Michael A.
Rappenglück
THE CLAVIFORM P-SIGN A TIME UNIT?
INTERPRETING A PALAEOLITHIC SYMBOL
While studying Eurasian Palaeolithic cave art the focus of interest is
often set only at the beautiful representations of the animals. The enigmatic
signs however, scattered here and there above, below and between the beasts,
are mostly disregarded. But looking on a particular type of sign – the
claviforms – much closer, their may be a first approach to understand a little
bit more of their meaning.
One rather distinct group among the signs are the claviforms (type S1 H
in fig. 162; B.II.1.1 and B.II.1.2 in fig. 163; V c in fig. 164, Sauvet, 1993:
225-230, and figs. 162-165). Till today they are found only in parietal and not
in mobile art. In general they consist of a line with an attached half circle,
a triangular form or a loop. The protruding part can face to the left or to the
right side. In most cases it is situated at the upper part of the line, but it
also can be placed in the middle of the stroke. The line itself in the lower
part is often bent slightly to the left or to the right side. Thus the
claviform reminds one of the letter „P“ of the Latin or Cyrillic alphabet (or
the inversed form). It therefore could be simple called the „P“-sign (ill. 1).
The claviforms are painted in red (ochre), seldom in black colour, and
sometimes they are engraved too. The P-claviforms are to be frequently found in
a limited region in today’s Spain and France, reaching from the Cantabrian
Spain across the Pyrenean area to the Dordogne and Ardèche valleys
[Leroi-Gourhan, 1958a: 320]. They mostly belong to the Magdalenian epoch
(17,000 –12,000 BP), except of one example coming from the cave of Chauvet[1], France [Clottes, 2001: 62, fig.
55], which is much older. This claviform (ill. 2), painted in red ochre, was
discovered in a part of the „Salle Brunel“, called „Le Sacré-Coeur“,
near the entrance into the grotto. With respect to the 14C-dating [Clottes,
2001: 32-34], the claviform can be placed between 22,800 ± 400 BP (Ly-6879) and
32,900 ± 490 BP (Gifa 99776). The discovery of the P-sign in the Chauvet cave
clearly proves that the P-Sign belong to a very old tradition.
In the research, based on their peculiar shape, these claviforms had
been interpreted as boomerangs, clubs, axes, stylised female figures, rods with
attachments [Beltran et al., 1966: 164, LXXXVIII, 82 C; Leroi-Gourhan, 1958b:
388]. But this considerations by themselves don’t lead on. It is necessary to
take some other aspects into account.
Sometimes the P-signs are standing apart. But often they are closely
associated to sets of dots, nearby arranged into peculiar patterns (ill. 3a,
3b). Or they are combined with single strokes, which reminds one of the today
used symbol for the constellation “balance” (ill. 4a, 4b). They too are
frequently related to certain animals mostly the horse and the bovine, and,
however considerably less, to the hind, the doe and the goat [Casado, 1979:
265; fig. 4]. Often claviform signs are iterated (ill. 5). Concerning this
iuxtapositions and series its seems plausible, that they denote a kind of
counting. This idea gains much more probability, regarding the close relations
of the claviforms to certain animals: It looks like a sort of “commentary”
added to the depicted beasts, which “informs” about a “countable”
characteristic of the animal (ill. 6).
Already Marshack [1991: 327-28, 393-395] stated that this type of
claviform seems to be closely related to time-factored processes: He proposed,
that these signs may “represent units of some sort, obviously not day units,
but units that are additive and cumulative”. His research showed, that the
P-signs are somehow related to a hunter-gatherers perception of animal and
human pregnancy. They could express a kind of seasonality, which may have been
connected with certain myths and rites. In particular the renewing of single
signs in a series or the accumulation of them step by step in a sequence would
indicate the temporal meaning of this type of signs.
It is striking, that very similar shaped signs (ill. 7) are known all
over the world as referring to time-factored processes [Wirth[2], 1936a: 646-675]. In particular
they are connected with the Moon's monthly and the Sun's annual course.
Sometimes they appear in a pair opposing to each other (ill. 8) – a kind of
“Janus-figure” or a “portal”, in which the celestial bodies indicate a time of
change. Often the pair of confronted P-signs seem to denote the turn of the
year at a solstice or equinox [Wirth, 1936a: 646-675; Audin, 1956]. A late, but
nevertheless nonetheless prominent symbol, which belongs to the same tradition
is the P-X-sign of Christianity, which hands down an archaic cosmogram and
consist of the two solstice diagonals and the equinoctial line attached by a
symbol for the rising Sun [Audin, 1956]. Thus the claviforms in Palaeolithic
cave art may probably denote the Sun or the Moon somehow related to
time-reckoning. There are some other pieces of evidence, which support such an
idea.
