Witnessing the unseen: why cave art captivates us

Iwan Russell-Jones recounts the discovery of stone age art that still connects 30,000 years after its creation.

Iwan Russell-Jones

Iwan Russell-Jones is a Cardiff-based filmmaker and theologian.

A cave wall drawing of wild animals galloping across other images of themselves.

Animals on the wall of Chauvet Cave.

Late on a winter’s afternoon in December 1994, a group of three French cavers received the kind of Christmas present that most spelunkers can only dream of. They were exploring a cave system that they had just discovered in a deep gorge in southeastern France, and were already delighted by some of the natural geological formations that they’d seen. Suddenly they emerged into a large cavern and found themselves standing in front of a series of wall paintings that took their breath away. In the feeble beams of light from their torches the three explorers were stunned to see huge painted panels swarming with vibrant, beautifully crafted images of animals, including species like mammoths, lions and rhinoceros that had long been extinct in Europe.

The only way in and out of the cavern was through a series of narrow passageways and shafts. So, these experienced explorers understood immediately that the paintings must have been created in the Stone Age and that they were probably the first people in tens of thousands of years to see them. They had made a spectacular archaeological discovery and Chauvet Cave - named after the group’s leader, Jean-Marie Chauvet - quickly took its place alongside Altamira and Lascaux as one of the most important sites of prehistoric art.

Although the cavers were very much aware of the historical and scientific value of their discovery, what really overwhelmed them was the nature and quality of the images. In their book, The Chauvet Cave: The Oldest Known Paintings in the World (London: 1996), Chauvet and his colleagues described their feelings in this way:

“During those moments there were only shouts and exclamations; the emotions that gripped us made us incapable of uttering a single word…. Everything was so beautiful, so fresh, almost too much so. Time was abolished, as if the tens of thousands of years that separated us from the producers of these paintings no longer existed. It seemed as if they had just created these masterpieces. Suddenly we felt like intruders. Deeply impressed, we were weighed down by the feeling that we were not alone; the artists’ souls and spirits surrounded us. We thought we could feel their presence; we were disturbing them.”

These modern explorers felt strongly connected across an almost unimaginable chasm of time to the people who had once frequented the cave, and at the heart of this vivid sensation was the images they had created. This is a remarkable thing to consider. ‘Presence’ is certainly a quality that contemporary lovers of art look for and admire in paintings. When viewers stand in front of an original work by the likes of Caravaggio or Van Gogh or Chagall, they often experience a very powerful connection with them. They see their brushstrokes, marvel at their distinctive technique, and get a strong sense of their personal investment in the work, their individual genius and vision. It’s as if the artists are very much alive and kicking and still making their presence felt. Jean-Marie Chauvet and his colleagues had an electrifying sense of that on their first encounters with the cave paintings.

Many of the painted caves discovered across France and Spain have a shrine-like quality and contain evidence that rituals of one kind or another were practised in them.

But the notion of ‘presence’ in art goes way beyond the artist’s personal charisma and touches on an even more profound matter - the feeling that one is somehow being confronted by the mystery and reality at the heart of life. It’s an understanding of presence that modern people, in their enthusiasm for the individual brilliance and skill of artistic superstars, can sometimes overlook. But it’s an important dimension of palaeolithic art which cannot be ignored. The painters of Chauvet Cave were clearly captivated by the multitude of creatures who shared the world with them. Their imaginations were stirred by the grace of the ibex, the power of the bison, the dignity of the horse, the inquisitiveness of the bear, the ferocity of the lion, and their close observation of these animals is striking. There can be little doubt that the behaviour and characteristics of these fellow creatures led them to reflect on the meaning and significance of their own lives. And underlying all of this is a quality of wonder in their paintings, a sense of what the Jewish philosopher, Abraham Heschel, called ‘radical amazement’ at the sheer fact of being alive in such an extraordinary and beautiful world.

Of course, we’ll never know exactly what was in the minds of these ancient artists as they were busy creating their masterpieces twenty thousand years before writing was invented. But archaeologists and anthropologists are convinced that the cave paintings are intimately linked with the beliefs and rituals of Stone Age peoples, and that this was their way of connecting with unseen spiritual realities. Many of the painted caves discovered across France and Spain have a shrine-like quality and contain evidence that rituals of one kind or another were practised in them. It seems that when these people went deep underground to create their images, it was in the belief that they were immersed in, and surrounded by, spiritual power and meaning. As scholar David Lewis-Williams puts it, ‘Every image made hidden presences visible’.

