When analyzing the figurative and archaeological documents of prehistoric Europe, it sometimes happens to come across images that express new aspects of body language which, due to the considerable difficulties of typological framing, have long been on the edge of research.The Self-Reflecting Adorant corresponds to the third position of the modern ballet, in which the arms are rounded and raised upwards, slightly ahead of the body line.
The Self-Reflecting Adorant corresponds to the third position of the modern ballet, in which the arms are rounded and raised upwards, slightly ahead of the body line.
This almost unique gesture in the Camunian repertoire represented on the rock nr. 2 of Foppe di Nadro (Valcamonica, late 4th-early 3rd millennium BC), gives us some interesting insights regarding the gesture of the adorant: 1- based on modern interpretations (supported by a wide interdisciplinary agreement), the cupmark engraved on the inside of the thighs of the anthropomorph indicates its female sex; 2- the position of the arms folded inside differentiates the gesture of this anthropomorph from the classic prototype of the adorant; 3- there is a clear affinity between the gesture of the anthropomorph and the adjacent reticular structure, to which Anati (Evolution and Style, 1976) has attributed a vaguely anthropomorphic form. To understand the meaning of this image we must first reflect on the difference between the traditional representation of the adorant ( open arms and facing upwards, with some variations), and the new model, which I will call the Self-reflecting adorant , characterized by the same postural base with an important distinction: the arms are folded towards the inside and palms facing downwards.
Foppe di Nadro, Rock nr. 2-D ( Valcamonica, end IV mill.- early III mill a.C.)