Saturday, October 31, 2015
A COSMIC HOAX:
Station #16, Nine-Mile Canyon, UT.
Photograph Peter Faris, 1993.
Close-up of panel at Station
#16, Nine-Mile Canyon, UT.
Photograph Peter Faris, 1993.
In this column I am presenting another egregious mistake
from the book Odyssey of the Pueblo
Indians by William Eaton. On page 145 he presents a petroglyph panel that
he calls a "Pueblo (Fremont) Star Chart". That is his identification
of the well-known petroglyph panel from Station 16, in Nine-Mile Canyon, Utah.
One identification that I take exception to is what he calls
the two-headed mountain sheep. Upon careful examination of the petroglyph
Eaton's second head at the back of the animal is actually a conglomeration
composed of its tail and a couple of curved lines descending from an unknown
mark that has been destroyed by the impact of a large caliber bullet. The
remains of this mark can be seen circling around to the upper right of the bullet
crater.
On the left of this panel is a figure that Eaton calls an
"anthropomorph with a six-ball bola weapon." Now this is a very
interesting figure and does, in fact, remind one of a figure holding a bola. This
figure along with numbers of carefully rounded stone balls found at Fremont
sites have prompted this same identification by many other rock art
researchers. It is an interesting speculation, but one that has not been
proven. For some reason, and absolutely without any evidence at all Eaton has
claimed that "the three balls may possibly refer to the three stars now
called Orion's Belt." Which three balls Mr. Eaton? As you pointed out
there are six.
Then Eaton went on to identify the constellations Ursa
Major, Ursa Minor, and Serpens, as well as a few other stars including Polaris
in additional marks on the cliff face. Unfortunately, the majority of the stars
that Eaton identifies in this panel are, in reality, bullet holes put there by
Anglos much later than the petroglyphs. In many places, we find that
petroglyphs and pictographs provided seemingly irresistible targets to
gun-toting vandals. These unfortunate marks have never had anything to do with
Fremont or Pueblo Native American groups. Additionally, to make the constellation Serpens out of those bullet holes Eaton had to flip the constellation entirely as can be seen in the star chart below.
Star chart of the summer sky showing
Serpens to the left of center. From
Howard, The Telescope Handbook
and Star Atlas, 1967, p. 39.
This so-called "Pueblo (Fremont) Star Chart" is
just another mistaken example of someone who feels compelled to try to force
the facts to fit a theory that they bear no relation to in the real world.
While I applaud Mr. Eaton's enthusiasm, I do have to deplore his methods and
results.
REFERENCES:
Eaton, William M.
1999 Odyssey of the Pueblo Indians, Turner
Publishing Co., Paducah, KY.
Howard, Neale E.
1967 The Telescope Handbook and Star Atlas,
Thomas Y. Crowell Co., New York.
Labels:
9-Mile canyon,
constellation,
petroglyph,
rock art,
stars,
Utah
Monday, October 19, 2015
GLOBAL ROCK ART DATA BASE:
Global Rock Art Data Base home page.
An interesting
new development in rock art recording has come out of Australia with Robert Haubt's
Global Rock Art Database (GRADB). Unlike most rock art Internet sites which
focus on "see my pretty pictures," or using rock art to prove
Creationism, or any of the other many personal goals of the creators of the
websites, Haubt has built a framework for projects and data from all over the
world. I believe his aim is to, in effect, build the central library for
everyone's rock art studies. Even at its early stages the GRADB provides a
wealth of interesting information and provides links to many projects and
destinations. This project forms part of his "PhD thesis which is looking at digital
data management in rock-art heritage." (Haubt 2015)
The Rock Art
Data base currently has "over 200
sites, projects, and other resources currently listed on a world map. The Rock
Art Database brings together hundreds of rock-art projects from around the
world in one centralized hub. Find some of the most amazing rock-art places
from around the world through our interactive map and explore stunning media
galleries showcasing photographs, videos, 3D models and virtual tours."
