. . . . however, the idea about institutions that judged and trained new artists: all idea that much as in Christian paintings, knowledge and conventions had been handed down. (This idea influenced other paleoartists, for example Charles R Knight who as in Figure 16.8 always depicted cave artists conversation or in an engagement with their fellows.) What kind of society had generated that kind of Institution? What role did the paints play in that society? In a slender popular book with amateurish drawings he made of scenes (beyond the bounds of history,” Breuil went step beyond Reinarch’s animalistic (spiritual unity” and presented the art as enabling a shamanistic rigual. In one scene (see figure 16.9), the human actors are covered in animal parts, other animals bears for example, have been speared and lie dying. An audience raptly observed the participants. This “hunting magic” would see the lead figure take over the animal. Notice also the sketch on the wall – the Breuil would call he God (at other times Horned Sorcerer) of the Les-Trois-Freres cave. ` Page 296
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Dinesh said: