The Dynamic Relationship Between Palaeolithic Cave Art and Depth Psychology

Summary

Page 5/5
 
 
Mandala
Our studies suggest that Palaeolithic man's thoughts and feelings did not significantly differ from our own and that he was a modern man in the sense that he was not 'primitive' or simple but already had astonishing creative talents. Above all, his imaginative, intuitive skills were developed to such a degree that we can say with confidence that he had a belief system that was sophisticated, and far more developed than has hitherto been assumed. Palaeolithic man knew the difference between his ordinary activities for daily survival, and his religious practices where he consciously entered into an exalted state of mind, at once in and out of space and time. We have also seen that Palaeolithic man had a fundamentally different relationship with and attitude to nature than modern man. He believed that there was a divine soul in nature, and he responded with feelings of profoundest awe and obeisance. He did not strive to master the animals; instead, he worshipped them with gratitude for their divine strength and knowledge, eternally sacrificed for the renewal of the tribe. If the psychological approach has helped to throw light on cave rock-art, it has also taught us that intellectual explanation and interpretation are not the end, and that what really matters is the experience - an experience which though defying rational elucidation is nevertheless real and truly enlightening, as those who have had such transformative experiences have again and again testified.
 
The Niaux Cave Art Paintings
Niaux Cave
The Lascaux Cave Art Paintings
Lascaux Cave
The Chauvet Cave Art Paintings
Chauvet Cave
The Lascaux Cave Art Paintings
Lascaux Cave
 
For primitive man the door was still open - part of his mind was outside in the object, and he could effortlessly cross the threshold between the worlds of hard fact and mystical phenomena. He knew more than he actually knew because he was at one with nature, the unconscious, and, furthermore, he accepted that he was in touch with something that was far greater and wiser than him. It appears that modern, 'civilized' man's highly differentiated consciousness has come at a price. Modern man's inward path is made difficult by the demands for explanation, logic, justification, profit, use, effect, and so on. However, those willing to push past these obstacles, those with the stamina to brave the downward-inward journey to the unchartered regions of the mind will, like Palaeolithic man, find the 'right' spot, the place of penetration, where all opposites fuse in the divine spark of creation.
 
Ilse Vickers
London, January 2013.
 
 
Further Reading:
Palaeolithic Cave Art and Depth Psychology by Dr. Ilse Vickers
 
Bradshaw Foundation Homepage
French Cave Paintings & Rock Art Archive
 
bradshaw foundation donate help
Mailing List

Email Sign-Up
website updates

Email

First Name

Last Name

Country

Travel
Homepage About the Foundation Contact Us Facebook News Articles Twitter List of Research Papers Professor Stephen Oppenheimer Bibliographic Database Travel Index About the Expeditions Forthcoming Expeditions Bespoke Expeditions Enquire Practical Information History of Exploration Welcome to the iShop Film Downloads DVD's Sculpture Prints Clothing Messenger Bag eBooks INORA Downloads About iLecture Films Shipping & Handling iLectures In Conversation Video Stories Travel Films Read the reviews Privacy Policy Bradshaw Foundation Facebook Friends of the Foundation Archive Index World's Oldest Rock Art Africa Documentary Films South Africa RARI Giraffe Carvings Niger Namibia Western Central Africa Africa Paintings Gallery Tanzania The Tuareg People Tuareg Salt Caravans Gilf Kebir Birnin Kudu Rock Art Center Archive Index San Rock Art Paintings San Bushman San Rock Art Film Origins Centre Johannesburg Archive Index Arizona Baja California Baja California Film Coso Range Talking Stone Film Nevada Oregon Territory Moab, Utah Clovis First Australia Archive Index Introduction Bradshaw Paintings Kimberley Region The Unambal Hugh Brown Leif Thiele Gallery Dan Clark Grahame Walsh Bradshaws / Gwion Gwion Archive Index Introduction Origins of the British Avebury Stonehenge Sounds of Stonehenge The British Museum British Isles Megaliths Gower Peninsula Rock Art Mendip Hills Prehistory Northumberland Rock Art Red Lady of Paviland Stone Age Mammoth Abattoir Archive Index Introduction Peterborough Petroglyphs Western Canadian Rock Art Writing-On-Stone Wuikinuxv Territory Dinosaur Provincial Park Archive Index Huashan Rock Art Yinchuan Museum Rock Art Festival Field Trip Gallery Itinerant Creeds Inner Mongolia & Ningxia Vanishing Civilization Life in Rock Art (PDF) Tibet Tibet Photographs Dazu Rock Carvings Tiger Motif Archive Index Chauvet Cave Lascaux Cave Niaux Cave Cosquer Cave Rouffignac Cave Portable Art Defining Rock Art Tuc d'Audoubert Bison Dr. Jean Clottes Index UNESCO World Heritage Introduction Cave Paintings Gallery Visiting the Chauvet Cave Return to Chauvet Cave Investigating the Cave Venus & Sorcerer Werner Herzog Film Chauvet Publications India Archive Index Rock Art Central India Pachmarhi Hills India Rock Art Gallery Preservation & Education Dr. V. S. Wakankar Articles on India Rock Art Contemporary Art Sri Lanka Archive Index Rock Paintings & Engravings Sri Lanka Rock Art Gallery Middle East Archive Index Middle East Inroduction Rock Art of Iran Rock Art of Saudi Arabia United Arab Emirates Rock Art Ancient Geometry Middle East Colonisation Scandinavian Rock Art Archive Scandinavian Introduction Alta Rock Art Norway Rock Art in Finland Tanum Rock Art Sweden Thor Heyerdahl Archive Index Introduction America's Oldest Art? Pedra Furada Bolivian Rock Art Campeche Island - Brazil Checta Petroglyphs - Peru Cueva de las Manos Santa Catarina Island - Brazil Rock Art in Britain Campeche Rock Art Petroglyphs El Salvador - Corinto Cave Hand Rock Art Paintings Tibetan Rock Art United Arab Emirates Uzbekistan Yinchuan Rock Art Museum Introduction Ice Age Art Gallery Claire Artemyz Jill Cook Interview Cycladic Introduction Cycladic Gallery A Cultural Memory Izzy Wisher Biography Deer-tooth necklace Cave Art Introduction Geometric Signs Chart Research Methodology Geometric Signs in France Sign Types/Countries/Regions Bibliography Ancient Symbols in Rock Art Newsletter Archive Download Issues Introduction Genetic Map Professor Stephen Oppenheimer Further Reading Origins of the British BBC Documentary Origins Index Origins Overview 13 Big Questions Stanley Ambrose Homo Floresiensis Herto Skulls Homo Dmanisi Liujiang Skull Introduction Sentinels in Stone Easter Island Rock Art Birdman Cult / Motif Sea & Marine Creatures Design & Motifs Dr Georgia Lee Easter Island Map Contemporary Art Glossary Conclusion Thor Heyerdahl Introduction When & Who Built It? How Was It Built? The Area Sounds of Stonehenge Meaning of a Pyramid Pyramid Studies Pyramid Superstructure Pyramid Substructure Pyramid Preparations Pyramid Building Saqqara Nabil Swelim Temples of Malta and Gozo Research in the Caucasus The Keselo Foundation Homo Dmanisi Ancient Toolmakers Index Introduction Descent into the Cave The Decorated Caves Shamanistic Experience Spring Initiation Rites Summary Page 1 Page 2 Page 3 Page 4 Professor John P. Miller Motif: Eternal Index Banksy Han Meilin Bruce Radke Christian Tuki Gordon Ellis-Brown Site Map Search the Website Glossary of Terms & Definition Podcast on iTunes Other Websites Contact the Foundation