The Newest Uppity Stone-Age Venus

This lovely lady, we're told, was produced at least 35,000 years ago, which makes it one of the oldest known examples of human sculpture anywhere. She is tiny (only 6 cm [2.4"] tall) but, close-up, she sure packs a punch.


The World's First Uppity Venus?

Digging in a cave in southwestern Germany last fall, University of Tübingen archaeologist Nicholas Conard unearthed this new Venus -- named the Hohle Fels Venus after the cave where she was found. Conard tells the story of the discovery in this week's Nature magazine (behind the subscription barrier, but they do offer a tempting pair of video's to the public, cutely entitled Prehistoric pin-up) and it has already been widely picked up by the news media.

With headlines exactly as you'd expect:

Excavation in Germany turns up paleolithic porn: Welt Online English News

Sexy "Venus" may be oldest figurine yet discovered: Reuters Science News

PREHISTORIC PORN: The Huffington Post

Busty Figurine Likened to 'Paleolithic Playboy': Discovery Channel

The Earliest Pornography? by ScienceNOW Daily News -- who really should know better. Oh well, at least, they did put in a question mark.

But did they put the question mark in the right place?

Is the Hohle Fels Venus, as Dr Conard claims, the most ancient representation of the human form yet discovered?

And, thus, one of the oldest pieces of sculptures ever found?

If she is truly over 35,000 years old, that early date -- and her dramatically exaggerated breasts, big buttocks, and detailed, enlarged vulva -- would place her at the very beginning of the Venus line (see my earlier posts, with lots of illustrations: Uppity Stone-Age Venus I, Venus II, and Venus III).

This Venus, unhappily, never had a head, but instead has a carefully-carved ring on top which suggests that the tiny figurine may have hung as a pendant from a leather thong or cord. While most Venus statuettes have only the sketchiest extremities (arms, hands, legs, feet), her arms are solidly fleshy and her hands even have precisely carved fingers, with five digits clearly visible on the left hand and four on the right hand. Deeply incised horizontal lines mark the arms and bulging abdomen which might represent clothing or straps or (if I may suggest it) possibly tattoos.

She is carved from a single piece of mammoth-tusk ivory which the team put back together again from six broken pieces (only the left arm and shoulder are still missing). At the same cave site, the archaeologists had previously found miniature statues of a horse, diving waterfowl and a human-like lion with male sexual features. The bones of various animals, including cave bears, deer, rhinoceroses and horses, were also excavated. They attribute all of these finds, including the ancient Venus, to one of the earliest human populations in Europe — the Aurignacian culture (37,000-27,000 BP)— which would mean that figurative art is a phenomenon that arose soon after modern man arrived in Europe (and before Neanderthals went extinct).

"This confirms figurative imagery is part of the Aurignacian from day one," Conard says, and "it will radically change our view of the origins of Palaeolithic art." Before this, he noted, most carvings and cave drawings were of mammoths, horses and other animals. "It is the oldest example of figurative art in any class, making it all the more surprising that the figurine presents such a powerful, sexually aggressive image." And he explained:

'Before this discovery ... female imagery was entirely unknown. The figurines enlarged breasts, bloated belly and thighs also make clear that sexual symbolism was alive and well tens of thousand of years ago, Paul Mellars of the University of Cambridge, wrote in the [Nature] commentary. 'The feature of the newly discovered figure that will undoubtedly command most attention is its explicitly, almost aggressively, sexual nature, focused on the sexual characteristics of the female form, he wrote. 'Whichever way one views these representations, it is clear that the sexually symbolic dimension in European (and indeed worldwide) art has a long ancestry in the evolution of our species.

"It's at least as old as the world's oldest cave art," Mellars added, saying that viewers "can't avoid being struck by its very sexually explicit depiction of a woman. The breasts really jump out at you."

So, who should win the oldest crown?

Round One: Hohle Fels versus Willendorf

The find came almost 100 years to the day after the discovery in Austria of the "Venus of Willendorf," perhaps the most famous example of so-called Venus figurines that proliferated across Europe 20,000 to 25,000 years ago.



The Willendorf Venus was made of stone and about twice as big, but it also emphasized large breasts and a clearly carved vulva. Conard argues that his statuette is about 10,000 years older than the Willendorf piece and places it at the very start of the human advanced symbolic communication system -- a system which otherwise is known as 'art'.

