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I've always felt at home in the past. | 0:00:13 | 0:00:16 | |
For after all, what is the present except an endless chain of memories? | 0:00:17 | 0:00:23 | |
Some of them are translated into stone. | 0:00:25 | 0:00:28 | |
We are all the inheritors of those memories, | 0:00:30 | 0:00:34 | |
and we look after them as best we can. | 0:00:34 | 0:00:37 | |
All this so we can pass on their revelation to the future. | 0:00:43 | 0:00:49 | |
But every so often something comes along | 0:00:55 | 0:00:58 | |
to shake them from our grip. | 0:00:58 | 0:01:01 | |
In Mosul, in a matter of hours, | 0:01:13 | 0:01:16 | |
the forces of Isis destroyed the work of centuries. | 0:01:16 | 0:01:20 | |
And when they took the ancient trading city of Palmyra | 0:01:20 | 0:01:24 | |
where the cultures of Greeks, Romans, Persians, Arabs and Jews | 0:01:24 | 0:01:28 | |
have mixed and merged, | 0:01:28 | 0:01:30 | |
it was feared that exactly the same would happen. | 0:01:30 | 0:01:33 | |
Here in Geneva, a few Palmyrene artefacts have been saved - | 0:01:46 | 0:01:50 | |
stolen before the violence began, | 0:01:50 | 0:01:53 | |
arrested at customs as black marketeers tried to sell them. | 0:01:53 | 0:01:58 | |
Like this bust of a priest. | 0:01:59 | 0:02:02 | |
His eyes wide open, he seems not dead at all, | 0:02:05 | 0:02:08 | |
just translated to a life elsewhere. | 0:02:08 | 0:02:11 | |
These lovingly carved likenesses of the dead looted from their tombs | 0:02:14 | 0:02:19 | |
ended up in exile, but safe for posterity. | 0:02:19 | 0:02:23 | |
Saving the art that remained in Palmyra, however, | 0:02:24 | 0:02:28 | |
could come at a terrible price. | 0:02:28 | 0:02:31 | |
Khaled al-Asaad, the chief curator of Palmyra, | 0:02:31 | 0:02:35 | |
was 81 when Isis took the town. | 0:02:35 | 0:02:37 | |
And when their soldiers demanded he tell them | 0:02:39 | 0:02:41 | |
where the city's artworks had been hidden, he refused. | 0:02:41 | 0:02:46 | |
They beheaded him in the Roman theatre, | 0:02:49 | 0:02:53 | |
suspended his mutilated body from a traffic light, | 0:02:53 | 0:02:56 | |
placed his head between his feet... | 0:02:56 | 0:02:59 | |
..and attached a placard identifying him as director of idolatry. | 0:03:01 | 0:03:07 | |
Or we might say protector of what needs to be saved, | 0:03:08 | 0:03:12 | |
cherished, passed on as the work of civilisation. | 0:03:12 | 0:03:17 | |
A lot of us spend our days talking about art. | 0:03:19 | 0:03:23 | |
I doubt very many of us are prepared to lay down our lives for it, | 0:03:23 | 0:03:28 | |
but for Khaled al-Asaad, the stones and statues and columns of Palmyra | 0:03:28 | 0:03:33 | |
were more than simply an ensemble of antiquity. | 0:03:33 | 0:03:37 | |
He didn't need a Unesco certificate to tell him | 0:03:37 | 0:03:41 | |
that the significance of Palmyra was at once both local and universal. | 0:03:41 | 0:03:48 | |
It's there for believers and unbelievers, for East and West, | 0:03:48 | 0:03:52 | |
and somehow it had fallen to him | 0:03:52 | 0:03:55 | |
to be the guardian of that inheritance. | 0:03:55 | 0:03:59 | |
We can spend a lot of time debating what civilisation is or isn't, | 0:03:59 | 0:04:03 | |
but when it's opposite shows up in all its brutality and cruelty | 0:04:03 | 0:04:09 | |
and intolerance and lust for destruction, | 0:04:09 | 0:04:12 | |
we know what civilisation is. | 0:04:12 | 0:04:14 | |
We know it from the shock of its imminent loss | 0:04:14 | 0:04:18 | |
as a mutilation on the body of our humanity. | 0:04:18 | 0:04:22 | |
The record of human history brims over with the rage to destroy. | 0:04:30 | 0:04:35 | |
But it's also imprinted with the opposite instinct - | 0:04:37 | 0:04:41 | |
to make things that go beyond the demands of food and shelter, | 0:04:41 | 0:04:47 | |
things that make us see the world and our place in it | 0:04:47 | 0:04:50 | |
in a different light. | 0:04:50 | 0:04:53 | |
We are the art-making animal, | 0:04:53 | 0:04:56 | |
and this is what we have made. | 0:04:56 | 0:04:59 | |
When did it begin, | 0:05:42 | 0:05:45 | |
that second moment of creation, | 0:05:45 | 0:05:48 | |
the dawning of human creativity? | 0:05:48 | 0:05:51 | |
Where did it begin? | 0:05:52 | 0:05:54 | |
It must have started in Africa | 0:05:58 | 0:06:01 | |
where Homo sapiens first evolved about 200,000 years ago. | 0:06:01 | 0:06:05 | |
On South Africa's Cape Coast, | 0:06:07 | 0:06:10 | |
archaeologists have found evidence of human habitation | 0:06:10 | 0:06:13 | |
stretching back around 100,000 years. | 0:06:13 | 0:06:17 | |
In one of those caves, this was discovered. | 0:06:21 | 0:06:24 | |
77,000 years old, | 0:06:24 | 0:06:27 | |
a piece of red ochre, a mineral naturally rich in iron, | 0:06:27 | 0:06:32 | |
etched in a diamond pattern. | 0:06:32 | 0:06:35 | |
The oldest deliberately decorative marks ever discovered. | 0:06:35 | 0:06:39 | |
The pattern may have been a kind of language | 0:06:41 | 0:06:43 | |
or a kind of number scoring, | 0:06:43 | 0:06:46 | |
but it's hard to see them as serving any functional need | 0:06:46 | 0:06:50 | |
connected with shelter or sustenance. | 0:06:50 | 0:06:52 | |
They are a design, | 0:06:54 | 0:06:57 | |
and design announces the beginning of culture. | 0:06:57 | 0:07:01 | |
Another 40,000 years pass and in northern Spain | 0:07:07 | 0:07:11 | |
within a hill so uncannily conical it seems man-made | 0:07:11 | 0:07:16 | |
that mineral, that red ochre, has become paint. | 0:07:16 | 0:07:20 | |
Deep inside a cave, | 0:07:25 | 0:07:27 | |
rudimentary marks have bloomed and multiplied, red circles. | 0:07:27 | 0:07:33 | |
There are no brushes, no sticks to lay on this paint, | 0:07:33 | 0:07:37 | |
they are all applied orally - | 0:07:37 | 0:07:39 | |
colour swilled in the mouth with saliva | 0:07:39 | 0:07:42 | |
and blown directly onto the rock. | 0:07:42 | 0:07:45 | |
And then these, | 0:07:50 | 0:07:52 | |
an eruption of design not blown onto the surface, but painted. | 0:07:52 | 0:07:58 | |
Contours, outlines, flowing streams of dots. | 0:08:00 | 0:08:06 | |
There's a meaning here, but we don't know what it is. | 0:08:07 | 0:08:10 | |
The signs of a biological compulsion to pattern, | 0:08:10 | 0:08:15 | |
it's what we humans do, | 0:08:15 | 0:08:18 | |
what we want to do, | 0:08:18 | 0:08:19 | |
what we can't stop ourselves doing. | 0:08:19 | 0:08:22 | |
And then you come across this. | 0:08:34 | 0:08:37 | |
And in an instant, vast millennia of time just collapse | 0:08:38 | 0:08:43 | |
and you're in the midst of fellow humans. | 0:08:43 | 0:08:45 | |
