Shamanism and Cave Paintings

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Several theories have been proposed to explain the enigma of Paleolithic cave art. Some researchers claim cave paintings were “art for art’s sake” or a means of recording historical events. Others support the hunting magic theory, which proposed that prehistoric hunters would paint animals and show them being speared or captured on the cave’s walls to ensure their capture and slaughter in the real world. Another theory was popularized by French researcher Andre Leroi-Gourhan. He hypothesized that cave art represented sexual symbols (Feder 238). Of the several theories relating to the meaning of Paleolithic art, the claim that cave paintings were created by shamans who mediated between the earthly and spirit world is most logical and persuasive. Shamanism, according to Richard Noll, “in some form, has appeared on all inhabited countries.” It is an “ecstatic healing tradition which, at its core, is concerned with the techniques for inducing, maintaining, and interpreting the experience of enhanced visual, mental imaging.” The shaman is a power figure in his society. He is a healer, mediator between the earthly and spiritual realm, and “purveyor of his culture” (Noll). There are several defining characteristics of Shamanism. It involves complex rituals, some form of transcendence, and mediation between the spirit and earthly world (Jones and Molyneaux). These key features are exemplified in Paleolithic cave art, which, like Shamanism, has been associated with societies and cultures who were primarily hunter-gatherers (Smart 14). It has been proven, through excavations and thorough analysis, that Paleolithic cultures were hunter-gatherers. Glynn Isaac, archeologist at Harvard University, exposes a 1.5 million year old site in Kenya. The stone tool and bone remnants discovered at the site were analyzed with a microscope, revealing that the tools had been used on
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