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Emphasis currently centers on what has been called the
mystico/religious interpretation, in which spiritual concepts
are invoked and shamans are considered to be closely involved
in art production and corresponding ritual activities. This approach
is largely influenced by David Lewis-Williams and his
studies of the rock art of the San People of South Africa. He
applies this interpretation to paleolithic and neolithic art. 5,6
R. Dale Guthrie dismisses this concept in favor of a natural
history/evolutionary schema, placing the art in the larger context
of environmental influences and linking artistic behavior
to our evolutionary past. 2
None of these approaches has unanimous scholarly approval.
Indeed, experts are beginning to doubt that we will
ever uncover “the meanings.” Yet the desire to do so is irresistible,
and so let us turn to a particular image.
The shaman of Lascaux
This astonishing figure, discovered when the cave itself
was opened in 1940, should have brought the idea of shamans
to the fore right away. It is unique, being the only complete
“The Shaman of Lascaux,” about 17,000 years ago. A bird-headed and -handed ithyphallic stick man in front of a wounded bison,
pierced by spears, with entrails spilling out. The Shaman has a bird-head staff. © Charles and Josette Lenars/CORBIS.
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