لاسكو

لمعلومات عن Lascaux in the Corrèze department، انظر Lascaux, Corrèze.

Lascaux

موقع تراث عالمي حسب اليونسكو
Depiction of aurochs, horses and deer
الموقع	Montignac, France
جزء من	Prehistoric Sites and Decorated Caves of the Vézère Valley
السمات	Cultural: i, iii
مراجع	85-011
التدوين	1979 (3rd Session)
المساحة	34.34 ha (84+7⁄8 acres)
الإحداثيات	45°03′13″N 1°10′12″E
Location in the Dordogne لاسكو (فرنسا)

Lascaux
الاحداثيات	45°03′13″N 1°10′12″E

لاسكو Lascaux،هو من أشهر كهوف عصور ما قبل التاريخ في پيريگور Périg. يتميز بكثرة رسومه الجدارية وجمال نقوشه الفنية ولاسيما الرسوم التي تغطي جوانب هذا الكهف المهم. إن المدخل الحالي لهذا الكهف مدخل أرضي بسبب انهيار السقف الحجري الجيري. ويتضمن القسم العلوي من هذا الكهف الصور الجدارية الجانبية الجميلة والثمينة.

وقد أسهم كهف لاسكو في إغناء تاريخ الفن وفي تأسيس علم آثار ما قبل التاريخ. وإن ألوان صوره وبقاءها محفوظة أدهش المختصين ودفعهم إلى اتخاذ كل ما هو ضروري للمحافظة عليها. وجذبت جمالية هذه الروائع الفنية أنظار الفنانين، وأسهمت في تطوير الفن الحديث وإثراء تجربة كثير من فنانيه.

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 تاريخ

داخل كهف لاسكو.

Reproductions of some Lascaux artworks in Lascaux II

في 12 سبتمبر 1940، اِكتـُشِف مدخل كهف لاسكو مصادفة، وتعرفه الأب هنري بروي Henri Breuil وسجل رسمياً في سجل المباني التاريخية. وفي عام 1948 اتخذت التدابير الضرورية لاستقبال الجمهور وتلبية متطلباته المختلفة. وبدأ الاهتمام بدراسة رسوم هذا الكهف، وشروط المحافظة الطبيعية على صوره الجدارية المهمة. وبدأ الاهتمام بتفسير هذه الرسوم الجدارية وذلك بحسب مكانها في الكهف فوق طُنُف كورنيش cornice طبيعي على امتداد الصالات والممرات المختلفة على مسافة نحو مئة متر. فهناك صور جدارية توجد فقط في طارمة rotonde (بناء مستدير مقبب) تعرف باسم (قاعة الثيران الكبيرة)، وهناك صور جدارية في صالة تعرف باسم (صالة الصور)، وثمة نقوش ممسوحة.

On 12 September 1940, the entrance to the Lascaux Cave was discovered on the La Rochefoucauld-Montbel lands by 18-year-old Marcel Ravidat when his dog, Robot, investigated a hole left by an uprooted tree (Ravidat would embellish the story in later retellings, saying Robot had fallen into the cave.) Ravidat returned to the scene with three friends, Jacques Marsal, Georges Agnel, and Simon Coencas. They entered the cave through a 15-metre-deep (50-foot) shaft that they believed might be a legendary secret passage to the nearby Lascaux Manor. The teenagers discovered that the cave walls were covered with depictions of animals. Galleries that suggest continuity, context or simply represent a cavern were given names. Those include the Hall of the Bulls, the Passageway, the Shaft, the Nave, the Apse, and the Chamber of Felines. They returned along with the Abbé Henri Breuil on 21 September 1940; Breuil would make many sketches of the cave, some of which are used as study material today due to the extreme degradation of many of the paintings. Breuil was accompanied by Denis Peyrony, curator of Les eyzies (Prehistory Museum) at Les Eyzies, Jean Bouyssonie and Dr Cheynier.

The cave complex was opened to the public on 14 July 1948, and initial archaeological investigations began a year later, focusing on the Shaft. By 1955, carbon dioxide, heat, humidity, and other contaminants produced by 1,200 visitors per day had visibly damaged the paintings. As air condition deteriorated, fungi and lichen increasingly infested the walls. Consequently, the cave was closed to the public in 1963, the paintings were restored to their original state, and a monitoring system on a daily basis was introduced.

