ABSTRACT The earliest knappers were required to master the fundamental parameters of stone knapping in order to overcome the constraints imposed by raw materials. Only from the Acheulean period onward they were able to achieve the degree of technical freedom and skill necessary for any form of aesthetic expression. On the African continent, the adoption by Homo erectus of percussion using an organic hammer for shaping large cutting tools is attested as early as one million years ago. Thus, at the Isenya site in Kenya, alongside a few perfectly spherical quartz bolas produced by pecking and a large number of remarkably well‐balanced phonolite handaxes systematically shaped using a soft organic hammer, a refined aesthetic finish is also observed on a small number of cleavers. This is expressed through balanced proportions, regular contours, and straight edges, while the terminal bevel—considered the specific functional attribute of this tool—remains unchanged. During the Late Pleistocene in Western Europe, the Solutrean Volgu points, exceptional in both size and finesse and the result of a very long reduction and shaping process as demonstrated by experimental replicas, represent a combination of technical achievement, aesthetics, and symbolism. They are impractical, although derived from functional forms inspired by laurel‐leaf tools. Similarly, during the Egyptian Predynastic period and the Classic Maya period in Central America, the creation of unique stone objects required a series of complex operations combining multiple knapping techniques practiced at the highest level. These productions, based on exceptional expertise, resulted in objects of strong symbolic significance. The maintenance, modification, or complete loss of the dynamic function of technically complex lithic artifacts thus appears to define the threshold between aesthetic awareness and true artistic expression.
Pierre‐Jean Texier (Wed,) studied this question.