Jungian and Neumannian Perspectives on Upper Palaeolithic Cave Art and Figurines

Jungian and Neumannian Perspectives on Upper Palaeolithic Cave Art and Figurines brings together the fields of archaeology and analytical psychology to propose a solution to several grand archaeological mysteries: Why, around 40,000 years ago, did early humans in Europe begin to enter deep, dark caves and produce art in the bowels of these caves? Why are there so few paintings of human figures in caves compared to paintings of animals, and why do painted and sculpted animals have detailed facial features, while human figurines have no faces?The archaeological and psychological perspectives presented in the book allows us to observe the act of painting and the paintings themselves from the perspective of the development of human consciousness. The interdisciplinary connection between the two fields allows for a deeper study of the ancient human consciousness and sheds new light on the abilities, actions and depths of the soul of ancient people. It allows us to look at the routes of our consciousness, and the way the use of images and artistic creativity connects us to the archetypal world. The authors suggest that the emergence of art at that time in Europe came at a response to a rupture between humans and the cosmos, felt through the disappearance of large prey animals humans were dependent upon. This might have been the trigger to enter deep dark caves and portray large animals in inner chamber, in order to communicate with the cosmos and get in touch with the entities beyond the cave’s walls, where the source of plenty is perceived to exist. Featuring both a Jungian and Neumannian perspective on the cave art of the Upper Palaeolithic period, this book will be of interest to scholars and researchers in the fields of analytical psychology, archaeology, art history, and anthropology.