(Haubt 2015)
"Mission:
The Rock Art Database is a non-for
profit online project at PERAHU, Griffith University in Australia. It seeks to
improve theory and practice in the digital curation of rock art data through
building a centralized global heritage community network. Through the use of
new technologies the database offers new ways to look at heritage data and
explores the potential in digital curation." (Haubt 2015)
This is a very
ambitious project which I believe will prove to be of great value. It will
eventually include "Interactive
Media Presentations: hundreds of photographs, maps, 3D models, Virtual
Tours." (Haubt 2015)
His stated goal
is to provide a resource will contribute to developing a rock art community
where people can "upload, manage,
share, and discuss, to assist conservation, preservation and
education in theory and practice by making rock-art related issues more
accessible and more visible. " (Haubt 2015)
Check this out
for yourself. Go to http://www.rockartdatabase.com/v2/, see the exciting
possibilities, and get on board with Robert Haubt and the Global Rock Art Data
Base.
REFERENCES:
Robert Haubt
(personal communication).
Saturday, October 17, 2015
PALEOLITHIC HORSE DOMESTICATION?
Paleolithic Horse paintings from Chauvet cave.
Photo from www.bradshawfoundation.com.
There is an interesting school of thought today that
maintains that cave paintings of horses, as well as horse effigies carved in
bone or antler, contain clues that point to domestication of the horse by Magdalenian people. One of the major proponents of this interpretation is Paul Bahn. I have elsewhere expressed my great admiration for Paul Bahn for his imaginative approach to interpreting cave art, and his willingness to confront and argue against dogma. I am afraid, however, that in this instance I find myself in the position of arguing against Bahn.
"15. Carving of a horse head from Saint-Michel d'Arudy, France, showing facial lines that indicate the line demarcating the mealy muzzle and the natural contours of the face. These lines have been interpreted by Bahn to represent a bridle. (Drawing courtesy of Randall White)" (Olsen 2003:5)
"The strongest evidence
presented for the control of horses at this early date consists of depictions
of what Bahn (Paul) interprets as bridles on the heads of horses in wall
engravings and effigies carved in stone or antler. These artistic renderings
display lines encircling the nose and running from the nose back toward the ear
(figure 15). At first glance these lines could be interpreted as part of a
bridle, including the nose band, chin strap, and cheekpieces. On closer
inspection, however, it is clear that these lines represent natural features on
the heads of the Pleistocene horses. The wild Asiatic (Przewalski) horse, which
is colored like many of the prehistoric depictions of the European Ice Age
horses, has what is known as a mealy muzzle, or pale cream-colored ring around
the end of the snout (figure 16). This is one of the characteristics of what is
today called a Pangare' coat pattern on horses. Although there are no clear
examples of a mealy muzzle in cave paintings, it is possible that some of the
engravings with lines around the nose are meant to portray this change in
coloration around the tip of the muzzle. The horizontal lines running from the
nose back toward the neck probably represent natural contours or the horse's
head. Curved lines are often incised to represent the contours of the large
masseter muscle at the back of the lower jaw, and some lines indicate changes
in fur patterns. Similar lines are seen on engravings of bison and other
animals, although their positions are slightly different, but no one has
suggested that bison were domesticated. (Olsen 2003:54)
Paleolithic baton de commandment. Public
domain photograph from the internet.