At a Selkup shaman’s drum Sun and Moon are drawn at the left and at the
right side of a world-tree [Hoppál, 1994: 158, fig. 220 B]. The
pictogram of the Moon is very similar to the P-signs in Palaeolithic cave art
(ill. 9).
Another approach to decode the claviform signs was made by means of a
semiotic analysis [Sauvet, G. and Sauvet, S., 1979; Sauvet, G.: 1988]: Based on
the phenotype they may be formally related to simple graphic characters, used
in the ancient Sumerian, Hittite, Egyptian and Chinese cultures [Sauvet and
Wlodarczyk, 1977: 556, table VII]. The very similar pictograms (ill. 10)
symbolize an animal’s rip, a boomerang, a seashell, a fish scale, fire, but at
the same time also the Moon and the Sun. Thus the claviforms in the caves may
denote either the Sun or the Moon, or both, depending on the context of a
painting or engraving.
If the prominent P-signs are regarded only, then the results concerning
a possible “meaning” are much more clear: The pictogram denotes an animal’s
rib, a boomerang and the moon. It is interesting that the claviforms already
had been compared with “boomerangs” [Leroi-Gourhan, 1958b: 388]. In addition
the Aborigines of Cape York (Australia) tell about a giant boomerang, which was
thrown into the sky and transformed into the Moon [D'Arcy et al., 1994]. The Aborigines
also relate the waning Moon, shortly before New Moon, to a bone, which
transforms itself into the nautilus shell, which is the Full Moon [Bernd, 1948:
18-19]. Similar conceptions of a “moon-bone” are known from many other people
around the world. The Bushmen (Africa) deliver the myth of the Moon, which is
cut by the Sun’s knife – the solar rays – up to a thin slightly sinuous line,
the “back bone”, which is the thin waning crescent [Schmidt, 1933: 558]. The
Winnebago Natives (North America) associate the Moon with a bone (a bear’s
rib), because during waxing or waning the bright “bone” (the thin Moon) shows
the attached dark part, the meat [Radin, 1990: 238, 390, 392]. The biblical
story of Eve’s creation from Adam’s rib [Schilling, 1963] hands down a hint on
an original association of the bone (rib), the Moon and the woman, which is
clearly based on a concept of cyclical fertility. This also bases the idea that
the claviforms, in particular the P-signs, could be derived from a stylisation
of the female, pregnant body [Marshack, 1991].
The shamans of the Jakuts (Asia) used an iron staff with a fastened
round Moon head to start the period of the waning Moon, during which he is
carved up [Schmidt, 1954: 288, 380]. Considering this rod with an attached
Moon-protuberance, other examples, coming from the Assyrian culture are very
interesting. Several seals show the rulers holding a staff, with an attached
half ring (or a staff and a full ring). There are hints, that the rod and the
ring is related to a measurement instrument, to the Sun(-god) and Moon(-god),
and served as a symbol of power [Ascalone and Peyronel, 2001: 7-8, and fn. 20].
P-signs (ill. 7, 8), which are very similar to the Palaeolithic forms, are
handed down by the Sumerian culture [Wirth, 1936a: 672-673, 1936b: 333, 2, 3,
5, 11, 12, 13, 14, 15]. They are closely related to the ruler’s and god’s
authority. And they seem to be associated with celestial bodies, mostly the
sun, and the equinoxes [Audin, 1956].
Well, some of the dot- and claviform-associations give clear hints on a
relation of a possible relation of the P-signs to parts or a complete lunar
cycle. In the cave of Le Portel[3], France, a P-sign (Galería
IV Breuil, El camarín; ill.11) is associated an ellipsoid pattern of 13
black points at the right side above the claviform. Two curved rows of dots
(28/29?, 16?) and one other sequence (55/56?) are painted at the left side and
below [Beltràn et al., 1966: 164, LXXXVIII, 82 C]. In the cave of Niaux[4], France, two P-signs [Black Salon,
Panel 6; ill. 12], showing the curve to the right side, are associated with
three rows consisting of 26 red points [Clottes, 1997: 119, ill. 145]. And in
the cave of Lascaux[5], France a row of 26 points shape a
P-like sign [Diverticule axial; ill. 13] closely associated with a horse.
Considering this cases, it seems probable, that the claviforms may have
something to do with the lunar cycle. As a kind of a “meta-sign” probably
denote parts of him or the whole lunation.
