Keyser, James D., David A. Kaiser, George Poetschat, and
Michael W. Taylor, 2012, Fraternity of War, Plains Indian
Rock Art at Bear Gulch and Atherton Canyon, Montana,
Oregon Archaeological Society Press Publication #21, Portland.
This is a truly remarkable book which presents an
encyclopedic record of rock art in two locations in Montana. This 436 page
volume was published by the Oregon Archaeological Society Press (volume 21) and
was written by 14 contributing authors, edited by James D. Keyser, David A.
Kaiser, George Poetschat, and Michael W. Taylor, with technical editing by John
and Mavis Greer, and contributions by a handful of other people. Now I want to
say up front that I do not personally know most of the people involved in this
volume, but I wish I knew them all because they have to all be outstanding
experts in their specialties, with James Keyser shepherding the process and
setting his usual high standards.
The team or panel of rock art experts assembled to compile
this material is truly impressive. Listed on the cover page are the writers,
editors, and other contributors, comprising a who’s-who of expertise in rock
art and archaeology.
Editors: James D. Keyser, David A. Kaiser, George
Poetschat, Michael W. Taylor.
Technical Editors: John Greer, Mavis Greer.
Contributing Authors: James D. Keyser, David A.
Kaiser, John Greer, Mavis Greer, George Poetschat, Carl M. Davis, Angelo
Eugenio Fossati, Melissa (Ray) Gentry, Lisa F. Ripps, Melissa Greer, Mike
Bergstrom, Sara Scott, Marvin Rowe, Amanda Derby.
Forward: Macie (Lundin) Ahlgren.
Technical Contributors: Susan Gray, Stephanie (Young)
Renfro, Ray Baise.
Cover Design and Photographs: Michael W. Taylor.
Containing over 300 illustrations the Fraternity of War not
only provides a detailed record of world class rock art, it provides a data
base of the styles and periods of rock art from the area.
In the preface the authors state: “Bear Gulch and Atherton Canyon are already one of the most studied and extensively published rock art site complexes in North America, rivaling much better known locals such as Writing-On-Stone, The Dalles-Deschutes region of the lower Columbia River, The Coso Range, the lower Pecos River, and Chaco Canyon, Canyon de Chelly, and Barrier Canyon in the Southwest . . . we hope this report adds significantly to the discussion and study of Plains rock art. The number of shield bearing warriors, women, birds, weapons, and various warrior accoutrements composing the Ceremonial Tradition art at these sites far outstrips that from any other Plains site. In addition, though limited in number, the Biographic Tradition compositions at these sites add significantly to the repertoire of that art tradition across all of the Plains. Finally, there are several one-of-a-kind rock art images portrayed only at these sites, including a decorated hide robe, the Standing Bear and Hand of God shield designs, the wolf hat headdress, a trade blanket, and partisan-type lance heads derived from Spanish polearms. These images, and the few dozen others representing earlier styles and traditions, are sufficiently important that no future Plains rock art research will be conducted without reference to some of them. Accordingly, the profession of archaeology owes a major debt of gratitude to the Lundin and Melton families, who not only permitted access to their properties, but actively encouraged this research. ” (Keyser et al. 2012:xiii-xiv)
In the preface the authors state: “Bear Gulch and Atherton Canyon are already one of the most studied and extensively published rock art site complexes in North America, rivaling much better known locals such as Writing-On-Stone, The Dalles-Deschutes region of the lower Columbia River, The Coso Range, the lower Pecos River, and Chaco Canyon, Canyon de Chelly, and Barrier Canyon in the Southwest . . . we hope this report adds significantly to the discussion and study of Plains rock art. The number of shield bearing warriors, women, birds, weapons, and various warrior accoutrements composing the Ceremonial Tradition art at these sites far outstrips that from any other Plains site. In addition, though limited in number, the Biographic Tradition compositions at these sites add significantly to the repertoire of that art tradition across all of the Plains. Finally, there are several one-of-a-kind rock art images portrayed only at these sites, including a decorated hide robe, the Standing Bear and Hand of God shield designs, the wolf hat headdress, a trade blanket, and partisan-type lance heads derived from Spanish polearms. These images, and the few dozen others representing earlier styles and traditions, are sufficiently important that no future Plains rock art research will be conducted without reference to some of them. Accordingly, the profession of archaeology owes a major debt of gratitude to the Lundin and Melton families, who not only permitted access to their properties, but actively encouraged this research. ” (Keyser et al. 2012:xiii-xiv)
Shield bearing warrior figure, Bear
Gulch. Photograph by Mike Taylor.
The cover photograph of this book reproduces this beautiful polychrome panel from Bear Gulch, Montana. The white color in this figure is actually produced by scratching the surface of the rock, not by utilizing a white pigment (notice the additional white scratched figures as well). The red and black pigments are added to the surface of the rock. Faint black lines to the left and below the shield represent a feather bustle. These were cataloged on 185 shield bearing warriors at these sites and are considered to be representations of an aggressive buffalo bull's erect tail, conveying power and aggressiveness. (Keyser et al. 2012:133-4)
REFERENCE:
Keyser, James D., David A. Kaiser, George Poetschat, and
Michael W. Taylor
2012 Fraternity
of War, Plains Indian Rock Art at Bear Gulch and Atherton Canyon, Montana,
Oregon Archaeological Society Press Publication #21, Portland.
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where can I purchase this book????
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