"Bahn also believed that the
Paleolithic batons de commandment were cheekpieces for a bridle. Although they
bear a vague similarity to much-later Bronze Age antler cheekpieces, the batons
are generally larger and heavier with only one very large perforation near one
end. Bronze Age cheekpieces typically have two or three holes for the leather
straps." (Olsen 2003:55)
"Further, Bahn presented
examples of damage on incisors (the anterior teeth) of Paleolithic horses that
he hypothesized was caused by the nervous habit of crib-biting. This practice
has been observed in horses that get bored with being penned and begin to chew
on their stalls. If this behavior occurs only in situations where the animal is
enclosed by a human-made structure, then surely horses were being controlled in
the Paleolithic. R. A. Rogers and L. A. Rogers have shown, however, that
similar damage appears on horse incisors dating to the early and middle
Pleistocene of North America, long before the arrival of humans, Littauer
pointed out that such wear could have just as easily been formed when the
animals browse on the bark of trees." (Olsen 2003:55)
"Some scholars, notably Paul
Bahn, have suggested that horses were at least managed an perhaps domesticated
20,000 years ago by Ice Age hunter-gatherers who created the cave paintings,
ornaments, and mobile art of the Upper Paleolithic (see chapter 3). This idea
has been widely popularized by Jean Auel in her best-selling fiction books
beginning with Clan of the Cave Bear.
Stocky, thick-legged, large-headed
horses living throughout Europe during the Pleistocene Ice Ages were depicted
magnificently in cave paintings and sculpted bone objects by Upper Palaeolithic
artists, particularly in southwest France and northern Spain. Some of these
depictions seem to show rope halters around horse heads (see chapter 3, figure
1). This interpretation is convincing at first. However, the shaggy winter coat
of the modern Przewalski horse often sports a line of tufted hair running down
the cheek and around the nose in exactly the positions marked by the
"halter" lines in Paleolithic art. The "winter coat"
interpretation of these lines is simpler and more likely than an interpretation
based on bridling.
Some Upper Paleolithic horse teeth
exhibit odd wear that Bahn has suggested resembles the wear caused by
crib-biting, a vice associated with stalled or penned horses. However, similar
wear has been found on the teeth of Early Pleistocene equid fossils from
America, animals that could not possibly have been domesticated because they
predate the evolution of both modern humans and horses (see chapter 3). There
has never been a controlled study that reliably identifies the diagnostic
traits of cribbing wear on equid teeth so that it can be positively
distinguished from natural wear or incidental damage to the incisors. The
crib-biting suggestion remains untested and inherently unlikely. It would
require not only domestication but long-term stalling of horses by Paleolithic
hunters.
On the whole there is little
archaeological evidence even for herd management and no convincing support for
domestication associated with the Ice Age horses of the European Upper
Paleolithic." (Anthony 2003:69)
Wood chewing, or
crib-biting, is behavior in which the horse gnaws on wood rails or boards as if
they were food. This behavior eventually gives a distinctive wear pattern on
the horse's teeth that a good veterinarian can identify in making his
diagnosis. Wear patterns resembling this have been found on some teeth on
Paleolithic (Ice Age) horse skeletons which has led some investigators to rash
statements that this is proof of horse domestication that early. In other words,
Cro-Magnon supposedly had built corrals and confined their domesticated horses
there, where they performed crib biting. I think that nothing could be further
from the truth.
Horses, both wild and domesticated, will chew wood on occasions. Where I
live in the American West, if a horse corral contains a cottonwood tree it is
almost invariable dead, the horses having girdled it by chewing the bark off.
Inner bark is a nutritious food that they purposely seek out, especially
when grazing conditions are poor. If drought has prevented normal grass growth
for grazing, or if deep snow has covered the grass, horses will naturally turn
to chewing the bark on trees. Indeed, ethnographic reports of Plains Indian tribes
tell us that they sometimes kept their favorite horse tethered by their tipi in
winter encampments which were usually in a heavily wooded area to provide some
protection from cold winds. The owners of these horsed would gather branches of
surrounding cottonwood trees to feed these horses which readily chewed off the
bark and ate small twigs and branches. This bark was supposedly nutritious enough that the horses reportedly could put on
weight on such a diet, even during harsh winter conditions. With reasonable explanations for the marks on the carvings and paintings that might resemble harnessing, and with a reasonable explanation for wood chewing by horses, I believe that the preponderance of evidence is against the proposed domestication of horses in the paleolithic period. Additionally, I can think of no way that evidence of crib-biting could be deduced from the paintings or carvings of the Paleolithic period. Therefore, with this analysis, I think that we can make an informed judgement on the question of domestication and, to me, all the evidence argues against it.