Their hands doing what hands do, | 0:08:45 | 0:08:48 | |
signalling from a very long way off, | 0:08:48 | 0:08:51 | |
37,000 years distant, in fact. | 0:08:51 | 0:08:56 | |
But this long-distance greeting somehow makes us bond | 0:08:56 | 0:09:00 | |
with the makers of this because they establish a presence | 0:09:00 | 0:09:07 | |
that is palpably alive. | 0:09:07 | 0:09:10 | |
Astonishingly, hand stencils like these have been found in caves | 0:09:14 | 0:09:18 | |
as far apart as Indonesia and Patagonia. | 0:09:18 | 0:09:22 | |
Wherever we went, it seems the urge to signal a presence went with us. | 0:09:22 | 0:09:28 | |
And, undeniably, these hand stencils do | 0:09:30 | 0:09:33 | |
what nearly all art that would follow would aspire to. | 0:09:33 | 0:09:38 | |
First, they want to be seen by others, | 0:09:38 | 0:09:41 | |
and then they want to endure beyond the life of the maker. | 0:09:41 | 0:09:45 | |
Like the earliest photographs, | 0:09:49 | 0:09:51 | |
the images here are faded, indistinct, | 0:09:51 | 0:09:55 | |
but something tantalising is happening - | 0:09:55 | 0:09:58 | |
the realisation that we can, however crudely, represent. | 0:09:58 | 0:10:03 | |
In another cave further west in Asturias, | 0:10:07 | 0:10:10 | |
20 minutes walk away from any daylight, | 0:10:10 | 0:10:13 | |
are images that are anything but crude. | 0:10:13 | 0:10:17 | |
This was a doubling of the world, a life copy, | 0:10:29 | 0:10:33 | |
and executed with startling precision of drawing technique. | 0:10:33 | 0:10:38 | |
They even understood modelling, | 0:10:38 | 0:10:40 | |
anatomical features following the rock wall surface of the cave. | 0:10:40 | 0:10:45 | |
And there were many colours, | 0:10:45 | 0:10:47 | |
not just the ubiquitous red ochre, but violets and blacks. | 0:10:47 | 0:10:51 | |
And all those techniques seem to have been there from the beginning, | 0:10:51 | 0:10:55 | |
tens of thousands of years ago. | 0:10:55 | 0:10:59 | |
When you think about this technique, your head just spins | 0:10:59 | 0:11:02 | |
because it has to have been, above all, a memory exercise. | 0:11:02 | 0:11:07 | |
They would have had to fix in their mind exact anatomical details | 0:11:07 | 0:11:13 | |
and then transpose them here on the surface of the cave. | 0:11:13 | 0:11:18 | |
And, yet, when all that was done, | 0:11:18 | 0:11:20 | |
they managed to preserve miraculously this animal vitality. | 0:11:20 | 0:11:27 | |
This is truly one of the great marvels | 0:11:27 | 0:11:30 | |
of the suddenly expanded human mind. | 0:11:30 | 0:11:34 | |
It was in the later years of the 19th century | 0:11:39 | 0:11:42 | |
that images like these began to be discovered. | 0:11:42 | 0:11:46 | |
The first, and for many years the most famous, | 0:11:46 | 0:11:49 | |
were in the caves of Altamira, also in northern Spain. | 0:11:49 | 0:11:54 | |
Extraordinary paintings of bison, herds of them, | 0:11:59 | 0:12:03 | |
sleeping, lying, standing. | 0:12:03 | 0:12:08 | |
But as the number of painted caves discovered grew, | 0:12:15 | 0:12:18 | |
it became clear that art and music came into the world together, | 0:12:18 | 0:12:23 | |
for musical instruments were found. | 0:12:23 | 0:12:25 | |
BLOWS HORN | 0:12:25 | 0:12:28 | |
Animal horns... | 0:12:28 | 0:12:29 | |
FLUTE WHISTLES | 0:12:29 | 0:12:31 | |
..flutes made from bones of vultures, | 0:12:31 | 0:12:35 | |
and even more hauntingly, bullroarers, | 0:12:35 | 0:12:40 | |
a piece of wood tied to a rope spun round the head | 0:12:40 | 0:12:43 | |
that makes this strange whooping sound. | 0:12:43 | 0:12:47 | |
BULLROARERS WHOOSHES | 0:12:47 | 0:12:50 | |
Recent experiments with these instruments have suggested | 0:12:52 | 0:12:55 | |
that the proximity of painting and music was not accidental, | 0:12:55 | 0:13:00 | |
that they were connected elements in sacred rituals. | 0:13:00 | 0:13:05 | |
I'm using software to test the acoustics in the space. | 0:13:06 | 0:13:11 | |
So we generate this swept sine wave | 0:13:11 | 0:13:14 | |
and we use that to capture the acoustic of the cave. | 0:13:14 | 0:13:18 | |
And we can look for relationships between sound and paintings. | 0:13:18 | 0:13:24 | |
WHISTLING | 0:13:24 | 0:13:27 | |
So the earliest paintings seem to be in these small little side areas | 0:13:32 | 0:13:36 | |
where maybe one person might be there alone. | 0:13:36 | 0:13:39 | |
And then the later paintings seem to be in more grand places, | 0:13:39 | 0:13:45 | |
a venue where a few people would have gathered, | 0:13:45 | 0:13:48 | |
somewhere more dramatic that sounds more dramatic. | 0:13:48 | 0:13:50 | |
BULLROARER WHIRS | 0:13:50 | 0:13:52 | |
You can compare these spaces to a cathedral or a temple. | 0:13:57 | 0:14:02 | |
They're places where people came for sacred moments | 0:14:02 | 0:14:06 | |
which were full of imagery and ritual and music. | 0:14:06 | 0:14:14 | |
FLUTE WHISTLES | 0:14:14 | 0:14:17 | |
And it's like going into a place that's kind of underground, | 0:14:19 | 0:14:24 | |
where you can stop time, | 0:14:24 | 0:14:26 | |
where you can pause and have that special moment | 0:14:26 | 0:14:31 | |
where you're out of time, where you're somewhere else. | 0:14:31 | 0:14:34 | |
Painting is the sound. | 0:14:36 | 0:14:38 | |
The sound making, the music-making, | 0:14:38 | 0:14:40 | |
whatever was happening in this sacred ritual, | 0:14:40 | 0:14:44 | |
that is the painting. | 0:14:44 | 0:14:46 | |
The painting is what's left of that activity. | 0:14:46 | 0:14:49 | |
Anthropologists and archaeologists tell us | 0:15:06 | 0:15:09 | |
that almost all of ice-age painting | 0:15:09 | 0:15:12 | |
had some sort of otherworldly ritual function, | 0:15:12 | 0:15:16 | |
and that, therefore, it ought not to be seen as art. | 0:15:16 | 0:15:19 | |
Though, of course, religion has been a primary purpose of art | 0:15:19 | 0:15:23 | |
for thousands of years. | 0:15:23 | 0:15:25 | |
In Africa, the animals that dominate European cave paintings | 0:15:34 | 0:15:39 | |
are accompanied by humans. | 0:15:39 | 0:15:41 | |
They appear as stylised, elongated figures. | 0:15:44 | 0:15:49 | |
Sometimes they're shown while becoming transformed into beasts. | 0:15:53 | 0:15:59 | |
Men with the heads of antelopes, | 0:15:59 | 0:16:02 | |
creatures that could never have been observed from life, | 0:16:02 | 0:16:05 | |
but which arose from the trance-struck imagination of the shamans. | 0:16:05 | 0:16:11 | |
In the rock art of Africa, these hybrids were painted. | 0:16:12 | 0:16:17 | |
In Europe, where there were far fewer of them, | 0:16:17 | 0:16:20 | |
