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FW: [ANTHRO-L] Call in order to found together the "Science of the Prehistoric Art"

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  • Popplestone, Ann
    ... From: Pietro Gaietto [mailto:filingeri@TIN.IT] Sent: Tuesday, July 09, 2002 9:14 AM To: ANTHRO-L@LISTSERV.ACSU.BUFFALO.EDU Subject: [ANTHRO-L] Call in
    Message 1 of 1 , Jul 9, 2002
      -----Original Message-----
      From: Pietro Gaietto [mailto:filingeri@...]
      Sent: Tuesday, July 09, 2002 9:14 AM
      To: ANTHRO-L@...
      Subject: [ANTHRO-L] Call in order to found together the "Science of the
      Prehistoric Art"


      Licia Filingeri and Pietro Gaietto
      Genova, Italy, Europe
      in synergy with Liguria Paleolithic Art Magazine

      Currently the prehistoric art is studied with the methods of the "history
      of the art", that are not apt to the study of the prehistoric art.
      In order to become aware of the difficulty in which are the studies of the
      prehistoric art, it is sufficient to analyze how much have made the other
      sciences that study the Man.
      The Paleoanthropology, through the study of the fossil remains, gives to us
      a complete picture of the evolutive process of the man and all over in the
      world, with continuous updatings, result of always new discoveries.
      The Palethnology (material culture) gives to us a complete picture from the
      origins of the fabrication of the artefacts and all over the world, always
      with continuous updatings for the discovery of new sites.
      For the prehistoric art, instead, there are no studies of whole. In order
      to having a general vision of the prehistoric art, a book does not exist,
      because a science of the prehistoric art does not exist, and therefore, who
      wants to be documented, must consult some hundred of books.
      For it, who loves the prehistoric art (scientist, amateur and owner of
      website of prehistoric art), is invited to contribute to the foundation of
      the Paleoarteology.

      To him who wants to participate to the foundation of the "science of the
      prehistoric art", we give some suggestions about these that could be the
      methods and the criteria of definition, which, however, can be accepted all
      or in part; indeed, we hope that the participants add many suggestions on
      the base of their experience.
      1) The Paleoarteology would have to comprise the Paleolithic, the
      Mesolithic, the Neolithic, the Age of the Metals, and the Ethnography until
      our days. They would remain excluded the peoples with writing, appanage of
      the "history of the art".

      2) Object of study of the Paleoarteology would be the sculpture, the
      paintings in cave and outside cave, the rock graffiti, the menhir, the
      dolmen, the first architecture, the decorated tools, the ceramics, etc.

      3) The art was produced for cult rituals, that is for the religion.
      Therefore, in the study, to classify it like such; as an example: if it is
      matter of zoomorphic paintings in cave, one different from the other, put
      it under the entry "magical rituals" or other denomination; if instead it
      is matter of post-paleolithic sculptures with representation of always
      equal divinities, then use the "idolatry" word.
      However, the religions are so many, as the several types of art, and are
      all to interpret, and will have to be invented some names in order to
      classify them.

      4) Important is the study of the styles. The style is the language of the
      art, that is of the representation. As an example, the man near every
      prehistoric civilization is represented in a different style (lengthened,
      geometric, with abolition of particulars like the features of the face, or
      of the feet, much realistic, etc). Therefore will have to be found new
      denominations for the styles, in how much these now in use are
      insufficient; as an example: style I, II, III, etc, or schematic style, or
      stylized, etc.

      5) A lot important is the Linguistic (the writing), the most ancient of
      the sciences. This science does not regard the Prehistory, but traces its
      limits. An example: recently, in a conference near the International
      Institute of Studi Liguri of Genova, we have learned about the inscription
      of celtic names in Etruscan writing on works of prehistoric art of people
      without writing of northern Italy. Therefore, co-existence of different art
      and religions, between three people in contact, probably for commercial
      causes .

      6) Have to be promoted regional, continental and intercontinental
      parallelisms, both for affinity, and for diversity. As an example:
      Valcamonica, Northern Italy (130,000 petroglyphs ), with a people without
      writing but specialized in the working of the wrought iron (weapons, tools,
      etc). They have been found trades relations with Mycene (Peloponneso,
      Greece). The Camuni and the Myceneans had different religions and
      different artistic applications. The Myceneans had sculptures of divinities
      all equal, therefore "idolatry". Therefore, co-existence of different art
      and religions, between two peoples (civilizations) in contact.

