Venus of Willendorf
The Venus of Willendorf, also known as the Woman of Willendorf, is a small statuette measuring 4.4 inches (11.1 centimeters) in height, discovered in 1908 near the Danube River in Austria. Dating back to between 28,000 and 25,000 BCE, this figurine is a significant artifact from the Upper Paleolithic Period, a time marked by the emergence of early human artistry and cultural expression. The statuette features exaggerated female attributes, such as large breasts and a prominent abdomen, which some researchers believe may symbolize fertility and motherhood. Its head is adorned with a "beehive" pattern, suggesting a possible hairstyle or head covering, while the lack of feet and facial features has prompted various interpretations regarding its purpose.
Carved from oolitic limestone and originally painted with red ochre, the Venus of Willendorf reflects the creativity of prehistoric peoples. While it currently resides in the Vienna Museum of Natural History, its significance remains a topic of scholarly debate, with some suggesting it may have served religious functions, while others propose it could represent aesthetic ideals or fetishes. Additionally, the origins of the stone used for the statuette remain uncertain, and it is speculated that its compact size allowed for mobility among early human groups. The figurine has parallels with other similar artifacts found in Europe, indicating a shared cultural significance across regions during this early period of human history.
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Venus of Willendorf
The Venus of Willendorf, also known as the Woman of Willendorf, is a 4.4-inch (11.1-centimeter) statuette discovered in 1908 near the Danube River in Austria. Experts calculate it was carved between 28,000 and 25,000 BCE, dating it to the Upper Paleolithic Period.
The Paleolithic Period covers the majority of human prehistory, dating from the appearance of the earliest stone tools approximately 2.6 million years ago to approximately 10,000 years ago. The Upper Paleolithic Period began roughly 50,000 years ago, when the earliest artwork began to appear in the archeological record. This period is considered by experts to be the time in which the first modern humans arrived in Europe from Africa. They believe that it was also during this time that humans began to create music and to produce carvings of human and animal figures in ivory, antler, and bone.
The Venus of Willendorf is a nude female figurine with enormous breasts and a prominent abdomen. It has a "beehive" pattern on its head, which possibly represents a plaited hairstyle or woven cap. It is currently housed in the Vienna Museum of Natural History.
Overview
Many scholars believe the Venus of Willendorf held a religious significance for early peoples, likely linked to fertility rites. Its large breasts and round abdomen may represent the importance of pregnancy and breastfeeding. The figurine, which lacks feet and facial features, is carved from oolitic limestone and was originally painted with a red ochre pigment. The unusual ball-like shapes that make up the features of the figurine are thought to be a result of the natural shape of the limestone from which it was carved, which has spherical grains. The figurine’s arms are small and thin relative to the size of its torso and are draped over its breasts. Similar statuettes have been found in the Pyrenees and Eastern Europe.
Subsequent excavations and research in the Willendorf area following the discovery of the Venus of Willendorf have shed light on important geological and evolutionary changes that occurred around 40,000 years ago. It was also during this time that modern humans began to supersede Neanderthals, which became extinct around this time. Among other objects discovered have been jewelry and bone instruments, believed to have been created by various groups, including Neanderthals.
Experts are not sure what the Venus of Willendorf may have meant to early societies. Some scholars disagree with the idea that it may have had a religious meaning and argue it may have represented an aesthetic ideal or fetish instead. The source of the stone from which it is carved also remains a mystery, although it most likely did not come from the area in which the figurine was found. It is not known if the figurine was carved locally, but it is thought that the small size of the figurine enabled it to be carried from place to place by a migrating group.
Bibliography
Campbell, Joseph. Goddesses: Mysteries of the Feminine Divine. Novato: New World Lib., 2013. Print.
Camps, Marta, and Parth Chauhan, eds. Sourcebook of Paleolithic Transitions: Methods, Theories, and Interpretations. New York: Springer, 2011. Print.
Clottes, Jean. What is Paleolithic Art? Cave Paintings and the Dawn of Human Creativity. Chicago: U of Chicago P, 2016. Print.
Foster, Judy, and Marlene Derlet. Invisible Women of Prehistory. Melbourne: Spinifex, 2013. Print.
Markale, Jean. The Great Goddess: Reverence of the Divine Feminine from the Paleolithic to the Present. Rochester: Inner Traditions, 1999. Print.
Zaczek, Lain, and Mary Acton. Art: Over 2,500 Works from Cave to Contemporary. New York: DK, 2008. Print.