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Is Palaeolithic cave art consistent with costly signalling theory? Lascaux as a test case

Gittins, Rhiannon; Pettitt, Paul

Is Palaeolithic cave art consistent with costly signalling theory? Lascaux as a test case Thumbnail


Authors

Rhiannon Gittins



Abstract

Several proponents of costly signalling theory (CST) have noted its potential for understanding prehistoric art. We use the Late Upper Palaeolithic art of Lascaux Cave (Dordogne, France) as a test case as to whether we may be able to identify an assertive, individual style in Palaeolithic art. The cave’s abundant images represent one of the most stunning examples of European Upper Palaeolithic cave art and, in terms of the material provisioning of the cave, demonstrable artistic skill, and difficulties accessing decorated areas, it represented a huge cost to its hunter-gatherer creators. But does it represent group cost or can any CST element be identified? We approach this question using several characteristics we regard as central to costly signalling, and explore the various ways by which this occurred within the cave. We conclude that it is best viewed as a group signal, and that no CST component can be identified.

Citation

Gittins, R., & Pettitt, P. (2017). Is Palaeolithic cave art consistent with costly signalling theory? Lascaux as a test case. World Archaeology, 49(4), 466-490. https://doi.org/10.1080/00438243.2017.1386590

Journal Article Type Article
Online Publication Date Oct 20, 2017
Publication Date 2017
Deposit Date Oct 26, 2017
Publicly Available Date Apr 20, 2019
Journal World Archaeology
Print ISSN 0043-8243
Electronic ISSN 1470-1375
Publisher Taylor and Francis Group
Peer Reviewed Peer Reviewed
Volume 49
Issue 4
Pages 466-490
DOI https://doi.org/10.1080/00438243.2017.1386590

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