COULD THE CAVE ARTISTS ACTUALLY SEE THEIR COLORS? – CONTINUED, PART 2:

 This one is just for fun, perhaps more for philosophers, please don’t take it too seriously – I do not.

Cave painting of auroch, Lascaux, France. Internet image, public domain.

Then the question became whether the lack of blue was actually based on a physical difference, or was perhaps a cultural or linguistic question.

“Anthropologists took up the challenge next. They were curious about how color was perceived by traditional cultures with limited or no contact to outsiders. In 1898, anthropologist and psychiatrist W.H. R. Rivers went to the Torres Straits Islands, located between New Guinea and Australia, where he investigated the islanders’ color perception. Rivers was astonished to hear the elders describe the sky as black, and a child describe the sky as being dark like dirty water. Rivers and other anthropologists concluded that early humans and members of isolated cultures were not color blind. They saw the same colors we see but linguistically don’t distinguish beyond hues of white, black, or red. This might be a simple enough explanation for Homer’s wine-dark sea, but it still raises the question: did ancient peoples perceive the color ‘blue’?” (Hall 2018) Remember, it is difficult to cognitively contemplate a phenomenon that you do not have a name or label for.

“Before the color blue became a common concept, perhaps humans saw it but simply didn’t recognize it as such. Even more fascinating—or perhaps disturbing—is the realization that the way we perceive the world around us may be something of an illusion, a trick played on us not by some external force but by our own minds, shadows cast against the back of Plato’s allegorical cave. We are oblivious to whatever realities exist outside of our perception. While we modern humans can differentiate between 1 million colors today, our perception is still largely limited to eleven color categories (in the English language: white, black, gray, red, yellow, green, blue, brown, pink, orange, purple). More humbling is the fact that we humans get by with just three types of photoreceptor cone cells (corresponding roughly to red, green, and blue sensitive detectors). Somewhere, silently scuttling beneath Homer’s wine-dark sea, the modest mantis shrimp boasts 16 different types of photoreceptor cone cells, viewing the world through a kaleidoscopic vision of unknowable colors, the likes of which we can only dream.” (Hall 2018) Once again, I enjoy Hall’s slightly sardonic comparison of our human color vision to that of the mantis shrimp.

In  2018, Fiona MacDonald reported on a field trial conducted in 2006 by Jules Davidoff, among the Himba people of Namibia. “But just because there was no word for blue, does that mean our ancestors couldn’t see it? There have been various studies conducted to try to work this out, but one of the most compelling was published in 2006 by Jules Davidoff, a psychologist from Goldsmiths University of London. Davidoff and his team worked with the Himba tribe from Namibia. In their language, there is no word for blue and no real distinction between green and blue. To test whether that meant they couldn’t actually see blue, he showed members of the tribe a circle with 11 green squares and one obviously blue square. But the Himba tribe struggled to tell Davidoff which of the squares was a different color to the others. Those who did hazard a guess at which square was different took a long time the get the right answer, and there were a lot of mistakes. But, interestingly, the Himba have lots more words for green than we do.” (MacDonald 2018) They could see the one square as different, but lacking the mental concept of a color ‘blue’ they had trouble seeing it as different enough to point out. This tends to confirm the statement that we cannot fully comprehend something until we have a name (or label) for it.

 

Hachure on a Mimbres bowl. Internet image, public domain.

MacDonald also reported on a “study by MIT scientists in 2007 that showed that native Russian speakers, who don’t have one single word for blue, but instead have a word for light blue (goluboy) and dark blue (sinly), can discriminate between light and dark shades of blue much faster than English speakers.” (MacDonald 2018)

In 2022 Nikola Jones explained a reasonable hypothesis for the development of color terms throughout the history of a culture. “There are several big datasets out there looking at color categorization across cultures. And the consensus is that there are some commonalities. This implies that there might be some biological constraints on the way people learn to categorize color. But not every culture has the same number of categories. So, there’s also this suggestion that color categories are cultural, and cultures experience a kind of evolution in color terms. A language might initially make only two or three distinctions between colors, and then those categories build up in complexity over time.” (Jones 2022)

Hachure on a Mimbres bowl. Pinterest.

I have already written about the use of hachure on ceramics by the Ancestral Puebloans in the American southwest, and the theory that it represented the color blue to them (see my column of 7 June 2025). The origin of the idea that hachure, closely spaced, parallel thin lines, used to fill a space might be intended to symbolize the color blue was credited to J. J. Brody by Stephen Plog (2003). “One of the common design characteristics on black-on-white pottery from the eleventh and twelfth centuries in the northern American Southwest is the use of thin, parallel lines (hachure) to fill the interior of bands, triangles, This essay explores a proposal offered by Jerry Brody that hachure was a symbol for the color blue-is examined by exploring colors and color patterns used to decorate nonceramic material from the of northwestern New Mexico. His proposal is supported and the implications of this conclusion for future studies of this nature are discussed.” (Plog 2003:1) This, however, was not a suggestion that Ancestral Puebloans could not see the color blue, they had a name for the color, comprehended it, and designated it as the color of the direction West in many of these cultures. The assumption is, rather, that good blue pigments are much rarer than blacks or reds, especially blues that would stand up to the firing of a piece of pottery. There are, however, some remarkable examples of blue pictographs in the American west although considerably fewer than most other pigments. I should also point out that most indigenous peoples lend spiritual significance to various colors.

Blue painted figures, Carrot Man site in western Colorado. Photograph Peter Faris, 2005.

I also questioned whether or not hachure on rock art might have also symbolized blue, even if painted on with a different pigment. Of course, the rock art we study does actually, if rarely, have blue pigments based on natural clays and other materials.

