The Role of Contour Line in Painting — an Analysis of Morandi's Still Life Painting

In painting, line is one of the basic compositional elements and an important "tool" for artists to express their ideas. The combination of line and color, composition, and shape allows the viewer to feel the author's thoughts, emotions, or distinctive thinking through the picture. Foreign cave paintings, European pre-Renaissance oil paintings and modern paintings, and domestic Dunhuang murals, silk paintings of the Warring States period and cave paintings all show that the contour line has never disappeared despite its different roles in the changing times. Therefore, the artist's generalized expression of contour lines can become a characteristic of the picture that makes the artist stand out.

Incised stone artefact in the context of Middle Holocene burials at Cappalombo 1, South Sulawesi, Indonesia | Artefak batu bergores dalam konteks penguburan Holosen Tengah di Situs Cappalombo 1, Sulawesi Selatan, Indonesia

Since the recent discovery of Late Pleistocene rock art in Island Southeast Asia was announced, evidence for symbolic behaviour in the region has become a focus of international archaeological interest. South Sulawesi is one region that hold much evidence for this important human activity. In addition to the cave paintings, several engraved stone artefacts have also been recovered in the same area, nearly all of which date back to the Late Pleistocene. However, while cave use by ‘hunter-gatherer’ societies continued into the Holocene period, archaeological evidence for symbolic expression during this Toalean period is extremely rare. Here, we report for the first time on engraved stone artefacts from the Middle Holocene period, associated with six human burials. Of ten incised artefacts recovered, eight are stone flakes and two are stone plaquettes, all made of hematite material. Our study suggests that unlike comparative Pleistocene engraved stones, the incisions on the Cappalombo artefacts are more likely the result of use-wear that occurs from producing red pigment powder than portable artworks. As no Toalean-age cave art has yet been identified, it is suspected that pigment powder was applied to the corpses as part of a burial practice or perhaps smeared on the body of the person/s performing the ceremony itself as part of a symbolic ritualistic activity. Sejak penemuan gambar cadas Pleistosen Akhir terbaru diumumkan di Pulau Asia Tenggara, bukti perilaku simbolis di wilayah tersebut telah menjadi fokus kajian arkeologis internasional. Sulawesi Selatan adalah salah satu wilayah yang menyimpan banyak bukti aktivitas manusia yang penting ini. Selain lukisan gua, beberapa artefak batu berukir juga telah ditemukan di daerah yang sama, hampir semuanya berasal dari Pleistosen Akhir. Namun, ketika penggunaan gua oleh masyarakat 'pemburu-pengumpul' berlanjut hingga periode Holosen, bukti arkeologis untuk ekspresi simbolis selama periode Toalean ini sangat langka. Di sini, kami melaporkan untuk pertama kalinya tentang artefak batu berukir dari periode Holosen Tengah, yang terkait dengan enam penguburan manusia. Dari sepuluh artefak gores yang ditemukan, delapan berupa serpihan batu dan dua berupa plakat batu, semuanya terbuat dari bahan hematit. Studi kami menunjukkan bahwa tidak seperti batu terukir Pleistosen, sayatan pada artefak Cappalombo lebih mungkin hasil dari penggunaan yang terjadi dari memproduksi bubuk pigmen merah daripada karya seni portabel. Karena seni gua periode Toalean belum dapat diidentifikasi, diduga bubuk pigmen dioleskan pada mayat sebagai bagian dari praktik penguburan atau mungkin dioleskan pada tubuh orang yang melakukan upacara itu sendiri sebagai bagian dari aktifitas ritual simbolis.

Cave Art and the Evolution of the Human Mind

<p>The discovery of cave paintings made by our Upper Paleolithic ancestors in Western Europe was an astonishing find – so astonishing, that they were originally believed to have been fakes. However, as more sites were uncovered, their authenticity was confirmed. But how could these people, who at the time of the discovery were believed to be merely dumb brutes, create such beautiful and naturalistic representations? And an even more difficult question to answer was, why? In this thesis I examine the phenomenon of Paleolithic cave art and what it might be able to tell us about the minds of the Cro-Magnon artists who produced it. I survey the paintings that have so far been discovered, as well as the processes involved in creating them. I also discuss and critique a selection of the many theories that have attempted to explain the motivation behind this radically different type of human behaviour. But due to the lack of hard evidence, none of these theories are ever likely to be fully substantiated. So a more promising line of investigation I take is to appraise the cognitive abilities Cro-Magnons would have needed to produce the paintings – and this then allows me to consider whether cave art was indicating any new cognitive development. I therefore highlight one of the effects that creating cave paintings had: it allowed information from the brain to be stored in the environment. But the manner in which this form of epistemic engineering might enhance human cognition is a hotly debated subject. I examine two theories: the extended mind hypothesis, and the theory of niche construction. In concluding this thesis, I argue that cave art seems more like an example of epistemic niche construction than a constituent of an extended mind.</p>

