Decoding European Palaeolithic art: Extremely ancient knowledge of precession of the equinoxes
A consistent interpretation is provided for Neolithic Gobekli Tepe and Catalhoyuk as well as European Palaeolithic cave art. It appears they all display the same method for recording dates based on precession of the equinoxes, with animal symbols representing an ancient zodiac. The same constellatio...
| Main Authors: | , |
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| Format: | Report |
| Language: | unknown |
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arXiv
2018
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| Subjects: | |
| Online Access: | https://dx.doi.org/10.48550/arxiv.1806.00046 https://arxiv.org/abs/1806.00046 |
| Summary: | A consistent interpretation is provided for Neolithic Gobekli Tepe and Catalhoyuk as well as European Palaeolithic cave art. It appears they all display the same method for recording dates based on precession of the equinoxes, with animal symbols representing an ancient zodiac. The same constellations are used today in the West, although some of the zodiacal symbols are different. In particular, the Shaft Scene at Lascaux is found to have a similar meaning to the Vulture Stone at Gobekli Tepe. Both can be viewed as memorials of catastrophic encounters with the Taurid meteor stream, consistent with Clube and Napier's theory of coherent catastrophism. The date of the likely comet strike recorded at Lascaux is 15,150 BC to within 200 years, corresponding closely to the onset of a climate event recorded in a Greenland ice core. A survey of radiocarbon dates from Chauvet and other Palaeolithic caves is consistent with this zodiacal interpretation, with a very high level of statistical significance. Finally, the Lion Man of Hohlenstein-Stadel, circa 38,000 BC, is also consistent with this interpretation, indicating this knowledge is extremely ancient and was widespread. |
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