they went three-dimensional. | 0:16:20 | 0:16:22 | |
In 1939, the fragments of this lion-man, | 0:16:25 | 0:16:29 | |
carved from mammoth ivory, were found in a German cave. | 0:16:29 | 0:16:35 | |
They remained an unsolved puzzle for 30 years | 0:16:35 | 0:16:38 | |
before archaeologists realised that they formed a single figure | 0:16:38 | 0:16:43 | |
made between 35,000 and 40,000 years ago. | 0:16:43 | 0:16:48 | |
This may be a shaman in the middle of a transformation. | 0:16:49 | 0:16:53 | |
It may be the very first of the beast gods, | 0:16:53 | 0:16:57 | |
around which Pagan religions would build their mythologies. | 0:16:57 | 0:17:02 | |
Perhaps the making of such things was itself a sacred calling. | 0:17:02 | 0:17:07 | |
To see how much work was needed to make a lion-man, | 0:17:08 | 0:17:11 | |
archaeologist Wulf Hein embarked on an experiment to carve a replica | 0:17:11 | 0:17:17 | |
using authentic tools and materials. | 0:17:17 | 0:17:20 | |
Without a mammoth tusk, | 0:17:20 | 0:17:22 | |
he used a piece of legally sourced elephant ivory. | 0:17:22 | 0:17:26 | |
I started working from the whole tusk | 0:17:26 | 0:17:30 | |
and then I took a big stone and hammered away this piece, | 0:17:30 | 0:17:33 | |
and I was sweating like hell | 0:17:33 | 0:17:35 | |
because if I would have ruined it, it would be a disaster. | 0:17:35 | 0:17:38 | |
And the most time-consuming part of the work | 0:17:38 | 0:17:41 | |
was setting free the arms | 0:17:41 | 0:17:44 | |
because I had to take a very tiny tool | 0:17:44 | 0:17:46 | |
and make grooves like this underneath, into the ivory, | 0:17:46 | 0:17:50 | |
and just scratch and scratch and days and days | 0:17:50 | 0:17:52 | |
and working and working. | 0:17:52 | 0:17:53 | |
I had blisters on my hands, and every finger was aching. | 0:17:53 | 0:17:56 | |
It was very heavy work. | 0:17:56 | 0:18:00 | |
I started in April | 0:18:00 | 0:18:03 | |
and I stopped working in the middle of July. | 0:18:03 | 0:18:07 | |
I worked about four, five hours a day. | 0:18:08 | 0:18:12 | |
In the end, it was about 400 hours, then I stopped counting. | 0:18:12 | 0:18:16 | |
I guess it was a real artist who made this. | 0:18:16 | 0:18:20 | |
And he was set free by his community only to do this piece of artwork. | 0:18:20 | 0:18:24 | |
If you do this a whole summer or a whole winter through, | 0:18:24 | 0:18:27 | |
you can't go hunting, you can't go fishing, you can't do nothing | 0:18:27 | 0:18:29 | |
because you work all day on it. | 0:18:29 | 0:18:32 | |
It must have had incredible meaning for the people who made it. | 0:18:32 | 0:18:36 | |
And these must have been charged with meaning too. | 0:18:40 | 0:18:44 | |
Small figurines embodying the primal life events | 0:18:44 | 0:18:49 | |
of birth and procreation. | 0:18:49 | 0:18:52 | |
Gravid earth mothers weighty with fertility, | 0:18:52 | 0:18:56 | |
enormous distended breasts and buttocks. | 0:18:56 | 0:19:01 | |
So powerfully elemental they seemed to speak directly | 0:19:01 | 0:19:05 | |
to modern artists when they first saw them. | 0:19:05 | 0:19:09 | |
The most self-consciously modern of them all, Picasso, | 0:19:09 | 0:19:12 | |
told a friend that no sculptor had ever bettered | 0:19:12 | 0:19:16 | |
the Palaeolithic carvers. | 0:19:16 | 0:19:18 | |
He bought a copy of this one, Venus of Lespugue, | 0:19:18 | 0:19:22 | |
and kept it in his studio all his life. | 0:19:22 | 0:19:27 | |
Was he touched by its archaic spirituality? | 0:19:27 | 0:19:32 | |
No. | 0:19:32 | 0:19:34 | |
He was earthly and worldly, | 0:19:34 | 0:19:37 | |
but he felt a deep communion with the makers of a physical art. | 0:19:37 | 0:19:43 | |
And there were traces of that communion elsewhere in his work. | 0:19:43 | 0:19:47 | |
Despite rumours, there's no direct evidence | 0:19:49 | 0:19:52 | |
that Picasso ever visited the painted caves of Altamira | 0:19:52 | 0:19:56 | |
or saw in person the extraordinary painted bison | 0:19:56 | 0:20:01 | |
that those caves contained. | 0:20:01 | 0:20:03 | |
But he was obsessed with animals, | 0:20:04 | 0:20:07 | |
one animal in particular, | 0:20:07 | 0:20:09 | |
not the bison, but it's cousin, the bull, | 0:20:09 | 0:20:11 | |
an animal to which he returned again and again. | 0:20:11 | 0:20:15 | |
Do we think this is mere coincidence? | 0:20:18 | 0:20:22 | |
He liked to call himself a modern primitive, | 0:20:23 | 0:20:27 | |
and in those images, glimmering images in the caves, | 0:20:27 | 0:20:30 | |
he found, he thought, a fountainhead | 0:20:30 | 0:20:33 | |
of everything that was truly creative | 0:20:33 | 0:20:36 | |
about the artistic instinct. | 0:20:36 | 0:20:38 | |
So he paid cave art the ultimate compliment | 0:20:38 | 0:20:42 | |
by doing something very similar. | 0:20:42 | 0:20:44 | |
He looked at a bull | 0:20:44 | 0:20:46 | |
and then he produced this beautiful, dashing, impulsive picture of a bull | 0:20:46 | 0:20:51 | |
so close to the original in Altamira, | 0:20:51 | 0:20:55 | |
it could even have been a studious copy. | 0:20:55 | 0:20:58 | |
But then he produced another ten prints, | 0:21:00 | 0:21:03 | |
bulls drawn from his own enormous range of styles, | 0:21:03 | 0:21:07 | |
from meaty naturalism | 0:21:07 | 0:21:10 | |
through classical Cubism | 0:21:10 | 0:21:12 | |
to a lightly delineated bull that's really just a pair of horns | 0:21:12 | 0:21:18 | |
and then that other thing that bulls always need. | 0:21:18 | 0:21:21 | |
The entire sequence expresses his admiration | 0:21:23 | 0:21:26 | |
for the genius of the cave painters, | 0:21:26 | 0:21:29 | |
his belief that ancient or modern, | 0:21:29 | 0:21:31 | |
the hand of the painter, the hand of the artist, never really changes. | 0:21:31 | 0:21:37 | |
And I have to say, I agree with Picasso. | 0:21:37 | 0:21:41 | |
We can walk into rooms like this one | 0:21:52 | 0:21:55 | |
which preserve the 19th century style of museum presentation - | 0:21:55 | 0:22:00 | |
abundance. | 0:22:00 | 0:22:02 | |
And as we wander through case after case, | 0:22:05 | 0:22:08 | |
not just of minute fashioning tools, but ivory and bone, | 0:22:08 | 0:22:13 | |
decorated with startling images of birds and horses, | 0:22:13 | 0:22:16 | |
we can't avoid pushing back instinctively | 0:22:16 | 0:22:20 | |
against the received wisdom of the scholars | 0:22:20 | 0:22:23 | |
that none of these things should ever be thought of as art. | 0:22:23 | 0:22:27 | |
For me, the last word in this entire debate | 0:22:29 | 0:22:33 | |
belongs to one tiny ancient piece in particular... | 0:22:33 | 0:22:37 | |
..La Dame de Brassempouy. | 0:22:40 | 0:22:43 | |
