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Unit 1 · Topic 1.1

1.1 Cultural Influences on Prehistoric Art

Prehistoric art was made by people who left no writing, so the objects themselves are your main evidence for how those communities lived and what they valued. This topic uses three works from three continents, the Apollo 11 stones, the Ambum stone and the Tlatilco female figurine, to show how art reflects a way of life, from mobile hunting bands to settled farming villages.

Key terms

  • Paleolithic
  • Neolithic
  • hunter-gatherer
  • settled (sedentary) society
  • figurine
  • archaeological context

Two big stages of prehistory

"Prehistoric" means before writing, not before art. The art in this unit spans more than 25,000 years, so it helps to know two broad stages.

The Paleolithic (Old Stone Age) is the long period when people lived by hunting animals and gathering wild plants. Hunter-gatherers moved with the seasons, so most of what they made was small and portable, or painted on rock where they sheltered. The Neolithic (New Stone Age) begins when a community starts farming and herding. That happened at different times in different places: around 10,000 BCE in Southwest Asia, later elsewhere. Farming let people stay in one place, which is called a settled or sedentary society. Settled people could make heavy pottery, large stone monuments and more permanent buildings.

The CED dates are often wide ranges, like 1200–900 BCE, because they come from archaeology rather than written records. Learn each work's date as the CED prints it.

WorkWhere and when (CED)MaterialWay of life
Apollo 11 stonesNamibia, c. 25,500–25,300 BCECharcoal on stonePaleolithic hunter-gatherers
The Ambum stoneAmbum Valley, Enga Province, Papua New Guinea, c. 1500 BCEGreywackeEarly farming communities in the highlands
Tlatilco female figurineCentral Mexico, site of Tlatilco, 1200–900 BCECeramicSettled farming village

Apollo 11 stones (Namibia)

These are small, flat stone slabs painted with animals in charcoal (the CED's medium), found in a rock shelter in the Huns Mountains of southern Namibia. The archaeologist who excavated the cave in 1969 named it Apollo 11 because the dig was going on when the Apollo 11 astronauts landed on the moon. They are among the oldest known figurative paintings in Africa. Figurative means the images show recognizable things, here animals, rather than just patterns.

Each animal is shown in profile, the side view that makes a four-legged animal easiest to recognize. One slab shows a cat-like animal whose back legs look human. Many scholars connect figures that blend human and animal to the beliefs of much later San rock artists in southern Africa, where such figures are linked to spiritual leaders in trance. That link is a theory across a gap of thousands of years, so present it as one interpretation.

Context matters: these are portable slabs left in a living site, not paintings on a cave wall. They show that hunter-gatherers in Africa were making images tens of thousands of years ago, which corrects an older, Europe-centered story that art began in the French and Spanish caves.

The Ambum stone (Papua New Guinea)

This small carving, about 20 cm tall, is made of greywacke, a hard, dark sandstone. It shows an animal-like creature with a large head, a long snout and a rounded body that sits on a wide base. Scholars have suggested it may represent the embryo of a long-beaked echidna (a spiny, egg-laying mammal of New Guinea), but no one knows for sure.

Its shape, with a narrower part you can grip and a heavy base, suggests it may have worked as a pestle for pounding food or other materials. Carving hard stone with stone tools also took great effort, which suggests the object mattered beyond everyday use, so many scholars think it had a ritual role too. Later Enga people who found ancient carved stones like this one treated them as powerful objects linked to ancestors and spirits, used in rituals for fertility and well-being. So the stone tells you two stories: the culture that made it about 3,500 years ago, and the later community that gave it new meaning.

Tlatilco female figurine (central Mexico)

Tlatilco was a farming village in the Valley of Mexico. Archaeologists found hundreds of small clay figurines there, many placed in graves. The required figurine is a standing female figure with wide hips and thighs, a narrow waist and small, simplified arms. Her most striking feature is her face: she has two faces that share three eyes, a kind of doubling seen in other Tlatilco figures.

Because figures like this were buried with the dead, scholars connect them to beliefs about death, fertility and renewal. The doubled face is often read as duality, the idea that the world is made of paired opposites such as life and death, an idea important in later Mesoamerican religion. Some scholars think the figurines show people performing rituals, perhaps in masks. Her emphasis on the hips and thighs fits the view that female figurines celebrated fertility, a central concern in a farming community.

Fired clay itself is a clue to a settled life: pottery is heavy and breakable, so it suits people who stay in one place.

Worked examples

Try each one yourself first, then open the solution.

