Abstract

‘The shamanic context of cave art is attested by a number of features’, Michael Winkelman writes (p.6); and, scarcely pausing for breath, he proceeds to reel off as if they were matters of established fact a list of co njectures about the authorship and meaning of ice-age cave paintings. We are t o conclude, without question apparently, that ‘cave art images represent shamanic activities and altered states of consciousness, and the subterranean rock art sites were used for shamanic vision questing’ (p. 7). Well, may be. The shaman hypothesis is certainly an intriguing one; and David Lewis-Williams, in particular, has made a plausible case for it. Yet my own first reaction is: not so fast. For one thing, I myself, in the pages of this Journal a few years ago, presented evidence which – to begin with, anyway – suggests that any such interpretation has to be complet ely mistaken.