The lady of Brassempouy, | 0:22:43 | 0:22:45 | |
found in a cave in south-west France in 1892. | 0:22:45 | 0:22:49 | |
She's between 22,000 and 25,000 years old. | 0:22:49 | 0:22:55 | |
With this intensively carved female head, | 0:22:58 | 0:23:03 | |
we have, for the first time, | 0:23:03 | 0:23:05 | |
something immensely and movingly momentous. | 0:23:05 | 0:23:09 | |
We have the revelation of the human face. | 0:23:09 | 0:23:14 | |
It's a tiny thing, it can just go in the palm of your hand. | 0:23:14 | 0:23:20 | |
This is exquisite. | 0:23:20 | 0:23:22 | |
There are downward strokes and sideward strokes | 0:23:22 | 0:23:24 | |
there is carving and gouging and polishing and scraping. | 0:23:24 | 0:23:29 | |
Every kind of extraordinary craft is applied | 0:23:29 | 0:23:33 | |
to give this face what we have to say is its personality. | 0:23:33 | 0:23:37 | |
One example, a dig is made below the forehead | 0:23:37 | 0:23:43 | |
to suggest the presence of eyes. | 0:23:43 | 0:23:46 | |
Those eyes are hauntingly vivid. | 0:23:47 | 0:23:51 | |
They only become eyes when a shadow falls | 0:23:51 | 0:23:55 | |
over that passage in the head. | 0:23:55 | 0:23:57 | |
So this little piece would have been turned into the light | 0:23:57 | 0:24:00 | |
and as it was turned into the light, the shadow would have fallen | 0:24:00 | 0:24:03 | |
and suddenly we have eyes as well as that beautiful nose | 0:24:03 | 0:24:07 | |
and this extraordinary hair falling down the nape of the neck. | 0:24:07 | 0:24:11 | |
Now we are not supposed to say, us amateurs in this field, | 0:24:13 | 0:24:18 | |
we're not supposed to talk about art, | 0:24:18 | 0:24:21 | |
we're not supposed to talk about things like | 0:24:21 | 0:24:23 | |
the birth of a refined sensibility. | 0:24:23 | 0:24:27 | |
I'm going to do that nonetheless. | 0:24:27 | 0:24:29 | |
I don't care how anachronistic it is. | 0:24:29 | 0:24:32 | |
With this tiny piece from Brassempouy, | 0:24:32 | 0:24:35 | |
it seems to me that we have, right in front of us, | 0:24:35 | 0:24:40 | |
the dawn of the idea of beauty. | 0:24:40 | 0:24:43 | |
But beauty is hard to eat. | 0:24:47 | 0:24:50 | |
The slow growth of civilisations depended, at first, | 0:24:53 | 0:24:57 | |
on practicalities - | 0:24:57 | 0:24:59 | |
the domestication of animals and cereal crops. | 0:24:59 | 0:25:02 | |
The most ancient wheats were harvested | 0:25:04 | 0:25:06 | |
on sites near the River Jordan about 10,000 years ago. | 0:25:06 | 0:25:11 | |
Civilisations started small, | 0:25:14 | 0:25:17 | |
it depended on the invention of needful things - | 0:25:17 | 0:25:20 | |
pottery vessels for cooking, eating and storage. | 0:25:20 | 0:25:24 | |
Excavations in Iraq in the 1920s and '30s | 0:25:26 | 0:25:30 | |
began to reveal how intensive irrigation of the planes | 0:25:30 | 0:25:34 | |
between the rivers Tigris and Euphrates had allowed | 0:25:34 | 0:25:37 | |
the world's first true cities to arise. | 0:25:37 | 0:25:40 | |
By about 5,000 years ago, | 0:25:41 | 0:25:44 | |
cities with tens of thousands of inhabitants, such as Ur and Uruk, | 0:25:44 | 0:25:49 | |
were producing art that reflected the self-image of the powerful. | 0:25:49 | 0:25:55 | |
Here is the Standard of Ur | 0:25:55 | 0:25:57 | |
where mosaic inlaid in bitumen | 0:25:57 | 0:25:59 | |
showed the scenes that mattered most. | 0:25:59 | 0:26:03 | |
Soldiers march, | 0:26:05 | 0:26:07 | |
war wagons roll, | 0:26:07 | 0:26:10 | |
and on the reverse, a court convenes | 0:26:10 | 0:26:13 | |
with the king depicted larger than his priests and courtiers, | 0:26:13 | 0:26:17 | |
ranged below the catering classes, the toilers and hewers. | 0:26:17 | 0:26:22 | |
It's a complete social world, | 0:26:22 | 0:26:25 | |
and it came with writing. | 0:26:25 | 0:26:28 | |
These scripts usually recorded administrative matters, | 0:26:28 | 0:26:32 | |
but sometimes told the stories of heroes and deities. | 0:26:32 | 0:26:37 | |
And animals continue to provide the models for gods and monsters. | 0:26:37 | 0:26:43 | |
This gorgeous goat, also from Ur, drew materials from far and wide. | 0:26:45 | 0:26:51 | |
White shells were from the Red Sea, | 0:26:51 | 0:26:54 | |
the blue lapis lazuli from far Afghanistan, | 0:26:54 | 0:26:58 | |
and the gold leaf was the work of local goldsmiths. | 0:26:58 | 0:27:02 | |
Around 4,500 years ago, | 0:27:05 | 0:27:09 | |
in the islands of the Eastern Mediterranean, | 0:27:09 | 0:27:11 | |
migrants from Western Asia seeded Europe's first great civilisation, | 0:27:11 | 0:27:18 | |
the culture of the Minoans. | 0:27:18 | 0:27:21 | |
Its ruins are everywhere on Crete and on the islands of the Aegean. | 0:27:23 | 0:27:29 | |
This must have been a fishing village. | 0:27:30 | 0:27:33 | |
You can almost hear the bustle. | 0:27:33 | 0:27:35 | |
Protected by the sea on two sides, but closely packed. | 0:27:38 | 0:27:42 | |
So even here people will have had to learn the skills | 0:27:42 | 0:27:45 | |
that any fixed settlement requires - | 0:27:45 | 0:27:48 | |
how to be neighbourly. | 0:27:48 | 0:27:51 | |
But there's more to civilisation than keeping neighbours happy. | 0:27:53 | 0:27:58 | |
On Crete itself, we find the ruins of large towns | 0:28:01 | 0:28:07 | |
where the streets still thread their way, | 0:28:07 | 0:28:09 | |
opening onto grandiose plazas, | 0:28:09 | 0:28:12 | |
spaces for ceremony and pomp, | 0:28:12 | 0:28:16 | |
for ritual and for politics. | 0:28:16 | 0:28:18 | |
Minoan cultural style spread across the Aegean Sea | 0:28:22 | 0:28:27 | |
to islands like Santorini. | 0:28:27 | 0:28:29 | |
A volcanic eruption destroyed the port city of Akrotiri | 0:28:33 | 0:28:38 | |
in around 1627 BCE, | 0:28:38 | 0:28:42 | |
but the ash preserved the murals found here | 0:28:42 | 0:28:45 | |
in all their vivid realism. | 0:28:45 | 0:28:48 | |
They raised the ghost of a seagoing civilisation, | 0:28:50 | 0:28:54 | |
a clear ancestor of our own | 0:28:54 | 0:28:56 | |
with its clamour and glamour, its commercial pulse. | 0:28:56 | 0:29:00 | |
These passengers aren't going to the afterlife, | 0:29:04 | 0:29:07 | |
they're on ferries and festive excursions. | 0:29:07 | 0:29:11 | |
And on the land behind them, there are streets | 0:29:12 | 0:29:14 | |
with multistorey houses, | 0:29:14 | 0:29:17 | |
and in the richer of them, decorative paintings | 0:29:17 | 0:29:20 | |
of the kind consumers would want for ever after. | 0:29:20 | 0:29:25 | |
This is the first truly social art the world had seen. | 0:29:25 | 0:29:32 | |
Here are beautiful youths duking it out. | 0:29:32 | 0:29:35 | |
Here are saffron gatherers. | 0:29:36 | 0:29:39 | |