Not only Willendorf. If Conard's dating is right, the Hohle Fels Venus was almost alone for at least 5,000 years. With one exception, all other Venus statuettes come from the Gravettian culture (27,000-23,000 BP). Conard admits that there are striking similarities between the Hohle Fels figurine and the later Venuses, which may be due to "a shared cultural tradition".

As archaeologists should remind themselves more often -- 5,000 years then is as long as 5,000 years now. A vast length of time.

So this cultural tradition would have had to span an immense number of actual years.

Round 2: Toppling "Dancing Fanny" from her throne



Until today, this 7.2 cm [2 1/2"] high green serpentine carving of a nude woman from Stratzinger Galgenberg (Lower Austria) was crowned as the "world's oldest sculpture of a woman".

Found in 1988, this extraordinary figurine, more formally known as the Galgenberg Venus, is posed as though in a ritual or dance position -- with one breast jutting out to the left, the other facing frontward; the vulva clearly indicated, the left arm raised, and the right hand resting on the thigh. Because of its moving, dancing attitude -- and not, I presume, because of its vulva -- its discoverers christened her "Fanny", after the famous Viennese dancer Fanny Elssler (pictured below).

She was discovered during rescue excavations of a camp site of palaeolithic hunters. Bones of horses and mammoths as well as antlers were found which yielded radiocarbon dates of approximately 32,000 years for the level where Fanny was found.

Round 3: The Chauvet Cave Pubic ▲

Another ex-record-holder for the oldest female image is this drawing (left) on a cave wall from the Chauvet Cave in southern France, dated at about 30,000-32,000 years old -- a cave thought to be the very "Birthplace of Art".*

This composition links the lower part of a woman's body with the head of a bison with a human arm and hand (I've put in red arrows to mark those hard-to-see human elements). The bison figure has been described as "half-man, half-animal" and is nicknamed 'The Sorcerer' since its discovery.

Needless to say, I wonder how you sex a bison's head -- and why archaeologists are so sure this is a 'Sorcerer' and not a 'Sorceress'? But that's another story.

Back on topic, there may have once been a little more to the woman's body: the buttocks, too, might have been at least begun, and then deliberately obliterated by the superimposed bison being. Whatever was originally intended, a more emphatic statement of womanhood would be hard to find. And the same image -- pubic triangle with vulva -- is repeated five times in the Cauvet Cave, and these are the only indisputably human depictions in a cave otherwise filled with vivid pictures of mammoths, rhinoceroses, lions, bears, horses, and bisons.

What's wrong with this picture?

To put it mildly, the three supposedly earliest depictions of a woman -- Hohle Fels, "Dancing Fanny", and the pubic triangles of Chauvet Cave -- could hardly be more different one from another. The only one I'd put my money on, in truth, is the cave drawing. Why? Because it is notorious in archaeological excavations how easily such tiny objects as the two Venuses can slip down levels -- through snake holes, animal burrows, or because of later human activity -- to end up far below, in a level much earlier than when they were actually made.

I can't prove it, of course. Only ScienceNow put in a word of caution, citing archaeologist João Zilhão of Bristol University, who says "Conard is cherry-picking the best dates to reinforce his case that modern humans began creating art almost as soon as they arrived in Europe." On the contrary, he argues, the Hohle Fels figurine seems likely to be from about the same period as the other artifacts found in the German caves -- 5000 years after humans arrived in Europe.

For what it's worth, I agree.

In other words, and given the imprecision of our dating techniques, at roughly the same time when the whole line of Venuses began.

And maybe not even at the very starting line.



* Jean Clottes (ed.), Return to Chauvet Cave. Excavating the birthplace of Art: The First Full Report, Thames & Hudson, London.

This image of the famous Viennese dancer Fanny Elssler shows graphically why she was thought of when the excavators found the Galgenberg Venus. Even the pose is the same.

Photo from: http://libweb5.princeton.edu/visual_materials/delarue/Htmls/printsE.html

My thanks to Dienekes' Anthropology Blog for first alerting me to the new Hohle Fels figurine.

