The Pleistocene art of Asia

  title={The Pleistocene art of Asia},
  author={Robert G. Bednarik},
  journal={Journal of World Prehistory},
  • R. Bednarik
  • Published 1 December 1994
  • Art
  • Journal of World Prehistory
While the Pleistocene art of Europe has been described, discussed, analyzed and “explained” in thousands of publications, that of Asia has attracted almost no interest at all. This paper is a brief summary of all known Ice Age art of Asia, both rock art and portable art. The current evidence is critically reviewed, region by region, and hundreds of specimens purported to be art are rejected by the author. Those considered to be authentic are often extremely isolated, in both time and space. It… 
An overview of Asian palaeoart of the Pleistocene
This critical assessment of the present state of secure knowledge of Pleistocene palaeoart in the continent of Asia considers both the proven occurrences from five countries, and proposed further
Pleistocene Palaeoart of the Americas
In contrast to the great time depth of Pleistocene rock art and mobiliary ‘art’ in the four other continents, the available evidence from the Americas is very limited, and restricted at best to the
The nature of Australian Pleistocene rock art
The corpus of known Australian rock art of the Pleistocene is thought to be many times the size of that of any other continent. However, it has so far been inadequately defined or characterized, and
Pleistocene Palaeoart of Africa
This comprehensive review of all currently known Pleistocene rock art of Africa shows that the majority of sites are located in the continent's south, but that the petroglyphs at some of them are of
Dating and taphonomy of Pleistocene rock art
In this broad overview the corpus of world rock art is defined and compared with the known distribution of Pleistocene rock art. The discrepancies are related to relative research efforts, to the
TO bE OR nOT TO bE PalaEOliThic, ThaT iS ThE quESTiOn
The tendency of many European and some Asian archaeologists to pronounce rock art as being Palaeolithic in the absence of any evidence other than stylistic vibes is examined. Numerous examples are
Pleistocene Palaeoart of Asia
This comprehensive overview considers the currently known Pleistocene palaeoart of Asia on a common basis, which suggests that the available data are entirely inadequate to form any cohesive
Palaeoart of the Ice Age
The many hundreds of books and thousands of academic papers on the topic of Pleistocene (Ice Age) art are limited in their approach because they deal only with the early art of southwestern Europe.
Indian Pleistocene rock art in a global context
The incredibly early petroglyphs reported from central Indian quartzite caves immediately raise the issue of the compatibility of this information with our knowledge from the rest of the world. It is
Due to their traditional fierce and sustained opposition to external contact, the Jarawas of the Andaman Islands have become only recently accessible to detailed study. Their graphic art-like


Summary: The recent discovery of the first Palaeolithic art object from China is discussed in the context of relevant Chinese and other Asian evidence, and considered within the framework of current
Pleistocene Images outside Europe
  • P. Bahn
  • Art
    Proceedings of the Prehistoric Society
  • 1991
At first sight it may seem a pointless exercise to produce a survey of late Pleistocene ‘artistic activity’ around the world, but there are two specific aims involved here: first, to show that human
Holocene dwarf mammoths from Wrangel Island in the Siberian Arctic
The dwarfing of the Wrangel mammoths is interpreted as a result of the insularity effect, combined with a response to the general trend towards unfavourable environment in the Holocene.
Art in the Levantine Epi-Palaeolithic: An Engraved Pebble from a Kebaran Site in the Lower Jordan Valley
  • E. Hovers
  • Environmental Science
    Current Anthropology
  • 1990
Non-utilitarian art objects from the early Epi-Paleolithic (I9,000-I4,500 b.p.) of the southern Levant are practically unknown. The discovery of an engraved pebble at the site of Urkan e-Rub IIa is
The Natufian entity was first identified and described in the early 1930s by D. Garrod (39) following her excavations at the Shukba Cave in the Samaria (Figure 1). Other assemblages identified as
Palaeoart and Archaeological Myths
  • R. Bednarik
  • Philosophy
    Cambridge Archaeological Journal
  • 1992
This article addresses the question of human symbolic behaviour in the Lower and Middle Palaeolithic. Bednarik argues that the case against such early symbolic behaviour usually relies on untestable
The Aurignacian at Hayonim Cave
It seems that the Aurignacian occupation in Hayonim Cave though small in size, represents a variety of activities, which are evidenced through the different flint, bone and stone tool assemblages, and special activities areas such as the "kitchen midden" in D 3 and the large hearths in D 4.
A taphonomy of palaeoart
As one digs back through the archaeological record, art and other evidence of symbolic behaviour becomes scarcer, so it is much disputed just when human marking behaviour and human language began. Is
The Stone Age of Mount Carmel:
THE foreword by G. Grant MacCurdy to the work under notice recalls that, after the discovery of a fragment of Neanderthaloid skull in Galilee (1925), and the International Archæological Congress at
In the Eye of the Beholder: Mousterian and Natufian Burials in the Levant
to reinvigorate an evaluation of what has been learned ethnographically and theoretically (as in Levi-Strauss I949 or H6ritier I976, 198I) about kinship and marriage systems. It reconnects the