One aspect of the wealth of material evidence left behind by the early people are the pictures in south african rock art. They occur in paintings and engravings. In 1996 the total number of sites in South Africa was estimated to be a little over 10 000 but the actual number of sites is significantly undercounted. It is still not known exactly when the artists started to make rock art, although new techniques of radiocarbon dating, using very small samples of paint, open the possibility of an absolute chronology. The oldest example of rock art in Africa was found in 1969 by Eric Wendt in the southern region of Namibia at a site called Apollo 11. After various datings, mainly with the radiocarbon method, archaeologists concluded that the rock art tradition in southern africa is at least 27 500 years old. In South Africa the oldest dated rock art is an engraving in the Northern Cape which was found on a small slab of dolomite at the Wonderwerk Cave south of Kuruman. It has a radiocarbon date of c.10 200 BP. Rock paintings are found in the mountainous parts of the subcontinent in abundant rock shelters and shallow overhangs, while engravings were generally made on the interior plateau of South Africa. There are about 1600 paintings in South Africa. In this assignment I will focus on the meaning of rock paintings, on the specific symbols and their importance for the early people. In Chapter Two, I provide a short introduction about the artists and their methods. Then I will explain the three important approaches to reveal the meaning of rock art described by Lewis - Williams and give some examples of misinterpretations of rock paintings. Chapter Three deals with the spiritual world and shamanism in the society of the Bushmen. In the fourth chapter the state of trance and the trance dance are described, which are important key parts for understanding rock art. Chapter Five shall point out the symbolism of the eland - antelope in addition to animal power in general. This symbol is of great importance and represented relatively frequent in the art. These symbols and the discussion of their meanings seem to be a representative selection, to help better understand the spiritual background of south african rock art and its meaning.
Table of Contents
1. Introduction: Pictures from the Past
2. Discovering rock art
3. The spiritual world and shamanism
4. Trance
5. The eland symbol and animal power
6. Conclusion
Objectives and Research Themes
This academic assignment examines the symbolic and spiritual meaning behind South African rock paintings created by the San (Bushmen). It seeks to move beyond superficial aesthetic observations to interpret the complex religious and shamanic contexts reflected in these artistic traditions.
- The historical and cultural background of San rock art creators.
- Methodological approaches to interpreting symbolic art (aesthetic, narrative, and interpretative).
- The relationship between the spiritual world, shamanism, and the state of trance.
- The significance of the eland as a central symbolic figure in San culture.
- The intersection of neuropsychological research and ethnography in decoding artistic expression.
Excerpt from the Book
3. The spiritual world and shamanism
It is widely accepted that the San art is a religious art from a shamanistic society. The distinction between the world of material life and the spiritual world plays an important role in understanding the meaning of the paintings. It is the belief of the San that the spiritual world is both above and below the level of the material world. The underworld is associated with the spirits of death and the realm above is connected with god. The two parts of the spiritual world are conneced with waterholes to the material world and where they meet are places of transformation and breakthrough. The contact between the two worlds, connected through the waterholes, is very close and the shamen, as ritual specialists, performed the task of moving between these two realms. Shamen were often artists. Therefore, the paintings made by medicine people are probably often based on their experiences in trance. They need to be able to control the powers they recieve in the state of trance and to use them correctly and for the benefit of people. Healers are able to control the trance and prevent themselves from falling unconscious.
Summary of Chapters
1. Introduction: Pictures from the Past: Provides an overview of the archaeological context of rock art in southern Africa and outlines the assignment's focus on the cultural and symbolic meanings of these paintings.
2. Discovering rock art: Introduces the San people as the primary creators of the paintings and explores three key analytical approaches: aesthetic, narrative, and interpretative.
3. The spiritual world and shamanism: Examines the religious foundations of San art, emphasizing the role of shamans in navigating between the material and spiritual realms.
4. Trance: Explores the ritual importance of the trance dance, the role of hallucinations, and the connection between altered states of consciousness and artistic production.
5. The eland symbol and animal power: Discusses the central role of the eland antelope in San ritual life, symbolism, and its association with shamanic power.
6. Conclusion: Synthesizes the importance of viewing rock art through the cultural lens of its creators, acknowledging its status as a sophisticated intellectual achievement.
Keywords
San, Bushmen, Rock Art, Shamanism, Trance, Eland, Symbolism, Archaeology, Southern Africa, Mythology, Ritual, Entoptic phenomena, Rock paintings, Ethnography, Material culture.
Frequently Asked Questions
What is the primary focus of this assignment?
The assignment investigates the profound meaning behind South African rock paintings, specifically focusing on how they reflect the spiritual life, shamanic beliefs, and cultural identity of the San people.
Which cultural group is responsible for most of these paintings?
The majority of these rock paintings were produced by the San (Bushmen), who were historically hunter-gatherers living across southern Africa.
What is the core research question regarding these paintings?
The work seeks to determine how modern observers can decode the complex symbolic language of San rock art by moving beyond mere aesthetic appreciation to understand the religious and trance-based experiences of the artists.
What methodology is used to analyze the art?
The author utilizes three main approaches as defined by J.D. Lewis-Williams: the aesthetic approach, the narrative approach, and the interpretative approach, which incorporates neuropsychological and ethnographic perspectives.
What is the significance of the "eland" in the study?
The eland is identified as a central symbol of San culture, representing group harmony, spiritual power, and rituals associated with rites of passage and marriage.
How does the state of trance influence the rock art?
Trance is described as a critical religious ritual for the San; many paintings depict the experiences, hallucinations, and spiritual transformations that shamans underwent during these states.
What are "entoptic phenomena" in the context of this study?
These are abstract geometric shapes found in rock paintings, which are believed to be visual representations of hallucinatory experiences that occur during altered states of consciousness.
Why does the author warn against "Western" interpretations?
The author argues that viewing these paintings through a Western lens often leads to misinterpretations, such as the famous error regarding the "White Lady" of the Brandberg, and stresses the need to adopt the creator's cultural viewpoint.
- Quote paper
- Lenka Tucek (Author), 2001, The meaning of South African rock paintings, Munich, GRIN Verlag, https://www.grin.com/document/20049
