Place, Evolution and Rock Art Heritage Unit (PERAHU), Griffith Centre for Social and Cultural Research, Griffith University, Gold Coast, Queensland, Australia.
Australian Research Centre for Human Evolution, Environmental Futures Research Institute, Griffith University, Brisbane, Queensland, Australia.
Nature. 2019 Dec;576(7787):442-445. doi: 10.1038/s41586-019-1806-y. Epub 2019 Dec 11.
Humans seem to have an adaptive predisposition for inventing, telling and consuming stories. Prehistoric cave art provides the most direct insight that we have into the earliest storytelling, in the form of narrative compositions or 'scenes' that feature clear figurative depictions of sets of figures in spatial proximity to each other, and from which one can infer actions taking place among the figures. The Upper Palaeolithic cave art of Europe hosts the oldest previously known images of humans and animals interacting in recognizable scenes, and of therianthropes-abstract beings that combine qualities of both people and animals, and which arguably communicated narrative fiction of some kind (folklore, religious myths, spiritual beliefs and so on). In this record of creative expression (spanning from about 40 thousand years ago (ka) until the beginning of the Holocene epoch at around 10 ka), scenes in cave art are generally rare and chronologically late (dating to about 21-14 ka), and clear representations of therianthropes are uncommon-the oldest such image is a carved figurine from Germany of a human with a feline head (dated to about 40-39 ka). Here we describe an elaborate rock art panel from the limestone cave of Leang Bulu' Sipong 4 (Sulawesi, Indonesia) that portrays several figures that appear to represent therianthropes hunting wild pigs and dwarf bovids; this painting has been dated to at least 43.9 ka on the basis of uranium-series analysis of overlying speleothems. This hunting scene is-to our knowledge-currently the oldest pictorial record of storytelling and the earliest figurative artwork in the world.
人类似乎有一种发明、讲述和消费故事的适应性倾向。史前洞穴艺术为我们提供了最直接的洞察力,使我们了解到最早的叙事形式,即叙事组合或“场景”,这些场景以彼此空间接近的人物的具象描绘为特色,从中可以推断出人物之间发生的动作。欧洲旧石器时代晚期洞穴艺术拥有以前已知的最古老的人类和动物互动的图像,以及半人半兽的形象——抽象的存在,它们结合了人和动物的特质,并且可以说传达了某种叙事虚构(民间传说、宗教神话、精神信仰等)。在这种创造性表达的记录(从大约 4 万年前到大约 1 万年前的全新世开始)中,洞穴艺术中的场景通常很少见,而且在时间上也很晚(大约在 21-14 千年前),而半人半兽的清晰描绘则很少见——最古老的这样的图像是一个来自德国的带有猫科动物头部的雕刻人物(大约在 40-39 千年前)。在这里,我们描述了来自印度尼西亚苏拉威西岛 Leang Bulu' Sipong 4 石灰岩洞穴的一个精心制作的岩石艺术面板,描绘了几个似乎代表半人半兽的人物正在猎野猪和矮牛;根据对覆盖其上的钟乳石的铀系列分析,这幅画的年代至少可以追溯到 43.9 千年前。就我们所知,这个狩猎场景是目前世界上最古老的叙事画记录和最早的具象艺术作品。