The Prehistoric Mystery of the Leang-Leang Cave Paintings in Sulawesi

www.jejaknesia.com - The Leang-Leang cave complex, located in Maros Regency, South Sulawesi, holds one of the most important prehistoric art treasures in Indonesia. The cave walls in this beautiful karst area are adorned with hundreds of rock paintings estimated to have been created thousands to tens of thousands of years ago. These paintings are not only visually stunning but also provide invaluable insights into the life, beliefs, and artistic expression of the prehistoric communities that inhabited the Sulawesi region.

History of Discovery and Research in Leang-Leang

The existence of cave paintings in Leang-Leang has long been known to the local communities. However, scientific attention to this site only emerged in the early 20th century. Some of the earliest researchers documenting these paintings were European naturalists and archaeologists who conducted expeditions in Sulawesi. More systematic and in-depth studies were conducted in subsequent decades by Indonesian and international archaeologists.

The most famous Leang-Leang sites are Pettae Cave and Petta Kere Cave. On the walls of these two caves is where the highest concentration of prehistoric cave paintings is found. Research continues to this day, using various methods such as radiocarbon dating of pigments and comparative analysis with rock art in other regions.

Motifs and Styles of Leang-Leang Cave Paintings

The cave paintings in Leang-Leang depict various motifs that can be grouped into several main categories:

• Animal Depictions: Representations of local fauna dominate most of the paintings. Babirusa (Babyrousa babyrussa) and anoa (Bubalus depressicornis and Bubalus quarlesi) are the most frequently depicted animals. These paintings often show them in motion or running, with fairly accurate anatomical details.

  source: www.bbc.com

  Description: A cave painting in Leang-Leang depicting a babirusa with characteristic upward-curving tusks. The painting is orange-red and appears to be made with simple but proportionate lines, as if the animal is running or leaping on the rough cave wall.

• Human Figures (Anthropomorphic): Human figures also appear in the cave paintings, though less frequently than animals. These figures are often depicted in static positions, with arms and legs outstretched, or in scenes that are difficult to interpret. Some human figures have head ornaments or other attributes.

  Source: www.cnnindonesia.com

  Description: A cave painting depicting a reddish-brown human figure with arms outstretched to the sides. The figure is stylistically represented with simpler lines compared to animal paintings, showing a slender body shape.

• Hand Stencils: One of the most common motifs found in Leang-Leang is negative hand stencils. These are created by placing the hand on the cave wall and then spraying pigment around it, leaving the uncolored hand silhouette. The number of hand stencils in Leang-Leang is very large and they come in various sizes.

  Source: makassar.kompas.com

  Description: An example of a negative hand stencil in orange-red on a cave wall. The shape of the fingers and palm is clearly visible in the silhouette left by the pigment sprayed around it, creating an interesting contrast on the stone surface.

• Geometric and Abstract Motifs: In addition to figurative depictions, there are also geometric motifs such as lines, circles, and other abstract shapes. The meaning of these motifs is often more difficult to interpret.

The style of painting in Leang-Leang is generally simple and naturalistic, especially in animal depictions. The pigments used are believed to come from natural materials such as ochre (iron oxide-rich clay minerals) for red and orange colors, and possibly manganese oxide for black. These pigments were likely mixed with water or other organic fluids as a binder. Techniques used include fingers, simple brushes made from feathers or plant fibers, or spraying for hand stencils.

Dating the Leang-Leang Cave Paintings

Dating cave paintings is a challenge. Direct radiocarbon dating of the pigments has been successfully performed on several paintings in Leang-Leang. Recent studies published in Nature in 2014 and 2019 indicate that some paintings, including the babirusa depiction, date back to around 40,000 years ago, making them among the oldest known rock art in the world. Hand stencils at this site may be even older, estimated at 40,000 to 50,000 years. These dates place Leang-Leang art on par with or even older than famous European cave art such as Lascaux and Chauvet.