Here are swallows. | 0:29:40 | 0:29:43 | |
A perpetual springtime brought into the living room. | 0:29:43 | 0:29:47 | |
One contact sport dominated Minoan culture - bull leaping. | 0:29:51 | 0:29:57 | |
Young men, possibly women too, back flipping over charging bulls. | 0:29:57 | 0:30:02 | |
It's long been argued that this was too dangerous | 0:30:03 | 0:30:06 | |
to have actually happened, | 0:30:06 | 0:30:08 | |
that the art captures a myth, a fantasy. | 0:30:08 | 0:30:11 | |
And yet in the British Museum, | 0:30:13 | 0:30:15 | |
there's a little bronze sculpture | 0:30:15 | 0:30:17 | |
that's pulsing with a natural energy that feels absolutely true to life. | 0:30:17 | 0:30:23 | |
What strikes me as being physically real | 0:30:27 | 0:30:32 | |
is the fact that this is not a stylised piece of work at all. | 0:30:32 | 0:30:35 | |
It has physical immediacy. | 0:30:35 | 0:30:37 | |
Even though our jumper has lost his legs, | 0:30:37 | 0:30:40 | |
his back is braced, his head is flung back. | 0:30:40 | 0:30:44 | |
And the bull, the bull is indeed a bull in full charge - | 0:30:44 | 0:30:49 | |
front and back legs tensed. | 0:30:49 | 0:30:51 | |
The eyes, and you can actually see the eyes, are blazing, | 0:30:51 | 0:30:56 | |
and the muzzle is snorting with dangerous foam. | 0:30:56 | 0:31:00 | |
Around the 15th century BCE, | 0:31:04 | 0:31:07 | |
Minoan culture was producing myriad tiny masterpieces. | 0:31:07 | 0:31:13 | |
Seal stones to be pressed into soft wax | 0:31:13 | 0:31:16 | |
or worn as micro art. | 0:31:16 | 0:31:19 | |
Gold rings, sometimes decorated with goddesses or their priestesses, | 0:31:19 | 0:31:25 | |
bare-breasted, wasp-waisted with flaring skirts. | 0:31:25 | 0:31:30 | |
Minoan art was irresistibly attractive to a raw rising power | 0:31:31 | 0:31:36 | |
on the Greek mainland. | 0:31:36 | 0:31:38 | |
Here was a culture that wanted to clothe its belligerence | 0:31:39 | 0:31:43 | |
in sophistication that would play a vital role in European history - | 0:31:43 | 0:31:49 | |
the Mycenaeans. | 0:31:49 | 0:31:51 | |
In 2015, American archaeologists were digging in western Greece, | 0:31:55 | 0:32:00 | |
and here, far from Crete, they made the most significant discovery | 0:32:00 | 0:32:05 | |
of Minoan artefacts for many, many years. | 0:32:05 | 0:32:09 | |
They found the grave of a warrior buried around the year 1450 BCE. | 0:32:11 | 0:32:17 | |
Here we are in the grave to look at our body today. | 0:32:20 | 0:32:25 | |
It was the body of a Mycenaean. | 0:32:26 | 0:32:29 | |
Pretty amazing. | 0:32:33 | 0:32:35 | |
Yet almost all the objects found with the body were clearly Minoan. | 0:32:35 | 0:32:41 | |
This is our third gold ring. | 0:32:41 | 0:32:43 | |
Four solid gold rings were eventually found in the grave. | 0:32:47 | 0:32:52 | |
They're just exquisite, actually. | 0:32:55 | 0:32:57 | |
The craftsmanship on all of them is stunning. | 0:32:57 | 0:33:01 | |
And they all have their own story to tell. | 0:33:01 | 0:33:03 | |
They're very much like the iconography | 0:33:03 | 0:33:05 | |
that you find in Minoan Crete. | 0:33:05 | 0:33:07 | |
I think that's a really important lesson to learn | 0:33:07 | 0:33:10 | |
-about how civilisations evolve. -Yeah. | 0:33:10 | 0:33:13 | |
That civilisations are constantly borrowing and receiving inspirations | 0:33:13 | 0:33:19 | |
from their predecessors | 0:33:19 | 0:33:21 | |
and from those that surround them as they evolve. | 0:33:21 | 0:33:25 | |
In total, the grave contained over 1,500 separate objects. | 0:33:25 | 0:33:31 | |
There was a corroded bronze mirror and ivory combs. | 0:33:32 | 0:33:36 | |
Vanity was part of the warrior's job description. | 0:33:36 | 0:33:40 | |
Hair was ritually combed before battle. | 0:33:40 | 0:33:43 | |
And, of course, there were swords. | 0:33:44 | 0:33:47 | |
The grave of the Griffin Warrior has all of the artefacts | 0:33:49 | 0:33:52 | |
that you would expect a warrior to have accumulated in his lifetime. | 0:33:52 | 0:33:56 | |
And this is the first time that we can really understand | 0:33:56 | 0:33:59 | |
what the complete warrior kit looked like. | 0:33:59 | 0:34:02 | |
One of the objects found in the grave - | 0:34:02 | 0:34:04 | |
tiny, not quite 1.5 inches long - | 0:34:04 | 0:34:08 | |
was crusted in mud and minerals. | 0:34:08 | 0:34:10 | |
Once cleaned, it forces us to rethink everything | 0:34:12 | 0:34:16 | |
we thought we knew about this moment in history. | 0:34:16 | 0:34:19 | |
High resolution photographs show the extraordinary achievement. | 0:34:21 | 0:34:26 | |
We see the long hair flowing free | 0:34:35 | 0:34:37 | |
that would have been combed before battle. | 0:34:37 | 0:34:40 | |
We see a sword lying on the ground | 0:34:42 | 0:34:45 | |
exactly like the swords discovered in the grave. | 0:34:45 | 0:34:48 | |
But that is just the beginning. | 0:34:49 | 0:34:51 | |
This is the first fight scene in all of European art, | 0:34:54 | 0:35:00 | |
for all I know, in all of world art. | 0:35:00 | 0:35:02 | |
Yes, there are occasional moments of combat and battle in other cultures, | 0:35:02 | 0:35:06 | |
but they're flat, they're very stylised, | 0:35:06 | 0:35:09 | |
they don't feel like the smash of bone and bronze | 0:35:09 | 0:35:14 | |
and metal and the spout of blood, this does. | 0:35:14 | 0:35:17 | |
This goes straight from 1450 BC to action movies. | 0:35:17 | 0:35:24 | |
Look at those rippling biceps. | 0:35:24 | 0:35:26 | |
Look at those muscles. | 0:35:26 | 0:35:28 | |
Look at those tense bodies. | 0:35:28 | 0:35:29 | |
This cross of locked-together fighters. | 0:35:29 | 0:35:33 | |
A spear that's about to try and impale the body of his enemy | 0:35:33 | 0:35:36 | |
before it's too late. | 0:35:36 | 0:35:38 | |
The sword that's about to plunge down. | 0:35:38 | 0:35:41 | |
It's 3-D, folks. It's coming at you. | 0:35:41 | 0:35:44 | |
And, inevitably, there is already a dead body, | 0:35:44 | 0:35:49 | |
perfectly modelled, an arm bent back. | 0:35:49 | 0:35:53 | |
Homer speaks of such bodies | 0:35:53 | 0:35:55 | |
with a hand or a face writhing in the dust. | 0:35:55 | 0:36:00 | |
But, people, Homer is 700 years later. | 0:36:01 | 0:36:08 | |
700 years later, the time between Chaucer and us. | 0:36:09 | 0:36:14 | |
Somebody out there with incredible hawklike eyesight is drawing on | 0:36:14 | 0:36:20 | |
a body of combat literature | 0:36:20 | 0:36:22 | |
that goes all the way down to those beautiful Homeric inventions. | 0:36:22 | 0:36:27 | |
It sets something running in European culture. | 0:36:27 | 0:36:31 | |
This Mycenaean love of guts and glory | 0:36:31 | 0:36:35 | |
and the Mycenaeans themselves, along with the Minoans, | 0:36:35 | 0:36:38 | |
will pass into history. | 0:36:38 | 0:36:40 | |
But this doesn't pass into history, | 0:36:40 | 0:36:43 | |
it passes into poetry. | 0:36:43 | 0:36:46 | |
It passes for ever into the world. | 0:36:46 | 0:36:49 | |
Sometimes there are discoveries that radically transform | 0:36:54 | 0:36:58 | |
existing knowledge. | 0:36:58 | 0:37:01 | |
But then there are other discoveries | 0:37:01 | 0:37:04 | |
that reveal a culture so far outside the river of history | 0:37:04 | 0:37:08 | |
that we may never truly understand them. | 0:37:08 | 0:37:11 | |
As Mycenae rose about 3,000 years ago, | 0:37:12 | 0:37:15 | |
an extraordinary culture grew in west central China - | 0:37:15 | 0:37:20 | |
Sanxingdui. | 0:37:20 | 0:37:22 | |
Its remains were unearthed in 1986 on a building site. | 0:37:26 | 0:37:31 | |
The revealed pits contained hundreds of elephant tusks, | 0:37:35 | 0:37:39 | |
the remains of sacrificed animals, | 0:37:39 | 0:37:41 | |
and a vast and startling abundance of masks. | 0:37:41 | 0:37:48 | |
There were scores of masks, | 0:38:03 | 0:38:05 | |
There were giant masks | 0:38:05 | 0:38:07 | |
which probably stood in some sort of temple. | 0:38:07 | 0:38:10 | |
There were little itty-bitty masks, | 0:38:10 | 0:38:12 | |
There were masks that were user-friendly, | 0:38:12 | 0:38:14 | |
that almost certainly could be worn on the face. | 0:38:14 | 0:38:18 | |
They all have huge eyes. | 0:38:18 | 0:38:21 | |
This one, you can still see a few traces of black paint. | 0:38:21 | 0:38:25 | |
They were painted black. | 0:38:25 | 0:38:27 | |
Dashing eyebrows. | 0:38:27 | 0:38:29 | |
Diamond-shaped eyes. | 0:38:29 | 0:38:32 | |
Nothing in the rest of ancient China has ever been discovered | 0:38:32 | 0:38:36 | |
remotely like these faces, like these heads. | 0:38:36 | 0:38:40 | |
The bronze is the same, the figures and faces are not. | 0:38:40 | 0:38:45 | |
Nothing that can tell us anything about the people | 0:38:49 | 0:38:52 | |
who made these objects has survived. | 0:38:52 | 0:38:55 | |
There are no writings, no other histories to tell us who they were. | 0:38:55 | 0:38:58 | |
It's been suggested that some of the masks | 0:39:00 | 0:39:03 | |
might have been used in rituals by impersonators of the dead - | 0:39:03 | 0:39:08 | |
those enormous eyes which see beyond the world, | 0:39:08 | 0:39:12 | |
the ears which might hear what the departed say. | 0:39:12 | 0:39:16 | |
But this is all pure speculation. | 0:39:17 | 0:39:19 | |
The civilisation of Sanxingdui came, it flourished, | 0:39:21 | 0:39:26 | |
and then it disappeared off the face of the earth. | 0:39:26 | 0:39:29 | |
But civilisation is always a balancing act. | 0:39:37 | 0:39:41 | |
There may be enemies at the gates, | 0:39:41 | 0:39:43 | |
there may be enemies within the walls, | 0:39:43 | 0:39:47 | |
and sometimes the very landscape and climate | 0:39:47 | 0:39:50 | |
in which a culture grows must be conquered. | 0:39:50 | 0:39:53 | |
It may be too rocky, too arid, | 0:39:57 | 0:40:01 | |
but here canyons and gullies became the streets and thoroughfares | 0:40:01 | 0:40:07 | |
for one of the most spectacular civilisations | 0:40:07 | 0:40:10 | |
in all of human history. | 0:40:10 | 0:40:13 | |
This is Petra where the sheer improbability of its location | 0:40:39 | 0:40:44 | |
was also the secret of its spectacular flourishing. | 0:40:44 | 0:40:49 | |
The reason why this tomb endured and survived armies and earthquakes | 0:40:50 | 0:40:56 | |
is that the Nabateans who built it | 0:40:56 | 0:40:58 | |
cut it into the sandstone surface of the mountain, | 0:40:58 | 0:41:02 | |
rather than build some freestanding marble monument. | 0:41:02 | 0:41:07 | |
The mountains shook with earthquakes, | 0:41:07 | 0:41:10 | |
but these buildings stood intact. | 0:41:10 | 0:41:14 | |
The Nabateans had what you might call | 0:41:14 | 0:41:17 | |
an instinct for cultural ecology. | 0:41:17 | 0:41:19 | |
They worked with the rock of their desert home. | 0:41:19 | 0:41:23 | |
The columns are graceful. | 0:41:23 | 0:41:25 | |
The capitals are heavily decorated. | 0:41:25 | 0:41:28 | |
It's all part of an international Hellenistic style, | 0:41:28 | 0:41:31 | |
and, yet, it seems to me this place is very local, | 0:41:31 | 0:41:35 | |
untransferable. | 0:41:35 | 0:41:38 | |
This is Petra and only Petra, | 0:41:38 | 0:41:42 | |
these great palatial buildings seem to say. | 0:41:42 | 0:41:45 | |
More amazing still, this place was built by people who were nomads | 0:41:55 | 0:41:59 | |
when they first arrived here in the fourth century before Christ. | 0:41:59 | 0:42:04 | |
The Nabataeans were goat herders, camel riders, dwellers in tents. | 0:42:08 | 0:42:14 | |
But flocks and herds weren't going to produce this. | 0:42:15 | 0:42:20 | |
Petra was built on trade in incense. | 0:42:24 | 0:42:29 | |
2,000 years ago, | 0:42:32 | 0:42:34 | |
aromatic frankincense and myrrh were essential | 0:42:34 | 0:42:38 | |
for the ceremonies and rituals which punctuated daily life. | 0:42:38 | 0:42:41 | |
The nondescript little chunks and granules of dried tree resin | 0:42:44 | 0:42:48 | |
produced these clouds of fragrant incense smoke, | 0:42:48 | 0:42:53 | |
and they became the hottest trade between Africa and Persia. | 0:42:53 | 0:42:57 | |
And here's the thing, the trees that produce the resin | 0:42:57 | 0:43:01 | |
only grow in a particular part of Arabia, | 0:43:01 | 0:43:03 | |
and who knew that desert mile by stony mile, | 0:43:03 | 0:43:07 | |
oasis by oasis, better than the Nabataeans? | 0:43:07 | 0:43:10 | |
No-one. | 0:43:10 | 0:43:11 | |
So the Nabataeans started as navigators and pilots, if you like, | 0:43:11 | 0:43:16 | |
for this precious cargo, | 0:43:16 | 0:43:18 | |
went on to be full-service providers, | 0:43:18 | 0:43:20 | |
and then thought, "Well, why don't we trade it ourselves directly?" | 0:43:20 | 0:43:24 | |
Pretty soon they were monopolists of the incense trade, | 0:43:24 | 0:43:28 | |
the emperors of aromatics. | 0:43:28 | 0:43:31 | |
But a civilisation here was inconceivable | 0:43:36 | 0:43:39 | |
without the one thing more precious than frankincense - | 0:43:39 | 0:43:43 | |
water. | 0:43:43 | 0:43:44 | |
The Nabataeans engineered systems to trap the rains which came in winter | 0:43:44 | 0:43:50 | |
and their desert hydraulics made this place not so much rose red, | 0:43:50 | 0:43:54 | |
as bright green. | 0:43:54 | 0:43:57 | |
A garden city of fountains, swimming pools, | 0:43:57 | 0:44:00 | |
groves and orchards. | 0:44:00 | 0:44:03 | |
And the water which made all that possible | 0:44:08 | 0:44:10 | |
also made it possible to feed a city of 30,000 people, | 0:44:10 | 0:44:16 | |
many of whom were immigrants from all over the region. | 0:44:16 | 0:44:18 | |
There were Egyptians and Syrians and Judeans and Greeks and Romans, | 0:44:18 | 0:44:23 | |
and they were all coming to Petra | 0:44:23 | 0:44:26 | |
to enjoy what the Persians called a pairi daiza, | 0:44:26 | 0:44:30 | |
a pleasure resort, a little bit of heaven on Earth. | 0:44:30 | 0:44:34 | |
And they all brought a flourish of their own cultural styles with them. | 0:44:39 | 0:44:45 | |
Most of the art discovered here has been taken to museums, | 0:44:45 | 0:44:49 | |
but what survives tells the story of a cosmopolitan playground. | 0:44:49 | 0:44:54 | |
There are curious abstract representations | 0:44:55 | 0:44:58 | |
of a Nabataean goddess... | 0:44:58 | 0:45:00 | |
..carved heads from the wine soaked Hellenistic cult of Dionysus. | 0:45:02 | 0:45:08 | |
Recent excavations have brought to light ritzy villas | 0:45:12 | 0:45:15 | |
carved into the living rock. | 0:45:15 | 0:45:19 | |
Inside them, "here's to happiness" murals | 0:45:19 | 0:45:23 | |
from that same Dionysian cult, | 0:45:23 | 0:45:25 | |
cherubs, vine leaves, | 0:45:25 | 0:45:29 | |
the inevitable bunches of grapes. | 0:45:29 | 0:45:33 | |
And from the later years of Petra's life, Byzantine mosaics | 0:45:35 | 0:45:39 | |
found beneath the sand and rubble of a ruined church. | 0:45:39 | 0:45:43 | |
Petra had its day, or rather its centuries, and then it ended. | 0:45:48 | 0:45:55 | |
Not because of conquest, | 0:45:55 | 0:45:57 | |
but because new trade routes simply made Petra commercially irrelevant. | 0:45:57 | 0:46:02 | |
And without that commercial lifeblood, | 0:46:02 | 0:46:05 | |
there was no longer any reason to struggle against the desert. | 0:46:05 | 0:46:10 | |
The people left, | 0:46:12 | 0:46:14 | |
the systems for capturing water fell into disrepair, | 0:46:14 | 0:46:18 | |
and the desert reclaimed the city. | 0:46:18 | 0:46:22 | |
BIRDS SING | 0:46:30 | 0:46:33 | |
On the other side of the world in Central America, | 0:46:40 | 0:46:44 | |
another culture would face a set of ecological conditions | 0:46:44 | 0:46:47 | |
that seemed far more hospitable. | 0:46:47 | 0:46:50 | |
The Mayans lived amidst tropical forests. | 0:46:53 | 0:46:57 | |
It looks almost absurdly fertile. | 0:46:57 | 0:47:00 | |
And these great ruins are proof that when the delicate balance | 0:47:00 | 0:47:06 | |
between prospering habitat and vaulting ambition is maintained, | 0:47:06 | 0:47:10 | |
civilisations can bind rulers and the ruled, | 0:47:10 | 0:47:15 | |
and a culture can burst into riotously prolific bloom. | 0:47:15 | 0:47:21 | |
If you take away all this magnificent vegetation | 0:47:23 | 0:47:27 | |
that's sprung up naturally from the space, | 0:47:27 | 0:47:29 | |
you realise this is an extraordinary plaza, | 0:47:29 | 0:47:32 | |
it's the centre of a city. | 0:47:32 | 0:47:34 | |
Wherever you look, there are these huge stone staircases, | 0:47:34 | 0:47:38 | |
some temples, some tombs, | 0:47:38 | 0:47:40 | |
all the more amazing because there are no draft animals, | 0:47:40 | 0:47:43 | |
there are no wheels, | 0:47:43 | 0:47:45 | |
so human labour only is responsible for these great things. | 0:47:45 | 0:47:50 | |
This is a spectacular space. | 0:47:50 | 0:47:52 | |
The kind of space you would really expect to see in Rome or Greece, | 0:47:52 | 0:47:57 | |
these great pyramids with platforms for performances | 0:47:57 | 0:48:01 | |
because this, as much as anywhere in the Western world of antiquity, | 0:48:01 | 0:48:05 | |
is essentially an urban theatre. | 0:48:05 | 0:48:08 | |
It's a theatre of political and religious power. | 0:48:13 | 0:48:17 | |
A structure like this looks down upon the citizens | 0:48:18 | 0:48:21 | |
and forces them to look back up. | 0:48:21 | 0:48:25 | |
And what they looked up to was often gruesomely violent, | 0:48:25 | 0:48:28 | |
the mass sacrifice of captives. | 0:48:28 | 0:48:32 | |
And one God in particular had a special thirst... | 0:48:32 | 0:48:35 | |
..the rain god, Chaac. | 0:48:36 | 0:48:38 | |
The power of the Mayan kings rested on the promise | 0:48:44 | 0:48:48 | |
that every year they would persuade Chaac to bring the rains | 0:48:48 | 0:48:52 | |
on which all life depended. | 0:48:52 | 0:48:55 | |
Mayan art and architecture was a prayer | 0:48:55 | 0:48:58 | |
and appealed to the weather - | 0:48:58 | 0:49:00 | |
"Let us live, let every year be fruitful." | 0:49:00 | 0:49:04 | |
Only the most damaged of the art | 0:49:08 | 0:49:10 | |
that used to adorn Calakmul remains on-site. | 0:49:10 | 0:49:14 | |
In Mexico's anthropology museum, | 0:49:16 | 0:49:18 | |
we can see some of that art and how Mayan society worked. | 0:49:18 | 0:49:23 | |
There were kings made of flesh and blood | 0:49:23 | 0:49:26 | |
and kings made of stone, | 0:49:26 | 0:49:29 | |
and you had to obey both kinds. | 0:49:29 | 0:49:32 | |
But Mayan art wasn't all enormous and formal, far from it. | 0:49:36 | 0:49:41 | |
It was hugely varied. | 0:49:41 | 0:49:43 | |
One of the most spectacular flourishings of creativity | 0:49:43 | 0:49:46 | |
in human history. | 0:49:46 | 0:49:48 | |
Every human type got his or her figurine, | 0:49:49 | 0:49:53 | |
like action characters and heroes from a comic book or a play. | 0:49:53 | 0:49:58 | |
There were ceramic vessels and there were murals too. | 0:50:03 | 0:50:07 | |
And out of the Mayan delight in making pictures | 0:50:09 | 0:50:12 | |
developed a fully-fledged script. | 0:50:12 | 0:50:14 | |
Writing made up of glyphs or word pictures. | 0:50:20 | 0:50:24 | |
They were brushed onto paper made from wild fig tree bark, | 0:50:25 | 0:50:30 | |
painted onto beautiful ceramic pottery | 0:50:30 | 0:50:33 | |
or, like this one, carved into limestone. | 0:50:33 | 0:50:37 | |
They were everywhere in Maya city states. | 0:50:37 | 0:50:39 | |
The Maya were the wordiest of all ancient cultures. | 0:50:39 | 0:50:43 | |
So that this, | 0:50:43 | 0:50:45 | |
which looks like something purely decorative, ornamental, | 0:50:45 | 0:50:48 | |
a bestiary with all these animals, | 0:50:48 | 0:50:49 | |
there's a monkey, | 0:50:49 | 0:50:51 | |
there's a magnificently complacent frog, | 0:50:51 | 0:50:55 | |
there in the middle is an extremely scary killer rabbit, | 0:50:55 | 0:50:59 | |
in fact, all these are words which make a text. | 0:50:59 | 0:51:03 | |
Each glyph is not a single word, but it's a syllable, in fact, | 0:51:03 | 0:51:07 | |
