The First Signs: Unlocking the Mysteries of the World's Oldest Symbols - Softcover

Von Petzinger, Genevieve

Softcover

ISBN 10: 1476785503 ISBN 13: 9781476785509

Verlag: Atria, 2017

Inhaltsangabe

“If you love mysteries, you’ll love this book. Genevieve von Petzinger acts as guide and sleuth in this fascinating, accessible, and fast-paced exploration of Ice Age artists and the evocative cave paintings they left behind” (Virginia Morell, author of Animal Wise and Ancestral Passions).

In an adventure worthy of Indiana Jones, archeologist von Petzinger explores the little-known geometric cave art of our ancient ancestors—perhaps the first form of human written communication and a key to unlocking some of the mysteries of our ancient past. These “remarkable” (Jean Auel, author of the bestselling Earth’s Children series) findings “may represent one of the most extraordinary scientific insights of our time” (Wade Davis, author of The Serpent and the Rainbow).

Join von Petzinger as she travels throughout Europe and attempts to crack the code of these strange symbols, which persisted virtually unchanged for some 30,000 years. Clearly meaningful to their creators, these geometric signs are one of the first indicators of our human ancestors’ intelligence and capacity for symbolic meaning and language—glimpses across millennia of an ancient consciousness linked to our own.

Part travel journal, part popular science, and part personal narrative, this groundbreaking investigation explores what makes us human, how we evolved as a species, and how this cave art laid the foundation for so much of the technology that we enjoy today.

Über diesen Titel

Über die Autorin bzw. den Autor

Genevieve von Petzinger studies cave art from the European Ice Age and has built a unique database that holds more than 5,000 signs from almost 400 sites across Europe. Her work has appeared in popular science magazines such as New Scientists and Science Illustrated. A National Geographic Emerging Explorer of 2016, she was a 2011 TED Global Fellow, a 2013-15 TED Senior Fellow and her 2015 TED talk has more than 2 million views.

Von der hinteren Coverseite

The first-ever exploration of the little-known geometric images that accompany most cave art around the world.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

The First Signs CHAPTER 1

Two Red Dots
I am standing on the Camino de Santiago, the ancient pilgrimage route in northern Spain. This part of the Camino winds its way along the coast, passing through medieval villages on its way west. In the distance I can see the town of Comillas with its ancient yellow-gray stone buildings, their façades punctuated with vibrant splashes of red from the geraniums in their window boxes.

It’s a blustery day in May of 2013, and white clouds dance across the sky, playing hide-and-seek with the sun. The Cantabrian Sea stretches out in front of me, slate blue topped with little whitecaps; it crashes against the shore below my feet and sprays my face with a delicate, salty mist. The sun breaks through for a moment, and the water becomes a translucent turquoise window, giving me a glimpse of the rocks and white sand beneath the waves.

Two people stride toward me, walking sticks swinging purposefully, their backs slightly bent under the weight of their backpacks. A white scallop shell—the symbol of their sacred quest—hangs from each of their packs, marking them as pilgrims. For over a millennium people have made this spiritual journey to visit what many believe is the final resting place in Santiago de Compostela, Spain, of Saint James from the New Testament.

But I am here on a different kind of pilgrimage. I’m with my husband and project photographer, Dillon, and we have just met up with Gustavo Sanz Palomera, an archaeologist with the Cantabrian government. We are here to explore a cave in the hillside behind us that is supposed to contain Ice Age paintings.

Long before this country was called Spain, people lived in this land. They survived the challenges of an Ice Age world in the relative stability of this region. With its protected river valleys and abundant marine resources, this landscape provided ancient humans with a suitable environment in which to live and thrive. They first settled here over 40,000 years ago and occupied this territory almost continuously until the end of the Ice Age, 30,000 years later.

We know they were here from the evidence they left behind: habitation sites scattered with stone tools and animal bones; human burials including “grave goods” and personal ornaments; and then, of course, there are the caves throughout this region that they decorated with the engravings and paintings that are, in many ways, their greatest legacy.

Art presents us with a window into the minds of these people that other types of artifacts just can’t provide. It offers us glimpses into their world, their culture, and their belief systems; intriguing hints about their level of sophistication in thinking in the abstract and manipulating symbols; and insight into how far along they may have been in the development of graphic communication. While all of the art has this potential, the geometric imagery in particular seems to indicate a high degree of mastery of many of these uniquely human traits. This category of geometric signs is my passion. Sometimes they accompany the other imagery, and at other times they stand on their own. The signs are what I’m here to study.