  1. Example 1

    Explaining how context shaped a prehistoric work

    Identify the Tlatilco female figurine with at least two identifiers. Then explain one way the community that made it shaped its form or function.

    Show the solution
    1. Step 1: Give identifiers the CED uses: culture or site (Tlatilco, central Mexico), date (1200–900 BCE) and material (ceramic). Two accurate ones earn the identification point; more is safer.
    2. Step 2: Pick one feature of the context, such as the fact that Tlatilco was a settled farming village and that figurines were placed in graves.
    3. Step 3: Link that context to something you can see: the wide hips and thighs, or the doubled face. Use 'because' to make the connection explicit.
    4. Step 4: Hedge where scholars hedge. Say 'scholars often read' rather than stating a meaning as fact.

    Answer: Model answer: The Tlatilco female figurine is a ceramic figure from the site of Tlatilco in central Mexico, made about 1200–900 BCE. Tlatilco was a settled farming village, and the figurine's exaggerated hips and thighs are often read as a celebration of fertility, which mattered to people whose survival depended on crops and growing families. Because figures like it were placed in graves, scholars also connect its doubled face, two faces sharing three eyes, to ideas of duality such as life and death.

Common mistakes

  • Calling the Apollo 11 stones cave paintings. They are portable painted slabs found in a rock shelter, not images on a cave wall.
  • Stating a meaning as fact. For the Ambum stone and the Tlatilco figurine, the purpose is inferred from evidence, so write 'may have', 'scholars suggest' or 'is often interpreted as'.
  • Treating 'Neolithic' as a single date everywhere. It names a way of life (farming and settlement) that began at different times in different regions.
  • Mixing up the Ambum stone's material. The CED gives greywacke, a hard sandstone, not jade or clay.

On the exam

  • Expect multiple-choice questions that show one of these works and ask about its material, its date range or what its form suggests about the people who made it.
  • On an essay that asks you to choose a work, Unit 1 works are a safe pick for themes like the human figure, ritual or the natural world, but learn at least two identifiers for each one.
  • When a question asks about interpretation, name the evidence (find spot, burial, material, wear) behind the theory. That is what earns the reasoning point.

Connected topics

Videos

Check yourself: 1.1 Cultural Influences on Prehistoric Art

5 questions on 1.1 Cultural Influences on Prehistoric Art. Pick an answer to see if you got it, and why.

Work not shown here

Apollo 11 stones

Namibia (Middle Stone Age) · c. 25,500–25,300 BCE

Charcoal on stone. Apollo 11 Cave, Namibia (State Museum of Namibia, Windhoek).

Several flat, hand-sized slabs of grey-brown stone found buried in a rock shelter in southern Namibia. On the best-known slab, an animal is drawn in black charcoal: a four-legged body like a big cat, with what look like human back legs and possibly horns. They are among the oldest known figurative artworks in Africa.

It's still under copyright, so we describe it instead of showing it. See it on the museum's site

Seven slabs of stone with animal figures drawn in charcoal were found in a rock shelter in southwestern Namibia. The slabs are small enough to carry, and the figures are shown in profile, without any ground line or setting.

Question 1 of 5

The Apollo 11 stones differ most from the paintings in the Great Hall of the Bulls at Lascaux in that the stones are

Question 2 of 5

Scholars can date the Apollo 11 stones to about 25,500–25,300 BCE mainly because

Question 3 of 5

On the best-known Apollo 11 stone, the animal has a cat-like body but what may be human back legs. Some scholars therefore suggest that it

Work not shown here

Tlatilco female figurine

Central Mexico, site of Tlatilco · 1200–900 BCE

Ceramic. Princeton University Art Museum (this example).

A small fired-clay figure of a nude woman, only about 4 inches tall, with a pinched-in waist, very wide hips and thick thighs, short stubby arms and small feet. Her head is doubled: two faces share a single central eye, so she has three eyes, two noses and two mouths. Traces of red and yellow paint remain on the face and on the carefully incised hair.

It's still under copyright, so we describe it instead of showing it. See it on the museum's site

A small ceramic figure of a woman has wide hips, thick thighs, a narrow waist and short arms. Her head is doubled: two faces share a single central eye, so she has three eyes in all. Many figurines like her were found in burials at a farming village in the Valley of Mexico.

Question 4 of 5

Which interpretation of the figurine's doubled face is most consistent with the evidence?

Question 5 of 5

The figurine was made in a settled village rather than by mobile hunter-gatherers. Which feature of the work best reflects that setting?

0 of 5 answered