POP SCIENCE
This ‘One Region’ Uncovered the Origin of Creativity, Expedition, and Our Relative
Nestled somewhere in Eastern Indonesia, specifically in Bantimurung District of Maros Regency, South Sulawesi, lies an archaeological treasure trove that offers profound insights into our ancient ancestors’ lives and migrations.
This region is of paramount importance in the study of prehistoric human movement, as evidenced by the 257 caves identified within the Bantimurung-Bulusaraung National Park. These caves include 216 natural formations and 41 that house prehistoric artifacts, making the area a significant site for both archaeology and anthropology.
Part I: Creativity
The rock paintings found in these caves are particularly noteworthy. They include handprints of ancient humans and depictions of animals, such as the babirusa — a unique pig-like animal indigenous to the region. Among the most significant sites for these artworks are Leang Pettakere, Leang Tedongnge, and Leang Paningnge. Each of these caves has become a focal point for both tourists and researchers, drawn by the promise of uncovering the secrets of early human life.
In 2017, a remarkable discovery was made in Leang Tedongnge: a painting of a babirusa dated to be 45,500 years old. This finding was spearheaded by Basran Burhan, a researcher specializing in geoarchaeology at Griffith University in Australia. The painting’s age was determined using uranium-series isotope dating, a technique that measures the radioactive decay of uranium isotopes in calcium carbonate deposits found alongside the art. This method is highly accurate, offering a reliable means of dating ancient artifacts.
The significance of this discovery cannot be overstated. According to archaeologist Maxime Aubert, as reported by the AFP, this babirusa painting is the oldest known figurative art in the world. The term “figurative art” refers to artworks that represent recognizable subjects, as opposed to abstract designs. This finding challenges the long-held belief that the earliest cave art was created in Europe, particularly in areas like Spain and France, where famous sites like Lascaux and Altamira have been extensively studied.
The revelation that southernmost of Southeast Asia, specifically the Wallacea region, hosted the world’s oldest figurative art has significant implications for our understanding of prehistoric human culture and migration. Traditionally, it was believed that the origins of complex symbolic thinking and artistic expression were rooted in Europe. However, the discovery in Sulawesi suggests that early humans across different regions were developing these abilities independently or possibly even sharing ideas across vast distances.
The purpose behind these ancient cave paintings remains a topic of debate among archaeologists. While many scholars suggest that cave art in general was created for ritualistic or ceremonial purposes — such as invoking protection or success in hunting — there is no definitive evidence supporting this theory for the paintings in Sulawesi. Some researchers propose that the artwork may have served a practical purpose, functioning as a sort of prehistoric catalog of local fauna, helping early humans identify and hunt animals in the region. Others speculate that the art might have had a spiritual or protective function, perhaps serving as charms to safeguard the home or as a medium for communicating with spiritual entities.
Part II: Expedition
In addition to its cultural significance, the discovery in Leang Tedongnge also offers critical insights into human migration patterns. An article published in Science Advances suggests that the presence of these ancient paintings serves as the earliest evidence of human habitation in the Wallacea region, which includes islands such as Sulawesi, Maluku, Lombok, Sumbawa, Flores, Sumba, and parts of Nusa Tenggara and Papua. This region is believed to be a crucial stepping stone in the migration route of early humans from Southeast Asia to Australia. The evidence supports the theory that humans migrated to Australia around 65,000 years ago, potentially using Wallacea as a transit point.
The archaeological significance of the Leang-Leang area has been recognized since the mid-20th century. The first cave paintings were documented by Dutch archaeologist H.R. Van Heekeren and published in 1950. Despite the early recognition of the site’s importance, research stalled for nearly six decades, leaving many questions about the region’s prehistoric past unanswered. However, interest in the area has reignited in recent years, leading to a renewed focus on excavation and study.
In 2015, a groundbreaking discovery further deepened the intrigue surrounding the Leang-Leang caves. Archaeologists unearthed the incomplete remains of a Denisovan — a now-extinct species of archaic human — in Leang Paningnge, Mallawa District. This finding raises fascinating questions about who created the cave paintings. Were they made by modern humans, Homo sapiens, as traditionally believed, or could they have been the work of Denisovans? This mystery adds a new layer of complexity to our understanding of early human art and interaction.
Beyond its historical and archaeological value, the Maros area is also renowned for its breathtaking natural beauty. The region is characterized by extensive karst formations — limestone cliffs that form striking natural landscapes. These karsts are particularly prominent in the valleys surrounding the caves, creating a dramatic backdrop for the ancient art within. The karst formations in Bantimurung are the second largest in the world, earning the area the nickname “The Spectacular Tower Karst.” These geological features not only enhance the aesthetic appeal of the region but also provide valuable information about the area’s geological history.
Furthermore, the study of these cave paintings and the surrounding artifacts offers a broader perspective on the cognitive and cultural development of early humans. The ability to create and appreciate art is often linked to advanced cognitive functions, including abstract thinking and symbolic reasoning. The existence of such ancient figurative art in Sulawesi suggests that these cognitive abilities were present much earlier than previously thought and in regions far from the traditional cradles of civilization in Europe and the Near East.
Part III: Our Relatives
This discovery also opens up new avenues for understanding the interactions between different human species. The possibility that Denisovans, rather than Homo sapiens, might have created these artworks suggests a level of cultural sophistication previously unattributed to these archaic humans. It challenges the notion that modern humans were the sole bearers of complex symbolic thought and artistic expression. Moreover, it raises questions about the extent of cultural exchange and interaction between different human groups in prehistoric times.
The role of art as a communication tool is another fascinating aspect of these findings. If the paintings served as a means of conveying information, whether about local wildlife, spiritual beliefs, or social norms, they represent an early form of visual communication. This form of expression could have played a crucial role in the survival and social cohesion of early human communities, helping them share knowledge and navigate their environment.
However, the cave art of Bantimurung offers an invaluable glimpse into the lives and minds of our ancient ancestors. The discovery of the world’s oldest figurative art has challenged established theories about the origins of human creativity and suggests a far more complex and interconnected prehistoric world than previously imagined. As research continues, these ancient paintings may yet reveal more secrets about the migration, culture, and spiritual beliefs of early humans. The Bantimurung region, with its rich tapestry of natural and cultural history, stands as a testament to the enduring legacy of our species and the timeless allure of human creativity.
As we continue to explore and study these ancient artworks, we are reminded of the common threads that connect all of humanity. Despite the vast distances and millennia that separate us from the creators of these paintings, the desire to understand, interpret, and document the world around us is a shared human experience. The cave art in Bantimurung not only enriches our knowledge of the past but also inspires us to continue seeking answers to the enduring mysteries of our existence.
