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Answer: The Stone Age is the period of prehistory between the invention of stone tools by Australopithecus afarensis (which occurred about 3.3 million years BC), and the start of the Bronze Age (about 3,000 BC).
In terms of geologic time, the Stone Age is preceded by the Pliocene Epoch, coincides (broadly speaking) with the Pleistocene Epoch, and is succeeded by the Holocene Epoch.
It is divided into three very unequal periods:
The Paleolithic is subdivided into 4 periods:
This is a transitional period from 10,000 BC to about 7,000 BC.
Note: In this article, the terms Stone Age, prehistoric, and paleolithic are used interchangeably.
Yes. The earliest prehistoric art was rudimentary and half-formed. And, in fact, some of it is not even recognized as 'art'.
But even if we think it's very primitive, it doesn't stop it being art.
You see, the truth is, developing the cognitive skills necessary for the creation of art is a very long process. So, the first attempts are bound to be a bit wobbly!
For this reason, we take a broad view of prehistoric art, thus we feel that the five earliest types of art, are as follows:
Why are stone tools a form of prehistoric art? Because the art of tool-making required the same basic cognitive toolkit as the art of rock painting and engraving.
Experts now believe the improvements in visual consciousness which are needed to create (say) pictures of animals, likely appeared first in the making of tools.
For instance, between 1.6 million and 300,000 BC, changes in the shape of Acheulean tools revealed a growing understanding of symmetry, which is a function of the visual brain.
In a 2014 article entitled 'The elements of design form in Acheulian bifaces: modes, modalities, rules and language', JAJ Gowlett, professor of archaeology and evolutionary anthropology, discussed how the Acheulean tool-maker needs to develop and hold an image 'in their mind'.
His analysis of biface construction methods suggested that the cognitive abilities needed to create 3D objects from suitably-shaped stones evolved first in flint tool-making, and were only later used to create sculpture, or stone reliefs.
In short, from Oldowan choppers to Acheulean handaxes, Mousterian flake tools, specialized Aurignacian tools, like burins (a key engraving tool), Gravettian backed knives and Gravette points, Solutrean stone projectile points and Magdalenian microliths, the development of lithic technology was a key indicator of cognitive development.
The functional nature of stone tools should not disqualify them from being seen as the first artform of prehistory.
For more, see: History of Stone Tools.
Cupules - hemispherical hollows hammered out of rock surfaces - may be another form of ancient paleolithic art.
The term "cupule" was invented by the famous archaeologist Robert G. Bednarik.
Cupules are found on every continent except Antarctica, and have been described as the most common type of rock art.
According to archaeologist Ramesh Kumar Pancholi, cupules found at Daraki-Chattan rock shelter, central India, date to between 500,000 and 200,000 BC, although they could be significantly older.
The earliest use of ochre pigments by early humans, known to archaeology, dates to the Acheulean culture of the Lower Paleolithic, about 500,000 BC.
Although ochre had numerous functional uses, its vivid red hues were undoubtedly used on faces and parts of the body for cultural and/or aesthetic purposes.
This would be consistent with the appearance of certain uncontacted peoples, and others who maintain a hunter-gatherer lifestyle.
The earliest Stone Age art of a more conventional nature, consists of simple abstract engravings.
The oldest example is the Trinil shell engravings, created in Java by early hominins about 540,000 BC.
The Bilzingsleben engravings carved onto the shinbone of a forest elephant in Germany, around 350,000 BC, are another.
Another early form of paleolithic art was decorative jewellery, like bead necklaces and other types of personal adornment.
This was a specialty of Neanderthal art during the Mousterian culture.
From its early beginnings, listed above, there developed five main types of Stone Age art.
Cave painting is surely the most dramatic form of prehistoric art. And prehistoric artists became experts in positioning images to exploit every contour, fissure and angle in the cave.
The finest known animal paintings remain those in the region of Franco-Cantabrian art, in Southern France and Northern Spain, nearly all of which were produced by Cro-Magnons - the species of modern Homo sapiens who superceded Neanderthals in Europe.
An earlier site with exceptional paintings includes Pech-Merle (spotted horses) in the Lot.
Rock engravings - are drawings typically made by a sharpened tool, like a burin, on the wall, floor or ceiling of a cave.
Rock engravings are most commonly found at outdoor sites, notably in Australia, where most aboriginal rock art was created in the open.
For instance, the Burrup Peninsula in Western Australia has around 2,300 sites with an estimated one million petroglyphs.
For the largest collection of open-air rock carvings in Europe, see the Coa Valley rock art, in Portugal.
Some caves contain panels or whole chambers, with nothing but signs. The famous 'Inscription' panel at La Pasiega Cave in Spain, is one such example.
These ideomorphs, or pictographs, first appeared during the Mousterian, and continued to be produced throughout the Upper Paleolithic, from the Aurignacian to the Azilian.
