Wentworth Personal 250pc Zimbabwe Rock Art Tessellation Cut IMG_9897
The image shows the hind legs and tail of the polychrome giraffe. The running men are on a lower layer and older than the giraffe. This portion of the Nswatugi Cave frieze features on the cover of The Hunter's Vision - The Prehistoric Art of Zimbabwe by Peter Garlake. I would really recommend this book as a fascinating exploration of an ancient artistic tradition. This is an extract from his obituary in The Standard:
www.thestandard.co.zw/2011/12/31/obituary-peter-garlake-1...
Peter Storr Garlake, archaeologist and architect. Born January 11, 1934. Died December 2, 2011 ...
Garlake returned to Zimbabwe after Independence and was reportedly disappointed at not being offered the top post in the National Museums & Monuments. However, he went on to lecture at the History Department at the University of Zimbabwe in 1984, a year before a full archaeology programme was set up. After his losing a complete manuscript on Zimbabwean Archaeology to a fire at his Borrowdale homestead in the late 1980s, Garlake shifted his focus again: this time to Zimbabwe’s diverse rock art. Building on his earlier work The Painted Caves (1987), it was to culminate in his 1995 treatise, The Hunter’s Vision.
This he regarded as his magnum opus and it established Zimbabwean rock art in a field of its own. Garlake popularised it with lecture tours to the US and Europe where he would speak from a lifelike cave of paintings that had been meticulously traced and re-created on a paper mache wall. Drawing on many of the symbolic interpretations of Prof David Lewis-Williams and the trance experience, Garlake went further to draw his own conclusions.
He said there was more to the shamanism of the San people as there was something deeper in the art when it came to the wider religious experience. He hypothesized that “formlings” – oval-shaped images unique to Zimbabwe rock art – were an abstract representation of the physical manifestation of “potency”, which he argued guides the worldview of San people.
Following publication of The Hunter’s Vision, he took up rose growing, delivering his produce to florists around Harare. Increasingly he started to divide his time between Harare and London, and published his final book, Early Art and Architecture of Africa, in 2002..."
You can read more about Garlake's book (including my review) here:
www.amazon.co.uk/The-Hunters-Vision-Prehistoric-Cambridge...
Wentworth Personal 250pc Zimbabwe Rock Art Tessellation Cut IMG_9897
The image shows the hind legs and tail of the polychrome giraffe. The running men are on a lower layer and older than the giraffe. This portion of the Nswatugi Cave frieze features on the cover of The Hunter's Vision - The Prehistoric Art of Zimbabwe by Peter Garlake. I would really recommend this book as a fascinating exploration of an ancient artistic tradition. This is an extract from his obituary in The Standard:
www.thestandard.co.zw/2011/12/31/obituary-peter-garlake-1...
Peter Storr Garlake, archaeologist and architect. Born January 11, 1934. Died December 2, 2011 ...
Garlake returned to Zimbabwe after Independence and was reportedly disappointed at not being offered the top post in the National Museums & Monuments. However, he went on to lecture at the History Department at the University of Zimbabwe in 1984, a year before a full archaeology programme was set up. After his losing a complete manuscript on Zimbabwean Archaeology to a fire at his Borrowdale homestead in the late 1980s, Garlake shifted his focus again: this time to Zimbabwe’s diverse rock art. Building on his earlier work The Painted Caves (1987), it was to culminate in his 1995 treatise, The Hunter’s Vision.
This he regarded as his magnum opus and it established Zimbabwean rock art in a field of its own. Garlake popularised it with lecture tours to the US and Europe where he would speak from a lifelike cave of paintings that had been meticulously traced and re-created on a paper mache wall. Drawing on many of the symbolic interpretations of Prof David Lewis-Williams and the trance experience, Garlake went further to draw his own conclusions.
He said there was more to the shamanism of the San people as there was something deeper in the art when it came to the wider religious experience. He hypothesized that “formlings” – oval-shaped images unique to Zimbabwe rock art – were an abstract representation of the physical manifestation of “potency”, which he argued guides the worldview of San people.
Following publication of The Hunter’s Vision, he took up rose growing, delivering his produce to florists around Harare. Increasingly he started to divide his time between Harare and London, and published his final book, Early Art and Architecture of Africa, in 2002..."
You can read more about Garlake's book (including my review) here:
www.amazon.co.uk/The-Hunters-Vision-Prehistoric-Cambridge...