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We found 20 more hands, arriving at near 50 in total, 12 of which were overimpressed with symbolic patterns. We also observed the use of a range of colors: ochre, and brown-tinged ochre to black-red. These were the first three hand stencils ever observed to propose an interpretation for this figure as well as From that discovery on, everything became in Borneo.
Located five meters above the ground, the for another spindly one drawn two meters above the possible. It was necessary to confirm all aspects of most difficult hand to make out was the fourth one, floor before the wall. In the s, when It was only much later, after having discovered the substrate for the paintings is corroded by the Dayaks were obliged to group together near the Gua Tamrin figures see page , that we were able calciphageous bacteria.
Each ali handprint has horizontal lines painted on it, a fact that long intrigued us. In , after discovering Gua Tewet and the Fa magnificent symbolic power of the hands, we recognized our error. In , the discovery of a great frieze bearing 23 hands in Gua Ham i proved to connect with this one, nr which must have been even longer before erosion destroyed part of it.
He c- Lu w The issue of dating paintings is a constant in rock art studies. The Louvre Museum Laboratory performed an analysis in that revealed that it was hematite, an almost pure iron oxide. Carbon 14 dating was impossible due to the absence of organic material. Fa concretions, the view over the forest. On a clear day, one can just less in good condition. While I asked Mustafa where we were going, to which i from Sulawesi Island on the seeking to hire guides in Pengadan, I originally ex- our guide, beaming a smile—despite the sweat and nr horizon.
The white skeletons are remains of great primeval forest cluded those who appeared expansive and focused weight of an enormous bag he was carrying— trees destroyed in a gigantic fire in He that burned for 18 on this discrete boy whom everyone described as responded that the entrance to the cave lay just be- months.
This fragile ecosystem will courageous in adventuring where others would not hind a great rock. The night before, we had left Pen- take centuries to recover naturally go, on steep terrains where the slightest fall could gadan in a rundown pick-up truck, walked toward c- from the tragedy.
On the lizards swim. Here and there, we found During an epic evening, I had reproduced in my traces of their frequent passage and that of the cave notebook the topography of the region Mustafa drew guardians, for the price of Salangane nests had sky- with the point of a stick in the ground, indicating the rocketed. Mustafa suddenly disappeared, engulfed in the darkness. With our four porters, we followed him in, flashlights illuminating a circular gallery on a slope, q Mustafa, with his unwavering inhabited by frightened bats and giant cave force and mind of steel, always smiles outwardly, whatever the grasshoppers swinging their antennas from side to circumstances.
His homemade shotgun uses military bullets and can kill a deer at 50 meters. Despite the difficult terrain and distance from towns, the limestone mountains are frequently traversed by nest collectors. These gigantic caverns were formed by the karstic dissolution produced by tropical pe rainfall made acidy when crossing through the atmosphere and tropical soil.
The manner in which ographical memory of our guides. In some way, with they arrange the entrance porch with materials this cave, we had gone through the looking glass, like from the forest like wood, rattan, and stone, is ex- Alice in Wonderland. All around us stood isolated emplary of a way of life with limited means.
They col- peaks, faults and cliffs, covered with jungle brush. At lect water that drips from the concretions, and the bivouac, Agus told us that we were the first West- plant four stakes in the ground to support an elevated erners ever to step foot here, which did not surprise floor upon which to set tree trunk tables for their us a bit.
A true labyrinth of dry, gigantic galleries, tra- Each guardian has a spot for sleeping where the versed by a canyon where a river flows, many upper walls are papered with photographs of seminude, galleries, today abandoned by water, run in different young girls from the Indonesian press whose images directions forming the semblance of a deserted un- are not at all pornographic but actually rather derground city.
Ethno-archaeology is based q The camping grounds are not always charming, but we rarely on observing living communities who, if not iden- Fa have a choice. This tempat tikus tical, are at least living in the same environment as rat hole , is a smoky place that our prehistoric ancestors. What strikes him most is will do for the night.
We sleep on i the ground and use plastic covers. One has ple lived in prehistoric times, in these very same cave to be very careful using this kind of entrance porches, it is much more difficult to attempt wooden installation, as its lifespan c- is limited. As for the paintings, with the exception of the Lu proto-Dayak charcoal drawings in Gua Kenyato, we found nothing on the walls.
On the way back, along an ancient logging road, which was now overgrown with vegetation, we came across a retouched chert flake, from which rain s A gigantic chamber in the had washed away the clay, and then we discovered underground labyrinth of caves of Sungai Bai River, explored in another one, and another. In a few minutes, we had after the discovery of Gua spotted 30 or so chert tools and nuclei.
The time ma- Mardua. Agus gives the scale of the place. We found no rock art in this chine was working. We realized how we had to per- labyrinth of gigantic galleries, severe, organize the data, and establish a chronol- apart from some archaic charcoal ogy, in order to make sense of the different stages drawings and archaeological remains proving that the area of human migrations across Borneo and the South- had been inhabited: retouched east Asian islands.
