The nude in the Paleolithic


The Venus from ancient past: a spiritual vision of the body.

Venus of Willendorf

I quote an excerpt from the interesting book HISTORY OF NUDISM by Claudio Ranieri published by S.E.A. Società Editoriale Attualià in 1968, and then a personal spiritual thought. Referring to the art of primitive men, the author writes:

"In many of these representations the sexual characteristics have been widely emphasized, often exaggerated in macroscopic deformations, in order to make it clear that the most important part in the current and artist's evaluation were the sexual organs. And it is highly significant and instructive that the features of the face or the mouth itself, a survival organ, were systematically neglected. They did not interest. They was interested the more strictly sexual organs, male and female. (...)

The process of genital highlighting was not limited to single cultures, but developed in parallel throughout humanity in each country. (...)

Gigantic phallic and female organ representations are always present in the architectural works of the mysterious Mediterranean megalithic civilization and the Menhir, the long and narrow stone with an almost circular section inflicted vertically into the ground, is perhaps the first monument erected of humanity under any latitude; in slight variations we find it from Britain to Gaul, in Italy, in the East and up to the most remote islands of the Polynesian archipelago. Representations of the "lingam" and the "yoni", isolated or together in the form of a column erected within a small oblong basin full of water, are still widespread in India and their origin is lost in the mists of time. "

Venus of Lepugne

We must make a necessary clarification, as one might think that the deformation of these parts of the body may be the fruit of a certain lack of artistic ability: we keep in mind that the animals and hunting scenes represented on the walls of the caves are instead very realistic, proportional and faithful to reality, therefore these sculptures take on a highly symbolic meaning.

I find it very indicative that the features of the faces are deliberately hidden or neglected, almost as if these ancient artists wanted to convey a highly spiritual message, they wanted to represent a primordial cosmic energy, Eros, the creative force of Nature, an energy that animates our bodies but is not ours, we have only borrowed it, like life itself. It is the representation of an impersonal energy, perhaps for this reason the faces are neglected: a well sculpted face would shift the attention from the essence to the superficial (the person as an individual), from the universal to the particular, to the identity of the depicted subject. probably these ancient spiritual masters had no intention of representing a person, an ego, an individual, but rather the concept of an energy, a manifestation, a principle.

Venus of Angles

An impersonal nude represents the primordial vital force of Nature, its essence, its soul, without concentrating and getting lost in the useless particularities of individuality. In this regard, the words of the occultist master Oswald Wirth come to mind: "We will live better if, forgetting the narrowness of our selves, we begin to live a more impersonal life."

Our Soul is not something that belongs to us, it does not belong to our ego, it is part of the forces of the Cosmos, it dwells only temporarily in our material body, it uses it for its purposes, then it will return to the Cosmos, hopefully enriched by our experiences , but this soul is a very different thing from our personality and our social role. We are not really the person that others and ourselves think we know, we must find ourselves, digging deep. Nudity, personally, helps me to get in touch with it, to get in touch with these deep and ancient forces, it helps me to unite with the spirit of the world, and puts me in tune with these ancient ancestors, which probably, from the point of view spiritual, they perhaps knew much more than we do today with all our sciences and technologies.