Hall of Bulls Essay

This essay has a total of 1488 words and 7 pages.

Hall of Bulls



La “Gran Sala de Toros” es una obra de los años 15,000 – 10,000 BC creada por uno o
varios autores anónimos del Paleolítico. Es una pintura de gran tamaño, aproximadamente
cubre unos 20 metros y se encuentra en una porción de una cueva en lo que se conoce hoy
día como Lascaux, Francia. La escala de las pinturas sugiere que los artistas debieron
haber utilizado escaleras de mano y andamios. Las fogatas a veces proveían luz en las
cuevas, pero ya en lo profundo de la cueva el artista debió necesitar una fuente portátil
de luz por lo que se cree que lo mas utilizado fue algún tipo de antorcha. Utilizaron
pigmentos sacados de óxidos de minerales, carbón de leña o vegetal y grasa animal. Estas
pinturas tan antiguas llaman la atención con solo una simple mirada. Es como si
entráramos a un mundo fantástico lleno de misterios y significados escondidos donde cada
línea y cada punto simboliza milenios y milenios de historia.

El estilo de estas obras prehistóricas es uno abstracto. Podemos encontrar un todo
absoluto. También se podría decir que estas pinturas son figurativas ya que la mayoría de
sus representaciones son animales y también tienen un aspecto no-figurativo ya que hay una
existencia de signos y símbolos en ellas. La gran mayoría de las pinturas en esta cueva
representan animales, incluyendo caballos, venados rojos, toros y especies de animales hoy
día extintos. Lo primero que notamos son los animales porque ellos se representan siempre
con mayor tamaño que las demás representaciones. En esta gran cámara de la cueva conocida
como la Sala de los Toros, las pinturas representan figuras relativamente pequeñas de
venados y caballos al lado de cuatro enormes toros que miden sobre 5 metros de largo.
Casi todos estos animales están dibujados de perfil, solo se muestran los contornos, la
mayoría son adultos de especies reconocidas. Muchas de estas imágenes están incompletas y
muy pocas son figuras imaginarias Las decoraciones de las paredes en la gran Sala de
Toros son las más impresionantes de todo el arte paleolítico, estas se extienden a ambos
lados de las valiosas paredes. Esta composición esta introducida por la extraña e irreal
figura del unicornio producto de la imaginación del artista, que parece estar cazando o
persiguiendo a una manada de caballos enlazados por un toro inmenso y parcialmente
dibujado. En el área donde se encuentra el unicornio hay una forma de color rojo que al
compararla con otras figuras de la cueva llegamos a la conclusión de que se trata de la
cabeza y el cuello de un caballo. En el lado opuesto hay una representación similar
constituida por otros tres grandes toros salvajes, equilibra el conjunto. Un grupo de
pequeños venados pintados con ocre constituye el punto de convergencia o de unión entre
ambos conjuntos. En la misma composición se disimula un oso. La dificultad de
visualización de este oso, provocada voluntariamente, se explica por el lugar en que se
encuentra el animal en una ancha faja ventral del toro. Solo la cabeza, el lomo y la pata
posterior derecha son visibles. Puntos y motivos geométricos de impreciso significado
acompañan muchas de estas figuras de animales. Se pueden encontrar algunas marcas que
empiezan desde un punto o una línea hasta un gran panel de grupo de marcas lineales
complejas. Los signos que son poco numerosos, se limitan a algunas puntuaciones aisladas
o agrupadas, a menudo negras, y a unas rayas de distintos colores. Estos artistas
decoraron la superficie interior de la cueva con tonalidades de amarillo, rojo, marrón
pero el negro es el color que predomina. Solo el grupo de los venados, tres bovinos y
cuatro caballos, entre los que tres son incompletos, están pintados de rojo. Los colores
se utilizan para llenar la forma de los animales. En estas pinturas en cavernas se
utilizan una variedad de técnicas. Algunas imágenes incorporan los contornos naturales de
la roca o de las formaciones minerales conocidas como estalagmitas para representar o
acentuar partes de las figuras de los animales. También se utiliza la pared de la cueva
para dar unos colores diferentes. La poca luz que se encuentra en la cueva le da un
sentido de movimiento a los animales. Uno de los métodos más simples disponible para los
pintores del Paleolítico era aplicar el pigmento con sus propios dedos aunque se cree que
desarrollaron herramientas especificas para pintar como brochas de pelo de animal. Para
producir algunos puntos y figuras los artistas debieron haber rociado pintura directamente
desde sus bocas o por un tubo.

Antes se pensaba que el arte de las cavernas era puramente decorativo sin significados
complejos. Pero mientras se fueron haciendo mas investigaciones y descubrimientos,
empezaron a aparecer una serie de patrones significativos. Símbolos misteriosos, figuras
incompletas a propósito, y ciertas asociaciones de figuras parecen indicar que existe
algún significado fundamental para este arte. Hay varias teorías sobre las pinturas
encontradas en estas cuevas. Se cree que estas personas hacían dibujos de animales con el
propósito de afectar animales reales en cierta medida. En este sentido se observa un
ritual y una magia en cada aspecto de la obra. Por lo que se puede pensar que los
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