Dillon and I have spent the last month and a half in France documenting the art at eleven different cave sites, so in some ways today’s excursion feels almost like “another day at the office,” albeit a pretty interesting and ever-changing office. We’ve worked in massive caves with high, curved ceilings that give us the feeling of being in an underground cathedral; we’ve worked in others so narrow in width that photographing the art required contorting ourselves into some very awkward positions; we’ve worked in caves with collapsing floors and caves with steep muddy sections that required very careful maneuvering.

But as I stand there in my hoodie, jeans, and hiking boots, watching Gustavo pull on a full-body waterproof suit and boots, I start to get the impression that my French caving clothes may not be entirely appropriate for this situation.

“I really hate this cave,” Gustavo tells us as he’s getting ready. Dillon and I glance at each other; these are definitely not the words you want to hear before you’ve even entered a site . . . especially when your guide is getting seriously geared up!

“Oh,” I say. “What’s so bad about it?”

“Deep mud and very small,” Gustavo replies with a grimace. He speaks excellent English but I’m hoping in this case that something is being lost in the translation.

We turn our backs on the Camino and the sea to face a lush, overgrown green hillside. As we start to hike up a gravel path, I quickly spot the entrance to La Cueva de El Portillo on our left. The entrance doesn’t seem too bad: a dark split in the hillside that’s about eight feet high, with enough width for us to walk through comfortably. We step over the threshold into a roundish chamber with an even higher ceiling. The chamber is about twenty feet across at its widest point. The floor is pretty muddy, but my hiking boots have seen as much in French caves and survived.

Maybe this isn’t going to be as bad as I thought.

I look around the chamber, my vision adjusting to the gloomy interior. The floor plan I was studying for this cave earlier in the day showed a passageway continuing quite a bit farther into the hillside, but I don’t see any exit from the chamber other than the way we came in. Then, as I scan the solid gray walls, my eyes are drawn to a small opening low down on the back wall. It doesn’t even quite come up to my knees. Oh . . .

“Gustavo, is this where we’re going?”

“Yes,” he replies. “Much of the cave is like that. This is why I hate it.”

Huh. I examine the narrow entrance more closely and notice that the passageway angles down sharply, and a small stream of water trickles across the thick muddy surface, its flow splitting to encircle jagged pieces of rock that rise like islands out of the mud as it continues downward into the darkness below. I see no sign of the passage broadening out, either.

Dillon cradles his camera bag protectively and gives me a look. Even big, relatively dry caves can do a number on camera equipment, so having to drag his expensive gear through the conditions that El Portillo has to offer is not something he’s exactly thrilled about. We also have two battery-powered 500-watt LED banks of light with us, so I guess we’re about to find out how rugged everything really is.

Gustavo leads the way as he slips the lower half of his body into the tight opening and begins to wriggle downward. As he vanishes into the dark, he tells us, “It only goes on like this for about fifteen feet, and then it levels out enough that you can crouch.”

He calls up to let us know that he’s made it down, then flashes his light on the tight walls of the descending passage, giving me a glimpse of what is to come. I’m pretty sure I can see a spot about halfway down where it gets even tighter.

It’s my turn.

I grab hold of a protruding lip of rock above the hole and swing my legs into the opening. My feet search around until I find a rock to brace myself on—I’m not quite vertical, but my angle is much closer to standing than to lying flat. Slithering down into the dark, the mud squelching underneath me, I now understand why Gustavo is wearing a waterproof outfit.

Shimmying down, feeling my way with my feet, I’m now completely inside the narrow passage—my back’s against one wall and my face is about six inches from the other. The only sounds...

Details zur Ausgabe

• Verlag: Atria
• Erscheinungsdatum: 2017
• Sprache: Englisch
• ISBN 10: 1476785503
• ISBN 13: 9781476785509
• Einband: Taschenbuch
• Anzahl der Seiten: 328
• Kontakt zum Hersteller: Van Ditmar Boeken, VDB Sales; sales@vanditmar.nl; ; Hondiuslaan 44; Utrecht; 3528 AB; Niederlande