Dragging his feet a bit, q Blowpipe arrow pouch, ge made of bamboo and rattan, and Word of mouth reached our ears. The surprising he finally took us to the cavern. At the bottom of a a sculpted wooden feline holding rumor being told was that there were still Punan no- sinkhole, we discover a wet, muddy, rat hole of a cave. We Jean-Michel was a bit incredulous and peppered the Fa r The idyllic beaches of Telok heard they lived above the village of Biduk-Biduk.
Yet the guide swore that he Sumbang where cows relax in the Taking full advantage of this unique opportunity to was born in that cave, though not a trace of bone, or, mangrove exposed at low tide, in i sharp contrast to the forest inland. Our s The Kepala Suku, or He rang.
There we rented a simple motorboat, not with- guide was trying to confuse us. With a comfortable Lu housed his ancestors. This amount of food. There were no life jackets aboard. The film was screened inter- police. We had to promise not to film anything, which nationally and created a scandal, which was why we Next pages: Butchering of a bearded wild boar seemed a bit odd to us at the start. We then arrived were no longer allowed to film.
A single poisoned arrow is enough. The idyl- est. Since the nomads Punan hunter-gatherers of Borneo. The bearded wild boar is also the ered inland mountains. As they are living in corru- gration on his group. Recently, these Punans had de- environment and their understanding of ecological gated metal roof houses, aligned in the middle of a cided to cede their beautiful forest to a timber dynamics. There a young guide was as- nana plantation, solid houses and new clothes, un- of the forest.
How else at the entrance of a dark chamber in Liang Sara II seems with the arrival of Pindi Setiawan, a would we have managed on our own to overcome teacher in visual communication at the obstacles of this vegetal and mineral hell on to stand as a warning. Also a caver, Setiawan is a pas- Mustafa was part of the team. On the first day of sionate rock art researcher.
It is an enormous cham- ge the Pemulin Mountains. His knowledge of Indonesian ber hollowed out under a peak of the cliff that rises u Pindi Setiawan, the third customs and practices as well as his sense of diplo- up like a funnel. Partially obstructed by concretions, macy became legend.
He managed to get us out of there is a small adjacent gallery. This gallery opens Fa member of our team as of , tests the water vine to quench his thirst in the middle all kinds of trouble, whether with the village chiefs onto the outside in the middle of the cliff. On the ceil- of the forest. A new i Experience had taught us the limits of our logistics negative hand!
Then another. Like a blindman who nr in one particular area: grams of dry rice per per- suddenly can see, the team began to realize that they He son is the minimum daily requirement. However, the were all over the place! Over here, there was a wild more bags of rice we had to carry, the more porters boar flanked by a hand on its backside.
Over there, we needed. Thus our inflationist logic weighed down we saw a kind of centipede and elsewhere, vegetal c- our teams and limited the time for our field expe- forms and more hands. We were moved when we ditions. The unbelievably isolated setting but ten days of autonomous of this cave left us perplexed. We had these? It zigzags between the barrier peaks, and rule that we applied strictly: the coalescent sinkholes and takes advantage of any even if one of our guides attenuation in the relief to progress in a southward claimed to own a cave, he direction.
This can only be done with hands free to was not allowed to gather a grab onto a rock hold or a root to get beyond the nest while working for us. The paintings are concentrated in a side gallery. All in all, the style is very different from what is found in other parts of the Indonesian islands. For the first time, we begin to imagine some kind of affiliation with the art of Australian Aboriginal people.
A short cut, it allows us Continuing the exploration in a nearby chamber, lights the gallery with the paintings. A vulva is engraved between q The karst of Batu Pemuling is i this passage was already in use, at least as a camp three natural bumps painted red. How many other caves set ten meters above the entrance porch. Among the more varied we find the palette and number of mo- filled with prehistoric vestiges are discoveries found on these walls: an acephalic tifs to be. The more we see, the more we think how still to be found?
Aboriginal people of Australia. Without a doubt, for On the ground at the entrance, Jean-Michel an island lacking prehistory, each step into the jun- Lu ww In Gua Payau, there are three small hands, like those of also found an impressive quantity of paddle- gle and into these caves attests to its richness! Although it impressed pottery shards. Truth be told, it had remained long hidden. We camp the reasons are difficult to determine.
Perhaps this is evidence there, making do with the situation. In the morning, of healing rituals meant to ward off while preparing our return, Pindi and Agus go in to illness. A nearby peak is and may represent a Scutigerid a hollowed out by a cavity. It looked like the floor of Gua Kambing, which we partially reconstructed.
What an amazing pattern! Enhancing the shape of a comet, like blood photograph using a spurting from the animal. We computer, a human-like can barely identify traces of figure with a headdress engraved anthropomorphs appears superimposed in left side of photo. Perpendicular lines continue the symbolic motif on the forearm. Oddly enough, this design recalls clan or ritual tattoos. These are patterns that we will find again later, with multiple variations, especially in Ilas Kenceng and Gua Tewet.
In the palm of another hand, although covered by a layer of calcite, one can identify an anthropomorphic figure. Saleh ushered us to engravings, found in a rock shelter in Danau Tebok. Westerners to explore this area of another upper cave. The exploration came up Borneo than during our visit to Danau short when we encountered a pit, several meters s Chert tools from Liang Ara m Raya.