      7) The Paleoarteology must program the study of the evolution of the art.
      This evolution, however, does not concern all the components of the art
      work, which are many. We cite alone three: the represented subject depends
      from the religion, therefore, if changes the religion, changes the subject;
      the style, that is the stylistic deformation, does not have evolution, but
      only transformation, and does not have quality, at least in our opinion;
      the working technique, instead, has evolution, in how much in the time we
      can see improvements of the quality of the art work. The connections
      between the works of art of a civilization with those of an other, from
      which it is believed that this can derivate, are not made from the whole of
      the art works, but from the several components of every work of art.

      8) In order to construct the Paleoarteology it is necessary, also, see
      again all the studies on the prehistoric art made in the past, nothing must
      be considered obsolete, at most there are to see again the datings, and
      rediscussing the interpretations.

      9) In the publication of photographies of prehistoric art it is necessary
      to put complete figure captions comprising:
      - explanation of the represented subject (e.g.: man with arc, taurus in
      race, etc.)
      - shape of artistic expression (e.g.: sculpture, graffito, etc.)
      - material used (e.g.: granito, ivory, etc.)
      - dating (if it is known)
      - attribution of the material culture (e.g.: Mesolithic, Neolithic, etc.)
      - the size: height, width, long.
      - the people who have produced it (e.g.: Celts, Ligurians, etc.)
      - the origin zone (e.g.: cave of..., Diggings of..., etc.)
      - the actual collocation (es: Museum of...,etc)

      10) In the publication of photographies of prehistoric art it is necessary
      to previlegiate the more meaningful works of a period, instead talk, then
      the aesthetic appreciation. Moreover, to avoid the photographies of single
      particulars of the art work. Every work must be photographed complete, and,
      in the case of sculptures, if they have images on more sides, all must be

      1) Who wants to patecipare to the foundation of a Paleoarteology must send
      his proposals to us, or to communicate if he approves the 10 expressed
      suggestions or some of these, bringing eventual modifications or addings.
      We have been synthetic, but in order to determine exactly some methods,
      criteria of classification and constructing a general picture of the
      evolution of the art, it is necessary to widen a lot what we have written,
      and is necessary the experience of all.
      Writing to us, please say the BELONGING NATION (e.g.: France, Japan, etc),
      and, if you are available TO SUMMARIZE the MAILS that will arrive to us
      from your Nation. It is important that at least one person for Nation
      produces a synthesis of mails of his Nation.
      2) Owners of websites that have for partial or total object the
      prehistoric art, if they wish to participate to the foundation of the
      Paleoarteology, are authorized to publish this our call, and to receive
      letters from their readers. These mails will be sended from the several
      websites to one or more scientists or amateurs of the belonging Nation,
      which will make a summary of all the mails of their Nation.
      The several websites must obviously take contact between them and with us
      for the sorting of the mails.
      3) The mails of the participants must be sended to the websites WITHIN
      SEPTEMBER, 30, 2002.
      4) The people in charge to summarize the mails of every Nation, will
      receive mails every time arrived to the website. These summaries will have
      to be ready WITHIN NOVEMBER, 15, 2002, better if before, and will have to
      be sent to all the websites attending to it, that, if they want, can begin
      to publish them.
      5) This program is set up for being AUTOMANAGED BY SCIENTISTS, AMATEURS
      and OWNERS OF WEBSITES OF PREHISTORIC ART, then these summaries will have
      to be transmitted, through the several websites, to persons who make the
      summary of the mails of every Nation of the own Continent, in order to
      obtain the proposals from AFRICA, AMERICA, ASIA, EUROPE, OCEANIA.
      6) It will follow a summary of the proposals of the five Continents.
      7) The participants to the foundation of the Palearteologia, both the
      persons and the websites, will be enrolled in a Album in memory of this
      8) All the results will be published on the Liguria Paleolithic Art
      Magazine (http://web.tiscalinet.it/liguriapaleoart/)
      9) For further information, and in order to send the mail with your
      opinions: e-mail
      Prof. Licia Filingeri
      Genova, Italy, July 8, 2002

      Pietro Gaietto

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