 النـُسـَخ

Part of Lascaux IV

Conservation problems in the original cave have made the creation of replicas more important.

 Lascaux II

Lascaux II, an exact copy of the Great Hall of the Bulls and the Painted Gallery was displayed at the Grand Palais in Paris, before being displayed from 1983 in the cave's vicinity (about 200 m or 660 ft away from the original cave), a compromise and attempt to present an impression of the paintings' scale and composition for the public without harming the originals. A full range of Lascaux's parietal art is presented a few kilometres from the site at the Centre of Prehistoric Art, Le Parc du Thot, where there are also live animals representing ice-age fauna.

The paintings for this site were duplicated with the same type of materials (such as iron oxide, charcoal, and ochre) which were believed to be used 19,000 years ago. Other facsimiles of Lascaux have also been produced over the years.

 Lascaux III

Lascaux III is a series of five exact reproductions of the cave art (the Nave and Shaft) that, since 2012, have been exhibited in various countries, allowing knowledge of Lascaux to be shared widely, far away from the original.

 Lascaux IV

Lascaux IV is the latest replica, in real scale, of the integrality of the cave of Lascaux. Situated on the same hill overlooking Montignac, and 400 m from the original site, it is part of the International Centre for Parietal Art (Centre International de l'Art Pariétal) that was inaugurated in December 2016. The museum, built by Snøhetta, integrates digital technology, workshops and films into adjacent display rooms.

 الوضع الجغرافي

يقع كهف لاسكو Lascaux في فرنسا قرب دوردون Dordogne في منتنياك Montignac على ضفة نهر ڤزير Vézère اليسرى. Before joining the Dordogne River near Limeuil, the Vézère flows in a south-westerly direction. At its centre point, the river's course is marked by a series of meanders flanked by high limestone cliffs that determine the landscape. Upstream from this steep-sloped relief, near Montignac and in the vicinity of Lascaux, the contours of the land soften considerably; the valley floor widens, and the banks of the river lose their steepness.

The Lascaux valley is located some distance from the major concentrations of decorated caves and inhabited sites, most of which were discovered further downstream. In the environs of the village of Eyzies-de-Tayac Sireuil, there are no fewer than 37 decorated caves and shelters, as well as an even greater number of habitation sites from the Upper Paleolithic, located in the open, beneath a sheltering overhang, or at the entrance to one of the area's karst cavities. This is the highest concentration in Europe.

 الصور

Aurochs

Megaloceros.

Cave painting of a dun horse (equine) at Lascaux

رسومات لحيوانات مختلفة على جدران كهف لاسكو

تعود صور كهف لاسكو ورسومه ونقوشه إلى العصر الحجري القديم الأعلى (المجدلاني القديم) مما يدل على أهميته زمنياً وفنياً وجمالياً، وقد حدد الكربون 14 carbone 14 (عنصر يستخدم لتحديد عمر الحفريات) تاريـخ هذه الصور بين [[15000]]-13500 ق.م.

أوضحت دراسة هذه الصور والرسوم والنقوش عدم التجانس فيما بينها، وعدم وجود ترابط تقاني وطرازي وأسلوبي. وأظهرت الدراسات والبحوث العلمية أن هذه الروائع الفنية القديمة المختلفة قد تمت من قبل ما يمكن أن يسمى مدارس فنية قديمة مختلفة. وقد ميز بروي اثنتين وعشرين مرحلة متتالية في صالة الثيران الكبيرة.

Over 900 can be identified as animals, and 605 of these have been precisely identified. Out of these images, there are 364 paintings of equines as well as 90 paintings of stags. Also represented are cattle and bison, each representing 4 to 5% of the images. A smattering of other images includes seven felines, a bird, a bear, a rhinoceros. In the deepest reaches of the cave, at the bottom of a 9m-deep well, the only human figure of the cave was depicted, in a strikingly different style. There are no images of reindeer, even though that was the principal source of food for the artists, and no image of fish either. Geometric images have also been found on the walls.

The most famous section of the cave is The Hall of the Bulls where bulls, equines, aurochs, stags, and the only bear in the cave are depicted. The four black bulls, or aurochs, are the dominant figures among the 36 animals represented here. One of the bulls is 5.2 metres (17 ft 1 in) long, the largest animal discovered so far in cave art. Additionally, the bulls appear to be in motion.

