The Prehistoric Labyrinth


Here revives the dramaturgy of prehistoric existance through faithful replicas of the European cave-paintings.

Room 1: The splendid paintings representing animals are mainly from Lascaux. These show the eternal harmony before the human appeared.

The Prehistoric Labyrinth - Labyrinth of Buda Castle


Room 2: The human is still not to be seen, but its appearance is already realizable. These gloomier paintings and carvings, wrought with tension, indicate the dissolution of primordial harmony: the occurrence of violent death, of possessiveness, of pain and suffering. Along with the loss of harmony there is nevertheless a feeling of yearning, for the re-establishment of the accord between Man and Nature, now out of tune: it is this yearning which manifests itself in the figure of the magician or shaman of Les Trois, on the rock standing in the middle of the hall.




Room 3: The tiny sanctuary of the Prehistoric Labyrinth. On the rock altarpiece, there is the powerful archetypal image of what might be a totem animal (?), the figure of an ancient deity (?), a representation of Mother Nature (?) or perhaps the expression paternal rule (?). Opposite the wall painting there is a sacrificial stone - a sure trace of Man.

Room 4: This is the first immediate, non-symbolic representation of Man in his actual physical shape in the Prehistoric Labyrinth. Some assume that the image depicts a hunting accident, others interpret it as showing a shaman in trance. Is it Man ovepowered by Nature, or is it rather than the surging forces of Nature are shown as subjected to Man's spiritual power?

The representations of human and shamanic figures at the end of the Prehistoric Labyrinth and the reappearance of the magician of Les Trois - now embodied in a human shape and wearing the face of the Labyrinth Guide - suggest a third possibility.

 


This labyrinth-branch was one of those areas, which were destroyed by the usage in the Wars. The human of the 20th century - he established his simple bunkers - tend to misjudge all of the premodern cultures, and consider to achieve the total area's rehabilitation - cultural sense as well through the artwork of the prehistorical culture.