On the walls of dozens of caves in southern France and northern Spain lie some of the most majestic works of art ever painted. Drawn 25,000 to 40,000 years ago, the paintings have puzzled anthropologists since they were discovered more than four decades ago.
Where did this astonishing display of talent come from? Why did these prehistoric societies decide to paint these scenes in such remote locations? And what inspired them to paint the strange array of bisons, horses and therianthropes (part animal, part man)?
A scientific consensus of sorts has finally emerged on one of those questions: Although there are still dissenters, a majority of anthropologists now champion the theory that the paintings in Europe were the work of shamans, and in part the product of trance states, likely induced by psilocybin (the psychoactive ingredient in some species of mushrooms).
Similarly, South African anthropologist David Lewis-Williams maintains that the remarkable rock art of the San people of southern Africa, also painted at least 25,000 years ago, is the result of shamanic trances created by drumming and ritual ecstatic dancing.
In his new book, Supernatural: Meetings with the Ancient Teachers of Mankind, published by Random House, British writer Graham Hancock has taken Prof. Lewis-Williams’s research as a point of departure to posit a theory as fascinating as it is provocative: If it’s true that cave art derives from altered states of consciousness, then it constitutes a watershed moment in human history, marking the first visible encounter with the supernatural, the first expression of spiritual myth.
globeandmail.com