This idea is clearly confirmed by an engraving in the cave of
Trois-Frères[6]. In this cave exists a strange
picture (ill. 14), which can be used as a key for decoding the meaning of the
P-claviform signs. Very next to the famous panel „Dieu Cornu“ the rock wall
shows an engraved horse, looking something sketched. Across the animal's body a
curved line of P-claviforms can be recognized. 12 such signs show the half
circle of the „P“ facing to the right side. Then follows such a sign, looking
to the left side and then again a sign facing the right side. Thus the two last
„P“-signs are arranged symmetrically to each other. This superimposition isn’t
made by chance, but intended [Sauvet and Wlodarczyk, 1977: 554]. According to
Marshack [1991: 395] this representation also may b related to a seasonal and /
or biological rhythm, which he believed could be a part of a conceptual
calendar. Koneckis [1994: 167-170] suggested, the pregnant horse would
symbolize the old year, in its final stage, which carries the unborn new year
in his womb. Then the 12 P-signs would represent the number of synodical months
in a solar year. Each claviform would denote the first quarter of the moon in a
month. The 13th inversed P-sign would indicate, that 12 synodical months
correspond to 13 siderical ones. The difference of 10-11 days between both
would be expressed by the last P-claviform, which is something clumsy incised
and the two vertical turned V-signs, which would symbolize two hands (equally
to 10 fingers). This is a fine idea, but Koneckis didn’t support his intuition
by other scientific arguments apart from counting the P-signs and speculating.
Nevertheless his idea is pointing the way.
As shown above the P-signs have something to do with time-factored
processes related to the animals seasonal fertility. They are in general
related to the sun or the moon, with a significant weighting on the moon. They
may represent a sort of time unit, which is clearly not the day. This unit is
additive and cumulative. It is associated with sets of dots, which may
represent a subgroup of units. Therefore it is plausible that the P-sign may
denote a lunar month and the associated dots days. The associated animals
(horse, bovine and others) may then indicate bigger time units, depending on
the fertility cycles and seasons of the beasts. It is important to see that the
P-signs in no case show a complete calendar, but rather work as a kind of date
in the context of the rock pictures.
Keeping the above stated results in mind the depiction of the horse in
the Trois-Frères cave can be examined once more. Marshack [1991:
327-328] has shown that the first 12 of the 14 P-signs had been made in one
series, and then two opposed claviforms had been added. This indicates a “year”
of 12 lunar months plus a certain time unit at the end of this cycle. In contrary
to Koneckis it can not be immediately derived from the engraving, what kind of
lunar month – a synodical or siderical one – is depicted. To take some
conclusions it is necessary to look on the depicted animal. The horse may be
pregnant [Marshack, 1991: 328]. And a second back, a second and third tail, and
a second and third abdomen are added, indicating a process of renewing
[Marshack, 1991: 327]. It is known from several scientific studies, that the
pregnancy period of the horse played an important role in Palaeolithic
time-reckoning [Rappenglück, 1999: 194-195]. The mare of the wild horse
(Equus przewalskii) has a gestation period of 340 days on an average [Hofmann,
1988: 186]. If the horse indicates a comprehensive time-unit and the series of
P-signs plus the additional pair of claviforms denote 12 + 1 (= 13) lunar
months, then the length of such a month would be about 26 days. This number
appears repeatedly in the sets of dots associated with the P-signs and in the
P-shaped row below the horse in the “Diverticule Axiale” of the Lascaux cave
(ill. 13). It’s nearly a siderical month of 27/28 days, using integers, as it
was usual in the time-reckoning of ancient cultures.
As shown above, the pair of two P-signs (ill. 14, ill. 8), facing each
other with their protuberances, works like a Janus-ideogram, which denotes the
change of time, in this case the turn of the year related to the pregnancy
period of the horse. In addition 14 such months with a length of about 26 days
give a result of 364 days, which is about the number of days in a solar year
(365/366). Thus the paired P-signs may depict the 13th and the 14th month in a
solar year, which “frame” a special point in the year, perhaps a solstice or an
equinox. The engraved horse with the 14 P-signs probably indicates just an
important point in the course of the year and the biological rhythm of the
animal. Looking on a mare, there is a period of 50-70 days during December and
January – around the winter solstice – in which the animal’s ovary is inactive
(anestrus). Starting with springtime and continuing through late autumn the
mare is “in heat”. Equine veterinary research has shown that there is a
seasonal trend in the beast’s fertility, which makes the Full Moon around
summer solstice (June) the best suited time in the year for mating (Kollerstrom
and Power, 2000). During Ice Age epochs the peak of the fertility optimum
surely was higher, because of the very short summer time. Thus it is very
probably that the double P-sign at the horse indicates the summer solstice time
of heat and some weeks before of foaling. This is supported too by the renewals
of the animal’s outlines, which are obvious [Marshack, 1991: 328]. The doubled
angle at the hindquarter (ill. 14), pointing to the last P-claviform, surely
has a meaning, but to really decode this, would need a further study of similar
signs (ill. 15) in association to other animals and type of signs.
