Probably the First Fully Visually Satisfying Interactive eBook
posted by Jeremy Norman @ 11:59 AM
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posted by Jeremy Norman @ 11:59 AM
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posted by Jeremy Norman @ 12:28 PM
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"[Apologies for cross-posting]
"http://go.bibliosexuality.org/rss) or email ( http://go.bibliosexuality.org/email).
"http://go.bibliosexuality.org/twitter) or Tumblr ( http://go.bibliosexuality.org/tumblr).
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posted by Jeremy Norman @ 4:42 PM
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posted by Jeremy Norman @ 7:42 AM
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posted by Jeremy Norman @ 10:35 PM
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Those of you who check out the From Cave Paintings to the Internet Database that I am building as a hobby know that my interest in the history of information includes prehistory and the history of art. In my forthcoming book on the Discovery of the Stone Age one of the topics covered is the history of the discovery of prehistoric art. Thus the recent discoveries by Nicholas Conard and his team caught my attention. Here is an entry from the database (circa 38,000-33,000 BCE):
"Despite well over 100 years of research and debate, the origins of art remain contentious. In recent years, abstract depictions have been documented at southern African sites dating to approx 75 kyr [75,000 years] before present (bp) and the earliest figurative art, which is often seen as an important proxy for advanced symbolic communication, has been documented in Europe as dating to between 30 and 40 kyr [30-40,000 years before present]. Here I report the discovery of a female mammoth-ivory figurine in the basal Aurignacian deposit at Hohle Fels Cave in the Swabian Jura of southwestern Germany during excavations in 2008. This figurine was produced at least 35,000 calendar years ago, making it one of the oldest known examples of figurative art. This discovery predates the well-known Venuses from the Gravettian culture by at least 5,000 years and radically changes our views of the context and meaning of the earliest Palaeolithic art" (Nicholas J. Conard, "A female figurine from the basal Aurignacian of Hohle Fels Cave in southwestern Germany," Nature, 459, 248-252 (14 May 2009) | doi:10.1038/nature07995).
You can watch a Nature video presentation on this discovery by American archaeologist Nicholas Conard from the department of Early Prehistory and Quaternary Ecology, University of Tübingen, at: http://www.nature.com/nature/videoarchive/prehistoricpinup/, (accessed 05-14-2009.)
The small figurine has been called The Venus of Schelklingen (Venus of Hohle Fels). was found near Schelklingen, Germany. Belonging to the early Aurignacian, at the very beginning of the Upper Paleolithic and the earliest presence of Homo sapiens (Cro-Magnon) in Europe, "the discovery of the Venus of Schelklingen pushes back the date of the oldest prehistoric sculpture, and the oldest known figurative art altogether, by several millennia, establishing that works of art were being produced throughout the Aurignacian.
"The figurine was discovered in September 2008 in a cave called Hohle Fels (Swabian German for "hollow rock") near Schelklingen, some 15 kilometres (9 mi) west of Ulm, Baden-Württemberg, Germany, by a team from the University of Tübingen led by Prof. Nicholas Conard, who reported their find in Nature.
"The figurine, made of a mammoth tusk, is a representation of the female body, putting emphasis on the vulva and the breasts, and is consequently assumed to be an amulet related to fertility. In place of the head, the figurine has a perforation so that it could be worn as a pendant. Archaeologist John J. Shea suggests it would have taken "tens if not hundreds of hours" to carve. The figurine was found in the cave hall, about 20 metres (66 ft) from the entrance, and about 3 metres (10 ft) below the current ground level. It was broken into fragments, of which six have been recovered, with the left arm and shoulder still missing" (Wikipedia article on Venus of Schelklingen, accessed 05-14-2009).
• In 2003 Nicholas Conard reported the discovery of a carved waterbird looking something like a diving cormorant, and a carved horse head from the same Hohle Fels cave. These are thought to date from 31,000 to 28,000 BCE:
N.J. Conard, "Palaeolithic ivory sculptures from southwestern Germany and the origins of figurative art," Nature 426 (2003) 830–832.
posted by Jeremy Norman @ 8:14 AM
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posted by Jeremy Norman @ 2:14 PM
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The Visigothic-Mozarabic Bible of St. Isidore, also known as the Biblia de León was completed in the Monastery of Valeránica, Spain on June 19, 960 by Iberian Christians who lived under Moorish Muslim rule in Al-Andalus, the portions of the Iberian Peninsula governed by Muslims at various times in the period between 711 and 1492. It is considered the best-documented Mozarabic bible as it includes the names and portraits of its scribe, Sancho, and its miniaturist, Florencio. The codex contains all the books of the Old and New Testaments, as well as prologues, biblical commentaries and other texts, written in lowercase visigothic-mozarabic lettering with initial capital letters in the interlaced Saxon style and decorated with biblical scenes and roundels. Annotated in both Arabic and Latin, it is preserved in the Cathedral of León.
Florencio's miniature paintings in this work "offered new departures in pictorial art, blending elements originating in Saxon, Visigothic, and Islamic art with new features from Carolingian sources"(http://www.omifacsimiles.com/brochures/bib_leon.html)
On April 20, 2009 the following notice appeared in Artdaily.org:
"Several experts from the world of art have stated that there is an extraordinary likeness between the figures that appear in the Guernica painted by the artist and those in a Mozarabic Bible from the 10th Century, which is housed in the Cathedral in Leon, to the point where it has been discarded that it was fruit of a coincidence. This Bible was exhibited in Barcelona in 1929 and in Paris in 1937, a time when the Cubist genius could have discovered the expressionist drawings that appear in the medieval text, according to the head of the Cathedral of Leon Museum, Máximo Gómez Rascón.
"Several experts consulted by news agency EFE arrived at the same conclusion and base it on the relative aspects of the double view, in front and to the side, of the figures in the painting, as well as in the horse and the bull.
"In this way, the director of the museum, has explained that the similarities are seen especially in the bull, which in the Bible symbolizes Saint Luke and which is “almost exactly” as the one that Picasso painted on Guernica.
"The similarity also manifests itself in the horse’s head that appears in the painting and, to a lesser extent, in the faces of the persons, as well as some of the profiles that also allude to the ones appearing in the bible.
"It has been pointed out that in the bible there is also a lion, with its tongue out, whose face and expression are very similar to the horse that appears in Guernica, or to the one that has a type of knife coming out of its mouth.
"The head of the museum has discarded the idea that the similarities are fruit of a coincidence and is convinced that Picasso “without a doubt” had seen this bible, which was created by Deacon John in 920 [sic] and written in parchment with Visigothic letters.
"Even though that during those times codices were illustrated with those kinds of symbols, Gómez Rascón has emphasized the singularity with the one in Leon, one of the most important from that era.
"Painter Benito Escarpizo, former professor from the School of Applied Arts in Leon, is completely convinced: 'If the similarities are enormous in the painting, they are even greater in the sketches' " (http://www.artdaily.org/index.asp?int_sec=2&int_new=30316).
posted by Jeremy Norman @ 8:42 AM
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