised the visitor experience, posing challenges to heritage conservation and tourism development balance. To address this, the Dunhuang Academy has integrated AR technology, safeguarded the heritage while enriched visitor experiences. This study aims to understand tourists' experiences and intentions in virtual Mogao Caves exploration, investigating factors influencing AR tourism experiences. By examining AR's impact and proposing management enhancements, this research contributes to Mogao Caves' sustainable development. Materials and Methods: This study utilizes a quantitative approach with two main stages: literature analysis and statistical analysis. Initially, it defines concepts and establishes the conceptual framework of AR technology by reviewing SOR theory, tourist experiences, behavioral intentions, and relevant studies. It then refines the SOR theory's origin, concept, characteristics, and application areas, analyzing variables such as stimulating factors, tourist experiences, and behavioral intentions. Research hypotheses are formulated, and a theoretical model is constructed. Offline questionnaires from 400 Mogao Caves AR tourists were collected, and data were analyzed using PLS-SEM. The study aims to understand the relationship between tourist experiences and behavioral intentions, analyze mediating effects, validate hypotheses, and confirm the structural model, offering reliable statistical support and a scientific basis for the findings. Results: The results indicate that in AR tourism, content quality, system quality, and interaction quality have a positive impact on tourist experiences. AR tourism experiences significantly influence behavioral intentions. Particularly surprising is that the impact of tourism experiences on behavioral intentions exceeds expectations, demonstrating its importance in AR tourism. This finding highlights the potential of AR technology in enhancing tourist experiences and provides new development opportunities for tourism destinations. Conclusion: AR technology holds immense promise for tourism development at the Mogao Caves heritage site. Factors like content, system, and interaction quality significantly enhance tourist experiences and behavioral intentions in AR tourism there. Quality content not only shapes a positive brand image but also opens up commercial and collaborative opportunities. System stability ensures smooth AR experiences, while interactive design boosts engagement and spending. However, the potential negative impacts of AR technology on tourism require further exploration in future research.

The Enchanted Gaze: Modification of Butterfly Eyespots in Flemish Art

Abstract As shown by Palaeolithic cave paintings, animals were the first subjects that humans began to depict and recall in their imagination, not solely for their utilitarian function. Some animals, due to distinctive morphological features, appear to have captured our ancestors’ attention in a special way. This is the case of animals with eye-like patterns, which have been reproduced in multiple ways and contexts throughout human history. This paper examines how Flemish artists have depicted a particular example of eye-like patterns, the eyespots on the wings of Aglais io butterflies, to understand whether these artists attributed any particular relevance to the eyespots. Modifications were identified by comparing 51 images of A. io specimens with 50 depicted ones by means of geometric morphometric using 34 landmarks and 12 semi-landmarks. Generally, eyespots resulted to be located towards the interior of the wing, enabling us to discriminate 92% of depicted A. io from real images. This tendency is in line with the observer centre bias but, in this case, applied to the production of pictorial images rather than to their visual fruition, and which might be called ‘a shifting location bias’. Moreover, the eyespots’ size was depicted with accuracy and minimal variation among painters, while the outline of the wings appeared to be subject to considerable artistic freedom. Overall, these findings highlight the importance attributed by the artists to the eyespots, sustaining the hypothesis concerning the salience of this feature in attracting human attention.

Narrative cave art in Indonesia by 51,200 years ago.

Previous dating research indicated that the Indonesian island of Sulawesi is host to some of the oldest known rock art1-3. That work was based on solution uranium-series (U-series) analysis of calcite deposits overlying rock art in the limestone caves of Maros-Pangkep, South Sulawesi1-3. Here we use a novelapplication of this approach-laser-ablation U-series imaging-to re-date some of the earliest cave art in this karst area and to determine the age of stylistically similar motifs at other Maros-Pangkep sites. This method provides enhanced spatial accuracy, resulting in older minimum ages for previously dated art. We show that a hunting scene from Leang Bulu' Sipong 4, which was originally dated using the previous approach to a minimum of 43,900 thousand years ago (ka)3, has a minimum age of50.2 ± 2.2 ka, and so is at least 4,040 years older than thought. Using the imaging approach, we also assign a minimum age of 53.5 ± 2.3 ka to a newly described cave art scene at Leang Karampuang. Painted at least 51,200 years ago, this narrative composition, which depicts human-like figures interacting with a pig, is now the earliest known surviving example of representational art, and visual storytelling, in the world3. Our findings show that figurative portrayals of anthropomorphic figures and animals have a deeper origin in the history of modern human (Homo sapiens) image-making than recognized to date, as does their representation in composed scenes.

Investigation and Research on the Statues of Northern Zhou Grottoes in the Longdong Area

The Longdong region, as a pivotal birthplace of Chinese cave art, holds a distinctive geographical position. Its collection of cave temples from the Northern Dynasties period is notably well-preserved, bearing significant academic value. Moreover, the cave temples from the late Northern Dynasties period constitute a crucial component of research on Chinese cave temples, marking the transitional phase between the Northern Wei and Tang dynasties, which represent two pinnacle epochs in the domain of Chinese cave art. The text primarily delves into the evolution of the Northern and Southern cave temples during the Northern Zhou Dynasty, exploring their impact on the regional Buddhist culture. Additionally, it thoroughly analyzes the influence of external cultures on the cave sculptures in the Longdong region during the Northern Zhou period, as well as their integration with local and ethnic minority cultures. The research reveals that the cave art in the Longdong region not only imitates the cave art of the Central Plains and the Western Regions but also embodies the unique regional cultural characteristics and spirit of innovation. Through a comprehensive examination of cave sculpture styles, clothing features, and other aspects, this study holds significant implications for understanding the developmental trajectory of Buddhist art in the Longdong region during the Northern Zhou period and regional cultural exchanges.

Space Analysis in Palaeolithic Cave Art: Towards a Multidisciplinary and Integrated Approach

Abstract We present a revision of the concept of space in Palaeolithic cave art. Previous research attempting to approach this notion encounters several gaps, which surface on multiple levels: subjectivity, vagueness, restrictions on its conceptualisation, its illustration (two-dimensional description and representation), among others. We reassess the key elements at play, interpretative attempts, and theoretical concepts to gain a better understanding of the notion of space as applied to cave art. This is achieved by examining the historiography not only in prehistory but also in related disciplines, integrating new theoretical approaches and insights from ethnoarchaeology, linguistics, cognitive science, and analytic philosophy. Following this analysis of the existing research, we propose a new method to address the aforementioned issues. This method relies on digital quantitative tools for spatial analysis and three-dimensional representation, such as geographic information systems (GIS) and 3D visualisation. Through the application of these advanced technological tools, we aim to offer a more comprehensive and precise representation of the spatial aspects in Palaeolithic cave art, enabling researchers to analyse and comprehend the complexities of spatial distribution in a systematic and quantitative manner.

Paleolithic cave art at Simanya Gran (Northeast of Spain): New graphic and symbolic expressions in novel territories

Recent years have witnessed significant advancement in the understanding of prehistoric behavior, leading to the discovery of new assemblages that challenge established knowledge within the discipline. This study presents a newly discovered Paleolithic art site in the northeast region of the Iberian Peninsula, specifically within the Simanya Gran cave complex. Excavations conducted since 2019 have revealed Neanderthal human remains and a complex litho-stratigraphic sequence dating back to the Middle Paleolithic, indicating human occupation spanning multiple periods. The documented graphic device (engravings and painting) exhibits thematic and formal characteristics comparable to Paleolithic art found in Spain and France. Through stylistic and contextual analysis, the paper proposes a tentative chronology for the graphic evidence, situating it within the mid-late Magdalenian period. Furthermore, the study explores the concept of graphic territories, suggesting that the distribution of similar graphic motifs across distant regions reflects intense socio-cultural interactions among prehistoric human groups. The significance of this discovery extends beyond its immediate geographic location, contributing to a broader understanding of Paleolithic art in the Mediterranean region and highlighting the importance of continued research in this field.

Drawing in the depths: spatial organization patterns related to Magdalenian cave art

The creation of rock art in the deep areas of caves was one of the most unique symbolic activities of Magdalenian societies in southwestern Europe between 13.5 and 21 thousand years ago. Previous research has suggested that these works of art were not placed in caves at random but rather their location corresponds to a pre-established structure. However, despite the suggestive idea of pre-planning the decoration of the endokarst, it is challenging to demonstrate the relationship between different works and between them and their immediate spatial context due to the lack of common objective criteria. In this study, we have examined the iconographic and spatial characteristics of 500 Magdalenian graphic units in nine caves in the Cantabrian and Pyrenees mountain ranges (southwestern Europe) to identify patterns of graphic construction based on their cave location. We designed a workflow that includes geomorphological analysis for a virtual reconstruction of the state of the caves during the Magdalenian, analysis of graphic units (GU) through geographic information systems (GIS) using a Python script, and multivariate statistical study of the spatial and iconographic parameters of these figures. This has allowed us to identify different groups of figures: some were specifically created to be seen, using various techniques and selecting locations with good visibility, accessibility, or capacity to accommodate people, while others sought the opposite. There is also a correlation between the techniques used and their location in caves, perhaps aiming for resource economization. These data support the existence of different uses for the deep sectors of caves during the Magdalenian period.

