Figure 4 Lion Man of the Hohlenstein-Stadel Cave, 40-35,000 B.C. First known figurative art. Ivory. Photo: Dagmar Hollmann/Wikimedia Commons, License: CC BY-SA 4.0
Zoomorphic Superhero: The First Figurative Artwork
Lion Man represents an important conceptual development: a human artist reflecting on humanity and creating art that served as a mirror of self-reflection. Lion Man is the earliest known, documented figurative artwork. It predates the animal paintings of Chauvet Caves by a few thousand years and was found in the Hohlenstein-Stadel Cave in Germany. The Lion Man is an ivory, zoomorphic (a deity that is part animal) sculpture and called mobiliary art because, at 12 inches high, it was transportable. Its most notable features are the lion head, the narrow, long body, the hanging arms, the penis sheath or cloth, the ears, the mane, and lastly the legs. Pieces of it were found through a few excavations and it has been assembled and reassembled a couple of times.
The posture with the slightly extended left leg is assuredly a standing or stepping man. Some scholars claim it is a woman because of the triangular-shaped crotch and lack of mane. I don't agree for several reasons: The pubic area is too pendulous to be symbolic of a vulva; the body's shape is narrow in the hips and has none of the curves and no breasts like other prehistoric female figurines; and the mane is especially noticeable, with an abundance of form around the shoulders and suggested under the neck. It more resembles a man in a lion costume, or skin. The features seem to hang down from the lion head, which could be an elaborate headdress/mask and wearing a cape-like lion skin. (It is fun to note that this lion-skin image anticipates the legendary Greek hero Hercules). The question is: Why has the artist depicted this man dressed up as a lion?
By looking at the recognizable features of Lion Man, we can assume that the artist would have already gone through the similar steps of observations as the Chauvet Cave painters—abstracting visual chaos and translating those observations into representational forms, proportions, and edges. But instead of depicting limited animal images, this artist was ready to incorporate a human subject matter, but yet not completely.
What Do I Want to Be
Was there an acknowledgment that our humanity was wanting in comparison to lions? Lions were the alpha predators. They were agile, athletic, cooperative, powerful, fearless, and part of a pride; indeed exemplars for comparatively weak human species. These humans knew that lions ruled, and one important question occurred to them: could they be more like lions? The mental evolution in that question is staggering. To go from observing and living in the moment to questioning “What do I want to be? Or what do I want to be more like?” This artist's answer was to create a zoomorphic sculpture—a man that is enacting a lion personae—hopefully acquiring the lion's magnificent attributes.
What could the purpose of the sculpture be? It seems reasonable that Lion Man represents a man-lion hero. Could the Lion Man be a talisman? Its portable size, 12 inches and lightweight, would make it possible for hunters to take it along with them on extended hunting trips. Could it serve as a promise that they will be successful in their future conquests? Would it goad and remind them to use all the lion's attributes? (It is plausible that women participated in hunts, but they would have had the physicality of young teenage boys rather than that of adult males; they would not have been competitive in the realm of brute force.) Or could it remind children and those at home that their fathers, uncles, and friends are as powerful as the most powerful animal? Whichever purpose it may serve, the sculpture, tangible and real, represents a concept of a human imbued with power—perhaps the first superhero?
Lion Man marks three changes in humanity: conceptual, anticipating future events, and having will. It shows humans taking the first steps towards being conceptually unique animals, allowing plenty of space in their brains to "see" and imagine adversaries and situations; and the first indication of the will to become rulers of the animal kingdom. These three things could not be accomplished through physical force, but through their minds making new connections. Tremendous new evolutionary powers! And this phenomenon was given to them through art.
There was still the problem of seeing lions, not humans, as the important force in the universe. Yet to come was for early humanity to shift their focus to unzoomorphic humans. This revolutionary first would be woman.
Venus: Talisman, Fertility, or Erotic Object?
Figure 5 Venus of Hohle Fels, 40-35,000 BC, 2.4 inches, mammoth ivory, Schelklingen, Germany. Smithsonian Institute.
A close contemporary sculpture to Lion Man is Venus of Hohle Fels, 40-35,000 BC, also ivory, also a mobiliary, and found in a cave of the same name near Schelklingen, Germany. Only 2.4 inches high it has similar features to Venus of Willendorf (below): rotund proportions, large breasts, prominent stomach and hips, and a detailed vulva. There is just a nub where the head would be. That could be intentional, but I think the sculpture is missing her head. Her large arms and hands are placed in a satisfied manner resting on her ribs just under her breasts. The breakthrough is that there is no zoomorphic element, it is fully a female nude torso, which I will discuss with the outstanding Venus of Willendorf.