Art still has this power. In the modern world it is rarely produced for overtly religious or ritualistic purposes. Nevertheless, art of any era cannot but bear witness to the unseen, sometimes in ways of which the artists themselves are not aware. Whatever their own philosophical and religious convictions may be, artists who labour in the fields of truth and beauty and meaning cannot help but create work that is allusive and open to transcendence. They cannot avoid the untameable and disruptive presence of their Creator. This will come as no surprise to anyone who has read the Psalms:

Where can I go from your Spirit? Where can I flee from your presence? If I go up to the heavens, you are there; if I make my bed in the depths, you are there also…

The understanding of reality found in the Bible leads to a recognition that wherever people may be on the face of the planet and at whatever point they stand in the long, long history of the human race, they are always in the presence of, and confronted by, the Great I Am, who is the Lord of all times and places.

The spelunkers of Chauvet Cave received an extraordinary gift at Christmas 1994, and through their discovery the rest of the world has been its beneficiary too. It’s a truly wonderful thing to have been given this glimpse into the lives of people so long ago, and through their creative endeavours to recognise our common humanity and the abiding power of art and the imagination. And at the heart of this present to us all was a presence that Jean-Marie Chauvet and his friends felt so vividly. But they were only partly right in linking that sense to the creative artists. For beyond those ancient cave painters is the object of their concern, the One who, as the Welsh poet, Waldo Williams put it, stands before us all as ‘Each witness’s witness, each memory’s memory, life of every life’ - the Presence behind all presence.

Review

Awe and wonder

Books

Culture

Poetry

10 October 2024

6 min read

Charles Taylor on how poetry seeks cosmic connections

The philosopher yields an array of luminous insights.

Paul Weston

Paul Weston is a Fellow at Ridley Hall, Cambridge.

At dusk, three people sit on a field edge and look at the stars emerging.

Rad Pozniakov on Unsplash.

Charles Taylor, Cosmic Connections: Poetry in the Age of Disenchantment

At just shy of 600 pages, philosopher Charles Taylor’s latest book is not for the faint-hearted. At the heart of the book are fascinating questions. What kind of language should we use when we encounter ‘beauty’, or experience ‘wonder’ which seems to take us into a new kind of space, or make time stand still? It could be the sight of a breathtaking landscape. It could be a piece of music. It’s that sense of ‘connection’ with something bigger than ourselves. What might it mean? More particularly, how do we express what we intuitively feel to be real and deeply significant about such things when our usual language fails to capture it?

Taylor says that his latest book ‘is about (what I see as) the human need for cosmic connection . . . one shot through with joy, significance, inspiration’. And his hypothesis is that ‘the desire for this connection is a human constant, felt by (at least some) people in all ages and phases of human history’, even if ‘the forms this desire takes have been very different in the succeeding phases and stages of this history’. The book explores these questions by focusing on late-Romantic European poetry and traces its development through the work of later poets including Goethe, Rilke, Wordsworth, Hopkins, and T. S. Eliot.

The background to Taylor’s explorations is the ongoing impact of the Enlightenment on our language and understanding about ‘truth’ and ‘meaning’. Those familiar with his 2007 book A Secular Age will find echoes of it here, particularly the way in which post-Enlightenment language tended to develop the language of control. This, he argues, became increasingly dominant in Western modernity ‘because it is linked to a practical stance which is basically instrumentalist; we seek out the efficient causal relations in our world with the aim of discovering handles which will enable us to realise our purposes’. In reaction to this narrowing of possibilities, the Romantic poets focused on ‘the experience of connection, and the empowerment this brings: not a power over things, but one of self-realization’. And a key element of the Romantic movement was the recognition that a poem (alongside the wider arts) uncovers deeper meanings: it ‘reveals to us, brings us into contact with, a deep reality which would otherwise remain beyond our ken’.

‘Poetry goes beyond creating a mood, an atmosphere of feeling, and claims to give access to the inner force in a thing, not by describing it, but by making it palpable’

Charles Taylor

The book focuses on the variety of forms that this reaction took amongst Romantic poets. A unifying desire for ‘connection’ led to differing ideas about how poetic language makes this possible and what kinds of meaning are revealed. But the central belief remained constant: that poetic language was the key to addressing a prevailing cultural atmosphere of ‘disenchantment’, in which the desire for cosmic connection had been sidelined.

