Sexual dimorphism in Upper Palaeolithic hand stencils

@article{Snow2006SexualDI,
  title={Sexual dimorphism in Upper Palaeolithic hand stencils},
  author={Dean R. Snow},
  journal={Antiquity},
  year={2006},
  volume={80},
  pages={390 - 404}
}
  • D. Snow
  • Published 1 June 2006
  • Art
  • Antiquity
Sexual roles in deep prehistory are among the most intriguing puzzles still to solve. Here the author shows how men and women can be distinguished by scientific measurement in the prints and stencils of the human hand that occur widely in Upper Palaeolithic art. Six hand stencils from four French caves are attributed to four adult females, an adult male, and a sub-adult male. Here we take a step closer to showing that both sexes are engaged in cave art and whatever dreams and rituals it implies… 
Sexual Dimorphism in European Upper Paleolithic Cave Art
  • D. Snow
  • Psychology
    American Antiquity
  • 2013
Abstract Preliminary research on hand stencils found in the Upper Paleolithic cave sites of France and Spain showed that sexual dimorphism in human hands is expressed strongly enough to allow
Finger-counting in the Upper Palaeolithic
Upper Palaeolithic hand stencils at Cosquer Cave have been interpreted as forming a numeric code. The present analysis examined ‘digits’ at Cosquer and Gargas from the perspectives of modern
WOMEN AND GIRLS AS UPPER PALAEOLITHIC CAVE ‘ARTISTS’: DECIPHERING THE SEXES OF FINGER FLUTERS IN ROUFFIGNAC CAVE
Summary Popular and scholarly literature usually assumes that prehistoric artists were adult men. We show in other publications that young children from the Palaeolithic fluted in Rouffignac Cave,
Hands stencils and sexual dimorphism: samples and prospects from the Borneo caves
TLDR
A presentation of hand stencils in different caves of the Indonesia and the world provides new clues concerning men’s and women's activities in the caves and the application in parallel the Manning's formula permitting to reveal the sexual dimorphism.
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Hand images with missing phalanges occur at a number of Upper Palaeolithic rock art sites in Europe. It has been argued that they represent hand signals or a counting system, but there are reasons to
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New views on old hands: the context of stencils in El Castillo and La Garma caves (Cantabria, Spain)
Hand stencils are an intriguing feature of prehistoric imagery in caves and rockshelters in several parts of the world, and the recent demonstration that the oldest of those in Western Europe date
CHILDREN AS PLEISTOCENE ARTISTS
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Drawing on both anthropology and philosophy, this paper argues that the profiled form of the human hand is a universally recognizable image; one whose significance transcends temporally and
Gravettian hand stencils as sign language formatives
TLDR
It is claimed that the stencils identified in the cave of Gargas correspond to signs of an ‘alternate’ or ‘non-primary’ sign language, like those still employed by a number of bimodal human groups in hunter–gatherer populations, like the Australian first nations or the Plains Indians.
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