Figure 6 Venus of Willendorf, 28,00 BC, 4 ⅜", limestone, Austria. Photo: Don Hitchcock, 2015.
About 10,000 years later, the Venus of Willendorf has surprisingly similar features as the Venus of Hohle Fels, just a little taller, at 4 ⅜ inches. It is made from limestone with a still-existent red ochre rub stain. An interesting detail is that the limestone was not local to where she was found, meaning that she was undoubtedly a mobiliary work, taken on trips through Europe. She is rotund with large, prominent breasts, stomach, and hips. The bellybutton, with its deep dimple, is the most accented element. The vulva, thighs and knees are outstandingly, arrestingly, realistic. Her head is a bit of mystery with its ball-like shape, and textured hair, braided? Lastly, we notice her small arms and her hands discreetly resting on her breasts.
The degree of skill and realism is exceptional, remembering she is less than five inches high. Notice the shift between the two legs. They give the feeling of being slightly coy. The breasts are beautifully sculpted. Their shape is full, natural, and giving a sense of gravity. There is a beautiful rhythm of folds of her main stomach, lower stomach, and vulva. She has soft rounded shoulders and prominent hips. She also displays a well-curved back and shapely butt.
All these anatomical features would be very noticeable to the sense of touch. I think the sculptor relied equally on touch, hence the voluptuous forms. We don't know if there were feet, and the hands are barely noticeable. They could have been worn down, or the sculptor chose them to be inconspicuous.
The head is the only part that doesn't make sense to me. There are no facial features, basically it is a ball. The upper part of the head could be braided hair but it could be serving the purpose of a knurl, a ridged nub, that would be handy to grip for a wig or mask attachment? Her face could have been painted on, as she still has remnants of red ochre that colored her skin. That would be impressive if she had the coloring of the Chauvet Cave paintings, a mixture of charcoal, ochres, and white highlights!
The sexual nature of the Venus of Willendorf cannot be understated. She would have fit perfectly in a human hand, with the prominent features being pronounced to sense of touch. Take a moment and imagine how she would feel in your hand, even though small, with your eyes closed, the projection of the breasts would be more than tangible. As well as all the curvy parts, even touching down between her legs would have felt surprisingly real. It is possible that the
accentuated breasts, hips, stomach, butt, and vulva and the lack of facial features and unnoticeable hands further the argument of her being an erotic object.
A Sexual Object
It is also important to think about what purpose she would serve as a talisman or as an amulet. A hunter going out on a several days' or weeks' journey would have missed the comfort and sensual warmth of his partner. This portable sculpture would have been a very powerful reminder of the reward waiting for him at home—a call to bear hardship, and symbol of good fortune. The heightened sexuality of the figurine would have also inspired thoughts of what the hunter would like to do sexually with his partner in the future. Art giving him the ability of imagining future events and actions, while also in the present feeling it is literally real (holding the object in his hand). Very similar to imagining future exploits through the powerful attributes of Lion Man, Venus of Willendorf would fill the same conceptual function—with the very important difference that the Venus was a depiction of a real woman, not a fanciful superhero lion character.
Thinking about the nonexistent face and unimportant hands, they might have been avoided because the artist had not yet the ability to make them equally convincing as the other parts such as the knees and breasts. The human face is light years ahead of any other human part in conveying the kaleidoscope of human emotions and thoughts, including the eyes being a window to the soul; that is not an empty metaphor. The hands are second in powerfully communicating thoughts and emotions. In prehistoric times the hands would have had a huge role in communication. Given the amazing complexity of human expression and the extraordinarily complex anatomy of face and hands, it is very reasonable to assume it was a bridge too far for the prehistoric sculptor. Which also makes sense for the lion's head of Lion Man, the artist wasn't ready to tackle a human head on the same level of craftsmanship.
A Future Representation of Motherhood
Venus of Willendorf was also undoubtedly a fertility object. The same accents on the breast, vulva, and the all important belly button dimple are highlighting the connections with breastfeeding, umbilical cord, and the delivery system for the baby. It is nice to think that she, the sculpture, equally served both functions as a celebration of our human nature. From the fertility perspective she also could serve as an example of the future for young women.
These prehistoric humans came a long way and have a surprisingly contemporary way of using art, we share much more in common with them than not. There are pitfalls and wondrous high points yet to come.
ELAINE RING
Reviewed in the United States on May 27, 2023
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Beautifully executed from its beginning glimpse of the artists' drawings in ancient caves to examples of extraordinary contemporary artists and their works.
Art, history, and how to experience the joy of life, all in one place.
Bravo, Michael
I love this chapter. Insightful.
This is so interesting; why have I never seen lion man, I wonder. I also thought you were on the right track with artists being hesitant to test their skill on a human countenance. Thanks for this excellent read!