With respect to the above presented interpretation of the P-signs other
depictions in the Magdalenian caves of Spain and France and in postglacial rock
art can be recognized too as a sort of time indication (ill. 16, ill. 17). In
this short study they couldn’t analysed in detail, because of the available
space.
As a conclusion this study suggests to recognize the P-claviform as a
kind of meta-sign for the time-unit of one lunar month, consisting of about 26
days. It is associated to the biological rhythms of certain animals and may be
used for fixing dates and time-periods.
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Ill. 1 Spain Pyrenean Region Dordogne others |
Ill. 2 |
Ill. 3 a |
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Ill. 3 b |
Ill. 4 a, b |
Ill. 5 |
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Ill. 7 a |
Ill. 7 b |
Ill. 7 c |
Ill. 8 |
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Ill. 9 S= Sumerian, H = Hittite, E = Egyptian Ch = Chinese |
Ill. 10 |
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Ill. 11 |
Ill. 12 |
Ill. 13 |
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Ill. 14 |
Ill. 15 |
Ill. 16 |
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Illustrations:
Ill. 1: Claviform and P-signs (after Sauvet et
al., 1977: 546, tab. I)
Ill. 2: The P-sign in the Chauvet cave (after
Clottes, 2001: 62)
Ill. 3a: Two P-signs connected with a 2 x3
matrix of dots in the cave of Niaux (s. fn 4), b: P-signs associated with dots
in the cave of Fontanet (Com. Ussat Les Bains, Dép. Ariège,
Rég. Midi-Pyrennes, France; φ: 42°49' N
| λ: 1°38' E ; 12770 ±
420 BP LY2184), a: after Leroi-Gourhan, 1958b: fig. 3, 155. b: after Vialou,
1986: 38, fig. 3 III.
Ill. 4 a, b: Claviforms looking like the symbol
for the constellation “Balance” (after Sauvet et al., 1977: 546, tab. 1)
Ill. 5: Six P-signs associated to two clouds of
dots in the cave of Pindal (Ribadedeva, Asturias, Spain; φ: 43°23' 50” N | λ: 0°50' 30” W Madrid)
probably Magdalenian epoch (after Leroi-Gourhan, 1958b: fig. 3, 156)
Ill. 6: A horse surrounded by 80 P-signs in the
cave of Tuc-d’Audoubert (s. fn 6), after Marshack, 1991: 394, fig.237).
Ill. 7a, b, c: Sumerian P-signs (after Wirth,
1936b: 333, fig. 11, 2, 12 and commentary in 1936a: 672-673, 1, 11, 12)
Ill. 8: P-sign denoting the Moon on a Selkup
shaman’s drum (after Hoppál, 1994: 158, 220 B)
Ill. 9: The shape of the claviforms are similar
to certain pictograms used in the writing systems some ancient cultures (Sauvet
et al., 1977: 556, tab. VII).
Ill. 10: A P-signs an rows of dots in the cave
of Portel (s fn. 3) (after Vialou, 1986: tab. XVIII, 5)
Ill. 11: Two P-signs associated with 26 dots in
the cave of Niaux (after Leroi-Gourhan, 1958b: fig. 3, 157)
Ill. 12: A P-shaped row of 26 dots closely
connected with a horse in the Lascaux cave (s. fn. 5) (after Ruspoli, 1986:
108, 45-46)
Ill. 13: A horse with 12 single and one paired
P-sign in the cave of Trois-Fréres (s. fn. 6), after Marshack, 1991:
327, fig.196)
Ill. 14: A bison with six associated P-signs,
three dots, one angle-sign and two other signs in the cave of Pindal, Spain
(after Müller-Karpe, 1977: tab. 152, B, 4)
Ill. 15: A complete ”narrative” composition of
P-signs, arranged dots, and animals in the cave of Niaux (after Beltran, 1973:
173, fig. 117-123)
Ill. 16: A composition of two paired crooks
(similar to that on the hindquarter of horse in ill. 13), 6+13+12=31 dots
around a conical stroke and an indeterminable sign coming from La Silla (Abrigo
Grande, Sierra de Hornachos, Bajadoz, Spain; φ: 39° N | λ: 7°W),
after Breuil, 1933-1935).