The Venus of Willendorf is one of the ancient and most popular Upper Paleolithic female sculptures. It was discovered by Josef Szombathyin in 1908 when investigating the settlements that belonged to the local Gravettians. It was found in Willendorf, Lower Austria near Krems, about 10 meters above River Danube (Skye 79). Just like other Paleolithic works of art, is not clear when the sculpture was made even when estimated. Researchers have differed on this issue. Some have dated it to approximately 30 000 BCE (Gilgamesh 503). On the other hand, there are those who maintain that it was made in between 24 000 BCE and 22 000 BCE (Shaw 10). Nonetheless, there is a consensus as to the fact that it belonged to the Upper Perigordian Culture of the Upper Paleolithic period.
Following its dating, it was named “Venus” just like other Paleolithic sculptures of women discovered by archeologists and dated at the Paleolithic period. They were so named in honor of Grecco-Roman goddess of love, fertility and beauty. They were in most cases nude. Since it was discovered in Willendorf, Austria, it follows therefore that the word “Willendorf” in its name is attributed to the physical geographical place where the sculpture was found (Kleiner 3). However, there is doubt as to whether the sculpture was indeed made in the present day Willendorf despite being discovered there. It is curved from fine porous Oolitic limestone which is not found around Willendorf hence supporting the theory that it might have been curved in some other place and later transported to Willendorf (Skye 81).
The Venus of Willendorf sculpture measures, about 11 centimeters (4.4 inches) in height and about 4 centimeters in width. It is, however, famous for her out-of-proportion fatness. The woman in it is portrayed with large and seemingly heavy hanging breasts. Interestingly, the breasts are anatomically out of proportion with her thin hands that rest on the very breasts. Besides, she has broad flat hips and fat thighs. The artist, it appears, had little attention to the face of the woman in the sculpture. He omitted facial features, a departure from the norm associated with most Paleolithic sculptures. Instead, he only emphasized what appears to be a bunch of braided hair. Moreover, the artist painstakingly invested time, energy and skill in carving out the pubic triangle making the vulva conspicuous. Additionally, its limbs appear to be broken. As partly aforementioned, the sculpture is carved out of yellowish limestone and stained with traces of red ochre (Kleiner 3).
It is, therefore, difficult to accurately describe what exactly is symbolized by Venus of Willendorf. According to the strange and intense physical features of the woman in the sculpture, various theories have been proffered in attempts to interpret what it symbolized. One such theory is that it depicts pregnancy. This interpretation obtains from the fact that the woman is portrayed as having thin hands resting on her awkwardly large breasts instead of resting on her belly. As a result, it point to an inference that she is pregnant as is the case with most Paleolithic sculptures depicting pregnancy (Skye 80).
Moreover, the fact that facial structures were omitted by the sculptor and that much detail was given to the pubic triangle makes it more probable that the sculptor intended to portray the fertility of women in general as opposed to a specific woman (Kleiner 4). Moreover, the fact that the woman in the sculpture appears to be having broken limbs implies that the artist found no use for them. He seemingly intended to portray the woman as a reproductive being and optimum allocation of resources demanded that he only spend his time, energy in skill on meticulously carving out pronounced breasts, fat belly, clearly defined pubic triangle and vulva. It is reported that during its finding, the sculpture appeared to have been perfectly preserved eliminating possibilities of having been broken and pointing to the conclusion that it never had feet (Witcombe). This theory portrays the culture of the Upper Perigordian Culture of the Upper Paleolithic period as cherishing human reproduction and procreation (Witcombe).
On the contrary, there are other theories that are anti-thesis to the pregnancy interpretation. The proponents of this interpretation argue that the artist did not intend to portray pregnancy. Instead, akin to Earth Mother goddess sculptures of the Paleolithic period, she symbolizes the earth’s fertility. To this end, fertility is in respect to the ability of planet earth to transform seeds into crops and eventually food as opposed to human reproduction and procreation. This is emphasized by the sculpture’s fat belly. Nevertheless, this theory is negated by the fact that the Upper Paleolithic people were not farmers. They were a hunter-gatherer community. As a result, it was pointless for them to edify the earth and its abundance (Skye 81).
Moreover, some scholars have posited that the Venus of Willendorf served a spiritual purpose. This interpretation has been deduced from the sculpture’s shrank size compared to the sizes of other figurines. It could comfortably fit within the palm of a hand. It is, therefore, assumed that men would carry it in their hunting and gathering expeditions as a symbol of good luck that would guarantee them success in their missions. Besides, it was to serve as a reminder of their companions back at home. This inference is further entrenched by facelessness of the sculpture. This implies that it was of significance as an object as opposed to the likeness of a specific person owing to its anonymity. Besides, the fact that her hair was braided into seven cornrows supports this theory in that successive cultures regarded the number seven as a lucky number. Thus, it is plausible that the figurine in question served a spiritual purpose (Witcombe).
Additionally, there is a theory to the effect that the sculpture symbolized menstruation. This theory was informed by the traces of red ochre paints and conspicuous portrayal of her pubic triangle and vulva. This theory is questionable when one stops to brainstorm the significance of a woman’s menstrual cycle to Paleolithic artists. However, it gains credence by the mere fact that menstrual blood and circle by extension was viewed as a life-giving process. This theory still points to the inference that of procreation and human reproduction held a significantly special place in the culture of Upper Perigordian people of the Upper Paleolithic period (Skye 81).