Photo credits

Hohle Fels Venus: H. Jensen/©University of Tübingen via ScienceNOW Daily News

Galgenberg Venus: Don Hitchcock 2008via Donsmaps.com

Chauvet Cave drawing: Return to Chauvet Cave, Ill. 162

An Uppity Stone-Age Venus (II) and an Hottentot Slave

Scroll down for Part I, or click on Uppity Venus I


Steatopygia is a genetic condition marked by an excess of fat on the buttocks, layers of fat that often extend down the front and sides of the thighs. In the modern world, it is common only among the females of certain African peoples, notably the Khoikhoi ('Hottentots'), San (Bushwomen), and Pygmies.

Internally, the buttocks of steatopygous women consist of masses of fat incorporated between criss-crossed sheets of connective tissue joined to one another in a regular manner.

How much rump is a big, fat rump?

The degree of steatopygia is recorded as the shortest distance between the deepest point in the hollow of the back and a plane, placed at right angles to the median sagittal,* just touching the most posterior point of the buttocks. Among the adult Kalahari Bushwomen, this averages 7.8 cm (3"), with a maximum of 11½ cm (4½") ; among Bushwomen of the Cape Province, a range of 7½ – 15 cm (3 – 6") has been measured.

Another way of looking at it is based on the sharpness of the angle between back and buttocks: steatopygia strictly speaking is diagnosed at an angle of about 90 degrees.

In that case, not even the famous Venus of Willendorf (above centre) qualifies as steatopygous. She -- and most other Venuses -- have an almost nymph-like angle of about 120 degrees between back and buttocks.

No matter. Enter scientists.

The Missing Link

Although Venus buttocks rarely stand at right angles, they are unarguably ample. As these figurines began to appear in the late 19th and early 20th centuries, they first stunned, then titillated Europeans. That voluptuous body shape was quickly linked to the steatopygia found among some African women and interpreted as evidence of an African influence on the Cro-Magnon (whitish) European culture.

The French archaeologist Edouard Piette** (1827-1906), a Palaeolithic pioneer, attributed the unusual condition of steatopygia that afflicted these Palaeolithic hunters to the presence of a Negroid race of Europe.

Needless to say, 'Negroid' and 'primitive' were easily conflated.

In this two-race theory, the Negroids were responsible for whatever appeared grotesque and savage, while more pleasing objects (such as the Lady with the Hood, pictured in a footnote below) were credited to the Cro-Magnons -- thus demonstrating a “search of beauty” by dead white males.

Although Piette admitted being puzzled by “racial differences within the collection of Venuses and the resemblance of some of them to African populations”(my italics), he was nonetheless certain that they were Negroid in origin. And he was equally certain that the figurines were meant “to be read literally as realistic depictions of human anatomy” since, as he said, all Paleolithic people were “profound realists [who] represented themselves [as they were] in engraving and sculpture.”

It's a pity Piette died before the Venus de Monpazier (right) was found in a newly-ploughed French field [Oo là là, elle est vraiment très française celle-là]: she would surely have been the proof of the pudding. Not only has she a decidedly right-angled bum but also the enlarged vulva characteristic of some steatopygous women as well. That is, she exhibits extreme labial hypertrophy, in which uncommonly long labia minora protrude from the outer lips (labia majora) of the vagina -- looking, when she stands, for all the world like a small penis, or, when reclining, as a dangling curtain of skin.

Such an 'unnatural' development in women is but a hop, skip and jump from proof of unbridled primitive sexuality.

Sex-Toys Я Us

After the first flush of European imperialism had run its course, race was out and sex moved in. The figurines were now understood as erotic objects used by Paleolithic men.

Sex and hunger were the two motives which influenced the entire mental life of the mammoth hunters and their productive art.

Strong male desires explained the origin of art: the Venuses were manufactured as erotic paraphernalia, providing pleasure to Paleolithic man during his meals . They also provided direct tactile and visual satisfaction. Art, in short, began as primitive pornography (or, if I may put it so, artefacts used with one hand).

The Dictionary of Medical Science agreed. In an essay written in 1819, a medical doctor wrote of black woman developing a voluptuousness and a degree of lascivity unknown to whites. He particularly stressed the consonance between the hideous form of the female Hottentot's physiognomy and sexual lasciviousness.

I would have thought that the desire to eat was unexceptional yet that, too, was brought into play:

"Among us [whites] the forehead is pushed forward, the mouth is pulled back as if we were destined to think rather than eat; the Negro has a shortened forehead and a mouth that is pushed forward as if he were made to eat instead of to think."