Tebok, a megadoline lost in the north- deep, looming before us. I dropped a rope in and de- ali w Dayak coffin in Ilas Madu west karsts of Mangkalihat. A Dayak of the Berau, obstacle: a large snake clinging to the vertical wall, the Danau Tebok. How ever did he manage to hang shaped design, a sculpture with a was still being inhabited, some decades ago. He had on to such a smooth wall? The inside been the guide for the French speleological expe- batu cave snake , feeding on bats it traps in the dark!
At the bottom, I realized that I had joined up Fa daily objects intended to accom- pany him to the next world. Dur- with the fossil cave of Gua Tintang, a nice section of u Ceramic pot cover, ing our discussions, one main objective was defined: clay gallery, populated by bustling cave fauna.
Everything led us to believe it was a Crickets with antenna 20 centimeters long and poi- nr engravings, painted with ochre and lime. It was found major karstic phenomenon: a limestone depression sonous centipedes just as big were jumping three He among a hundred decorated, of at least one kilometer in diameter, with a lake in meters at a vault, as curled up snakes awaited their engraved and painted shards in a funerary cave in the karst the middle, varying sharply in depth according to pre- prey in every nook and cranny.
This habitable cavities. Jean-Michel will long re- some sort of foliage. Passing through the log- above his head, enormous cave snakes slinked non- ging stations, one experiences the chalantly over any rough patches on the ceiling. If one were to slip and abling a quick move as the work fall, the choice was to be lacerated by cuts or get stuck progresses through the forest.
We beautiful, untouched forests of the crossed unstable vegetal bridges, and scaled the cliffs, center of Borneo! When Saleh would get disoriented Tintang, a cave with entrances on two as he often did , he would set his bag down and take levels. The lower level entrance was un- off to find our way. How could we know? Later, in the shelter formed by the cliff i where ancient, or at least earlier than present-day, nr burials stand prominently, Lynx Eye detected some He pottery shards decorated with circular engravings.
Elated, he observed the connection between these and a similar form of Lapita ceramics, reputed to have c- spread from the far Southeast of Papua New Guinea to the central Pacific. Lu Yet we were not finding any rock art. Had we reached the limits of their expansion? By nightfall, we were exhausted and, finally, set up At that very instant, we decided on the goal of our q An elaphe snake stalks a bat in our hammocks and plastic covers alongside the lake.
We had a year to prepare for it and the Gua Tintang. For several days, we explored many of the caves Saleh had promised to have us visit. The sun was beating down Liang Ara Raya, north of Perondongan. It was an absurd sentence. Of out of the middle of the path to quickly take refuge as we call ourselves, aboard SERGE ali the same ketinting navigate up course no one finds prehistoric paint- under a bush.
The convoy of porters stretched out Pindi and Jean-Michel. Finally, Masri set his bag down and pointed to ge perplexity, the discovery of this Ara Raya was pitted with gigantic caverns at the foot the top of a cliff: panel provided Jean-Michel Chazine an opportunity to of which lived a man and his family on the banks of — The cave is up there! Yet, in a flash hands, but they are all placed in ri confirmed what Saleh had told us, indicating he was off, brandishing his parang machete and i relationship to each other in a that he too had already seen hands in a cave locat- disappearing into the forest, only to return with an nr particular way and clearly have more to say than those in other ed north of the rocky outcrop.
Unfortunately, the fol- armful of long rattan vines. Pintadas in Argentina, where there are of them. The first the fire. The smoke polluted the sky to such We followed him impatiently, climbing straight up c- sign of a more nuanced a degree that it snowed ashes beyond Singapore in on the vertical for 20 meters, grasping at vines and consideration of the hands is Malaysia.
We had to put everything on hold for yet bushes, but avoiding dead tree trunks. The climb Lu that here our direct observations on this site lead us to note that another year. When we finally arrived, we there is an absence of other Masri has an unusual look about him: a scrag- found ourselves in front of an entrance porch.
Not only was the forest fire cave, up higher. Nonetheless, our curiosity led us They have therefore never been responsible for confusing the pathways, but also to inspect the first cave, immersed in the shad- studied as a discrete unit of since then, the logging companies seem to have ows. It did not take a minute before we heard autonomous meaning. We quickly made an initial inventory of this hands, in particular, to find some As we approached the limestone peaks dark chamber.
Exclamations of surprise abounded individual justification for them through the vegetation, we came upon a remark- as we saw these hands appear. In a kind of alcove, detached from the iconic elements that usually surround ably well-preserved piece of forest. The din of the wall was covered with hands. Most of them them. Rat- seemed pastel-colored because of the white calcite tan vines hanging from trees twisted in endless deposit produced by formerly humid conditions.
Masri stopped for a moment, with his nose Two stalagmitic flows had erased one of the hands, up in the air as if he were catching the scent of a leaving only two fingers visible! On the walls, the destructive agents in the paint are different from those in the other cavities m more open to the exterior. Here there are no calciphageous bacteria, but rather areas that have. Below, a hand is half pe hidden by the calcite corraloid deposits occupying almost all the walls in Gua Masri I, 20 meters or so tro beyond the entrance porch.