A painting referred to as "The Crossed Bison", found in the chamber called the Nave, is often submitted as an example of the skill of the Paleolithic cave painters. The crossed hind legs create the illusion that one leg is closer to the viewer than the other. This visual depth in the scene, enhanced by the three dimensional structure of the painted rock, demonstrates a highly sophisticated form of perspective which disappeared with the Magdalenian culture and would not re-emerge until the Italian Renaissance. As famously quoted by Picasso upon encountering paleolithic art: "we have learned nothing in twelve thousand years".

 Parietal representation

The Hall of the Bulls presents the most spectacular composition of Lascaux. Its calcite walls are not suitable for engraving, so it is only decorated with paintings, often of impressive dimensions: some are up to five metres long.

Two rows of aurochs face each other, two on one side and three on the other. The two aurochs on the north side are accompanied by about ten horses and a large enigmatic animal, with two straight lines on its forehead that earned it the nickname "unicorn". On the south side, three large aurochs are next to three smaller ones, painted red, as well as six small deer and the only bear in the cave, superimposed on the belly of an aurochs and difficult to read.

The Axial Diverticulum is also decorated with cattle and horses accompanied by deer and ibex. A drawing of a fleeing horse was brushed with manganese pencil 2.50 metres above the ground. Some animals are painted on the ceiling and seem to roll from one wall to the other. These representations, which required the use of scaffolding, are intertwined with many signs (sticks, dots, and rectangular signs).

The Passage has a highly degraded decoration, notably through air circulation.

The Nave has four groups of figures: the Empreinte panel, the Black Cow panel, the Deer swimming panel, and the Crossed Buffalo panel. These works are accompanied by many enigmatic geometric signs, including coloured checkers that H. Breuil called "coats of arms".

The Feline Diverticulum owes its name to a group of felines, one of which seems to urinate to mark its territory. Very difficult to access, one can see there engravings of wild animals of a rather naive style. There are also other animals associated with signs, including a representation of a horse seen from the front, exceptional in Paleolithic art where animals are generally represented in profiles or from a "twisted perspective".

The Apse contains more than a thousand engravings, some of which are superimposed on paintings, corresponding to animals and signs. There is the only reindeer represented in Lascaux.

The Well presents the most enigmatic scene of Lascaux: an ithyphallic man with a bird's head seems to lie on the ground, perhaps knocked down by a buffalo gutted by a spear; at his side is represented an elongated object surmounted by a bird, on the left a rhinoceros moves away. Various interpretations of what is represented have been offered. A horse is also present on the opposite wall. Two groups of signs are to be noted in this composition:

• between man and rhinos, three pairs of digitized punctuation marks found at the bottom of the Cat Diverticulum, in the most remote part of the cave;
• under man and bison, a complex barbed sign that can be found almost identically on other walls of the cave, and also on paddle points and on the sandstone lamp found nearby.

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 تفسير الصور

استطاع گلوري A.Glory أن يتعرف ست طبقات جدارية رئيسة متتالية وفق الآتي:

• التخطيطات البدائية (من العصر الأول).
• رسوم الخيول بلون أسود واحد (من العصر الثاني).
• رسوم الخيول المتعددة الألوان، الحيوان الخرافي ليكورن وحيد القرن (من العصر الثالث).
• رسوم الثيران الكبيرة التخطيطية بلون أسود (من العصر الرابع).
• رسوم الغزلان وحيدة اللون الأحمر، والمتعددة الألوان ذات القوائم القاسية والقرون المتناظرة (من العصر الخامس).
• رسوم الأبقار الحمراء بقرون متناظرة (من العصر السادس).

وأوضحت البحوث والدراسات المختلفة تنوع التقانات الفنية في إبداع هذه الصور والرسوم الجدارية المختلفة:

• الطريقة الكلاسية: تخطيط الخطوط، لون من أصباغ، نموذج مجسم.نفذت بالريشة وغيرها.
• طريقة رش الألوان بالفم وغيره…
• طريقة استخدام الأنبوب المفرغ مثل عظم طائر، غصن قصب…

ومن مشاهد هذه الصور والرسوم الجدارية صورة ثور جريح يسحق رجلاً، وحصان جريح أصابته سهام بجراح، وثور ضخم، وخيول تعدو، وبيزون bisons (بقر وحشي).

