Dr. Lee Clare

Yeah. Of course, you do get smaller figurines and that sort of thing, but the majority that we know of is actually applied or carved into or from the pillars. You have low reliefs, which are a couple of centimetres protruding from the pillar. You have high reliefs, like statues are actually carved from the pillar itself, but still attached to the pillar. It's 3D, yeah? Yeah, 3D.

Funnily enough, I mentioned earlier that the gazelle was the most important animal for the hunters, for the meat supply. But there's only one or two of those actually depicted on the art. They prefer like, you know, the leopards, the auroch, the wild boar.

Funnily enough, I mentioned earlier that the gazelle was the most important animal for the hunters, for the meat supply. But there's only one or two of those actually depicted on the art. They prefer like, you know, the leopards, the auroch, the wild boar.

Funnily enough, I mentioned earlier that the gazelle was the most important animal for the hunters, for the meat supply. But there's only one or two of those actually depicted on the art. They prefer like, you know, the leopards, the auroch, the wild boar.

In fact, just a couple of years ago, we had a wonderful new discovery of a life-size wild boar carved from limestone in Building D to set at a focal point of the building. You know, so it's these... I say sort of dangerous animals, also lots of insects, snakes, scorpions. So they're sort of a bit sort of, and this has all been interpreted in various ways in the past.

In fact, just a couple of years ago, we had a wonderful new discovery of a life-size wild boar carved from limestone in Building D to set at a focal point of the building. You know, so it's these... I say sort of dangerous animals, also lots of insects, snakes, scorpions. So they're sort of a bit sort of, and this has all been interpreted in various ways in the past.

In fact, just a couple of years ago, we had a wonderful new discovery of a life-size wild boar carved from limestone in Building D to set at a focal point of the building. You know, so it's these... I say sort of dangerous animals, also lots of insects, snakes, scorpions. So they're sort of a bit sort of, and this has all been interpreted in various ways in the past.

But for example, Klaus Schmidt, the previous excavator, associated it with like death myths and death rituals and others with fear. So there's lots of different ways of doing this. But of course, you know, the fact is that they're concentrating on these animals that had some sort of power or which were obviously important for their narratives where, you know, stories were attached to them.

But for example, Klaus Schmidt, the previous excavator, associated it with like death myths and death rituals and others with fear. So there's lots of different ways of doing this. But of course, you know, the fact is that they're concentrating on these animals that had some sort of power or which were obviously important for their narratives where, you know, stories were attached to them.

But for example, Klaus Schmidt, the previous excavator, associated it with like death myths and death rituals and others with fear. So there's lots of different ways of doing this. But of course, you know, the fact is that they're concentrating on these animals that had some sort of power or which were obviously important for their narratives where, you know, stories were attached to them.

And of course, they're choosing these leopards are great, you know, and wild boars. I love them.

And of course, they're choosing these leopards are great, you know, and wild boars. I love them.

And of course, they're choosing these leopards are great, you know, and wild boars. I love them.

No. I mean, I think the wild animals themselves are attached to stories because, of course, you know, they could say, okay, I just went out and I saw a wild boar and I'm going to sort of put it on my pillow now. But no, they come in different constellations. And I think we're actually seeing here narratives, and that's the most important thing.

No. I mean, I think the wild animals themselves are attached to stories because, of course, you know, they could say, okay, I just went out and I saw a wild boar and I'm going to sort of put it on my pillow now. But no, they come in different constellations. And I think we're actually seeing here narratives, and that's the most important thing.

No. I mean, I think the wild animals themselves are attached to stories because, of course, you know, they could say, okay, I just went out and I saw a wild boar and I'm going to sort of put it on my pillow now. But no, they come in different constellations. And I think we're actually seeing here narratives, and that's the most important thing.

And this is why, in my opinion, Gobekli Tepe is so important. It's not just the monumentality, but it's actually the fact that we're seeing here narratives which are previously oral narratives. narratives told by storytellers around the campfire, which for the first time are being petrified. They're being carved into stone and they're preserved for us today.

And this is why, in my opinion, Gobekli Tepe is so important. It's not just the monumentality, but it's actually the fact that we're seeing here narratives which are previously oral narratives. narratives told by storytellers around the campfire, which for the first time are being petrified. They're being carved into stone and they're preserved for us today.

And this is why, in my opinion, Gobekli Tepe is so important. It's not just the monumentality, but it's actually the fact that we're seeing here narratives which are previously oral narratives. narratives told by storytellers around the campfire, which for the first time are being petrified. They're being carved into stone and they're preserved for us today.

I think these narratives are very much telling us the traditions and the stories of the foundation myths of hunter-gatherer populations dating before the Neolithic, before this whole process took off. In that respect, they're so valuable.