Two niches conserved evidence of ancient burials—highly degraded human bones. Might ge these have some relationship to the paintings? We set up camp at the foot of a nearby cliff. The sweat, sand, dust and everything else irritated our Fa skin. Without any water nearby, we drew some drops from a dripping concretion above us. At i night, I managed to wash my entire body with one nr liter of water. Jean-Michel shaved with a single He glass of water.
So the next day, we returned to the cave we c- had named Gua Masri, in honor of our guide, and we began our climb up to the second one. The Lu shock was incredible. Gua Masri II is an intimate gallery of small cells set deep within the peak. This arrangement immediately and irresistibly called mysticism and rituals to mind.
This new mystery begged for explanation. The gallery immediately opens onto a large chamber with paintings from the ground up to 4. On the left, in a dark space we called "the Crypt", there is a concentration of negative hands, all painted very lightly due to two contradictory phenomena, which appeared in some cases combined: either the paintings had been washed away by circulating water during humid periods or the water, when circulating slowly, left very pure calcite deposits allowing us to make out slight impressions of m the hands.
Continuing ahead in the gallery, there are concretions in the. Some hands are partially visible. In these areas, the gallery is in pitch dark and completely covered with pe corraloids, and we can proceed to a second entry. Gua Masri I contains 85 hands: 22 right hands and 35 left tro hands 18 hands are undetermi- nable ; as well as three decorated hands and two hands together. The miracle of the conservation an of these paintings is due to how calciphageous bacteria is naturally limited in areas lacking light.
The hematite is a ferrous oxide which is found as nodules. Fa Once it is ground and disintegrated into the water, it can be used as more or less liquid paint. This is a rare motif in Borneo. Another such design was found in Gua Ham see page It was painted on a natural concavity in the wall and its message Fa seems to underscore other hands appearing as a fan. The three hands in nr the triptych are the same size palm: 73 mm.
It is also plunged in darkness and thus thankfully preserved from the Lu spread of calciphageous bacteria. The left wall contains 71 hands 30 right hands, 36 left hands and 5 undetermined. The dynamic arrangement incites Jean-Michel Chazine to propose an original hypothesis regarding the role of negative hands in prehistoric art: just as the shaman heals the bodies of sick people by the laying on of hands and spitting out substances with purportedly therapeutic powers, negative hands were produced by placing the hand on the wall and blowing into the ochre a red-colored substance , universally utilized for rituals.
The right wall contains 19 hands that are more or less isolated from one another and sometimes covered by calcite. Among the 96 negative hands in Gua Masri II, ten decorated hands have signs in the form of lines and dots, and ten others are combined in pairs or q There are three pairs of painted hands, oriented at 60 throughout our discoveries, are unique to the world of rock triptychs.
The feelings one gets while visiting this degrees and linked at the base on the great panel of 71 hands art, with the exception of a double hand that exists in sanctuary are intense. The combinations and arrangements inflexion. Two other pairs are oriented at degrees. These of hands are not just single hands and must, therefore, mean particular arrangements, which were to be confirmed all much more.
It is highly probable that ge many more hands were originally present. Thus, these Right wall, 11 hands: Left wall, 77 hands: are the first to disappear when erosion or washing occurs. Modern graffiti is also visible in the photograph.
We can identify orange Fa plastic covers on pondoks of the cave guardians. Following the cliff that continues in a diagonal from above and on the i nr right, we can see a small, black entrance porch. This is Gua Jufri, where rock art was He only discovered later in see page Indeed, this small feline is very rare Tewet had never seen one alive before. Its large eyes adapt to its nocturnal life as its paws do to the trees it lives in. When Tewet cuts off its tether, the cat looked at me intensely and I responded by blinking.
I even had the feeling that I could go up and pet it but Tewet, afraid it would jump on me, scared it off into the forest. This brief moment of pure magic ignited my desire to save this forest and the surrounding caves through the creation of a national park. The year will remain forever meters to the west, looming above a dense and in- marked for us by an indelible seal. It terminable canopy of tropical forest. Hiking under Fa q The productivity in nests at Gua Sedepan is such that its was Saleh's turn to guide us along a the grueling sun, we labored through a devastated protection requires numerous guardians.
They set up camp in particularly difficult itinerary, with landscape. The rain had carved out deep canyons i many unexpected events. This expe- in the clay, scraped of its vegetation, and bursts of nr huts with stilts, up to the enclosure limiting access to the cave and marking off the inhabited space.
Ilas chert flakes and fairy chimneys hoodos formed pro- He There are two religious groups in Kenceng, the name Saleh had used for it, was a dou- trusions here and there. The platform cult access to it would be and how many surprises er of a beautiful river called the Marang.
The curious constructions are adapted to all the were in store. Not the first time we source of consumable water and as marshy areas of the mouth of the Bengalon River. It found such cartographic anomalies, we realized sewerage. A great friend of terrain. This is just the amount of one time, ten years earlier, and was our guide to this heartwrenching.
The rainfall since the fire had fa- time necessary for the bird to make cave. When we piled into the pick-up truck, Tamrin, vored the growth of only one species—a tree with a nest big enough to make its commercialization valuable. The harvesting of nests located on higher ground in deep noisseurs a network of guides with whom we were derground inside a cave at the foot of a vertiginous pits is dangerous work due to the able to make our most beautiful discoveries over the cliff, the anomaly vanished as well.
