Editing Hand axe (section)

==Importance==
The hand axe helped establish that early humans were capable of constructing relatively sophisticated tools that also reflected a sense of aesthetics. The 19th century publications of Frere, and more importantly of Boucher de Perthes, in France, described pieces that were balanced, symmetrical and crafted with a formal purity. Vilanova i Piera published similar works in Spain. This work was continued by Pérez de Barradas and del Prado at the start of the 20th century.

{{Quote|Art passed through a long formative period before becoming beautiful; but this does not mean that it ever stopped being a sincere and grandiose art, sometime more sincere and grandiose than beautiful; in mankind there is a creative nature that is manifested as soon as its existence is assured. When he was not worried or fearful, this demigod acting in tranquillity, found the material in his surroundings to breathe life into his spirit.|[[Johann Wolfgang von Goethe|Goethe]], Conversations with [[Johann Peter Eckermann|Eckermann]].}}

[[File:Bifaz lanceolado-San Isidro (Madrid).png|thumb|Finely worked lanceate hand axe from the San Isidro site near Madrid]]
As [[André Leroi-Gourhan|Leroi-Gourhan]] explained,<ref name=leroi2>{{cite book|last=Leroi-Gourhan|first=André|author-link=André Leroi-Gourhan|chapter=Esbozo del Arte|title=El Arte y el Hombre|volume=1|year=1977|publisher=Fournier |location=Vitoria|isbn=978-84-320-2001-8}}</ref> it is important to ask what was understood of art at the time, considering the psychologies of non-modern humans. Archaeological records documenting rapid progress towards symmetry and balance surprised Leroi-Gourha. He felt that he could recognize beauty in early prehistoric tools made during the Acheulean:
{{Quote|It seems difficult to admit that these beings did not experience a certain aesthetic satisfaction, they were excellent craftsmen that knew how to choose their material, repair defects, orient cracks with total precision, drawing out a form from a crude flint core that corresponded exactly to their desire. Their work was not automatic or guided by a series of actions in strict order, they were able to mobilize in each moment reflection and, of course, the pleasure of creating a beautiful object.|Leroi-Gourhan{{sfn|Leroi-Gourhan|1977|p=35}}}}

Many authors who comment on the Westfield aspect of hand axes refer only to exceptional pieces. The majority of hand axes tended to symmetry, but lack artistic appeal. Generally, only the most striking pieces are considered, mainly 19th or early 20th century collections. At that time a lack of knowledge regarding prehistoric technology prevented a recognition of human actions in these objects. Other collections were made by aficionados, whose interests were not scientific, so that they collected only objects they considered to be outstanding, abandoning humbler elements that were sometimes necessary to interpret an archaeological site. Exceptions include sites methodically studied by experts where magnificently carved, abundant hand axes caused archaeologists to express admiration for the artists:
{{Quote|Such is the perfection of the carving on some hand axes that they give the impression that the artist took great pleasure in them ''per se'', at least apparently, as the working does not make the pieces any more efficient. At any rate, we are unable to pronounce from this remove whether it was art or the utility of the hand axe that was being sought by making them so well. Although, in our heart of hearts we are sure that they were searching for beauty, aesthetics, as they could have achieved the same efficiency with cruder pieces.<ref>{{cite book|last1=Benito del Rey|first1=Luis |last2=Benito Álvarez|first2=José Manuel|name-list-style=amp|chapter=La Salamanca Paleolítica|title=Congreso de Historia de Salamanca 1989|volume=1|year=1992|publisher=Gráficas Ortega |location=Salamanca|isbn=978-84-604-3130-5|page=160}}</ref>}}

[[File:Hand Axe Sima de los Huesos.jpg|thumb|upright|The [[Sima de los Huesos]] hand axe<br/>{{cvt|15.5|cm|0}} tall<ref name=Carbonell2006>{{cite journal|first1=E. |last1=Carbonell |first2=M. |last2=Mosquera |year=2006 |title=The emergence of a symbolic behaviour: the sepulchral pit of Sima de los Huesos, Sierra de Atapuerca, Burgos, Spain |journal=Comptes Rendus Palevol |volume=5 |issue=1–2 |pages=155–160 |doi=10.1016/j.crpv.2005.11.010|bibcode=2006CRPal...5..155C }}</ref> is finely crafted and made out of a rare stone, which may indicate symbolic meaning.<ref>{{cite journal |last1=Carbonell |first1=Eudald |last2=Mosquera |first2=Marina |title=The emergence of a symbolic behaviour: the sepulchral pit of Sima de los Huesos, Sierra de Atapuerca, Burgos, Spain |journal=Comptes Rendus Palevol |date=January 2006 |volume=5 |issue=1–2 |pages=155–160 |doi=10.1016/j.crpv.2005.11.010 |bibcode=2006CRPal...5..155C }}</ref> ]]

