Prehistoric art as a part of the neurophysiological capacities of seeing. Examples from prehistoric rock art and portable art

ABSTRACT

Colour, line, movement and face are discussed here as a part of the neurophysiological capacities of seeing. They are all integral parts of seeing and visual interpretation a part of the world we live in. Visual narratives conveyed via depictions allow imagery not only to represent things but also play active roles in story-telling. Prehistoric art surviving in caves and on rock surfaces, carved figurines, and the installation of the viewer into these are explored in terms of a joint relationship between the image/s and the way our brains work.

KEYWORDS:

• Sculpture
• rock and cave art
• contemporary art
• neurophysiological capacities

Acknowledgments

I like to thank Prof P. Pettitt for his invitation to participate in this issue of World Archaeology and my thanks go also to the anonymous reviewers, whose suggestions have improved this paper. Special thanks go to Prof S. Kaner for his help with the paper. All errors remain my own responsibility.

Disclosure statement

No potential conflict of interest was reported by the author.

Additional information

Notes on contributors

Liliana Janik

Dr Liliana Janik is Assistant Director in Research, Deputy Director of the Cambridge Heritage Research Centre and Fellow of Girton College, University of Cambridge. She leads research projects in Japan and Russia. She specializes in prehistoric art: rock art, sculpture, and neuroaesthetic approaches to art, as well as heritage of the landscape.