Вскоре после грозы четверо местных мальчиков играли в этих местах в пиратов и искали клад. Вместо клада они нашли этот ход. Когда они залезли внутрь, они увидели пещеру. На стенках пещеры было много рисунков. Это были разные животные: быки, лошади. Еще там были охотники. Мальчики побежали в школу и сообщили об этом учителю. Учитель позвонил ученым. Ученые пришли и изучили эти рисунки. Рисункам оказалось 15 тысяч лет! Так была открыта пещера Ласко.
Эти рисунки важны потому что они редкие и красивые. По ним мы узнаем что видели наши предки вокруг себя. Например, они видели носорога. Он тоже изображен на стене пещеры Ласко. Сейчас носороги во Франции не водятся.
Мне было очень интересно рисовать этих животных. Я их рисовал охрой. Такой набор продавался в музее археологии. Еще было здорово, что рисовать надо было пальчиком, а не кисточкой.
Я думаю, что мальчики все-таки нашли настоящий клад. Это же большая редкость и представляет научный интерес. Они правильно сделали, что рассказали о своей находке учителю.
Of foremost importance is the need to shed the notion of "primitive" as a quality attributed to our ancestors. The cave artists were "modern" humans in every sense of the term.
ReplyDeleteLewis-Williams opens his study with a review of the first overturning of how we view humanity's track. Cave art had been found as early as the 17th Century, but the discoverers had no idea of the stretch of time those pictures had crossed. Not until the great insight of Charles Darwin, relying on Lyell's vast idea of an ancient earth, did it become possible to view cave art as remnants of prehistoric human life. The technology that could accurately date these pictures pushed the date of their creation back thousands of years. New finds set human artistic expression to more than 75 thousand years ago.
Lewis-Williams contends that these artefacts are the result of a sharp change in human intellect. About 75 thousand years ago, in various places at different times, the human consciousness experienced an elaboration. The immediate environment no longer was the limit of experience. Humans added what is known as "higher order" consciousness to the "primary consciousness" that allowed us, along with most other animals, to survive. Now, the more developed brain could achieve new levels of thought - "altered states of consciousness" in the author's term. Under certain conditions, the brain might even be imaging itself. Without any means of understanding the images they seemed to be "seeing", Paleolithic humans interpreted these visions as representing a "spirit" world. That world might be "above" in the skies or "below" in the earth. Caves acted as the perfect intermediate place to try to comprehend and react to these phenomena. The more tactile of these "vision-seers" would use the cave walls to depict their visions. Ultimately, the rocks became viewed as a "membrane" between the real and spiritual worlds. The spirits, or "gods" could now be portrayed visibly and even communicated with.
With many excellent renderings of cave art images, some in colour, to enhance the text, Lewis-Williams presents a logically developed and well-substantiated scenario. He stops his analysis at what can be seen and inferred from what we know of Paleolithic people. Yet, if you wonder what would drive people into the deep and darkened recesses of a hillside cave, just walk into the nearest cathedral or even small community church. These are dark, quiet places, severing the visitor from the travails and pressures of daily living. Communing with spirits is the raison d'etre of such temples. Are they the modern expression of the forces that drove our Paleolithic ancestors? [stephen a. haines - Ottawa, Canada] (The Mind in the Cave: Consciousness and the Origins of Art Reprint Edition
by David Lewis-Williams (Author), http://www.amazon.com/Mind-Cave-Consciousness-Origins-Art/dp/0500284652/ref=sr_1_1?s=books&ie=UTF8&qid=1462920526&sr=1-1&keywords=mind+in+the+cave)