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Entering a cave, often deep underground, to leave a trace of one’s passage—from paintings, drawings, and engraving of animals to enigmatic signs and rare, often animal-shaped human figures—is a particular approach that engages the whole body. During the Upper Paleolithic period, this confrontation between the artist and the wall suggests an interpretation that calls upon a shamanism fully infused with the natural forms of the cave, and at the same time an evolution from the old art of “contact” to the more standardized images of the Magdalenian period can be observed. The themes, gestures, and recurring items depicted, at the scale of the representation and in the underground environment, combine to suggest the early phase of a pictorial language.