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Amanda Crum writing in WebProNews reports that -
News out of France concerning Prehistoric cave drawings that were animated by torch-light is taking the art history world by storm, and has overwhelmed this artist to the point of awe.
The cave drawings were found by archaeologist Marc Azema and French artist Florent Rivere, who suggest that Palaeolithic artists who lived as long as 30,000 years ago used animation effects on cave walls, which explains the multiple heads and limbs on animals in the drawings. The images look superimposed until flickering torch-light is passed over them, giving them movement and creating a brief animation.
“Lascaux is the cave with the greatest number of cases of split-action movement by superimposition of successive images. Some 20 animals, principally horses, have the head, legs or tail multiplied,” Azéma said.
Reconstructed animation of a wild goat (Capra aegagrus) on a bowl discovered in a grave at the 5,200 year-old Burnt City in Iran
8 March 2008 CAIS News reports that -
The Cultural Heritage, Tourism and Handicrafts Organization (CHTHO) announced on Monday that it has recently completed the production of a documentary about the ancient Iranian earthenware bowl bearing the world’s oldest example of animation. Directed by Mohsen Ramezani, the 11-minute film gives viewers an introduction to the bowl, which was discovered in a grave at the 5200-year-old Burnt City by an Italian archaeological team in late 1970s. The artefact bears five images depicting a wild goat jumping up to eat the leaves of a tree, which the members of the team at that time had not recognised the relationship between the pictures.
Ancient Iranian earthenware bowl bearing possibly the world’s oldest example of animation
Several years later, Iranian archaeologist Dr Mansur Sadjadi, who became later appointed as the new director of the archaeological team working at the Burnt City discovered that the pictures formed a related series.
The ‘rolled-out’ image of a wild goat (Capra aegagrus) on the bowl
The image is a simple depiction of a tree and wild-goat (Capra aegagrus) also known as ‘Persian desert Ibex’, and since it is an indigenous animal to the region, it would naturally appear in the iconography of the Burnt City. The wild goat motif can be seen on Iranian pottery dating back to the 4th millennium BCE, as well as jewellery pieces especially among Cassite tribes of ancient Luristan. However, the oldest wild goat representation in Iran was discovered in Negaran Valley in Sardast region, 37 kilometers from Nahok village near Saravan back in 1999. The engraved painting of wild goat is part of an important collection of lithoglyphs dating back to 8000 BCE. However, wild goat representation with a tree is associated with Murkum, a mother goddess who was worshipped by all the Indo-Iranian women of the Haramosh valley in modern Pakistan, which culturally had closer ties with Indus and subsequently the Burnt City civilisations, than Mesopotamia, which could have influenced the ancient potter who made this unique piece.
Full article here. See also our earlier feature on Megalithic manga, cartoons and graphic novels: Part I below.
Although Roger Bland, keeper of portable antiquities and treasure at the British Museum, said they were excited about the chance to highlight the success of the scheme, the programmes will also inevitably revive the passionate debate about the ethics of metal detecting for antiquities, which some archaeologists regard as no better than looting.
Stonehenge by Hellman
Prof Mike Parker Pearson and the The Stonehenge Riverside Project’s new theory that, “Perhaps they [the builders of Stonehenge] saw this place as the centre of the world” and that -
Previous theories suggesting the great stone circle was inspired by ancient Egyptians or extra-terrestrials have been firmly rejected by researchers. “All the architectural influences for Stonehenge can be found in previous monuments and buildings within Britain, with origins in Wales and Scotland,” said Mr Parker Pearson. “In fact, Britain’s Neolithic people were isolated from the rest of Europe for centuries. “Britain may have become unified but there was no interest in interacting with people across the Channel.
Suggests to our interplanetary reporter that the new Stonehenge Visitor Centre could perhaps embrace, even improvise on this theory, by having stones from around the world built into the Visitor Centre itself or, alternatively, a discreet new circle created near the Centre that might act as a ‘modern place of pilgrimage’ and an alternative meeting place to the Stonehenge monument itself for those who gather there at certain times.
Standing stones from the Americas perhaps, and from the Arab world, Asia, Australia, Egypt, Europe and India to name but a few. Stones to unite the world… and beyond?
Above quote from BBC News Wiltshire.