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Art is an important symbol and motif in this novel. Tao lives in a world where drawing and painting are forbidden to all but a few Chosen Ones, whose selection is largely dependent on status in the tribe. Cave Painters must be the sons of leaders or chosen by the elders. As Tao is a marginalized figure in his tribe, he is very unlikely to be chosen to be a Cave Painter. The people believe that making images is a sacred act that serves the spirits of the great animals. If the spirits are pleased, they believe that the animals will come to the valley for the hunters to kill, which then feeds and provides for the people. If the spirits are angry, the animals will not come, and the people will starve.
The art taboo for Tao’s people is like that of reading and writing in earlier Western societies. In some Christian and Catholic traditions, common people were discouraged from becoming literate. In American slavery systems, laws were passed forbidding slaves from learning to read or write and criminalizing the act of teaching them. Painting, like reading and writing, conveys an elite status that is highly guarded within the culture. With this elite status comes a certain amount of exclusive knowledge that would cause the basic structures of a society to fall apart should that knowledge become widespread. Those who have the knowledge are those who retain the control. In the case of the Valley People and the Mountain People, Graybeard reveals the secrets of his “magic” and his healing along with the various artistic skills Tao will need as he takes over the role of shaman. Though not a leader necessarily, Graybeard holds a position of respect and power, and these secrets are the tools of his trade. Kala and Graybeard tell Tao repeatedly he will never be a Chosen One because his status within the community is so low.
Cave Painting also functions as the representation of the people’s hopes and desires, so the sacred act is one they guard closely. They believe these representations are seen and judged by the spirits of the animals that keep them alive. Art is thus vital to the survival of the people. Viewing it through this lens explains the beliefs and behaviors of Tao’s clan. They do not believe these taboos are arbitrary but rather essential to the life and happiness of the people. However, it is still important to keep in mind that Tao is seen as unfit to perform these acts because of his social status and the circumstances of his birth. In so strictly regulating who may become a Chosen One, the clan has foreclosed on the possibility of self-determination and improvement for those who are seen as different from or other than the norm. Thereby retaining control of who gets to take on the magical role of the shaman, indoctrinating only those chosen worthy by the leaders.
The novel establishes Tao as a person who is profoundly in touch with and respectful of the natural world. While Volt and the other hunters resist much of nature—as seen in their strict limitations as to what grounds are appropriate for hunting and exploration—Tao embraces the natural world for its bounty and beauty. He tells Graybeard, “I only know that the Slough is a place of many good things. Here I find food. I watch the animals and the birds…I feel good here” (66). He also says he does not believe in evil spirits because “[t]he animals, the birds, the trees give us food and clothing. Yet our leaders see only evil” (65). Tao lives in harmony with the natural world, rather than seeing evil or demons in its mysteries.
Several times in the novel Tao pauses to appreciate the majesty and beauty of a large animal. Ram wants to attack, but Tao holds him back, and instead stands still to admire the animal. He hunts to sustain himself, Ram, and Kala, but his interests in the natural world lie more in appreciation and harmony than with dominance. When he begins his training with Graybeard, Tao discovers even more of the ways in which the natural world provides for the people. He learns that the many shades of colors used in the paintings come from a variety of natural sources. The shining stones that Graybeard uses are a special kind of rock. The cures Graybeard gives to sick people come from the herbs and plants around them. What others see as magic, Tao learns, is really the thoughtful and knowledgeable use of the natural world for the benefit of the people.
Ram himself is a symbol of the natural world and Tao’s role in it. Ram is a wild animal, but Tao’s kindness makes him a friend by doing Ram the favor of removing the bone stuck in the wolf dog’s jaw. This is in parallel with how nature can be wild and unpredictable, but with kindness and respect, nature can provide everything one needs to survive. Ram also shows the danger of nature in the many times Tao must pull him back from an impulsive attack. This shows that what nature does is simply instinct and impersonal, a valuable lesson for the whole clan but especially those like Volt, who hold deep grudges against creatures despite those creatures being potential allies, like the alliance between wolf dogs and the Mountain People. Ram also protects Tao just as nature will protect those who know where to look and how to use the things they find (like the cave Tao made his home and the healing herbs Graybeard uses). It is in Tao and Ram’s cooperative relationship that the lesson of cooperation and mutual respect between humans and nature will produce the most abundant rewards can be learned.
Tao’s confrontation with Saxon further shows the importance of working with the natural world rather than against it. Instead of attacking Saxon as a hunter might, with weapons and force, Tao uses the rhythms of Saxon’s attacks to evade him. He then uses the shining stones to confuse and frustrate the bull. A confrontation that was intended to leave one of them dead instead ends with both alive. Tao uses what Volt calls “magic” to win the fight; Tao does not correct Volt, but privately acknowledges it was the natural properties of the stones that allowed him to drive the bull away. Tao has learned to be creative with the world around him.
Evil spirits are a way for Tao’s people to explain bad fortune or to forbid behaviors or areas that they find dangerous or unsettling. Even at his young age, Tao can see evil spirits as symbolic of the clan’s fears rather than as a real danger. In a confrontation with Volt, Tao shrugs and leaves rather than trying to convince Volt of the usefulness of the wolf dog: “He felt there was little use in talking to these men, who would listen only to demons and evil spirits” (43). For Tao, they are an abstract concept, feared but never seen. He wonders, “Is this why Volt is always angry? Everything he sees is bad. Kala said she has never seen an evil spirit. If they are real, where do they stay? Where do they hide?” (26).
The noises that the clan attributes to demons and spirits, Tao recognizes as “the cries of the eagle-owl and the loons” (65). It is interesting that, though both Tao and Graybeard are dismissive of the idea of evil spirits, they do not interrogate the belief that cave paintings can communicate with and please the spirits of the animals. Tao seems to believe in spirits, but he doubts the idea that animals and nature can be evil. Many human concepts are based on binary oppositions: good/bad, dark/light, man/woman, right/wrong. A common motivational saying is, “Without darkness, there can be no light.” Tao and Graybeard do not share this binary thinking. They uphold a belief in spirits, but only the spirits of nature, which they see as either inherently good or neutral.
The contemporary view of many ancient belief systems and religions is that these primitive, unsophisticated people used gods and evil spirits to explain events and phenomenon that they did not understand. This view is reinforced in Boy of the Painted Cave, as the novel has the protagonists realize this tendency and dismiss it as superstition. The novel is not as dismissive of the belief in natural spirits, however, and ultimately upholds the value of this positive belief.
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