Jaroff, Leon (1997 թ․ հունիսի 2). «Etched in Stone». Time. Արխիվացված է օրիգինալից 2013 թ․ փետրվարի 4-ին. Վերցված է 2008 թ․ հոկտեմբերի 7-ին. «Wildlife and humans tend to get equal billing in African rock art. (In the caves of western Europe, by contrast, pictures of animals cover the walls and human figures are rare.) In southern Africa, home to the San, or Bushmen, many of the rock scenes depicting people interpret the rituals and hallucinations of the shamans who still dominate the San culture today. Among the most evocative images are those believed to represent shamans deep in trance: a reclining, antelope-headed man surrounded by imaginary beasts, for example, or an insect-like humanoid covered with wild decorations.»
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D. L. Hoffmann; C. D. Standish; M. García-Diez; P. B. Pettitt; J. A. Milton; J. Zilhão; J. J. Alcolea-González; P. Cantalejo-Duarte; H. Collado; R. de Balbín; M. Lorblanchet; J. Ramos-Muñoz; G.-Ch. Weniger; A. W. G. Pike (2018). «U-Th dating of carbonate crusts reveals Neandertal origin of Iberian cave art». Science. 359 (6378): 912–915. doi:10.1126/science.aap7778. PMID29472483.
"we present dating results for three sites in Spain that show that cave art emerged in Iberia substantially earlier than previously thought. Uranium-thorium (U-Th) dates on carbonate crusts overlying paintings provide minimum
ages for a red linear motif in La Pasiega (Cantabria), a hand stencil in Maltravieso (Extremadura), and red-painted speleothems in Ardales (Andalucía). Collectively, these results show that cave art in Iberia is older than 64.8 thousand years (ka). This cave art is the earliest dated so far and predates, by at least 20 ka, the arrival of modern humans in Europe, which implies Neandertal authorship."
Valladas, Helene (2003 թ․ սեպտեմբերի 1). «Direct radiocarbon dating of prehistoric cave paintings by accelerator mass spectrometry». Measurement Science and Technology. 14 (9): 1487–1492. doi:10.1088/0957-0233/14/9/301.
Pettitt, Paul (2008 թ․ նոյեմբերի 1). «Art and the Middle-to-Upper Paleolithic transition in Europe: Comments on the archaeological arguments for an early Upper Paleolithic antiquity of the Grotte Chauvet art». Journal of Human Evolution. 55 (5): 908–917. doi:10.1016/j.jhevol.2008.04.003. PMID18678392.
Aubert, M.; և այլք: (2014). «Pleistocene cave art from Sulawesi, Indonesia». Nature. 514 (7521): 223–227. doi:10.1038/nature13422. PMID25297435. S2CID2725838. «using uranium-series dating of coralloid speleothems directly associated with 12 human hand stencils and two figurative animal depictions from seven cave sites in the Maros karsts of Sulawesi, we show that rock art traditions on this Indonesian island are at least compatible in age with the oldest European art. The earliest dated image from Maros, with a minimum age of 39.9 kyr, is now the oldest known hand stencil in the world.»
Clottes, Jean (2002 թ․ հոկտեմբեր). «Chauvet Cave (ca. 30,000 B.C.)». Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Վերցված է 2013 թ․ մայիսի 11-ին.
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D. L. Hoffmann; C. D. Standish; M. García-Diez; P. B. Pettitt; J. A. Milton; J. Zilhão; J. J. Alcolea-González; P. Cantalejo-Duarte; H. Collado; R. de Balbín; M. Lorblanchet; J. Ramos-Muñoz; G.-Ch. Weniger; A. W. G. Pike (2018). «U-Th dating of carbonate crusts reveals Neandertal origin of Iberian cave art». Science. 359 (6378): 912–915. doi:10.1126/science.aap7778. PMID29472483.
"we present dating results for three sites in Spain that show that cave art emerged in Iberia substantially earlier than previously thought. Uranium-thorium (U-Th) dates on carbonate crusts overlying paintings provide minimum
ages for a red linear motif in La Pasiega (Cantabria), a hand stencil in Maltravieso (Extremadura), and red-painted speleothems in Ardales (Andalucía). Collectively, these results show that cave art in Iberia is older than 64.8 thousand years (ka). This cave art is the earliest dated so far and predates, by at least 20 ka, the arrival of modern humans in Europe, which implies Neandertal authorship."
Pettitt, Paul (2008 թ․ նոյեմբերի 1). «Art and the Middle-to-Upper Paleolithic transition in Europe: Comments on the archaeological arguments for an early Upper Paleolithic antiquity of the Grotte Chauvet art». Journal of Human Evolution. 55 (5): 908–917. doi:10.1016/j.jhevol.2008.04.003. PMID18678392.
Aubert, M.; և այլք: (2014). «Pleistocene cave art from Sulawesi, Indonesia». Nature. 514 (7521): 223–227. doi:10.1038/nature13422. PMID25297435. S2CID2725838. «using uranium-series dating of coralloid speleothems directly associated with 12 human hand stencils and two figurative animal depictions from seven cave sites in the Maros karsts of Sulawesi, we show that rock art traditions on this Indonesian island are at least compatible in age with the oldest European art. The earliest dated image from Maros, with a minimum age of 39.9 kyr, is now the oldest known hand stencil in the world.»
Aubert, M.; և այլք: (2014). «Pleistocene cave art from Sulawesi, Indonesia». Nature. 514 (7521): 223–227. doi:10.1038/nature13422. PMID25297435. S2CID2725838. «using uranium-series dating of coralloid speleothems directly associated with 12 human hand stencils and two figurative animal depictions from seven cave sites in the Maros karsts of Sulawesi, we show that rock art traditions on this Indonesian island are at least compatible in age with the oldest European art. The earliest dated image from Maros, with a minimum age of 39.9 kyr, is now the oldest known hand stencil in the world.»
Jaroff, Leon (1997 թ․ հունիսի 2). «Etched in Stone». Time. Արխիվացված է օրիգինալից 2013 թ․ փետրվարի 4-ին. Վերցված է 2008 թ․ հոկտեմբերի 7-ին. «Wildlife and humans tend to get equal billing in African rock art. (In the caves of western Europe, by contrast, pictures of animals cover the walls and human figures are rare.) In southern Africa, home to the San, or Bushmen, many of the rock scenes depicting people interpret the rituals and hallucinations of the shamans who still dominate the San culture today. Among the most evocative images are those believed to represent shamans deep in trance: a reclining, antelope-headed man surrounded by imaginary beasts, for example, or an insect-like humanoid covered with wild decorations.»