Other, smaller, carved ivory and bone objects indicate that they were handled frequently, as they would be carried on a person as pendants or charms in pockets. Other items include a bird, a horse’s head, and a figure that is part human and part animal.”
“Laussel’s Mother Goddess” is a sculpture discovered on a rock in Dordogne, France, that is thought to be 19,000–22,000 years old and stands 47 cm (18 1/2 in) tall. It is thought to have symbolised the mother goddess. The sculpture was observed from below eye level in 1911, and it was noted that it appeared almost plastic-like.
The figure is pregnant, as evidenced by her protruding stomach from within the rock face. It is caved in such a way that it appears as if the sculptor was attempting to free a human form within the rock. Unfortunately, the head has been destroyed over time, but we have a rough idea that she appears to be looking in profile at her right hand, which is raised up and holding a bison’s horn. The left hand is resting on her stomach, indicating a swollen womb.
When we combine all of this, especially the bison’s horn, which is shaped like a crescent moon and has thirteen notches on it, it may imply that this demonstrates the phases of the moon; all of this makes her a much more complex and remarkable figure than the Woman from Willendorf.
Because it is almost certain that hunters were aware of horn growth and its relationship to an animal’s sexual cycle, it is common to see a horn embodied within a sculpture or painting to represent reproductive activities and fertility.
The sculpture appears to be intended to represent a fertile mother or fertility goddess. It is clear from all of these sculptures that they were not conceptualized, but rather visualized. This means that what they created was based on what their eyes saw rather than their imagination.
What is truly fascinating is that conceptual art was being done at the same time. (We’ll go over this in greater detail later.)