Blue painted figures, Carrot Man site in western Colorado. Photograph Peter Faris, 2005.

Given all of this, the basic question remains ‘did the ancient painters of cave art such as can be found in Lascaux and Chauvet caves see the same range of colors as we do?” There is certainly very little blue found in Paleolithic cave painting, but I take that as a lack of convenient sources of blue pigment at that time, not a lack of visual acuity in color determination. Most of the readily available sources of blue for them would have been in plants in the indigo family which, if used in painting cave walls, might be fugitive, leaving us no evidence of blue in Europe’s painted caves.

I hope you have found this as interesting as I.

 

 

NOTE: Some images in this posting were retrieved from the internet with a search for public domain photographs. If any of these images are not intended to be public domain, I apologize, and will happily provide the picture credits if the owner will contact me with them. For further information on these reports you should read the original reports at the sites listed below.

 

REFERENCES:

 

Hall, Christopher, 2018, Blue is the Rarest Color: Language and Visual Perception, 30 August 2018, Burnaway digital magazine online, https://burnaway.org/magazine/blue-language-visual-perception. Accessed online 19 February 2025.

 

Jones, Nicola, 2022, Color is in the eye, and brain, of the beholder, 27 October 2022, Knowable Magazine online. Accessed online 8 April 2025.

 

Macdonald, Fiona, 2018, There’s Evidence Humans Didn’t Actually See Blue Until Modern Times, 7 April 2025, https://www.sciencealert.com. Accessed online 19 February 2025.

 

Plog, Stephen, 2003, Exploring the Ubiquitous Through the Unusual: Color Symbolism in Pueblo Black on White Pottery, October 2003, American Antiquity, Volume 68 (4), pp. 665-695. Accessed online at JSTOR, 7 March 2025.

 

 

SECONDARY REFERENCE:

 

Brody, J. J., 1991, Anasazi and Pueblo Painting, A School of American Research Book, University of New Mexico Press, Albuquerque, New Mexico.

ROCK ART THEMES ON OTHER MEDIA - MOGOLLON BIGHORN SHEEP DESIGNS:

Bighorn maze, Three-Rivers Petroglyph Site, New Mexico.

Photograph: December 1988, Jack and Esther Faris.

This intriguing petroglyph is from the great Three Rivers Petroglyph Site in New Mexico. More than 21,000 glyphs of birds, humans, animals, fish, insects and plants, as well as numerous geometric and abstract designs are scattered over 50 acres of New Mexico's northern Chihuahuan Desert. The petroglyphs at Three Rivers, dating back to between about 900 and 1400 AD, were created by Jornada Mogollon people.

It shows a complicated design of desert bighorn sheep heads at the ends of lines. These are often referred to in the literature as Bighorn staffs (like a walking stick). One problem with the identification as staffs is that the lines are not straight; after extending a short distance below the bighorn head they bend off at an extreme angle, even shooting straight up. Also, as far as I can tell, Mogollon artifacts recovered to date do not include bighorn-sheep-headed staffs (although I do not pretend to have a comprehensive knowledge of Mogollon collections on museum shelves). So they are probably not staffs. This design has also been referred to as a bighorn maze which might make a little more sense, but, of course, we have no real idea as to its intention. No-one can seemingly come up with a suggestion as to why they felt the need to create a maze with bighorn sheep heads on it – other than the catchall “for ritualistic purposes” which we all too often fall back on when we don’t really have an idea at all.

Mimbres bowl, cover photo from Brody, J. J., Catherine J. Scott,

and Steven A. LeBlanc,1983, Mimbres Pottery: Ancient Art of the

American Southwest, Hudson Hills Press, New York. 

My fascination with this design is partly founded in its resemblance to the design on a classic Mimbres pottery bowl from the Mattocks site, now in the Maxwell Museum of Anthropology, The University of New Mexico, Albuquerque. The bowl measures H. 4 ⅛ in. (10.5 cm), diam. 9 ¼ in. (23.5 cm). (Brody et al. 1983:15) Mimbres pottery dates from a period of about six hundred years (AD 550 – 1150). “ Gila River  Rio Grande Valley and it western tributaries in southwest New Mexico. Differentiation between the Mimbres branch and other areas of the Mogollon culture area is most apparent during the Three Circle (AD 825-1000 roughly) and Classic Mimbres (AD 1000-1150) phases, when architectural construction and black and white painted pottery assume locally distinctive forms and styles” (Wikipedia). The design on this bowl has two mountain sheep heads on the ends of lines, which take off at angles much like the design of the petroglyph. I find the resemblance striking.

General Mogollon culture area. Three Rivers Petroglyph

Site is the star at the upper right, and the bowl came

from roughly the location of the star on the left.

So, is there any real connection, or just a coincidence? Mimbres pottery was produced within a portion of the Mogollon cultural area so geographically we can say they may be connected. Thematically they are obviously similar. The dates of Classic Mimbres pottery (AD 1000 – 1150) fall easily within the span of the production of petroglyphs at Three Rivers. Although I still have to admit that I do not know the significance of the design of the bighorn sheep head on the end of lines like this I do think that both the Mimbres bowl in question, and the petroglyph at Three Rivers, may well have some motivation in common, perhaps they refer to a commonly held belief, or a material item generally recognized throughout the Mogollon territory, so yes, I say they are certainly connected - at least in my mind. What do you think?

REFERENCES:

Brody, J. J., Catherine J. Scott, and Steven A. LeBlanc

1983    Mimbres Pottery: Ancient Art of the American Southwest, Hudson Hills Press, New York.

Wikipedia