If you have seen the the Bavarian film maker Werner Herzog’s 3-D documentary, The Cave of Forgotten Dreams(2010) about the Chauvet caves, you would be wonderstruck by the amazing paintings on the walls. The paintings were dated to around 30,000 years back, when the Neanderthal man roamed alongside humans. Now new data says, these caves were old, but not that old.
But its study – when one places it in its natural regional, cultural and thematic framework – makes it impossible to see it as an isolated entity of astonishing precocity. This needs to be reconsidered, and the affinities that our research has brought to light are clearly incompatible with the very early age which has been attributed to it. And if one extends this examination to the whole of the Franco-Cantabrian domain, the conclusion is inescapable: although Chauvet cave displays some unique characteristics (like every decorated cave), it belongs to an evolved phase of parietal art that is far removed from the motifs of its origins (known from art on blocks and on shelter walls dated by stratigraphy to the Aurignacian, in France and Cantabrian Spain). The majority of its works are therefore to be placed, quite normally, within the framework of the well-defined artistic creations of the Gravettian and Solutrean. Moreover, this phase of the Middle Upper Palaeolithic (26,000–18,000) coincides with a particularly intensive and diversified local human occupation, unknown in earlier periods and far less dense afterwards in the Magdalenian. A detailed critique of the treatment of the samples subjected to AMS radiocarbon dating makes it impossible to retain the very early age (36,000 cal BP) attributed by some authors to the painted and engraved figures of Chauvet cave.[New investigations into the cultural and stylistic identity of the Chauvet cave and its radiocarbon dating]