On the English side of the channel, Taylor finds in Keats’ poetry, a new form of expression summed up in his statement ‘Beauty is Truth and Truth Beauty’. In Taylor’s words, ‘Art raises the object to a new unity and intensity, which constitutes Beauty. But this is not something which just exists in the mind of the artist (or reader); it has reality, and hence Truth, even though this reality is partly brought to fruition by artistic (re)creation’.

Similarly, for Gerard Manley Hopkins, the form of poetic language itself can become a means of ‘connection’. As Taylor puts it, in Hopkins’ work, ‘Poetry goes beyond creating a mood, an atmosphere of feeling, and claims to give access to the inner force in a thing, not by describing it, but by making it palpable’. His poetry embodies this in that it ‘renders the rhythms of the being itself through the “sprung rhythm” of the verse’.

The second half of the book looks to poets of the last 200 years who have navigated parallel pathways towards this ideal of experienced fullness – in the face of increasing industrialisation and disenchantment. Baudelaire longs for the experience of fullness, but finds it barred by a state of melancholy that he described as ‘Spleen’. It is a melancholy brought about by the endless repetitions of mundane and urbanised life. Baudelaire’s attempt to find release from our imprisonment in trapped time is to face Spleen head on and to transform it through poetic contemplation.

T. S. Eliot’s poetry similarly aims to evoke the sources of a fuller life in a culture of decay by means of the ‘continual surrender’ of the poet to something more significant and valuable. In Eliot’s case this resolves in a more-or-less traditional sense of Christian order, but Taylor notes that his poetry doesn’t necessarily require this. Miłosz on the other hand, amidst the social and political upheavals in Poland, sought a higher form of poetry: a poetry that could rise above the discord of social turmoil in order to define a moment and clarify the path that needed to be taken.

‘The work of art opens for us a new field of meaning, by giving shape to it’.

Charles Taylor

At times, the weight and detail of Taylor’s exposition threatens to overwhelm the reader, but he offers an array of luminous insights along the way, and he is largely successful in keeping an eye on the broader questions and themes. Perhaps the most important here is his belief that the human desire for ‘cosmic connection’, with its yearning for joy, significance and inspiration is perennial. The book is in this sense an elaborate historical worked example of this desire, understood – perhaps imperceptibly – as a sense of ‘loss’ or ‘longing’. It is this ‘central aspiration of the Romantic period’, he concludes, that ‘remains powerful today’.

My own experiences of talking with people today seems to amply confirm Taylor’s view. And the search for language to describe the desire for this sense of connection (or the longing for it) continues to thrive even within a so-called secularised culture (most likely because of it). It too seeks language for expression and sometimes struggles for some of the same reasons that the Romantics identified. Taylor’s phrase ‘the immanent frame’ (from his A Secular Age) powerfully evokes a sense of being held on a restricted rein, unable to name or explore the realms of ‘beauty’ or the ‘transcendent’ beyond perceived cultural boundaries. Connected to this is the still commonly held belief that any supposed knowledge derived through the arts doesn’t put us in touch with anything other than ourselves.

Taylor convincingly transcends the supposed dichotomy between these so-called ‘subjective’ or on the other hand, ‘ontological’ possibilities. ‘The work of art’, he says, ‘opens for us a new field of meaning, by giving shape to it’. Moreover, it can ‘realize a powerful experience of fulfillment . . . of connection which empowers’. And Taylor backs his theory with autobiography. In Goethe’s ‘Wanderer Nachtlied’, he says, ‘There is a kind of rest/peace which I long for. I don’t fully understand it, but now I have some sense of it’. Or broadening the artistic field, he finds that listening to Chopin’s Fantasie-Impromptu in C sharp minor ‘opens me up to an unnameable longing’, or that when he listens to Mozart’s Jupiter Symphony, he feels ‘a striving upwards, an expression of praise and thanks, straining to reach some higher addressee (for me, this would be God), but I can imagine that someone else, feeling the ascending movement, would imagine another destination’).

Here then is a book that shines a light on the possibilities of ‘cosmic connection’. Taylor affirms our desires, reassuring us that we should not feel strange to share the same longings for ‘fullness’, for ‘transcendence’, for ‘joy’ and for ‘connection’ as did the Romantic poets. Our recognition of these desires may well have been evoked by the kind of poetry or music that Taylor talks about here. But for all of us, it is good to be reminded that in a western world still heavily influenced by the climate of secularisation many today are still searching for the sense of cosmic connection that Taylor describes.

Charles Taylor’s Cosmic Connections: Poetry in the Age of Disenchantment is published by Harvard University Press.