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J. David Lewis-Williams
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Mind in the Cave: Consciousness and the Origins of Art Reprint Edition, Kindle Edition

by David Lewis-Williams (Author) Format: Kindle Edition
4.5 4.5 out of 5 stars 216 ratings
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The breathtakingly beautiful art created deep inside the caves of western Europe has the power to dazzle even the most jaded observers.


Emerging from the narrow underground passages into the chambers of caves such as Lascaux, Chauvet, and Altamira, visitors are confronted with symbols, patterns, and depictions of bison, woolly mammoths, ibexes, and other animals.



Since its discovery, cave art has provoked great curiosity about why it appeared when and where it did, how it was made, and what it meant to the communities that created it. David Lewis-Williams proposes that the explanation for this lies in the evolution of the human mind. Cro-Magnons, unlike the Neanderthals, possessed a more advanced neurological makeup that enabled them to experience shamanistic trances and vivid mental imagery. It became important for people to "fix," or paint, these images on cave walls, which they perceived as the membrane between their world and the spirit world from which the visions came. Over time, new social distinctions developed as individuals exploited their hallucinations for personal advancement, and the first truly modern society emerged.



Illuminating glimpses into the ancient mind are skillfully interwoven here with the still-evolving story of modern-day cave discoveries and research. The Mind in the Cave is a superb piece of detective work, casting light on the darkest mysteries of our earliest ancestors while strengthening our wonder at their aesthetic achievements.
Previous page
  1. ISBN-13
    978-0500284650
  2. Edition
    Reprint
  3. Sticky notes
    On Kindle Scribe
  4. Publisher
    Thames & Hudson
  5. Publication date
    April 17, 2004
  6. Language
    English
  7. File size
    5808 KB
  8. See all details
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Editorial Reviews

From Publishers Weekly

In attempting to discern how Paleolithic Homo sapiens "became human and in the process began to make art," Lewis-Williams, an emeritus art historian at a Johannesburg university, focuses on the glorious but mysterious cave painting of western Europe, made between 45,000 and 10,000 years ago. Lewis-Williams has two main hypotheses: the first contends that mankind could only engage in image-making upon developing "fully modern consciousness," or an ability to process mental images in a variety of manners. The second argument insists that cave painting was a byproduct of religious belief and helped maintain a society with strict class distinctions. Recent research findings in the fields of archeology, anthropology and neuropsychology, among other social and physical sciences, bear upon the elaboration of these two ideas in the first two thirds of the book, while the final third details the author's interpretations of the animal and geometric imagery found in such sites as France's Lascaux and Gabillou caves. Having presented the science supporting his views of prehistoric images, Lewis-Williams is particularly winning as he subtly reveals his devotion to the art and people he attempts to explain. He is sensitive to those who "saw real things, real spirit animals and beings, real transformations" on cave walls. While writing about our forebears of tens of millennia ago, the scholar rightly suggests important similarities between the functions of art in the Paleolithic and current eras. Now, as then, he argues, images maintain spiritual power; art can still have a direct impact on social relations, leading to unity or division.
Copyright 2002 Reed Business Information, Inc.

From Library Journal

For the last 30 years, Lewis-Williams (Rock Art Research Inst., Univ. of Witwatersrand, Johannesburg) has written books and articles about rock art produced by the San (Bushmen) of South Africa and the Cro-Magnon of Upper Paleolithic Europe. This recent work, mainly focused on wall and ceiling art in French and Spanish caves, recalls The Shamans of Prehistory: Trance and Magic in the Painted Caves, which he coauthored with Jean Clottes. That book was considered an important contribution to the field, if not the last word on the subject. That assessment applies here as well, but for the current volume Lewis-Williams has brought in more scholarly methodology and up-to-date research to develop his premise that some of the paintings were produced by shamans who aimed to "fix" on the underworld "membrane" of the cave walls what they experienced in states of altered consciousness. He discusses the development of various theories, past and present, about rock art, Paleolithic peoples, shamanism in hunter-gatherer societies, neurology, and higher-order consciousness. This insightful work could fit in a number of categories-art, archaeology, anthropology, history, early religion, psychology-and is recommended for both academic and public libraries.
Anne Marie Lane, Univ. of Wyoming, Laramie Munhall, Edgar. Greuze the Draftsman.
Copyright 2002 Reed Business Information, Inc.

