THE DOMINANT THEME IN PREHISTORIC AND TRIBAL ART

Dear friends and colleagues,
 As you may be aware of, each assemblage of prehistoric and tribal art
has a dominant theme. What makes different cultures have different
dominant themes in their visual art? A forthcoming issue of EXPRESSION
quarterly journal will consider this stimulating issue.
Some ethnic groups focus their visual art on anthropomorphic figures,
others on animals, and others again on signs, symbols or ideograms.
Understanding the function of the dominant theme provides information
on the cultural identity of their makers. Recent research shows that
the dominant theme turns out to be a diagnostic element to define
their conceptual, economic and social background. It also awakens new
reflections on the issue of the “dominant issue”, which is a recurring
social pattern in every culture and every period.
Some well-known sites of prehistoric art display millenary sequences
of different phases showing changes in the dominant theme from one
period to another. In the rock art of Gobustan (Azerbaijan), of the
Kimberley and Arnhem Land (Australia) or of the Kondoa Province
(Tanzania), stratigraphic successions show flat changes in the
dominant theme, from one phase to the other. What is the meaning and
function of the dominant theme?
Why these changes? Visual art reflects the mind and soul of its
artist, and trends of his/her ethnic group. The dominant theme varies
but a dominant theme is always present, in every period, geographical
area and category of visual art. A practical example, regarding the
rock art of Tanzania, is presented in issue 18 of EXPRESSION quarterly
journal.
The dominant theme will not be the same in the frescoes of a Christian
church and in those of a Buddhist temple, though in both cases the
dominant theme will be that of anthropomorphic images. The ideograms
associated to the pictograms will clarify the different identities. In
the rock paintings of Early Hunters in the caves of Western Europe, in
Azerbaijan and in Tanzania the dominant theme is that of animals, but
the kind of fauna is not the same. The ideograms associated to the
pictograms present conceptual similarities in the three mentioned
areas.
 In prehistoric and tribal art each kind of economy is producing its
dominant themes. The study of cases may help clarifying the cognitive
system behind the function of the dominant themes. A step further will
be made in understanding the mind of the art-makers in different
societies.
Colleagues and friend are invited to elaborate this topic, on specific
cases and/or on general or comparative issues. Can you identify the
dominant theme of a tribal or prehistoric art group of your concern?
What is its meaning?
Should you be interested in sharing this experience please let us have
a short abstract of your proposed paper. The deadline for submitting
the full article is July 20, 2018.
We look forward to hearing from you.
Cordial regards,
Emmanuel Anati


Prof. Emmanuel Anati
President, Atelier Research Center for Conceptual Anthropology
Director, CISPE, Centro Internazionale di Studi Preistorici ed Etnologici
President, UISPP-CISENP, International Commission
Professor of Paleo-ethnology, (Ret) University of Lecce
Honorary President, Centro Camuno di Studi Preistorici


P.S.

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