REFERENCES:
Anthony, David W.,
2003 Bridling Horse
Power, chapter 4, p. 58-82, in Horses
Through Time, edited by Sandra L. Olsen, Roberts Rinehart Publishers,
Boulder, for the Carnegie Museum of Natural History.
Olsen, Sandra L.,
2003 Horse Hunters
of the Ice Age, chapter 3, p. 35-56, in Horses
Through Time, edited by Sandra L. Olsen, Roberts Rinehart Publishers,
Boulder, for the Carnegie Museum of Natural History.
Labels:
cave painting,
Chauvet,
domestication,
Horse,
paleolithic art,
Paul Bahn,
rock art
Saturday, October 10, 2015
POSSIBLE OLDEST PETROGLYPH IN SOUTH AMERICA DISCOVERED:
An online article by Charles Q. Choi, a contributor to
LiveScience, explains the discovery of what might be the oldest petroglyph in
South America, in a cave named Lapa do Santo in central-eastern Brazil.
The region is home to Luzia, the oldest human skeleton found
to date in South America. Discovered at Lapa Vermelha, Brazil, in 1975, by
archaeologist Annette Laming-Emperaire, the skeleton has been dated to ca.
11,500 BP. Luzia's remains were not articulated.
Her skull was separate from the rest of the skeleton and was buried under forty
feet of mineral deposits and debris, but was in surprisingly good condition.
Although flint tools were found nearby, hers were the only human remains found.
In 2013 new dating of the bones provided an age of 10,300 ± BP (11,243 - 11,070
BP). (Wikipedia)
Human remains of that age in the same region presents the
possibility that the petroglyph could conceivably also be that old.
"Lapa do
Santo is one of the largest rock shelters excavated yet in the region, a
limestone cave covering an area of about 14,000 square feet (1,300 square
meters). Here, researchers have found buried human remains, tools made of stone
and bone, ash from hearths, and leftovers from meals of fruit and small game.
In 2009, a team headed by Walter Alves Neves digging about 13 feet (4 meters) below the surface,
the scientists found a rock carving or petroglyph of a man packed into the side
of the cave. 'The figure, which appears to be squatting with his arms
outstretched, is about 12 inches (30 centimeters) tall from head to feet and
about 8 inches (20 centimeters) wide'. The engraving is also
depicted with a relatively large oversized phallus about 2 inches (5 cm) long,
or about as long as the man's left arm. 'We named the figure 'the little horny
man,' Neves said." (Choi
2015)
" 'The figure is probably linked to some kind of fertility ritual,' Neves told LiveScience. 'There is another site in the same region where you find paintings with men with oversized phalluses and also pregnant women, and even a parturition (childbirth) scene.' Carbon dating and other tests of the sediment covering the petroglyph suggest the engraving dates between 9,000 and 12,000 years old. This makes it the oldest reliably dated instance of such rock art found yet in the Americas." (Choi 2015)
"When this carving is compared with other examples of early rock art found in South America, it would seem that abstract forms of thinking may have been very diverse back then, which suggests that humans settled the New World relatively early, giving their art time to diversify. For instance, at one site in Argentina named Coeval de lass Manos, paintings of hands predominate, while at another site there, Cueva Epullan Grande, engravings have geometric motifs. ' It shows that about 11,000 years ago, there was already a very diverse manifestation of rock art in South America, so probably man arrived in the Americas much earlier than normally is accepted,' Neves said." (Choi 2015)
And the old "Clovis first" dictum continues to
crumble.
NOTE: The scientists detailed their findings February 22,
2015, in the online journal PloSONE.