The discovery in 1998 of an oval hand axe of excellent workmanship in the [[Atapuerca Mountains#Sima de los Huesos (1983-)|Sima de los Huesos]] in the Atapuerca Mountains mixed in with the fossil remains of ''[[Homo heidelbergensis]]'' reignited this controversy. Given that this is the only lithic remnant from this section of the site (possibly a burial ground), combined with the piece's qualities led it to receive special treatment, it was even baptized [[Excalibur]] and it became a ''star item''.<ref>{{cite news|last=Rivera|first= Alicia|title=Un hacha hallada en Atapuerca indica que ya había ritos funerarios hace 400.000 años|url=https://elpais.com/diario/2003/01/08/sociedad/1041980401_850215.html|work=[[El País]]|date=8 January 2003|access-date=2 October 2018}}</ref> Interest in the symbolic meaning of this example in particular, and hand axes in general, has multiplied in recent years, feeding both scientific and more general debate and literature.

Basch offered this counterargument:<ref>{{cite book|last=Almagro Basch|first= Martín|chapter=La Prehistoria|title=Historia General del Arte|volume=1|year=1958|publisher=Montaner y Simón |location=Barcelona|page=16}}</ref>
{{Quote|Art is always the same, it is only possible to call someone an artist if they know how to create, within objective limits, the equivalent of the numinous complex experienced individually and expressed in a suitable manner in relation to the society in which the artist lives. In this was it is possible to distinguish an essentially artistic piece from a useful tool, although this may also be beautiful. When a prehistoric man was able to achieve the marvels that are the Acheulean axes, he did not make a work of art; nor did he make a work of art when he used his skill and experience to make a house or adapt rock shelters or caves for living or sanctuary.|Martín Almagro}}

Paradoxically, within the wide range of Acheulean objects, hand axes are one of the simplest tools. They do not require as much planning as other types of object, generally made from flakes, that are less striking but more sophisticated.

Archaeologists<ref>such as Chavaillon (op. cit., 1994)</ref>{{missing full citation|reason=Do not use "op. cit.", be more explicit: see [[WP:IBID]]|date=December 2024}} have evidence of hand axes that are 1.2 million years old in Melka Kunturé (Ethiopia), but the oldest, from Konso-Gardula, could be 1.9 million years old:<ref>{{cite book|last1=Corbella |first1=Josep|last2=Carbonell|first2=Eudald|last3=Moyà|first3=Salvador|last4=Moyà|first4=Sala|name-list-style=amp|title=Sapiens. El largo camino de los homínidos hacia la inteligencia|year=2000|publisher=Ediciones Península |location=Barcelona|isbn=978-84-8307-288-2|page=68}}</ref> Although it is now known that they are the heritage of a number of human species, with ''[[Homo ergaster]]'' the earliest, up until 1954 no solid evidence indicated who had fabricated hand axes: in that year, in Ternifine, Algeria, [[Camille Arambourg|Arambourg]] discovered remains that he called ''Atlanthropus'', along with some hand axes.<ref>{{cite journal|last=Arambourg|first= Camille|author-link=Camille Arambourg|title=Récentes découvertes de paléontologie humaine réalisées en Afrique du Nord française (L'Atlanthropus de Ternifine – L'Hominien de Casablanca)|year=1957|journal=Third Panafrican Congress on Prehistory|location=Livingstone|orig-year=1955|publisher=London, Chatto & Windus|editor1-last=Clark |editor1-first=J. D.|editor2-last=Cole |editor2-first=S.|pages=186–194}}</ref> All the species associated with hand axes (from ''H. ergaster'' to [[Neanderthal|H. ''neanderthalensis'']]) show an advanced intelligence that in some cases is accompanied by modern features such as a relatively sophisticated technology, systems to protect against inclement weather (huts, control of fire, clothing), and certain signs of spiritual awareness (early indications of art such as adorning the body, carving of bones, ritual treatment of bodies, articulated language).