The Eternal Present, Volume I

Name: The Eternal Present, Volume I | The Beginnings of Art
Brand: Princeton University Press
Price: 63.49 EUR
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The Beginnings of Art

Sigfried Giedion(Autor*in)

Princeton University Press

1. Auflage

Erschienen am 17. Oktober 2023

610 Seiten

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Inhalt

Cover
Title
Copyright
Acknowledgments
Contents
Introduction
Part I: Art a Fundamental Experience
The framework
The symbol
The animal
The human figure
Space conception
Constancy and change
Part II: The Means of Expression in Primeval Art
Abstraction
Abstraction in the form of signs and symbols
Abstraction by the simplification and concentration of a natural form
Abstraction as a concept
The two divergent concepts of abstraction
Abstraction involving totality
Abstraction involving specificity
Abstraction and Gestalt psychology
Abstraction Throughout Prehistoric Art
Is primeval art naturalistic?
The outline in primeval art
Types of abstraction in primeval art
Late phases of abstraction
Abstraction Today
Annunciation of a poet
Annunciation of an art historian
Types of abstraction in contemporary art
Transparency, Simultaneity, Movement
Approach to primeval mentality
Transparency in primeval and contemporary art
The superimposition of bodies
Transparency of bodies
Simultaneity
Movement
Movement today
Part III: Symbolization
The Symbol in Primeval Art
Approaching an age of symbolism
The reawakening of symbols
The symbol as a concept
The beginnings of the symbolic approach
Symbols and archaeology
Symbol and existence
Symbol and myth
The potent symbol
Hands as Magic Symbols
Preliminary stages
Hands outlined in color
Hands in groups
The single hand
On the meaning of hands
On hands and animals
Right and left hands
Hand and arm at Santian
The gestures of the hand
The gesture of warding off evil
The gesture of imparting strength
The symbol of the hand today
Manifold Meanings of Circular Forms
Stone Balls of The Mousterian Period
A cairn of Mousterian stone balls
Cupules
The cupules of La Ferrassie
Cupules in the Aurignacian and Magdalenian periods
Further development of the cupules
On the significance of late neolithic cupules
Colored Dots and Disks
Round forms, the drum, cosmic significance
Ritual drums of the Lapps
The ritual drum of the goddess Inanna
Perforations
Artificial rings
Perforated circular slabs
Perforated bone staves: batons de commandement
On the form of batons de commandement
On the material of the staves
On the significance of the pierced staff
Fertility Symbols
Vulva
The female figure as cult symbol
The vulva as cult symbol
Head and vulva
Abstract vulvas
Phallus
The phallus as cult symbol
Phallus, fish, and lozenge
The feather as phallus symbol
An Indian ceremonial rattle
Ithyphallic figures
lihyphallic tradition in Egypt and Greece
Breast
The symbol of the breast
The breast and the transformation of a deity
Asiatic origin of Artemis Ephesia
Bisexuality
Androgynous symbols
The baton de commandement and androgyny
The symbol of the two-in-one
The sign of life
Bisexual figurines
The double figure from Laussel
The Great Symbols
Climax of abstract symbols
Claviforms as a female symbol?
Groupings of tectiforms
Symbols with approximately straight lines
Part IV: The Sacred Animal
Animal cult and high civilizations
The Animal and The Religious Impulse
Religion and rites
Mystical experience
The ambivalence of the sacred
The Animal and Totemism
Totemism and changes in its concept
Totemism and the psychic factor
Totemism and prehistory
The Earliest Animal Rites
The bear cult at Drachenloch
Bear cult and circumsolar culture
The cults of the skull and of the sacred post
The Animal And The Evolution of Primeval Art
The Earliest Beginnings of Art
Outlines Impressed In Clay
The giant stag of Pech-Merle
The musk ox of Altamira
The cavern of Homos de la Pena
The bison of Niaux
Outlines Painted In Color
The cavern of Baume-Latrone
Outlines Incised In Rock
The rock shelter of Belcayre
The cavern of Ebbou
The snow owls of Les Trois Freres
The cavern of La Mouthe
Ritual Imagination In The Aurignacian-Perigordian Era
The sanctuary of Le Combel, Pech-Merle
Late Aurignacian-Perigordian Engravings
A horse from Pair-non-Pair
A pebble from La Colombiere
A horse from Hornos de la Pena
The bison from La Greze
The Magdalenian Era
The engraving of small objects: art mobilier
On The Chronology Of The Magdalenian Era
Treatment of the head as a possible clue
Sculpture
Painting
Modulation of The Outline
The charging bison of Pech-Merle
The engravings of Le Gabillou
Modulation of The Body Surface
The engravings of Les Combarelles
Two animals at Font-de-Gaume
A group at Le Portel
Engraving, sculpture, and stalagmites
The Age of Sculpture
Differences between classical and prehistoric reliefs
High reliefs of the Solutrean period
High reliefs of the Magdalenian period
Solutrean Rock Friezes
La Chaire a Calvin
Le Roc de Sers
Le Fourneau du Diable
Monumental Magdalenian Reliefs
The horses of Cap Blanc
The horse of Commarque
The bison of Le Tuc d'Audoubert
The Great Compositions
Compositions In Line
The Chapel of the Mammoths, Pech-Merle
The Salon Noir at Niaux
Compositions In Color
The paintings of Lascaux
The gigantic bulls
The axial gallery and early Magdalenian art
The nave of Lascaux
The scene in the "well
The painted ceiling of Altamira
Inadequate precedents
The painted ceiling
Techniques and simplification
The use of color
On the significance of the ceiling
Part V: The Human Figure
Sculpture in relief and in the round
Venus Figurines
The profile type of Venus figurines
La Poire, Brassempouy
La Polichinelle, Grimaldi
The Savignano Venus
The Venwes of Sireuil and Tursac
The frontal type of Venus figurines
An abstract figure from Pfedmosti
The Lespugue Venus
The Venus of Abri Pataud
The female figure from El Pendo
The Vibraye Venus
Later development of the frontal type
Chronology of the Venus figurines
Significance of the Venus figurines
Figures Without Heads
Pech-Merle
Les Combarelles
La Roche
Abri Murat
Cougnac
The "prehistoric archer" of Pech-Merle
An interpretation of the headless figures
Female and Male Reliefs
The Venus of Laussel
The relief of the standing man, Laussel
The female figures at La Magdeleine
The female figures at Angles-sur-Anglin
Masks and Hybrid Creatures
On religious concepts in prehistory
Antennae and intermediaries
Longing for the form of an animal
Masks and reality
Heads in the rock, Altamira
Fantastic head upon a human body, Les Combarelles
Hybrid creatures
Two personages, one following the other, Terme Pialat
Male and female figures, La Madeleine
Human figurations, Abri Murat
Human figure with upraised arm, Homos de la Vena
Red figure with snarling mouth, La Pasiega
Various hybrids of Les Trois Freres
Bird-headed figures
Bird-headed female figures, Tech-Merle
Dancing figure with beaked head, Addaura
Bird-headed shaman, Lascaux
On the significance of masks and hybrid figures
Part VI: The Space Conception of Prehistory
The intangibility of space
The priority of the sense of space
The nature of space conception
Was there a space conception in prehistory?
The space conception of primeval art
Eskimo perception and primeval art
On the structure of caverns and architecture
Acoustic space
Light and the art of the caverns
Freedom of approach to all surfaces
Vaulted surfaces
Irregular surfaces
Sloping surfaces
The coming change
Prehistoric space conception and contemporary art
The eternal present
The maps
List of Illustrations
List of Works Cited
Index

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