REFERENCES:
Choi, Charles Q.,
2015 Little Horny
Man: Rock Carving of Giant Phallus Discovered, http://www.livescience.com/, February 22, 2015.
Wikipedia.
Labels:
Lapa do Santo,
petroglyph,
rock art. Brazil,
South America
Saturday, October 3, 2015
A PALEOLITHIC PALIMPSEST:
Gonnersdorf, Germany. From
Bahn and Vertut, 1997.
"A palimpsest is a manuscript page from a scroll or book that has been scraped off and used again. The word "palimpsest" comes through Latin from Greek παλιν + ψαω = (palin "again" + psao "I scrape"), and meant "scraped (clean and used) again." Romans wrote on wax-coated tablets that could be smoothed and reused, and a passing use of the term "palimpsest" by Cicero seems to refer to this practice. - - The term has come to be used in similar context in a variety of disciplines, notably architectural archaeology." (Wikipedia)
In art cases the term palimpsest is usually used to describe a composition with traces of previous work (or pentimenti) showing through. In rock art or cave art it would most often refer to trying to pick a recognizable image out of a mass of marks (scratches or lines). Some early recorders picked out whatever image they could decipher and often only recorded the lines of that image, ignoring all the other markings.
Paul Bahn explained the modern attitude toward such recording in his 1997 book Journey Through The Ice Age:
"Deciphering or copying images on a cave wall is rather like an excavation, except that the 'site' is not destroyed in the process; the pictures are 'artifacts' as well as art and, if superimposed, they even have a stratigraphy. Moreover, instead of selecting and completing animal figures from the mass of marks, like early archaeologists seeking, keeping and publishing only the belles pieces and ignoring the 'waste flakes', the aim for the last thirty years has been to copy everything. This helps to reduce psychological effects akin to identifying shapes in clouds or ink-blots: faced with a mass of digital flutings or engraved lines, the mind tends to find what it wants to find, in accordance with its preconceptions, and often detects figurative images which ae really not there. In addition, one needs to counteract the psychological effect whereby the eye is drawn to the deeper lines (although these may have been of secondary importance) and to lines in concave areas which are generally better preserved than those on convex areas which are more exposed to wear and rubbing.
To eliminate lines we do not understand is an insult to the artist, who did not put them there for nothing; where there are so many lines that it is difficult to 'isolate' anything, however, it is still necessary to 'pull out' any definite figures which exist hidden in the complex mass (this is also far less strain on the eyes), though one should still try to publish the mass, leaving the reader free to make a different choice. In his herculean twenty-five year study of the 1512 slabs from La Marche with their terrible confusion of engraved lines, Leon Pales isolated and published only those figures which his expert knowledge of human and animal anatomy revealed to his eye: but he estimated that only one line in 1000 has been deciphered on these stones. Unfortunately, there are very few scholars with similar skills in deciphering and reproducing Palaeolithic engravings." (Bahn 1997:55)
Horse image from plaque, Gonnersdorf,
Germany. From Bahn and Vertut, 1997.
Germany. From Bahn and Vertut, 1997.
Horse on plaque, Gonnersdorf,
Germany. From Bahn and
Vertut, 1997.
Germany. From Bahn and
Vertut, 1997.
One can search such a mass in the attempt to identify additional images as I have attempted to do. In my short examination of the detailed drawing I located a possible lion head in profile immediately behind the head of the horse. The lines are certainly there, but the question is was that actually intended to be a lion by the original creator, or is it merely a figment of my imagination. How many other figures can you find?
Horse and possible lion. Gonnersdorf,
Germany. From Bahn and Vertut, 1997.
Germany. From Bahn and Vertut, 1997.
REFERENCES:
Bahn, Paul G., and Jean Vertut,
1997 Journey Through the Ice Age, University of California Press, Berkeley and Los Angeles.
Wikipedia
Labels:
cave art,
Germany,
Gonnersdorf,
paleolithic art,
palimpsest,
petroglyphs,
rock art
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