Cave Art and the Evolution of the Human Mind

<p>The discovery of cave paintings made by our Upper Paleolithic ancestors in Western Europe was an astonishing find – so astonishing, that they were originally believed to have been fakes. However, as more sites were uncovered, their authenticity was confirmed. But how could these people, who at the time of the discovery were believed to be merely dumb brutes, create such beautiful and naturalistic representations? And an even more difficult question to answer was, why? In this thesis I examine the phenomenon of Paleolithic cave art and what it might be able to tell us about the minds of the Cro-Magnon artists who produced it. I survey the paintings that have so far been discovered, as well as the processes involved in creating them. I also discuss and critique a selection of the many theories that have attempted to explain the motivation behind this radically different type of human behaviour. But due to the lack of hard evidence, none of these theories are ever likely to be fully substantiated. So a more promising line of investigation I take is to appraise the cognitive abilities Cro-Magnons would have needed to produce the paintings – and this then allows me to consider whether cave art was indicating any new cognitive development. I therefore highlight one of the effects that creating cave paintings had: it allowed information from the brain to be stored in the environment. But the manner in which this form of epistemic engineering might enhance human cognition is a hotly debated subject. I examine two theories: the extended mind hypothesis, and the theory of niche construction. In concluding this thesis, I argue that cave art seems more like an example of epistemic niche construction than a constituent of an extended mind.</p>

Heat transfer in shallow caves: influence of turbulent convection

The enhancement of the conservation conditions of cave paintings requires a detailed understanding of heat transfer in such cavities. This article presents a numerical investigation of turbulent free convection in a parallelepipedic cavity. Non-homogeneous wall temperatures are prescribed from a large-scale model taking into account external temperature fluctuations damped by heat diffusion in the rock massif above the cavity. Large Eddy Simulation is performed to solve the turbulent flow fields for a given wall temperature field corresponding to a Rayleigh number of 8.5 x 109. The outcomes of the model are analysed in terms of statistical mean. Results show complex large scale flow patterns with regions of high turbulent intensity. The Q-criterion is used to identify turbulent structures for an instantaneous flow field. Then we analyse the spatial distribution of the conductive heat flux at the walls to locate the regions with intense convection. We show that the conductive flux smaller than the wall-to-wall radiative flux in the major part of the cavity, and close to its value at some spots.

Uma breve introdução a discussão sobre as pinturas rupestres brasileiras

Este trabalho apresenta uma breve discussão sobre as pinturas rupestres (pinturas feitas nas rochas) produzidas no Brasil. Esta prática remete-se há milhares de anos antes do presente em solo nacional. Desta maneira sugerindo que a História da presença humana no território brasileiro teria muito mais de 500 anos, ao contrário da “crença oficial” de que o país teria sido “descoberto” em 1500 pelos aventureiros portugueses. This work presents a brief discussion of cave paintings (paintings made on rocks) produced in Brazil. This practice dates back thousands of years before the present on national soil. In this way, suggesting that the history of human presence in Brazilian territory would be much more than 500 years old, contrary to the “official belief” that the country would have been “discovered” in 1500 by Portuguese adventurers.

Vermiculations in painted caves: New inputs from laboratory experiments and field observations

Vermiculations are aggregates of small particles commonly found on cave walls. They are a major concern for the conservation of painted caves, as they can potentially alter valuable prehistoric cave paintings. A previous rheological study of fine sediment deposits on cave walls revealed that this material can undergo a solid-to-liquid transition triggered by variations in the chemical composition of the water film on the wall. Such a transition could occur at the origin of vermiculations by allowing the sediment to flow under low mechanical stress. In this work, we provide quantitative information on the conditions leading to this transition and show the importance of the chemical composition of the water film on the cave walls. A complete understanding of the phenomenon will, however, require more field information. This includes monitoring of the evolution of vermiculations, for which we have developed a dedicated observation protocol. Based on the combination of photogrammetry and a geographic information system we were able to precisely map the walls of the Hall of Bulls in Lascaux cave from past and future photographs. To better understand the vermiculation process, pictures need to be taken regularly, and the chemical composition of the thin water film covering cave walls needs to be analyzed with a similar time step. The correlation between the evolution of vermiculations, the humidification phases of the walls, temperature changes and the chemical monitoring of the water film should shed new light on conditions triggering vermiculations.