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Cave art

Cro-Magnons are well known for having painted or engraved geometric designs, hand stencils, plants, animals, and seemingly human/animal hybrid creatures on cave walls deep inside caves. Typically the same species are represented in caves which have such art, but the total number of species is quite numerous, and namely includes creatures such as mammoths, bison, lions, bears, and ibex. Nonetheless, some caves were dominated by certain forms, such as Grotte de Niaux where over half of the animals are bison. Images could be drawn on top of one another. Landscapes were never depicted, with the exception of a supposed depiction of a volcanic eruption at Chauvet-Pont d'Arc, France, dating to 36,000 years ago. Cave art is found in dark cave recesses, and the artists either lit a fire on the cave floor or used portable stone lamps to see. Drawing materials include black charcoal and red and yellow ochre crayons, but they, along with a variety of other minerals, could also be ground into powder and mixed with water to create paint. Large, flat rocks may have been used as palettes, and brushes may have included reeds, bristles, and twigs, and possibly a blowgun was used to spray paint over less accessible areas. Hand stencils could either be made by holding the hand to the wall and spitting paint over it (leaving a negative image) or by applying paint to the hand and then sticking it to the wall. Some hand stencils are missing fingers, but it is unclear if the artist was actually missing the finger or simply excluded it from the stencil. It has generally been assumed that the larger prints were left by men and the smaller ones by boys, but the exclusion of women entirely may be improbable. Though many hypotheses have been proposed for the symbolism of cave art, it is still debated why these works were created in the first place.

One of the first hypotheses regarding their symbolism was forwarded by French religious historian Salomon Reinach who supposed that, because only animals were depicted on cave walls, the images represented totem veneration, in which a group or a group member identifies with a certain animal associated with certain powers, and honours or respects this animal in some way such as by not hunting it. If this were the case, then Cro-Magnons communities within a region would have subdivided themselves into, for example, a "horse clan", a "bison clan", a "lion clan", and so forth. This was soon contested as some caves contain depictions of animals wounded by projectiles, and generally multiple species are represented.

In 1903, Reinach proposed that the cave art represented sympathetic magic (between the painting and the painting's subject), and by drawing an animal doing some kind of action, the artist believed they were exerting that same action onto the animal. That is, by being the master of the image, they could master the animal itself. The hunting magic model – and the idea that art was magical and utilitarian in Cro-Magnons society – gained much popularity in the following decades. In this model, herbivorous prey items were depicted as having been wounded prior to a hunt in order to cast a spell over them; some animals were incompletely depicted to enfeeble them; geometric designs were traps; and human/animal hybrids were sorcerers dressed as animals to gain their power, or were gods ruling over the animals. Many animals were depicted as completely healthy and intact, and sometimes pregnant, which this model interprets as fertility magic to promote reproduction; however, if the animal was a carnivore, then this model says that the depiction served to destroy the animal. By the mid-20th century, this model was being contested because of how few depictions of wounded animals exist; the collection of consumed animal bones in decorated caves often did not match types of animals depicted in terms of abundance; and the magic model does not explain hand stencils.

Following the 1960s, begun by German-American art historian Max Raphael, the study of cave art took on a much more statistical approach, analysing and quantifying items such as the types and distribution of animals depicted, cave topography, and cave wall morphology. Based on such structuralist tests, horses and bovines seem to have been preferentially clustered together typically in a central position, and such binary organisation led to the suggestion that this was sexual symbolism, and some animals and iconography were designated by Cro-Magnons as either male or female. This conclusion has been heavily contested as well, due to the subjective definition of association between two different animals, and the great detail the animals were depicted in, permitting sexual identification (and further, the hypothesis that bison were supposed to be feminine contradicts the finding that many are male).

Also in the late 20th century, with the popularisation of the hypothesis that Cro-Magnons practised shamanism, the human/animal hybrids and geometrical symbols were interpreted within this framework as the visions a shaman would see while in a trance (entoptic phenomena). Opponents mainly attack the comparisons made between Palaeolithic cultures and present-day shamanistic societies for being in some way inaccurate. In 1988, archaeologists David Lewis-Williams and Thomas Dowson suggested trances were induced by hallucinogenic plants containing either mescaline, LSD, or psilocybin; but there is no evidence Cro-Magnons purposefully ate them.