Goes to the heart of contemporary arguments about the "primitive" and the "modern" minds, and draws new social, anthropological, and ethnographic conclusions about the nature of ancient societies. How did ancient peoples—those living before written records—think? Were their thinking patterns fundamentally different from ours today? Researchers over the years have certainly believed so. Along with the Aborigines of Australia, the indigenous San people of southern Africa—among the last hunter-gatherer societies on Earth—became iconic representatives of all our distant ancestors and were viewed as either irrational fantasists or childlike, highly spiritual conservationists. Since the 1960s a new wave of research among the San and their world-famous rock art has overturned these misconceived ideas. Here, the great authority David Lewis-Williams and his colleague Sam Challis reveal how analysis of the rock paintings and engravings can be made to yield vital insights into San beliefs and ways of thought. This is possible because we possess comprehensive transcriptions, made in the nineteenth century, of interviews with San informants who were shown copies of the art and gave their interpretations of it. Using the analogy of the Rosetta Stone, the authors move back and forth between these San texts and the rock art, teasing out the subtle meanings behind both. The picture that emerges is very different from past analysis: this art is not a naive narrative of daily life but rather is imbued with power and religious depth.
Goes to the heart of contemporary arguments about the "primitive" and the "modern" minds, and draws new social, anthropological, and ethnographic conclusions about the nature of ancient societies.
Taking as his starting point the magnificent Linton panel in the Iziko-South African Museum in Cape Town, J. D. Lewis-Williams examines the artistic and cultural significance of rock art and how this art sheds light on how San image-makers ...
The implication of the management of indegenous living heritage: the case study of the Mongomi Wa Kolo rock paintings world heritage site, central Tanzania. South African Archaeological Bulletin 66 (193): 60-66. Campbell, A. and Coulson ...
Maggs, T. 1967. A quantitative analysis of the rock art from a sample area in the Western Cape. South African Journal of Science 63: 100–104. Mallen, L. 2004. Interpretations of selected images at LAB X rock art site, Maclear District, ...
Southern African rock art and beyond: A personal perspective. Time & Mind, 6(1), 41–48. Lewis-Willliams, J. D., & Challis, S. (2011). Deciphering ancient minds: The mystery of San Bushman rock art. London: Thames & Hudson.
Believing and Seeing: Symbolic Meanings in Southern San Rock Paintings. London: Academic Press. Lewis-Williams, J.D. “The thin red line: Southern San notions and rock paintings of supernatural potency”. South African Archaeological ...
Lewis-Williams has written an enormous amount on this. Lewis-Williams's books (for example, 1981; 1983; 1990; 2002a; 2002b; 2010; 2015; Clottes and Lewis-Williams 1998) are just a few samples of this magnificent corpus.
Diaz-Granados, C., and Duncan, J.R., 2000 The Petroglyphs and Pictographs of Missouri. Tuscaloosa: University of Alabama Press. Dowson, T.A., 1998 Rain in Bushman Belief, Politics and History: The RockArt of Rain-Making in the ...
It is a tableau that, once again, evokes a hunting rather than trancing scene, transformation by a hunter instead of tranceformation by a shaman. Notwithstanding Jolly's tranceformation-cast explanation for the complex therianthropic ...
J.D. Lewis-Williams is professor emeritus at the University of the Witwatersrand in Johannesburg, South Africa.