Enter the Hottentot Venus

This fetid stew of ultra-Negro savagery, primitive Negroids and sexual titillation was further stirred by a Khoikhoi woman named Saartjie Baartman -- the Hottentot Venus (left) -- who sailed into London in 1810.

The first time Saartjie Baartman was dragged out to squat before the mob at 225 Piccadilly, the show's promoters billed her genitals as resembling the skin that hangs from a turkey's throat. For several years, working-class Londoners crowded in to shout vulgarities at the protruding buttocks and large vulva of the unfortunate woman made famous across Europe as the "Hottentot Venus". The aristocracy were no less fascinated at what they saw as a sexual freak, but they had private showings.

The bizarre tale began in 1789, when Saartjie Baartman was born near the little village of Hankey on the Great Fish (Gamtoos) River in South Africa's Eastern Cape into the clan of Griqua people. The Griqua were called 'Hottentots' by the Dutch settlers, probably an onomatopoeic word imitating the clicking sounds of their language.

In her late teens, she migrated to Cape Town where she worked as a servant for a Boer farmer, Pieter Cezar. Colonial records show that in 1810 she was living in a small shack on his land when a British ship's doctor, William Dunlop, took an interest in her. He was fascinated by her large rump and genitalia -- exceptional even by Khoikhoi standards -- and was convinced he could capitalize on the prurient interest in primitive sexuality. Explorers of Africa had already spread stories about Hottentot women’s oversized buttocks and the mysterious 'Hottentot apron,' an enticing flap of skin covering the vaginal area.

Together with Pieter's brother Hendrik, Dunlop convinced the young woman to enter into a contract to sail with them to London, telling her that she would become rich by displaying her body. No doubt she saw the opportunity to live like the white colonialists in the Cape.

Baartman spent 4 years in London on display ostensibly for scientific purposes, but in truth as an extraordinary freak- show exhibit. In those days there was little distinction between zoological exhibitions and human freaks, whether women with hairy bodies and beards, or The Living Skeleton, or 'The Fattest Man on Earth' (weighing 700 lb., 317 kg), or a young lady measuring just 22½ inches tall (58 cm) whose stage name, the 'Sicilian Fairy', encapsulated both her size and frailty.

The supposedly excessive size of Baartman's buttocks and the 'Hottentot apron' fit the time perfectly. Her uncommon bum and genitals were an intellectually satisfying missing link between true (white) humans and the highest type of apes, the orang-utans.

Cezar advertised the show and billed Baartman as a “most correct specimen of her race.” The Hottentot Venus exhibition, which took place at 225 Egyptian Hall at the Piccadilly Circus, was instantly popular and inspired bawdy ballads and political cartoons (above left, two cartoon comments: "Oh! God Damn what roast beef!" and "Ah! how comical is nature."). A contemporary account describes how she was paraded on a "stage two feet high, along which she was led by her keeper and exhibited like a wild beast, being obliged to walk, stand or sit as he ordered."

Charles Matthews, comedian, who “was all his life a great sight-seer”, frequented the London neighbourhood in pursuit of the latest curiosities. Upon visiting Baartman:

He found her surrounded by many persons, some females! One pinched her; one
gentleman poked her with his cane; one lady employed her parasol to ascertain
that all was, as she called it, ‘nattral.’ This inhuman baiting the poor creature
bore with sullen indifference, except upon some provocation, when she seemed
inclined to resent brutality.... On these occasions it took all the authority of the
keeper to subdue her resentment.

The show also provoked outrage, as various witnesses described Baartman appearing nearly nude and being threatened with violence by her exhibitor. These complaints soon led to the intervention of the African Institution, an abolitionist organization that brought Hendrik Cezar to trial for practising slavery and public indecency. Baartman testified on her own behalf, but she did not corroborate stories of being held against her will and only complained about not having enough clothes to wear. The courts eventually dismissed the case but mandated that Cezar discontinue in the show’s indecency.

As a consequence, Cezar and Baartman moved to Paris in 1814, where she was abandoned (or sold) to a "showman of wild animals" at a travelling circus. The Hottentot Venus caused the same sensation in Paris as she had in London. When she was not being paraded for the hoi-polloi, Baartman was displayed at society functions.

It was at a ball for France's new establishment -- where she was dressed in nothing but a few feathers -- that Napoleon's surgeon general and founder of the disciplines of geology, paleontology, and comparative anatomy, Georges Cuvier, spotted her and claimed a scientific interest. Over the following year she was repeatedly studied by doctors and anthropologists, who invariably concluded that she was evidence of the superiority of the white race.

