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Clottet, Director of Research for the Chauvet Cave research project, provides a detailed, color illustrated account of work conducted at the site, located in France's Ardéche region. Chapters address the research project, the cave in its setting, the floors and incursions into the cave by animals and people, a detailed pictorial and descriptive account of the drawings, the techniques of parietal art, the various signs and symbols relating to humans and animals, and an anthropologist and art historian's view on the caves. First published by Éditions du Seuil, Paris under the title La Grotte Chauvet, l'Art des Origins, 2001. 10.75x13.75". Annotation ©2003 Book News, Inc., Portland, OR
It’s a torture chamber, I think, a too-small casket tilted foot-up and you’re the one inside,” Barbara Hurd writes in Entering the Stone. Hurd, a caver for the past ten years, describes the difficulty of crawling through narrow subterranean passageways, called “flatteners” or “squeezes.” While tourists visit “show caves” like Howe Caverns in upstate New York, Hurd seeks out the more adventurous “wild” caves, and finds herself “trying to memorize escape” from them. In a marble cave in Oregon, she stops to press her hand into a wall of moonmilk, a calcite deposit with a cream-cheese consistency. But cavers are careful to leave the underground environment much as they found it. Despite collapsed rocks, fossilized bones, and the occasional piece of litter, wild caves may be among the cleanest places on earth.
Caves are marvels not only of space but of time; they remind us of the sublime slowness of the geologic clock. In Chauvet Cave, the editor Jean Clottes collects the writings of a team of scientists who are decoding this celebrated system of caverns, discovered in 1994 in southern France. There are photographs of Chauvet’s sweeping limestone landscapes and its etchings of rhinoceroses and lions emerging from rocky lairs. The ancient-art specialist David Lewis-Williams devotes The Mind in the Cave to the connection between such Paleolithic paintings and the evolution of early people. He describes the shock of descending deep underground and finding art work thirtyfive thousand years old: “Muddied and exhausted, the explorer will be gazing at the limitless terra incognita of the human mind.” (Lauren Porcaro) More Reviews and Recommendations