This paper attempts to create an interpretational synergy between the theories of fertility and abundance. It ties the two theories together by staring and studying the sculpture through the lens of living conditions of Paleolithic people at that period in human history. Due to the fact that it was a glacial Stone Age period, it was cold and mechanisms for keeping warm as we have today had not been invented. Besides, food was scarce due to the fact the climatic conditions at the time were harsh to both plant and animal life. Consequently, Paleolithic people focused all their attention and energy towards keeping warm and feeding. Going by these assumptions, it is highly probable that the sculpture epitomizes their desperate desires and secret wants. This is portrayed by the overt fatness of Venus of Willendorf, which signifies leisure and abundance. She is depicted as having enough food to feed and keeping warm (Skye 82).
The theory is also predicated on the mammoth-like features of the Venus of Willendorf. During this time of European history, mammoth was the largest animal. It was endowed with features that made it adapt to the harsh climatic conditions and get food with ease. Therefore, the artist might have intended to portray how Upper Perigordian people of the Upper Paleolithic period desired to be able to keep warm and be well-fed like mammoths (Skye 82).
Additionally, the fact that the artist focused on the hair in detail reflects a departure from the norm as it is with Paleolithic figurines. Her hair appears to be braided into seven continuous cornrows encircling her head and two half cornrows on her neck. This strange attention to detail with respect to woman hair implies that the artist wanted to draw our attention to the hair. Throughout the course of human history, feminine hair has been associated with sensuality and eroticism giving credence to the fact that the culture at the time in which the sculpture was made, revered fertility and procreation. In succeeding culture, there is evidence attributing strength and one's soul’s shrine to human hair. Therefore, it is not incorrect to conclude that the culture that existed at the time in which the sculpture in question was curved might have attached similar significance to their hair (Roach). Nevertheless, some researchers have taken it to be a hat woven from plant fiber depicting the progress made in textile art at that particular time in human history (Kleiner 3).
Furthermore, Venus of Willendorf provides useful insights as to the migratory nature of Gravettian culture. This is evidenced by the fact that it is curved from fine porous Oolitic limestone which is not found around Willendorf hence supporting the theory that it might have been curved in some other place and later transported to Willendorf. As a result, it gives credence to long range seasonal migration among the Upper Perigordian people of the Upper Paleolithic period. It is safe to assume that they spent winter seasons in warmer Danube valley and hot summers in cool highlands. It is through such migrations that they might have chanced upon the specific type of limestone used to curve out the Venus of Willendorf. Therefore, the Upper Perigordian people of the Upper Paleolithic period were a nomadic society (Binsteiner).
According to this theory, Skye posits that the Venus of Willendorf though “obese” and “covered in body fat” is “un ashamed of her appearance”. If anything, she symbolizes her people’s desires and wants. She is the custodian of her people’s dreams and hopes. As a result, they call unto her in a quest to better their lives. Additionally, she links us to our ancestors. She is still relevant even in modern times as she is a testament to the fact that dreams do come true. We have achieved the desires of Paleolithic people, and we currently live their dreams and wild fantasies. It they were to resurrect and see the technological advances made in food production and shelter they would give thanks to Venus of Willendorf for granting their desires and wishes (Skye 83).
Venus of Willendorf is not without relevance to our contemporary society and cultures. More so, it encourages us to accept who we are regardless of our looks and appearance. “Each one of us is beautiful as a function of our unique creation just like Venus of Willendorf is.” Consequently, we ought not to be embarrassed at our physical appearance (Skye 83). To this end, Skye urges us not to be troubled by our worries as they are no different from those of Paleolithic people. Instead, we should find solace and refuge in the arms of Venus of Willendorf (Skye 83).
This interpretation is in line with that attributed to Venus of Willendorf by feminist art movement in the 1960’s by embracing it as an epitome of feminine power. In so doing, they were indirectly reminiscing a period in the history of human development and evolution where women were well-regarded as divinities. Her seemingly obese body was used in aid of campaigns against stereotyped beauty standards. This view is reinforced by the fact that Venus of Willendorf is, by and large, accurate depiction of most women in the society irrespective of interpretations alluded to it by contemporary society (Koppelman and Franks 125). This culminated in the promotion of self-love, fertility and earth’s abundance (Liu 147).
Works Cited
Binsteiner, Alexander. The secret story of the Venus of Willendorf. 13 February 2014. Alexander Binsteiner. 5 March 2016 <http://www.pasthorizonspr.com/index.php/archives/02/2014/the-secret-story-of-the-venus-of-willendorf>.
Gilgamesh, Driuds. Gods, Goddesses, and Mythology. New York: Marshall Cavendish, 2015.
Kleiner, Fred S. Gardner's Art through the Ages: The Western Perspective. Boston: Wadsworth Cengage Learning, 2010.
Koppelman, Susan and Alison Franks. Collecting and the Internet: Essays on the Pursuit of Old Passions Through New Technologies. London: McFarland & Company, Inc., 2008.
Liu, Aimee. Restoring Our Bodies, Reclaiming Our Lives. Boston: Trumpeter Books, 2011.
Roach, Alex. Venus of Willendorf. 28 March 2013. 5 March 2016 <http://anthropology.msu.edu/anp264-ss13/2013/03/28/venus-of-willendorf/>.
Shaw, Andrea Elizabeth. The Embodiment of Disobedience: Fat Black Women's Unruly Political Bodies. Oxford: Lexington books, 2006.
Skye, Michelle. Goddess Aloud!: Transforming Your World Through Rituals & Mantras. Woodbury Minnesota: Llewellyn Publications, 2010.
Witcombe, Christopher L. C. E. 5 March 2016 <http://72.52.202.216/~fenderse/Venus.htm>.