Interpretation of Symbolic Meaning

The meaning behind the Leang-Leang cave paintings remains a subject of interpretation and debate among archaeologists and prehistoric art experts. Some common interpretations include:

• Art for Art's Sake: These paintings may be a pure artistic expression of prehistoric communities, inspired by their environment and the living beings around them. This shows that aesthetic ability and creativity existed tens of thousands of years ago.

• Magic and Ritual: Many scholars believe that cave paintings served magical or ritual functions. Depictions of hunted animals may have been related to hunting ceremonies, aiming for success in the hunt or to control the spirits of animals. This could be a form of "sympathetic magic" where depicting the animal means controlling or attracting it during hunting. Hand stencils may signify group identity, initiation rituals, or represent the presence of individuals who had been there.

• Mythology and Cosmology: Some motifs may represent mythological stories, worldviews (cosmology), or prehistoric spiritual beliefs about the universe and their place within it.

• Communication and Information Storage: Cave paintings could also serve as a means of communication between groups or as a way to store and convey information about the environment, resources, or significant events to future generations.

Threats and Preservation Efforts

The Leang-Leang cave painting sites face various threats, both natural and human-induced. Karst rock weathering, moss and fungi growth, and vandalism are serious challenges for preserving these fragile rock artworks. Climate change may also impact the cave microecosystem that maintains painting conditions.

Preservation efforts include cleaning and stabilizing cave walls, monitoring environmental conditions (temperature, humidity), and raising public awareness of the site's importance. Leang-Leang has also been designated as part of Bantimurung-Bulusaraung National Park, providing legal protection for archaeological sites and the surrounding natural environment. Sustainable and responsible tourism development is also part of preservation efforts, aiming to allow the public to appreciate this prehistoric heritage without causing damage.

Conclusion

The cave paintings in Leang-Leang are an extraordinary window into the thought and artistic expression of ancient humans in Sulawesi. With extremely old dating and a rich variety of motifs, this rock art not only enriches Indonesia's archaeological heritage but also contributes significantly to our understanding of the development of human art and cognition globally. Ongoing research is expected to reveal more mysteries and hidden meanings behind these stunning prehistoric paintings while ensuring their preservation for future generations. The Leang-Leang heritage reminds us that long before complex civilizations existed, humans had a strong drive to create and express themselves through art.

References:

1. Aubert, M., Brumm, A., Ramli, M., Sutikna, T., Saptomo, E. W., Hakim, B., ... & Roberts, R. G. (2014). Earliest cave art from Sulawesi. Nature, 514(7521), 223-227. (Seminal scientific article addressing the dating of cave paintings in Leang-Leang).

2. Brumm, A., van den Bergh, G. D., Storey, B., Setiawan, R., Basran, B., Burhan, B., ... & Roberts, R. G. (2019). Oldest cave art in the world found in Sulawesi. Nature, 576(7787), 406-407. (Recent discovery that pushes the age limit of the world's oldest rock art, including Sulawesi).

3. Glover, I. C. (1986). Archaeology in Eastern Indonesia. Institute of Archaeology, University College London. (Book providing an overview of archaeology in eastern Indonesia, including the prehistoric context of Sulawesi).

4. Heekeren, H. R. van. (1972). The Stone Age of Indonesia. Koninklijk Instituut voor Taal-, Land- en Volkenkunde. (Classic survey discussing the Stone Age in Indonesia, including cave sites).

5. Soejono, R. P. (General Editor). (1984). National History of Indonesia Volume I: Prehistoric Era to Proclamation of Independence. Balai Pustaka. (Textbook covering Indonesia's national history, including chapters on the prehistoric period and rock art).

6. Taçon, P. S. C., & Chippindale, C. (2001). What's special about Australian rock art? Rock Art Research, 18(1), 1-18. (Although focused on Australia, this article discusses universal principles in rock art studies relevant to Leang-Leang).

7. Whitley, D. S. (2005). Introduction to Rock Art Research. Left Coast Press. (Comprehensive introductory book on methodology, theory, and interpretation in rock art research).

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