In fact, the riv- difficult access and is therefore handled by rotating teams. These following years. There were more Fifteen minutes later, we were there before the Samarinda. The limestone lost river. A few red lage on the meter-wide entrance porch.
They hands are visible in the vaulted dome, above and left of the photo. When fresco is located. Far from the city, their families and girlfriends, graphic power, appearing on the they live at this outpost, fighting boredom playing wall of a corner in the second chamber: six ochre-colored hand cards, chess or chatting by radio with other guardians c- stencils arranged on top of older, of the surrounding caves.
The next day, everything got a bit more compli- Lu x Detail of the only right hand cated. The image of ily, I had first aid in my bag and bandaged up my fin- an older, orange-colored hand is ger. When we resumed our climb, we were all the superimposed. The end of the figure more circumspect.
Then, just a quarter of an hour seems to be protruding too see box, page After so many days of physical effort and sweat, coupled with the unusual diet, he diag- nosed his table salt deficiency at camp. When we got up to the neck of the peak, Saleh lost his way and he and Pindi began to wander through the desolate mountaintops.
When they finally found the passage, it was evening. The paintings are ment in time. We spread out inside the cave, com- the balcony is an area where many amazing! We overlapping rock art paintings are ge There is no way to describe our euphoria. We set could not get over how rich this prehistoric art was difficult to identify due to the erosion and superimposed out the next day, more ready than ever to make that and how sorry we felt to be at the end of the road.
Given the usual diabolical climb. Saleh had missed the partly hidden There was only one more day left for the expedition Fa order, the orange ochre paintings access way which begins with a sharp turn through and the fact of the matter was that our rice supply was are the most ancient. Two exceptionally decorated hands rocks overgrown with scrub and then requires one practically exhausted, as were we. On a balcony, eight meters up from the ground, nr The one on the left is unique in Yet another secret passageway of 50 or so meters and we encounter the apotheosis: human silhouettes, a Borneo in that it is not only adorned with punctiforms, but also a curved He then, like in Alice in Wonderland, we found ourselves decorated hand with an anthropomorphic figure in line marking the wrinkle that outside in bright sunshine at the foot of the cliff of its palm, traced lines suggesting an initiation rite link- separates the thumb from the palm.
The forearm is painted with a series Ilas Kenceng. So close and yet so far, we observed ing three negative hands. The negative hands c- of parallel lines connected to a line the straight vertical climb and the dead tree we had abound with decorative graphic motifs, like the tat- that runs to the other hand. This is to use for support. Jean-Michel chided: tooed hand in Liang Sara.
In a lower gallery, Pindi even more surprising because there Lu is also a small anthropomorphic — Straddling up like children, at our age! The col- discovered three large rocks painted in light orange. Animal paintings! Prehistory awaits us! The cave was a vast tunnel forming a succession historic caves in Europe! One can identify five other of three chambers lit by three porches. A curious form Yet clearly the animals were nothing compared anthropomorphs that are more or less integrated into the hands.
The of speleology, we no longer needed any lamps! The to the aesthetic shock of the composition of six neg- Great Balcony contains 39 negative complicated concretions were subtly illuminated by ative hands, situated eight meters high, on the hands in all, seven of which are the contrasting lighting that reinforced our feeling decorated; and seven ceiling of a diverticulum in the large chamber.
The anthropomorphic figures, one of having somehow penetrated into a time-space simple, but very graphic, composition confirms an zoomorph and two cervids also outside of the human realm. The ochre paintings on At meters of altitude, this is the highest cav- halfway up the wall with the the white walls stood out prominently.
They were dis- ity we had ever visited. For example, one painting was in valley and surrounding mountains. There is no doubt that prehistoric peoples climbing up a tree trunk. Other hands stretched up- selected this spot intentionally. Here, in the silence wards at a height of ten meters. The pictorial richness of the ceiling as well as its privileged location Fa indicate that it was certainly one of the high, sacred places of the cave. This highly Lu descriptive rock art recounts a story and is close to that of Australian Aboriginal people.
As in many other cases in Borneo, prehistoric peoples reused the same spots over time. It is impossible, without dating, to determine the temporal interval between the sequences. We can, however, estimate that between the execution of the paintings in orange and dark red- brown ochre, hundreds or thousands of years had gone by. One can reasonably assume that the concretion may have begun approximately 13, years ago, toward the end of the last Ice Age and, due to a Bor significant climate change, the flora of the region was modified.
At the same time, with the new circulation of water, calcite deposits and water once again invaded the walls and probably eliminated a good number of th h e grow g paintings. The interest in determining these dates is to corroborate that t i n n of ry coat at least two hands from Ilas Kenceng are more than 13, years old.
The 27, BP sample is presently being studied again. This is the most The deep ocean Detroit of Macassar remained ancient date known for any rock art in the underwater and the islands between Borneo and ge Southeast Asia region, and is indeed one of the Australia were very different in their configuration. Australia and New Guinea formed a subcontinent, To better understand its significance, it is enough called Sahul by nineteenth-century geographers, to glance at a bathymetric map of the seabeds where human travel by land was still entirely Fa around Borneo.