All this prodding and oogling took its toll on her, driving her into prostitution and alcoholism. She died in 1815, just five years after arriving in Europe. Descriptions of her death point to syphilis and tuberculosis as the cause. She was 25 years old.

Upon her death, Cuvier acquired her cadaver. Her body was first copied in a plaster-cast (right) and then dissected. In his 1817 scientific thesis, Histoire naturelle des mammifères, Cuvier unveiled the mystery of her 'apron' (which she had refused to display to him even when offered money) and compared her genitalia with those of apes, developing his theories on African women’s oversexed and subhuman status. Her bones were boiled and her brain and genitals bottled.

Her skeleton, pickled brain, and pickled sex organs were mounted for display and shown in the great Musée de l’Homme next to her naked plaster-cast -- the very first exhibits to be seen by a visitor in the foyer of the museum. She was only removed from public view in 1976.***

The Unexpected Palaeolithic Trilogy

Having allowed myself to be side-tracked by Saartjie Baartman's story, I don't have the heart to return to my little Palaeolithic female figurines for the moment. So we'll have to tackle the next great theory -- the figurines as objects used in fertility rites and rituals -- in a third post, when I also hope to bring the narrative up to our own time and, with any luck, to a conclusion.




* That is, the point at the top of the head dividing the body into left and right halves

** As it happens, the 'Treasures of Edouard Piette' are now being shown at the Musée des antiquités nationales, Saint-Germain-en-Laye, just outside Paris. The exhibition includes the Venus of Brassempouy (left)- also known as the "Lady with the Hood" (discovered by Piette) - being shown in its original form to the public for the first time. From 29 Nov. 2008 - 2 March 2009.

*** Some Africans never forgot Baartman. Nelson Mandela made a request to France in 1994 for her remains to be handed back. Her cause gained momentum amid post-apartheid South Africa's new awareness of tribal identity. All over the country, aboriginal peoples were asserting their heritage rights, claiming not only political and cultural recognition, but also the restitution of ancestral lands. Baartman's tribe, now recognized by the United Nations as an indigenous First Nation, won a victory for tribal recognition by securing the return of the 'Hottentot Venus' : in March 2002, the French Senate finally agreed to return Baartman’s remains—including her preserved organs—to her homeland. She was buried near her birthplace on the River Gamtoos on 9 August 2002, South African Women’s Day.

Some recommended resources for Saartjie Baartman: Reliable information and a nuanced historical discussion, with full references, in S. Qureshi, "Displaying Sara Baartman, the 'Hottentot Venus'"; a not-to-be-missed blog post (although somewhat historically shaky) at the Diary of an Anxious Black Woman; an article in the Guardian newspaper shortly before Baartman's repatriation; and some context on "Exhibiting 'Others' in the West".

Two books, neither entirely satisfactory, has since appeared.

Rachel Holmes, African Queen: The real life of the Hottentot Venus (Random House, 2007), reviewed by Caroline Elkins in the New York Times, "A Life Exposed":

It is difficult not to be propelled through “African Queen.” The story of Saartjie Baartman — the Hottentot Venus’s real name — is inherently fascinating, and littered with a diverse cast of highly unlikable characters....

Clifton Crais & Pamela Scully, Sarah Baartman and the Hottentot Venus: A ghost story and a biography (Princeton University, 2009) reviewed by Kathryn Hughes in the TLS 7 August 2009:

...lust for the racial "other", a sentimental desire to see on of Rousseau's noble savages in person, and a more generalized freak show hysteria all lay behind the storm of interest which the "Hottentot's" presence produced at every level of British culture.

Illustrations:

Centre top: Venus of Willendorf (Austria), discovered 1908.

Above left: one of the Kostienki Venuses (Russia), with woven breast ornament [back view of image in previous post].

Above right: one of the Gargarino Venuses (Ukraine), discovered in a house pit, 1926-1929.

Below right: Venus of Monpazier (France), discovered 1970.

Below left: Kostienki I Venus, discovered in 1936. Her head is covered with rows of shallow teeth cuts, depicting hair or a closely fitting head-dress. Engraved and relief lines on the chest and on the back. Mammoth's tusk.

Photographs of Saartjie Baartman and cartoons are available at various sites on the Internet.