ويُقدَّر عدد نقوش الكهف بأكثر من ثلاثمئة نقش على الجوانب. وكان تخطيط الموضوع بالمنقاش يسبق وضع اللون الذي يعلوه، وقد عثر في الكهف مصادفة على أدوات أثرية وذلك في أثناء تنقيبات بروي وبلان Blanc وأخيراً گلوري (1952- 1966) مثل: المنقاش والمكشط والنصلة والسراج والصفائح الحجرية الجيرية.

وذهب بعضهم في تفسير هذه الصور والرسوم والنقوش اعتماداً على وظيفة الفن السحرية والاعتقاد بأن ذلك الفنان الساحر يجد في رسمه قوة سحرية من شأنها القبض على ذلك الحيوان وامتلاكه. وذهب باحثون آخرون مثل آندريه لوروا غورهان André Leroi-Gourhan إلى نفي نظرية صلة الفن بالسحر؛ لأن كثيراً من رسوم الحيوانات وصورها تخلو من النصال والسهام.

 التهديدات

بلغ عدد زائري كهف لاسكو نحو مئة وعشرين ألف زائر سنوياً مما يدل على أهمية هذا الاكتشاف ومدى إسهامه في تنشيط السياحة. فقد أثار اكتشاف كهف لاسكو ورسومه الجدارية ونقوشه المختلفة سرور واهتمام الأوساط العلمية المختلفة وعشاق السياحة والسفر. كما أثار مشكلة المحافظة عليه وعلى صوره الجدارية ونقوشه المختلفة؛ فجَعلت له أبواباً برونزية.

 انظر أيضا

• ألتاميرا (كهف)
• فن ما قبل التاريخ
• List of archaeological sites by country
• قائمة الكهوف
• رسم الكهوف

 قراءات للإستزادة

• Curtis, Gregory (2006). The Cave Painters: Probing the Mysteries of the World's First Artists. New York, New York, USA: Knopf. ISBN 1-4000-4348-4{{cite book}}: CS1 maint: postscript (link)
• Lewis-Williams, David (2004). The Mind in the Cave: Consciousness and the Origins of Art. Thames and Hudson. ISBN 0-500-28465-2{{cite book}}: CS1 maint: postscript (link)
• Bataille, Georges (2005). The Cradle of Humanity: Prehistoric Art and Culture. New York, New York: Zone Books. ISBN 1-890951-55-2{{cite book}}: CS1 maint: postscript (link)
• Joseph Nechvatal, Immersive Excess in the Apse of Lascaux, Technonoetic Arts 3, no3. 2005
• B.et G. Delluc (dir.), Le Livre du Jubilé de Lascaux 1940-1990, Société historique et archéologique du Périgord, supplément au tome CXVII, 1990, 155 p., ill.
• B. et G. Delluc, 2003 : Lascaux retrouvé. Les recherches de l'abbé André Glory, Pilote 24 édition, 368 p., ill.
• B. et G. Delluc, 2006 : Discovering Lascaux, Sud Ouest, nouvelle édition entièrement revue et très augmentée, 80 p., ill. plans et coupe.
• B. et G. Delluc, 2008 : Dictionnaire de Lascaux, Sud Ouest, Bordeaux. Plus de 600 entrées et illustrations. Bibliographie (450 références). ISBN 978-2-87901-877-5.
• B. et G. Delluc, 2010 : Lascaux et la guerre. Une galerie de portraits, Bull. de la Soc. historique et arch. du Périgord, CXXXVI, 2e livraison, 40 p., ill., bibliographie.
• A. Glory, 2008 : Les recherches à Lascaux (1952-1963). Documents recueillis et présentés par B. et G. Delluc, XXXIXe suppl. à Gallia-Préhistoire, CNRS, Paris.
• Joseph Nechvatal, 2011: Immersion Into Noise, University of Michigan Library's Scholarly Publishing Office. Ann Arbor.

 وصلات خارجية

• Official website
• The microbiology of Lascaux Cave
• Lascaux Cave Art Symposium The Bradshaw Foundation
• Human Timeline (Interactive) – Smithsonian, National Museum of Natural History (August 2016).
• Discussion of paintings by Janina Ramirez and Alice Roberts: Art Detective Podcast, 8 February 2017