Prehistorians remain baffled as to their purpose. Some experts believe they are a precursor of later writing systems, such as hieroglyphics.
In addition to these abstract and geometric signs, paleolithic caves also contained star signs, handprints, hand stencils, finger tracings (also known as digital tracings, finger-fluting, or 'macaroni'), and gender imagery.
Abstract symbols have also been found on a range of artifacts and figurines. A Stone Age research project, known as SignBase, identifies and catalogues prehistoric symbols on mobile objects belonging to the European Upper Paleolithic, and African Middle Stone Age (MSA).
Prehistoric sculpture consisted of either reliefs, or stand-alone works.
The most famous relief sculpture is probably the two bison at Tuc d'Audoubert Cave in the Pyrenees.
The relief tradition was greatly advanced by the innovative tool-making techniques of the Solutrean culture, as shown in the frieze at Roc de Sers in the Charente.
This category mainly includes small items of mobiliary art.
Many portable items are embellished with abstract or geometric signs.
Early examples include: the Löwenmensch figurine and the animal figurines from the caves of the Swabian Jura, Germany.
This category of Stone Age art includes all objects made from clay and then baked in a kiln or equivalent.
The world's oldest known ceramic object is the Venus of Dolní Věstonice (29,000 BC).
The oldest known pots are the shards found at the Kostenki I site in Southern Russia, dated to 23,000 BC.
For more, see Ancient Pottery: Prehistoric Ceramics.
For the history and dates of prehistoric ceramics around the world, see: Ancient Pottery Timeline.
Prehistoric art did not reveal its potential until after 50,000 BC, and reached its apogee during the Magdalenian culture around 15,000 BC, just as the Ice Age declined.
All this coincides with several large migrations out of Africa by modern Homo sapiens.
Archaeological excavations show that prehistoric art was created on every continent, except Antartica. Examples include:
By 10,000 BC, the ice sheets had retreated to Scandinavia, along with the herds of reindeer upon which hunter gatherer culture depended. The era of prehistoric cave art was over.
Paleolithic cave culture duly gave way to the outdoor Mesolithic and Neolithic cultures, while cave art was replaced by open air petroglyphs, as well as megalithic architecture like the temples at Göbekli Tepe and the stone circles at Stonehenge.
The 'out-of-Africa' hypothesis proposes that all modern humans (meaning, the modern variant of Homo sapiens, like us) originated from the African continent, and then dispersed around the world in a series of migrations.
The hypothesis is supported by recent mtDNA evidence, which confirms that all modern humans are of relatively recent African origin, although prehistorians continue to disagree about exactly when they left Africa, and exactly where their journey took them.
The Upper Paleolithic in Europe, between 40,000 and 10,000 BC, is characterized by two related phenomena.
(1) The arrival of modern Homo sapiens (Cro-Magnons)
(2) The revolution in tools, hunting practices, use of raw materials, art and decoration - often called a 'creative explosion' - that occurred during this period.
It was as though a substantial upgrade in human abilities was taking place, which enabled them to make these advances in so many areas
Scientists still struggle to understand why this creative explosion occurred when it did.
How was it possible that prehistoric man suddenly began inventing all sorts of new tools, painting pictures of animals, and creating sculptures of humans and therianthropes?
Was it due to the superior DNA and cognitive skills of H. sapiens, compared to Neanderthals?
Probably. After all, H. sapiens was the latest version of the human species.
But they also applied their cognitive skills more effectively.
They proved superior to Neanderthals in establishing trade networks, and also in communal organization - both important factors when managing the raw materials and labour needs of cave painting.
Modern humans in other parts of the world - notably SE Asia - were also experiencing a creative revolution - witness the Sulawesi cave paintings and the East Kalimantan cave art, between 44,000 and 30,000 BC.
The Neanderthals had been top-dogs in Europe for 250,000 years.
And even though they were a hardy, capable race, who were pioneers in stone tool technology and rudimentary cave art, they seemed incapable of progressing further.
They could not compete with the incoming waves of modern humans, and as a result, vanished from the archaeological record no later than 37,000 BC.
But DNA would not have been the full story behind the so-called 'creative explosion'.
Climate was another important factor as the ice sheets expanded southwards compressing populations into southern France and northern Spain, perhaps triggering the surge of Franco-Cantabrian art in the process.
Other factors that may have encouraged the creative spurt in cave art, include (in no particular order):
But even if all these factors are allowed for, one question still remains.
Until recently, it was thought that modern humans out-of-Africa learned their creative talents after they arrived in Europe.
This was because little or no art had been found in Africa, or the Levant.
However, this theory is now discredited, for several reasons.
In summary, Upper Paleolithic art was almost entirely the work of modern Homo sapiens migrating out-of-Africa.
Furthermore, the innovative, creative and symbolic behaviours of these moderns, were almost certainly based on cognitive skills first absorbed in Africa.