and you put them together and you have a sentence, a paragraph. | 0:51:07 | 0:51:12 | |
But in this case, it makes up a date. | 0:51:12 | 0:51:15 | |
We know exactly what that date was. | 0:51:15 | 0:51:18 | |
This is the 11th of February, 526. | 0:51:18 | 0:51:22 | |
In 526, Mayan civilisation was at its height. | 0:51:27 | 0:51:32 | |
It's art and culture flourished | 0:51:32 | 0:51:34 | |
and many believe that the finest Mayan art of all is to be found | 0:51:34 | 0:51:38 | |
in the city of Copan. | 0:51:38 | 0:51:40 | |
The city was home to a dynasty | 0:51:46 | 0:51:48 | |
that lasted from the fifth to the ninth centuries, | 0:51:48 | 0:51:52 | |
16 successive kings ruled here. | 0:51:52 | 0:51:55 | |
An archaeological team, led by Bill and Barbara Fash, | 0:51:57 | 0:52:01 | |
have been studying Copan for over 30 years. | 0:52:01 | 0:52:04 | |
And they've found that for most of its life, | 0:52:05 | 0:52:08 | |
the art of Copan is elegant, refined, astonishing. | 0:52:08 | 0:52:13 | |
Single carved steles announce the accession of new kings. | 0:52:14 | 0:52:19 | |
It's the work of a society where that balance between habitat | 0:52:23 | 0:52:27 | |
and ambition is still in good order. | 0:52:27 | 0:52:30 | |
It's certainly hard to imagine a more vivid realisation | 0:52:33 | 0:52:37 | |
of the rain god Chaac than this. | 0:52:37 | 0:52:41 | |
Complete with the bubbling streams of water that his blessings brought. | 0:52:41 | 0:52:46 | |
In the seventh century, the 12th ruler of Copan | 0:52:49 | 0:52:52 | |
commissioned a new grand structure. | 0:52:52 | 0:52:56 | |
This is the hieroglyphic stairway of Copan. | 0:52:58 | 0:53:02 | |
It was built, originally, in honour of ruler 12 | 0:53:02 | 0:53:05 | |
who is portrayed here, | 0:53:05 | 0:53:07 | |
and then was finished by ruler 15 | 0:53:07 | 0:53:10 | |
who added on the uppermost section of it. | 0:53:10 | 0:53:14 | |
And it has 64 steps in total | 0:53:14 | 0:53:18 | |
and they told the history of the dynasty | 0:53:18 | 0:53:20 | |
and the succession of the different rulers. | 0:53:20 | 0:53:23 | |
The stairway itself is a monumental statement. | 0:53:25 | 0:53:28 | |
Certainly ruler 15 was trying to impress the population | 0:53:28 | 0:53:33 | |
so he was really trying to cement in stone | 0:53:33 | 0:53:37 | |
what the history of Copan was and what the dynasty was | 0:53:37 | 0:53:40 | |
and to make sure that it stayed for the future. | 0:53:40 | 0:53:44 | |
The hieroglyphic stairway sought to impress the people | 0:53:46 | 0:53:50 | |
and to persuade the gods to continue to bring rain. | 0:53:50 | 0:53:53 | |
But by tunnelling beneath it, the archaeologists have discovered | 0:53:58 | 0:54:03 | |
that this grand structure was, in fact, badly built. | 0:54:03 | 0:54:07 | |
You can see all these gaps in the fill itself | 0:54:10 | 0:54:13 | |
indicate that it was just loose rubble. | 0:54:13 | 0:54:15 | |
This is a terrible way to build a pyramid. | 0:54:15 | 0:54:18 | |
What this tells us is that, at this point in time, | 0:54:18 | 0:54:21 | |
people were no longer as enthusiastic | 0:54:21 | 0:54:23 | |
about supporting the rulers. | 0:54:23 | 0:54:25 | |
Even though a gorgeous and very explicit hieroglyphic stairway was built here, | 0:54:25 | 0:54:31 | |
it was built on poor fills, | 0:54:31 | 0:54:33 | |
so it was a castle built on sand, | 0:54:33 | 0:54:35 | |
and with time, eventually, it did decay | 0:54:35 | 0:54:38 | |
and the stairway itself collapsed in a heap at the bottom of the pyramid. | 0:54:38 | 0:54:43 | |
The stairway we see today has been reconstructed, | 0:54:48 | 0:54:52 | |
but around it, we can see the chaos of the collapse. | 0:54:52 | 0:54:56 | |
The stairway was built as the Mayans were suffering a drought | 0:54:58 | 0:55:03 | |
that would last decades, | 0:55:03 | 0:55:04 | |
and the promise of rain had been a central plank of royal authority. | 0:55:04 | 0:55:09 | |
Shortly afterwards, the kingdom of Copan itself collapsed completely. | 0:55:11 | 0:55:18 | |
All across the Mayan territories, | 0:55:18 | 0:55:20 | |
art and authority were out of step with reality. | 0:55:20 | 0:55:25 | |
There was nothing grand or stately about starvation. | 0:55:25 | 0:55:29 | |
And the ordinary people of the Maya saw that their civilisation | 0:55:31 | 0:55:34 | |
had become a death trap and walked away, | 0:55:34 | 0:55:38 | |
left kings and cities and art behind. | 0:55:38 | 0:55:41 | |
They went back to simpler lives in the surrounding forest. | 0:55:41 | 0:55:46 | |
And their descendants are still very much alive. | 0:55:47 | 0:55:51 | |
IN SPANISH: | 0:55:52 | 0:55:56 | |
The Maya and their language lived on | 0:56:31 | 0:56:33 | |
but far away from the stone monuments of their ancestors. | 0:56:33 | 0:56:37 | |
All that remained to say that beneath the forest canopy | 0:56:37 | 0:56:42 | |
there was the civilisation, | 0:56:42 | 0:56:44 | |
were the summits of the platform pyramids, | 0:56:44 | 0:56:47 | |
but only the wheeling birds | 0:56:47 | 0:56:49 | |
and the howler monkeys scrambling to the tops of trees | 0:56:49 | 0:56:53 | |
would have seen that. | 0:56:53 | 0:56:55 | |
All civilisations want what they can't have - | 0:56:58 | 0:57:02 | |
the conquest of time. | 0:57:02 | 0:57:05 | |
They build higher and grander to escape mortality. | 0:57:05 | 0:57:09 | |
It never works. | 0:57:09 | 0:57:11 | |
There's always an ending. | 0:57:11 | 0:57:14 | |
Cities with their markets, temples, palaces and tombs | 0:57:14 | 0:57:17 | |
are simply abandoned | 0:57:17 | 0:57:19 | |
and that great leveller, Mother Nature, closes in, | 0:57:19 | 0:57:23 | |
strangling the place with vegetation, | 0:57:23 | 0:57:27 | |
covering it with desert sand. | 0:57:27 | 0:57:30 | |
It might seem, then, that it's all for nothing, | 0:57:32 | 0:57:36 | |
but that's entirely wrong. | 0:57:36 | 0:57:40 | |
All these ruins, all these remains are monuments | 0:57:40 | 0:57:44 | |
to human creativity, | 0:57:44 | 0:57:47 | |
human ambitions, | 0:57:47 | 0:57:50 | |
human hopes. | 0:57:50 | 0:57:51 | |
Monuments to shaping hands and shaping minds. | 0:57:54 | 0:57:59 | |
Monuments to humanity itself. | 0:58:02 | 0:58:06 | |
The Open University has produced a free poster | 0:58:12 | 0:58:15 | |
that explores the history of different civilisations | 0:58:15 | 0:58:18 | |
through artefacts. | 0:58:18 | 0:58:19 | |
To order your free copy, please call... | 0:58:19 | 0:58:23 | |
Or go to the address on-screen | 0:58:25 | 0:58:27 | |
and follow the links for the Open University. | 0:58:27 | 0:58:30 |