Thirteen thousand years ago, the possible. It leads us to the c- third chamber, a vast rotunda of approximately 25 meters in The Philippines Lu diameter and slightly illuminated by two entrance porches. To the east, another gallery is perched up in the dark. Under it, we detect the imprint of two hands.
This opportunistic use of the wall must be intentional, as we have seen the i same thing in many other cavities nr we have discovered. He Detail of the negative hand visible in the upper left hand corner of the photograph above bearing c- a double row of punctiforms. These must have led from one hand to the other, but part of the painting Lu has since disappeared under the concretion.
One pair of hands demonstrates a perfect sense of symmetry as the left hand and right hand are opposing. These lines or figures seem to be spears or arrows. The only mammal with a m complete head has a particular ali set of lyre-like horns. Painted on a natural protuberance in the rock ge wall, it appears in relief. Photo by Pindi Setiawan q Tracings on transparencies. It allows for eighty photographs to document the whole composition. Spanning He 3. Squeeze w Section of the lower gallery.
The back area of the cave is closed off by a squeeze. Perrette, P. This was a magic art. Lying down on the pow- vation given the number of days, physical effort, and most numerous paintings after the dery ground, I can touch the bull with my finger. It long climb it required to get there. A strange run of negative hands, with 23 occur- ge rences. They take on varied forms. It seems that the paint was bad luck seemed to pursue us as each and every time 1 - Anthropomorphic figures, applied using fingers.
The lyre form of its horns is re- we visited, one of us had a mishap. Thus, in , while with hairstyles or headdresses, and markable. The animal is almost wholly intact as only we were on the other side of the mountain and want- arrows, all painted with a fine brush Fa in a little nook at the very bottom of a few splits of rock are missing. Above it, other mam- ed to return to Ilas Kenceng for a sample of the cal- the wall near the ground in the first mals present something of an enigma.
The paintings cite drapery that had developed on a negative hand room. On their see box, page 94 , a terribly painful sprained ankle nr figure wearing vegetal gear, similar backsides, we see a tuft of horizontal lines, juxtaposed forced me to return alone, leaving Jean-Michel and Pin- to masks worn by some African ethnic groups. The colors appear He one above the other, and overlapping one another, di to continue the adventure alone.
Two years later, only after processing the almost which may be some code of representation signifying Jean-Michel fractured a bone in his foot in the same invisible traces using computer enhancement. Other smaller the cervids, as we will observe later in several oth- circumstances.
Our friend, the caver Serge Cail- are visible on the right. Estimated Two animals, 2. Lu 3 - Four slender, long the right, a small headless animal seems to be to treat. The black, negative hand adult hands, one red and the other nearly purple. The Hospital. Could the acephalic animals be Working late into the night, I studied the paint- 4 - A small anthropomorphic figure sketched at 2. We can ad- ings, lit by an LED lamp whose cold light aided in ob- above the ground on the east wall vance this tentative hypothesis based on the num- serving even the lightest traces of painting.
Thus, I dis- of the second chamber height of the intact part, 19 cm. I slept in Spartan conditions 11 meters high on the ceiling recalls We already know that we must return and take on the ground next to Tamrin and Tewet, who had the evil gesture feared in Corsica, managed to conquer their fear of spending a night in among other places.
Studying these terconnections between the mammals and hand a cave. Over the past four years, the for- In Ilas Kenceng, a total of est at the foot of Ilas Kenceng had grown vigorous- negative hands have been counted.
Among In a human community, each person can only in- these hands, 86 are an tegrate by adopting its rites, customs, codes and rules. This delicate social balance is ev- proportion than the average in ali ident in the distribution of the hands at Ilas Kenceng. Yet each hand according to the specific painted possesses its own personality and an infinite possibility areas, which no doubt holds secret ge significance, but the left hands are of graphic combinations of symbols, colors and always in the majority.
Lu isting on his or her own, while at the The preferred placement for the paintings would same time melting into the mass. This is even more spectacular in Gua be difficult to determine. Among the 57 hand decorations, there are very 4 strong sunlight from the porches that it seems that few identical hands, in addition to the paintings have only survived in shady areas: variations in color, arrangement of nooks, lateral chambers, vaults, and especially on the the fingers, and differences in the length of the forearm.
After four visits to this exceptional cavity, Ilas Ken- Some significant examples: w 1 - Three inverted chevrons ceng can be rated as one of the two major rock art sites traversed by a line linking the middle of Borneo, the other one being Gua Tewet, which the finger to the forearm. We gain access ge to it through the thalweg situated on the right and rising to a peak. No rock art paintings were observed, but some late ceramics were found in the north porch. Pin- representations still present in all bark upon such a problematic climb.
The day before, di was laughing out loud: of Southeast Asia. Each is decorated with its own design. Doctor Gardair had given us a gift when we left to the cave. Un- full of hands, just splendid! Is this an allegory whisky we sipped in small doses at night in our camp. When we reached the vertical part of the cliff, over- exclaim in unison! Or, are cadastral relationships grown with rebellious bushes that provided only a Another decisive stage of our rock art research in Fa of neighboring communities sketched out like a honey tree, sense of insecurity, each of us hung onto unstable Kalimantan took place in Gua Tewet.
