A Cosmos In Stone: Interpreting Religion and Society Through Rock Art [Paperback]

David J. Lewis-Williams (Author), J. David Lewis-Williams (Author)

Book Description

Series: Archaeology of Religion | Publication Date: May 15, 2002

J. David Lewis-Williams is world renowned for his work on the rock art of Southern Africa. In this volume, Lewis-Williams describes the key steps in his evolving journey to understand these images painted on stone. He describes the development of technical methods of interpreting rock paintings of the 1970s, shows how a growing understanding of San mythology, cosmology, and ethnography helped decode the complex paintings, and traces the development of neuropsychological models for understanding the relationship between belief systems and rock art. The author then applies his theories to the famous rock paintings of prehistoric Western Europe in an attempt to develop a comprehensive theory of rock art. For students of rock art, archaeology, ethnography, comparative religion, and art history, Lewis-Williams' book will be a provocative read and an important reference.

Editorial Reviews

Review

The ideas of David Lewis-Williams, director of the Rock Art Research Institute at the University of Witwatersrand, have had a profound impact on rock art studies in southern Africa, and more recently, on the interpretation of Upper Paleolithic art...The book brings together the development of Lewis-Williams's thoughts about rock art, published between 1972-1997...A Cosmos in Stone is a valuable source for students of rock art... (Lawrence H. Robbins American Antiquity, Vol. 69, No. 1, 2004 )

Individuals with an interest in the extensive rock art found on the Northwest Coast should consider A Cosmos in Stone indispensable. (Amanda Adams The Midden )

This volume is a compilation of David Lewis-Williams’ seminal papers. Though his data are primarily the rock art of the San (bushmen) of southern Africa and the cave art of the European Paleolithic, this book equally is about archaeological method and especially theory. Even more, it represents an intellectual achievement of the greatest historical importance. In these papers Lewis-Williams bridges the longest-lived divide in our western intellectual tradition, the opposition between science, religion and art, showing how science is necessary to understand art and religion, and how any apprehension of human social life likewise must foreground the importance of religion and art. (Whitley, David S. )

About the Author

J. David Lewis-Williams is Director of the Rock Art Research Institute at University of Witwatersrand, South Africa, and is known internationally for his studies of South African rock art.

Product Details

• Paperback: 304 pages
• Publisher: Altamira Press (May 15, 2002)
• Language: English
• ISBN-10: 0759101965
• ISBN-13: 978-0759101968
• Product Dimensions: 9.2 x 6.3 x 0.8 inches
• Shipping Weight: 1.2 pounds (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #486,966 in Books (See Top 100 in Books)

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

Most Helpful Customer Reviews

20 of 21 people found the following review helpful:

5.0 out of 5 stars Brushing aside the veil, September 30, 2006

By 

Stephen A. Haines (Ottawa, Ontario Canada) - See all my reviews
(VINE VOICE)    (HALL OF FAME REVIEWER)    (REAL NAME)   

This review is from: A Cosmos In Stone: Interpreting Religion and Society Through Rock Art (Hardcover)

This collection of articles outlines the development of a new idea. For many years, the "meaning" of prehistoric cave paintings and "rock art" defied scholars. Many theses were advanced, ranging from humans with an aesthetic sense - "art for art's sake", through "hunting magic" to "structuralism" - using images to portray "universal duality". These proposals almost universally dealt with the astounding images found in places like Lascaux in France or Altamira in Spain. In short, a Eurocentric focus. Australian images were lightly considered, but Aborigine art seemed too mystical to fit the perceived patterns. African rock art, although more numerous in examples, remained mostly ignored by researchers.

David Lewis Williams spent many years examining San rock paintings. Underlying the images was a large collection of ethnographic data accumulated over the previous century. Bringing the two together, he formulated a rational explanation of what the images imparted. His conclusion, cogently formulated and explained here, underlies the understanding of how humans developed the idea of a "spirit world". That idea is reflected in how San society was structured and how that arrangement has persisted into today's world. To the author, San society combined roles for the individual and the group. The individuals each had various levels of the ability to engage in the spiritual world. The barrier between that world and the human one was the rock face. Through various forms of sensory deprivation, certain individuals could conjure images, human, other animals and theriantropic [humans with animal characteristics], which were imparted on the rock surfaces. The configuration of the rock provided elements used in the images - a spine, an eye or other anatomical features. In this way, the "veil" between the spirit and real worlds became "transparent". The best imagers were elevated in the society to become healers and diviners - the "shaman" now well established in hunter-gatherer societies. In shamans, we have the precursors of today's priesthoods and "moral guides".

Lewis Williams presents each of the essays in an historical context. He explains the various "schools" of thought dealing with cave and rock art, showing how these fail to incorporate what the society producing them might have been like. He's careful to disclaim any detailed knowledge of ancient cultures, but does point out the universality of the conditions leading to the mysterious images. Historically, Anthropology was beset by a number of "movements" in which theory often proved insufficient, and precise data collection and collation offered little in the way of insights. The author, with a wealth of such data at his disposal, gives a fuller view of what the data implies in a cultural context. The gains made in cognitive studies over the past two generations granted him the opportunity to merge not only data and theories in a social framework, but to resolve many issues outstanding in many fields. His narrative gains additional continuity with introductory and "Retrospect" concluding comments. These smooth the steps presented to the reader by each main essay by dealing further with the issues raised and how some have been resolved.

Numerous copies of the rock art images superbly enhance the author's texts. The eland, a particularly noteworthy animal in San society, is credited with imparting "power" to the shamans and other individuals. In fact, instead of the "hunting magic" thesis which explained cave art as hopefully conjuring the animals for hunters to take, the eland is imaged after it's killed. The eland provided powers through its breath, fat and blood. The "breath" was taken by inhaling at the animal's mouth; the fat and blood were smeared over the shaman's body. Blood was a major element in shamanist ceremonies. The illustrations show how the dance-inspired trance was often accompanied by nasal bleeding of the dancers. Among other uses, the blood was used in treating the group's sick members. Lewis Williams traces the progression of image types from simple geometrics, commonly indicated by those who have undergone laboratory experiments in sensory deprivation to the complex and often bizarre renditions of animal subjects. The more involved images, he notes, were likely painted after the trance state, perhaps even dictated to an artist with better skills than the shaman. Nor, he reminds us, need these be done by men alone. Among the San, women were participants in the dancing ceremonies, and had many of the same visions. Gender specificity need not be assumed in rock art activities.

This volume is a major step in explaining not only how rock art was accomplished, but in how human societies began developing hierarchical arrangements. The shaman, exhibiting special powers, clearly assumed a significant role. They may have collaborated with the hunters in various ways, beginning the "church-state" alignments characteristic of later societies. To be able to follow the progression of ideas leading to this innovative concept is a special treat. Few researchers have taken the trouble to detail how a novel approach has been achieved. Anthropology plays a special role in understanding our roots. With this series of essays, we have an outline of how a once enigmatic phenomenon underlies many of our traditions and cultural norms. [stephen a. haines - Ottawa, Canada]