Product details

  • ASIN ‏ : ‎ B005VS3ROM
  • Publisher ‏ : ‎ Thames & Hudson; Reprint edition (April 17, 2004)
  • Publication date ‏ : ‎ April 17, 2004
  • Language ‏ : ‎ English
  • File size ‏ : ‎ 5808 KB
  • Text-to-Speech ‏ : ‎ Enabled
  • Screen Reader ‏ : ‎ Supported
  • Enhanced typesetting ‏ : ‎ Enabled
  • X-Ray ‏ : ‎ Not Enabled
  • Word Wise ‏ : ‎ Not Enabled
  • Sticky notes ‏ : ‎ On Kindle Scribe
  • Print length ‏ : ‎ 451 pages
  • Customer Reviews:
    4.5 4.5 out of 5 stars 216 ratings

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J. David Lewis-Williams

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Customer reviews

4.5 out of 5 stars
4.5 out of 5
216 global ratings

Top reviews from the United States

Rodulf
5.0 out of 5 stars I don't understand the hostility directed at this...
Reviewed in the United States on December 25, 2013
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For someone such as myself, having little scientific training but very interested in understanding our long ago ancestors, this book is awesome. Do I agree with everything in it? No, of course. But the basic premise, that most cave art was produced by people undergoing hallucinations, would seem to me beyond debate. We will never know the exact reasons for these paintings but we can be sure of the universal mind states that produced them.
The hostility that I'm addressing seems to be focused on the image on page 140, a San rock art piece. The San people are recognized as some of the most non-violent on Earth. Their culture, and harsh lifestyle, result in very little interpersonal violence. The image in question is seen by Lewis-Williams as a dance scene. Some of you see a violent attack. We can never know, absolutely, what this scene depicts. But I don't see this having any bearing on the core issue of the book. The San people have been persecuted mercilessly by other Black Africans for at least a thousand years. Surely at some point even a basically non-violent people will throw a spear in self-defense. Does this affect the basic investigation of Lewis-Williams into trance-state art? I don't see how, other than to show that anyone, entranced or not, can get pissed off enough to stick a spear in your gut. And, since the San see disease as arrows, darts, etc. sticking into a victims body, there is at least an argument that that is indeed what is depicted here.
In any event, if you are seeking a psychological/spiritual contact with our European ancestors and want to understand how they may have thought and produced such art, then this is a very good book to study. If you are seeking to emulate these mind states, as I am, it is invaluable.
30 people found this helpful
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G. Joy Robins
5.0 out of 5 stars Anatomically and Mentally Modern Humans
Reviewed in the United States on June 29, 2003
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David Lewis-Williams has developed a unique insight into the early modern humans that painted the caves of Europe. He reasons that being modern anatomically, the function of their minds that were dependent on brain anatomy must also have been comparable to ours. He makes an excellent case that what we call "altered states of consciousness" were used by ancient shamans to access the spirit world and to interpret it to others in their culture. It is not the real world that is illustrated on the cave walls, but visions and halucinations obtained in various levels of trance. All members of the community could relate to those visions because of common experiences like dreams. For the shamans, this was a source of personal and political power and signaled a stratification of society. The author's ideas are communicated persuasively and interestingly. He makes us think without ever becoming ponderous.
19 people found this helpful
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Paul Nguyen
4.0 out of 5 stars This book ruined my life.
Reviewed in the United States on December 1, 2015
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Lewis-Williams explores the development of human consciousness and its relation to the origins of art, specifically paleolithic art. He introduces a variety of theories and speculates on how shamanism was responsible for the rise of image-making. He thoroughly goes over examples of cave art throughout the world and discusses different theories and addresses their faults. The ideas of Lewis-Williams are mostly speculation, as there is not much hard evidence in the realm of paleolithic art, but he does a good job of providing possible counter-arguments to different theories. He also draws ideas from other fields of science, including the neuroscience of the brain and stages of consciousness. The book is pretty interesting and coherent, although at times, a challenging and tedious read. There is some speculation and redundancy, which is forgivable because he introduces original ideas in the shallow field of paleolithic art.
One person found this helpful
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Juan M. Beltranena
5.0 out of 5 stars a great ride through human consciousness development .
Reviewed in the United States on December 22, 2014
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Lewis-williams writes here a detailed account of his theories that is a pleasure to read. Written without much fanfare, the book is direct, insightful and manages to evoke real scenarios in the early lives of early human societies. Once you get past the notion that these paintings were the product of a single individual, but that they required the participation of the entire group, it is easy to follow his case studies and draw parallels and reach conclusions. His cable vs. chain methodology of analysis provides a much broader context for understanding the whole of what was going in these days of caves. Great book!
4 people found this helpful
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Hydra
5.0 out of 5 stars Racist
Reviewed in the United States on April 19, 2021
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Brilliant discussion of the views that will inevitably lead to a racist and sexist worldview. Thoroughly documented and beautifully illustrated.
4 people found this helpful
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Lester M. Stacey
5.0 out of 5 stars fabulous!
Reviewed in the United States on April 1, 2013
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I agree with the other positive comments. In addition, I also noted that the author was not engaged in recruiting adoring fans. That is, this book is not about the author. It is not about his philosophy or ideology. Rather, this book is about risky vulnerabilities in human nervous systems.