In a way, it was though different from the one holds as we waited for Tewet to find our way. We be- a paroxysm. An exceptional group of paintings i in nearby Liang Karim see gan to worry, although Tewet had been part of the formed a vegetal tree of life with connecting curved nr page ? Jean-Michel leans toward the hypothesis of an team at Ilas Kenceng the previous year, and confid- lines, festooned with floral designs and hands dec- allegorical representation of He ed in us that he knew three caves with painted hands!
The apotheosis of painted hands, elementary social relationships. The Mission was based on these wonderful combined, arranged and connected to one anoth- u Pak Tewet in his cave, the promises. We had left Sepaso four days earlier aboard er was undeniably aesthetic, charged with emotion, c- first, true caver of the Mangkalihat karst.
The its uniqueness. With this fragile material testimony Lu first two cavities we visited offered only cruel dis- to beliefs in human culture, set in an unusual envi- appointment. They were just ronment, its meaning may forever remain a mystery. Nonetheless, be- evocative and moving.
There were two hands connected by a one. Tewet to find the path, while Here, there, and everywhere, we found hands! After cave, fifteen meters above long sessions and a rigorous inventory, I counted us. The wait seemed to last negative hands for the first level of the cave alone. Be- ative hands and 28 other painted representations— Gua Tewet. A canoe with Salangane nest gatherers cause the Tewet cave is in fact a simple rock shelter, anthropomorphic figures, cervids, lizards or crocodiles, attempting to navigate a fallen tree i carved into the cliff, wide open to the outside, it is snakes and symbolic paintings—attest to the im- nr trunk blocking the waterway.
We have seen, in previously portance of this site for the heritage of painting. On the first level, Marang Mountains, a short distance from Gua Tewet. Of course, all the walls intervals. In , we set up camp Lu in an abandoned pondok, taking had not originally been paint- best advantage of the fresh water of ed, but where we found rock a small resurgence. Seriously degraded there were no paintings.
The water running through the cracks in the rock during more humid pe- q Gua Tewet I, with its painted riods had either washed away ceiling, on the day of discovery in some of the paintings, or re- the light of the setting sun. Given the play symbolic designs often composed of small, sim- logistics of our short expeditions, ple, graphic elements such as crosshatching, our working method consisted of chevrons, lines and points.
The incredibly rich dif- Fa sketching the hands we found, noting the designs for ferent combinations of these amount to fifty distinct interpretation, photographing these and, depending upon the designs! Some motifs are common to several hands, i whereas others are unique. Jean-Michel refers to a nr accessibility of the paintings, tracing these on transparencies.
Nonetheless, each cave also has one or s Three negative hands with several designs that are proper to it in that they are c- decorated designs characteristic of Gua Tewet: not found elsewhere. What might the function of these designs be? The Lu Above: eight horizontal lines in the palm up to the wrist, with other first idea that comes to mind concerns tattoos or scar- lines running from finger to finger.
The two hands at ment of an initiation. In this case, we would be look- the bottom are orange. The connecting lines superimposed, the darker red ones are always underneath. A measure of some confusion is the disparity be- These differences in color might be tween the compositions with left hands and those due to their different sources or with right hands.
Considering the relief of the wall, the scale cannot be respected consistently throughout. Specific use of designated areas can be determined, such as, for example, i areas where there are only small- nr sized hands. The most common motif to all of Borneo is the design with three parallel lines across the palm.
There are also two small hands, assumed to be those of children approximately ten years of age or so. These appear in the area where the ceiling is lowest and can be reached without scaffolding or help from adults. Section showing location of this group of hands 0,70 m m.
Two-thirds of an the prehistoric rock art hands of the world are left 75mm hands. As we further observe that the left hands are larger than the right hands, we surmise that perhaps 70mm m 65mm this disparity can be explained by a differential in the ali gender of the adult or adolescent populations. There were several points in common with ge all of the caves. All the caves have numerous en- prerequisites for the shamanic voyage.
With Gua u This deer, one of four painted in Gua Tewet, seems to gallop on trances, and are situated in isolated, nearly inac- Tewet, we began to envision the mental space of pre- the ceiling. We can also identify cessible sites, above cliffs that are difficult to climb.
Its horns indicate that it is a Cervus est caves could only have been used for the most par- At this stage, in order to understand these pre- sambar. Note the curled tail. This miss- see Area A on preceding page , He the rock art in the deep caves of Europe. On the other hand, Borneo requires a phys- ical commitment to reach the caves: one has to climb up dizzyingly high cliffs.
One enters an- other realm: a supernatural domain inside the cave, replete with spirits and mysteries. A non-exhaustive chart of the negative hands with additional pe signs painted over them. These only appear on the first level of the cave: decorated hands tro out of a total of hands. If we exclude those hands painted with the same signs and those too deteriorated for analysis, we obtain an 50 different designs. These are the result of a combination of very simple graphic m signs lines on the palms, right or inversed chevrons, points, dots, lines or other signs , which form ali complex designs.
For example, a line that comes under ge the axis of a finger means something different than a line between two fingers, as do the lines Fa on the middle or the index finger which run to the tips. The last line of the table regroups the most complex motifs, which i nr include broken lines, a star and a figure that appears anthropomorphic. He Some of the 59 models are found in other caves in Borneo with slight or c- substantial variations.
