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Prehistoric Animation (In Artworks)

EnolaGaia

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Flickering firelight can impart a hint - or even an illusion - of movement to static artworks. Smaller artworks can be manipulated (e.g., rotated) to provide a crude form of animation analogous to flipbooks.

In recent decades archaeologists have increasingly wondered whether certain anomalous features in cave art indicate Paleolithic artists were incorporating animated visual effects into their artworks.
 
This 2015 article in Antiquity provides an overview of some of the evidence for, and interpretations of, clues suggesting animation may have been an objective in some prehistoric artworks. The complete PDF file for this article can be accessed at the link below.
Animation in Palaeolithic art: a pre-echo of cinema
Marc Aze ́ma1 & Florent Rive`re

Introduction
Palaeolithic art is thought to convey messages that may be naturalistic or allegorical in character, and both are the concern of the modern interpreter. The naturalist approach is “the consequence of the ever increasing meticulousness of archaeological research in all its aspects” (Clottes et al. 1994: 19). It is a compulsory methodological prerequisite in order to be able to discuss the likely use of allegory and symbolism.

Among the most important goals in this respect is the recognition that cave paintings were intended to represent both narrative and movement ... A hypothesis which appears to be increasingly shared by colleagues (Tosello 2003; Aujoulat 2004; Fritz & Tosello 2005, 2007; Begouen et al. 2009; Lorblanchet 2009, 2010).

Even if it is obvious that we will never be able to prove with certainty that the Palaeolithic artist wanted to represent movement or a sequence of movements, the experience we have today allows us to assert that this hypothesis is more and more likely. In the present study, building on more than two decades of investigation and enriched by studies of ethology, we present new examples of the use of narrative and the representation of movement, on both cave walls and mobiliary art.
SOURCE (For PDF File): https://www.cambridge.org/core/jour...ho-of-cinema/50BB05A3FDED8AC8CB5F5126249090F9
 
This new ScienceAlert article provides an updated overview of evidence and hypotheses regarding deliberate animation effects in prehistoric art.
The World's Oldest Animations Stretch All The Way Back to Cave Times

From France to Indonesia and Australia, ancient life is painted across the walls of darkened caves, seemingly motionless silhouettes in earthen colors that echo an earlier time.

But in recent years, archaeologists have imagined how these simple images may have captured moving scenes in ways we had perhaps overlooked. Animation, it seems, has its roots in ancient artworks.

Earlier this year, a series of stone engravings of strange animals with melded bodies reignited speculation about the earliest forms of animation. Using 3D models and virtual reality software to bring ancient etchings to life, the team of archeologists argued that the stone artworks might have been dynamic representations of animals in motion if viewed in firelight. ...

Another example lay for centuries covered in ash and dust in Shahr-e Sukhteh, an archaeological site in southeast Iran known as the 'Burnt City'. Here, researchers found an unassuming goblet bearing burnt red sketches of a jumping goat that springs to life when the vase is spun – much like a modern zoetrope of the 19th century.

In five sequential images, the horned goat jumps up to eat the leaves of a tree that might represent the Assyrian tree of life. But archeologists only recognized the drawings as a series of images years after the vase was unearthed in 1967. ...

Dating suggests the clay vase, currently on display at the National Museum of Iran, is around 5,200 years old, with some claiming it could be one of the oldest examples of animation. Although that might be contentious, at the very least Persian potters were mastering early concepts of animation and persistence of vision long before 19th-century inventors put two and two together. ...

Sprawling, graphic, and often chaotic narrative scenes captured movement with repeated sequences. For instance, the Grand Panneau of the Salle du Fond, an over 10-meter-long (33 feet) hunting scene found inside the Chauvet Cave in France, is filled with horses and bison and features cave lions that reappear to chase their prey along the wall. It has been dated to around 32,000 years old.

A 10-metre-long cave painting of horses, bison and cave lions, illuminated by light.
The Grand Panneau of the Salle du Fond at Chauvet Cave, with repeated sequences shown in boxes. (J. Clottes, Chauvet Science Team/Azéma & Rivère, 2012, Antiquity).
In Indonesia, some 12,000 years earlier, people on the island of Sulawesi painted panoramic scenes stretching across limestone walls depicting supernatural beings wrangling buffalo – in what is thought to be the oldest story ever found. ...

Split-motion sketches were also long ago used to capture moving body parts. These artworks, like the stone etchings, described earlier this year, superimpose animal forms that appear, at first, to have one too many heads or more legs than usual.

But ... these prehistoric drawings depict animals galloping along, tossing their head, or swatting their tails from side to side – akin to sequences seen in flipbooks. Sometimes barely sketched contour lines around the head or legs also convey a sense of motion. ...
FULL STORY: https://www.sciencealert.com/the-worlds-oldest-animations-stretch-all-the-way-back-to-cave-times
 
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