Replication for Chauvet Cave

James, N.

doi:10.15184/aqy.2016.63

Cited by 7 publications

(8 citation statements)

References 2 publications

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“…The press release for the opening did mention art, yet archaeology, indeed, was only acknowledged by implication (Lascaux 2016). For the Caverne du Pont d'Arc, both budget and funding were much the same, but, perhaps owing to excitement about Chauvet Cave's putative dates, the Caverne is advertised as archaeological (Ardeche 2015; James 2016).…”

Section: Valuesmentioning

confidence: 99%

“…The atelier too can become as crowded as a popular museum exhibition. The Chauvet Caverne suffers similar and related problems (James 2016: 523). Nor is it only in constricted spaces that numbers jeopardise appreciation (James 2009: 1150).…”

Section: Conditions For Learningmentioning

confidence: 99%

“…Yet they lack the compelling quality of experience in the replica of a site or some part of it. On the other hand, as a novelty—which, for many, is probably one source of its appeal—life-sized replication has to allow both for visitors’ awareness of artifice and for their sense of each other in sharing the experience (Urry & Larsen 2011: 99–100; James 2016). The conditions for learning, in this sense, tend to remain implicit in more familiar settings such as museums and classrooms.…”

Section: Dilemmasmentioning

confidence: 99%

“…and relationship to the physical spaces we inhabit”, the motto of Lascaux IV's architects (Chippindale et al . 2014: 647; James 2016: 523; Snøhetta 2017). The entrance opens into an airy foyer backed by a high white wall like a limestone cliff.…”

Section: The Visitmentioning

confidence: 99%

“…Lascaux IV is France's second new replica of a decorated Palaeolithic cave. The Caverne du Pont d'Arc was opened in 2015 in order to preserve Chauvet Cave, in the Ardèche Valley in south-eastern France (James 2016). The comparison helps to clarify the issues.…”

mentioning

confidence: 99%

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Our fourth Lascaux

James

2017

Antiquity

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Section: Valuesmentioning

confidence: 99%

Section: Conditions For Learningmentioning

confidence: 99%

Section: Dilemmasmentioning

confidence: 99%

Section: The Visitmentioning

confidence: 99%

mentioning

confidence: 99%

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Our fourth Lascaux

James

2017

Antiquity

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Replicated Temporality. Time, Originality, and Rock Art Replicas

Mayer,

Porr

2024

Interdisciplinary Contributions to Archaeology

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The understanding of the notion of ‘the past’ has undergone a complex development in recent years within archaeology and related disciplines. It continues to be interpreted in different ways and in relation to different types of evidence. Indeed, understandings of the conceptualisation of time itself has received an increasing amount of attention, both in relation to methodological and theoretical considerations as well as in terms of public and historical imaginations. In this paper, we explore these aspects in relation to the transformation of archaeological evidence into heritage in the context of European Palaeolithic cave art sites. We focus on the processes of the perception, creation, and imagination of time in relation to 3D replicas of two famous painted cave sites: Lascaux and Chauvet. Through our analysis, we demonstrate that these replicas are reflections of a modern, essentialist, and linear understanding of history, which is linked to a fascination with the notion of originality and related ideas of purity, authority, and wholeness. Engaging with the temporality of the replica also allows an understanding of the unstable character of these notions as the replicas simultaneously exist in (at least) two temporalities and the viewer’s engagement might oscillate between the two. While being wholly located in the present, the replica equally reflects human masterful abilities in the present and the deep past. Our analysis consequently allows to appreciate how the replica participates in the unstable and socially constructed temporalities of authenticity and originality.

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The Untold Heritage Value and Significance of Replicas

Foster

Jones

2019

Conservation and Management of Archaeological Sites

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This article focuses on the fraught questions surrounding replicas and their use in heritage contexts, drawing on an in-depth qualitative study of a historic replica, the 1970 concrete St John's Cross, Iona. We examine how replicas 'work' and unravel the part that social relations, place, and materiality play in the production and negotiation of their authenticity. The research shows that replicas are important objects in their own right, acquiring value, authenticity, and aura. The 'life' of a replica generates networks of relationships between people, places, and things, including the original historic object. While the underlying human stories of creativity, skill, and craftsmanship are rendered invisible when replicas are treated as mere surrogates, we argue that these 'lifestories' should be incorporated into future conservation, management and interpretation. The article spells out practical advice and guidance for heritage professionals who find themselves dealing with replicas.

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Replication for Chauvet Cave

Cited by 7 publications

References 2 publications

Our fourth Lascaux

Our fourth Lascaux

Replicated Temporality. Time, Originality, and Rock Art Replicas

The Untold Heritage Value and Significance of Replicas

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