Thirteen other designs were found exclusively at Gua Tewet. Both of these are decorated with only two lines. The little finger of the central hand has a protuberance, or fingernail. The paintings are engraved with incisions represented in blue on the tracing , a Fa phenomenon found as well on parts of the ceiling. Since these are covered in moonmilk, one can imagine that the paintings and incisions were produced at the same time. Although their i organization does not seem to be haphazard, we nr are at a loss as to their function.
He w These two right hands on the ceiling are decorated with the same fork pattern, c- connected by a line that ends at the tip of the middle finger. The left hand bears thin stripes in Lu ochre. These are superimposed upon more ancient hands and decorated with highly original patterns such as zigzags and punctiforms.
According to some local traditions, this represents the spirit of the c- ancestors. It is connected to two hands, on one side with a broken line, on the other side with a line that splits in the axis of each finger up to the tip. The broken line can be interpreted as representing a ladder or Lu a stairway and thus the difficult passage embarking on the cosmic voyage. In a corner, above a stalagmite flow, we find a difficult-to- photograph, but surely recognizable, symbol of classic shamanism: a finely painted serpent curled up in a spiral.
Although difficult to decipher, Next to the large compositions of hands, the trained eye can perceive, here and there, attenuated paintings that are nearly it probably predates the hand. The choice of red invisible. This discretion is probably intentional. One can imagine that some of these graphic designs correspond to particular and yellow allows the pattern to appear clearly. On an practices, some of which may have been secretive.
It is also likely that the pictorial gesture was—in some cases—more important the bottom, there is a hand-sketched drawing. Nevertheless, the four recognizably shaped horns, is drawn with a fine small characters on the brush or ochre pencil on the ceiling of the cave. This view from the helicopter shows the Marang Mountains where Gua Tewet is situated in its natural environment, 75 meters above the Bengalon River, close to neighboring m archaeological caves.
The openings of. A vast volume, where Pindi Setiawan found some pe vestiges of degraded paintings in This under-rock shelter, situated 15 or so meters above the river, was used at a later period of time for funerary rituals, m as evidenced by the superb one ali meter-high vase decorated with etched designs.
We observed some seriously damaged paintings here in The fact that there Fa were so few archaeological remains on the surface and in the ground of the decorated caves situated at high i altitudes, led us to believe that these nr were not places inhabited on a regular basis.
In order to classify and sort this mass of archaeological data and determine a chronology, we began to organize excavations as of continuing today in collaboration with Indonesian archaeologists from Puslit Arkenas. In particular, excavations in Liang Jon, a vast rock shelter, had provided a large quantity of ceramics and several burials, including one more than 12, years old, which would be contemporary with the artists of the rock art paintings.
When we an A peak higher than the others ap- first laid eyes on the cave, the great conch was peared in the cliff line of the Marang bathed in light and provided a view far across the Mountains while we were navigating landscape, most notably to the mountain called Ton- s We owe the discovery of rock art to Pak Tamrin, in the m upstream on a little river by the same doyan, with its high silhouette pointing straight up cave that bears his name.
Tamrin, blocking my way, pointed to- in by three o'clock in the afternoon unfortunately sites, one inhabited and one ward a cave among the numerous porches perfo- damaged the better part of the remaining paintings. The sun, rain, and bacteria combined over time to landscape. Would you be able to find them? Photomontage of Once again, the continuity of our investigation de- erase most of the art from these walls.
Very luckily, pended on one of our guides and Tamrin was a however, a few have resisted in the protected con- Fa three photographs taken from a helicopter. He too remembered having seen cavities of the wall. For a whole day, we used our w Like an anatomic model, paintings in a cave and we followed him as well as we binoculars and a sketchbook, observing the paintings, i could. After a short walk, we arrived at a cliff that was despite their deteriorated condition, and slowly be- nr the karstic peak of Gua Tamrin stands before the mountain.
To gain access to the decorated not only vertical, but also bent backwards. No dec- nests did not deter us. There are decorated hands, some As the maneuvering to install the rope went on of which are connected to one another, but what most Lu interminably, Jean-Michel and I took refuge on one captivated us were the human characters.
In a of the very dry platforms at the foot of the cliff. I savoured ly scene depicts a dozen filiform, anthropomorphic the moment to extract numerous pottery shards, my figures. Their faces are all masked by a kind of over- fingers raking the powdery surface, disrupted only sized hairstyle. They seem to be dancing around a wild by the passage of animals. We were still not certain boar at eleven meters high. These dynamic charac- that there were paintings above but, based on our ters are arranged around a rounded cup in the wall, past experience, we were encouraged by the fact that along with a series of negative hands.
The left wall of at the base of the cliff we had found a burial site. We the cave displays an impressive superposition of were back on the tracks of prehistory. All in all, just amazing! Finally, we were about to start our climb. Reas- For the first time, we were able to see how, ac- sured by the blocker sliding on the rope, I tried not cording to these representations, rituals and proba- to think about the knot that they had made way up bly magical dances were performed!
This being an al- above us, or to what they might have tied it. For Jean- Michel Chazine, these particular Fa orifices permitted communication with the supernatural forces in the cave. Available in : p p. Screen Resolution.. Dual Audio Movies;.
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