THAT is a very good thing to be aware of.

I am so pleased that there is a sequel:  Inside the Neolithic Mind: Consciousness, Cosmos and the Realm of the Gods . I look forward to enjoying it as well.
6 people found this helpful
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John Caron
4.0 out of 5 stars The Origins of "Art"
Reviewed in the United States on June 29, 2012
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Lewis-Williams makes a well-reasoned and supported argument that the origins of Paleolithic image making lies in shamanism and altered states of consciousness. It is not "art for art's sake." His book is not an easy read; you need to think it through. But doing so rewards you with a new understanding of the various hypotheses on the beginnings of Upper Paleolithic images. His presentations of alternative theories is objective and thorough. The book primarily focuses on parietal images ("cave art") in Western Europe but he draws on the ethnography of the Americas, Africa, and other areas to support and explain his thesis. I highly recommend the book.
One person found this helpful
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R. Kallet
5.0 out of 5 stars This book is a wonderful and thought-provoking explanation of how and why humans developed ...
Reviewed in the United States on November 13, 2016
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Theoretical cultural anthropology is an intriguing but precarious topic. This book is a wonderful and thought-provoking explanation of how and why humans developed art. It's also a great companion book to Chris Singer's "Long Survivor" which I also highly recommend. You will not be able to think about yourself and where you came from in the same light as before.
One person found this helpful
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Top reviews from other countries

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Guilherme de Figueiredo Cavalheri
5.0 out of 5 stars Preço imbatível e entrega recorde!
Reviewed in Brazil on April 5, 2019
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Produto chegou antes do prazo e por um preço promocional inacreditável, parabéns!
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Mattia Frigerio
5.0 out of 5 stars Beautiful and fascinating
Reviewed in Italy on December 22, 2017
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I can't review this book.
It's so much more than I can hope that I don't know how to praise it accordingly.
The knowledge in here is great, and the writing is good, interesting and not shallow. It's deep, and it flows effortlessly to the reader. Many facts are presented and some interpretations are favoured, as in any book, but there is an intellectual honesty about that. I personally enjoyed it very much, it's even inspiring as an artist, and makes you inquire for more
One person found this helpful
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Kaya
5.0 out of 5 stars essential reading
Reviewed in the United Kingdom on July 4, 2018
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Fascinating explanation and exploration of homo sapiens first known ventures into art - so closely linked to beliefs and (potential) constructions around the supernatural. Very accessible book which examines just why Neanderthal peoples were limited in brain function and what this meant for their use of art to explore their world
4 people found this helpful
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Cliente Amazon
5.0 out of 5 stars ¡excelente!
Reviewed in Spain on April 19, 2016
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servicio de calidad y rápido. recomendado a cualquiera. la información extra es muy valiosa también. en acabar el libro iré a por otros del mismo autor.
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happy
5.0 out of 5 stars A masterpiece
Reviewed in Canada on June 13, 2014
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The best of all the cave painting books that I have ordered and read. This professor has provided readers with scholarly references and thought provoking analysis. A masterpiece.
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