‘Making-remote’ as an Alternative to Realism in Late Palaeolithic Cave Art: Representations of the Human at the Threshold of Appearance

Abstract I initiate the concept of ‘making-remote’ to capture various strategies for representing the human in late Palaeolithic cave art. Drawing out the role of remoteness within phenomenological accounts of perception (Husserl and Merleau-Ponty), as well as offering an analysis of a wide range of archaeological evidence, I argue that realism does not capture the specificity of these human representations. In contrast to naturalistic animal representations, humans are consistently represented with a high degree of abstraction e.g. schematisation and abbreviation. I also argue for a site-specific distinction between deep caves and rock-shelters. Following Bourdier (2010) and Pinçon (2012), art at sites such as Roc-aux-Sorciers is best understood as stylised ‘public art’. Meanwhile, the highly expressive and realist art of La Marche is domestic in contrast to the exclusively symbolic art of deep caves. In conclusion I argue that ‘making-remote’ in cave art’s human representations exhibits complex relations to self and others.

Remote Sensing and Environmental Monitoring Analysis of Pigment Migrations in Cave of Altamira’s Prehistoric Paintings

The conservation of Cultural Heritage in cave environments, especially those hosting cave art, requires comprehensive conservation strategies to mitigate degradation risks derived from climatic influences and human activities. This study, focused on the Polychrome Hall of the Cave of Altamira, highlights the importance of integrating remote sensing methodologies to carry out effective conservation actions. By coupling a georeferenced Ground Penetrating Radar (GPR) with a 1.6 GHz central-frequency antenna along with photogrammetry, we conducted non-invasive and high-resolution 3D studies to map preferential moisture pathways from the surface of the ceiling to the first 50 cm internally of the limestone structure. In parallel, we monitored the dynamics of surface water on the Ceiling and its correlation with pigment and other substance migrations. By standardizing our methodology, we aim to increase knowledge about the dynamics of infiltration water, which will enhance our understanding of the deterioration processes affecting cave paintings related to infiltration water. This will enable us to improve conservation strategies, suggesting possible indirect measures to reverse active deterioration processes. Integrating remote sensing techniques with geospatial analysis will aid in the validation and calibration of collected data, allowing for stronger interpretations of subsurface structures and conditions. All of this puts us in a position to contribute to the development of effective conservation methodologies, reduce alteration risks, and promote sustainable development practices, thus emphasizing the importance of remote sensing in safeguarding Cultural Heritage.

Improving the characterization of red coloring matter from prehistoric cave art by means of laboratory confocal XRF depth profiling combined with synchrotron XRF imaging

Chemical in situ study of red coloring matter in cave art is challenging because characteristic trace elements can be present both in the matter and in the wall support, and the latter has a quite heterogeneous composition.In this study, a stalactite presenting red iron oxide coloring matter from La Garma cave, Northern Spain, has been analyzed with complementary techniques. The aims are, on the one hand, confirming for the first time the feasibility of confocal XRF (CXRF) depth-resolved scans to successfully separate the complex stratigraphy of red prehistoric coloring matter on a calcitic support. On the other hand, finding differentiation criteria and improving the characterization of this red iron-based coloring matter would help understand and virtually separate it from its support, as well as improve future in situ analyses in cave sites.CXRF depth-resolved scans were performed using the LouX3D device available in our laboratory. With this technique, we can precisely determine the chemical depth composition of an object, layer by layer, with a spatial resolution in the micrometer scale. These measurements were combined with a synchrotron induced micro-X-ray fluorescence (SR-µXRF) chemical mapping performed at the PUMA beamline, SOLEIL synchrotron. These highly sensitive measurements not available with any other non-destructive lab-based technique allow seeing a greater number of trace and minor elements associated with Fe. Complementing them with the direct depth-resolved information given by CXRF, it was possible to find differentiation criteria distinguishing the wall support and the coloring matter, finely characterize this red iron-based matter, and confirm the feasibility as well as the advantages of applying CXRF for the non-invasive technical study of prehistoric cave figures.