A BLANKET STRIP IN ROCK ART:

Pictograph panel, Sego Canyon (Thompson Wash), Grand County, UT. Photograph Peter Faris, August 1993.

Back in 1981, I ran across this representation of a blanket strip in Sego Canyon, also known as Thompson Wash, in Grand County, Utah. Someone obviously has gone to a great deal of work to leave an image of something that we normally think of as merely decorative, although decorative can be pretty special too if well done.

Mails, Thomas E., 1995, from Mystic Warriors of the Plains, Barnes & Noble Books, New York, figure 4, page 291.

In the years since then I have tried to find a motive for the creation of this image. My search in ethnographic examples for some special significance of blanket strips has so far been unsuccessful. For instance, Thomas Mails, in Mystic Warriors of the Plains (1995), discussed bead work on page 290, and illustrated blanket strips on page 291, but made no reference to their significance in his text.

I did find a couple of mentions online. In one, The Wandering Bull LLC, the anonymous writer stated “The Native Americans of the Northern Plains created beaded Blanket Strips in the mid 19^th century. Blanket Strips originated as a means to cover the seam where two brain-tanned buffalo hides were sown together to create one large robe. Eventually, Native American crafters began to use wool Trade Blankets for robes. They added their beaded strips to them in a purely decorative manner.” While I suppose that this is a possible explanation, the idea of two whole buffalo robes joined together for wearing strikes me as improbably large and heavy.

Blanket strip,Buffalo hide , beads, 1870, American Indian Art Magazine, Spring 2014, p.7.

In 2015, Benson Lanford described a 44 inch long blanket strip created by a Plateau tribe or Crow beader. “In the mid-19th century, blanket strips became a salient decorative object type among the Plains, Plateau and some High Desert American Indian tribes. The concept of the blanket strip has origins in a relatively short, narrow band composed primarily of porcupine quillwork that covered the seam after excising the bulging hump area of a tanned buffalo hide -- excised for the purpose of flattening the hide. This decorative band of quillwork (or beadwork) was applied directly to the hide and extended for more than a third of the hide's length, from just behind the neck, down the back toward the tail. The later blanket strips, composed of tanned hide (or even canvas) were decorated and then applied to the hide robe or wool blanket. Usually, to permit ease in handling while being quilled and / or beaded, the hide strips were worked in sections--rectangles and rosettes, then sewn together once finished.” This is, to me, a somewhat more believable story for the use of a blanket strip on a single hide robe but it still provides no information of any symbolic meaning or significance.

McCoy, Ron, 2013, I Was Taught That the Sun Was a Great Mystery, The Sky in Lakota Art and Lore, American Indian Art Mag., Spring 2013, Vol. 38 (2), page 45.

In the Spring 2013 issue of American Indian Art magazine, Ron McCoy illustrated a Lakota blanket strip from the 19^th century with the rondelles divided into quarters by slender Maltese Cross shapes which he defines as the symbol for stars. So, in that instance, the blanket strip refers to the night sky. This cannot be considered universal, however, as there are many examples of blanket strips on the internet that do not show crosses on their rondelles.

The Sego Canyon, Utah, pictograph has a large circular element on the left, surrounded by fringe, with a large, red stripe vertically through it broken by an empty circle in the center, and with each side painted a solid white. Connected to that circle on the side to our right is a sequence of a band, a rondelle, another band and a final rondelle. The rondelles are divided into painted and plain quarters, and the band between the right and center rondelles has two sets of opposed triangles painted in white. The whole is one portion of a large, complicated scene amassing horses, equestrian figures, a bison, standing humans, and a large shield on the left side of the panel. The panel sports red paint, white paint, and apparently a little black or dark for some details.

Closeup of panel, Sego Canyon (Thompson Wash), Grand County, UT. Photograph Peter Faris, August 1993.

While the Sego Canyon blanket strip rondelles are divided into quarters, those quarters are not separated by a star shape so I don’t know that we can define them as referencing stars. I have come up with one possible overall implication for what a blanket strip might stand for. Based upon the definition by Benson Lawford (above) that it is used to cover the place where the robe has had a portion cut out, it might be thought to imply union, or bringing together, and thus a reference to the strength of the tribe, clan or family. Possibly, the pattern is only decorative, or the patterns may symbolize anything the artist wants it to, and the overall significance of the blanket strip is based on its very existence.

NOTE: Some images in this posting were retrieved from the internet with a search for public domain photographs. If any of these images are not intended to be public domain, I apologize, and will happily provide the picture credits if the owner will contact me with them. For further information on these reports you should read the original reports at the sites listed below.

 

REFERENCES:

Lanford, Benson, 2015, A Crow or Plateau Quilled and Beaded Buffalo Hide Blanket Strip, c. 1860, March 2015, https://fineart.ha.com. Accessed online 12 April 2025.

Mails, Thomas E., 1995, Mystic Warriors of the Plains, Barnes & Noble Books, New York.

McCoy, Ron, 2013, I Was Taught That the Sun Was a Great Mystery, The Sky in Lakota Art and Lore, American Indian Art Mag., Spring 2013, Vol. 38 (2), p.46-53.

The Wandering Bull LLC, https://wanderingbull.com/shop/collectibles/vintage/blanket-strip-beaded-sioux-style/. Accessed online 12 April 2025.

AN OCCUPIED LAVA TUBE IN SAUDI ARABIA AND ASSOCIATED ROCK ART:

Umm Jirsan Cave (lava tube), northwestern Saudi Arabia. Figure 2, Stewart et al.

It has occurred to me that living in a cave is sort of like having pre-fabricated housing. In Europe we assume that during cold times people may have lived in some of the limestone caves for shelter. It has now been established that in Northern Arabia a cave, actually a lava tube, was used as residence by early people, and they wanted art on their walls.

View from within Umm Jirsan Cave (lava tube), northwestern Saudi Arabia. Figure 2, Stewart et al.

Matthew Stewart (2024) described the area and environment. “Evidence for pre-Neolithic occupation is recorded in the rock art of northern Arabia. This includes hunting scenes superimposed by depictions of livestock herds, as well as reference to the HHP in the depiction of fauna (e.g., lesser kudu, African wild ass) that today do not inhabit true deserts. Pre-Neolithic artifacts have also been recovered, though such findings are restricted to just a handful of sites. In the Jubbah Basin, lithics with similarities to the Levantine Geometic Kebaran were found deposited on sediments dated to ca. 12,250 years BP at Al-Rabyah. However, detailed geochronological analysis suggests that this may reflect a minimum age, with similar assemblages in the Levant dating to ca. 18,000–16,250 years BP. Assemblages with similarities to the Pre-Pottery Neolithic (PPN; dated to ca. 12,175–8,450 years BP in the Levant) have been documented at Jebel Qattar 101 and Jebel Oraf with finds at the former putatively associated with an adjacent paleolake dated to 8,978–7,900 years BP. Just south of the Nefud Desert at the recently discovered site of Sahout, a backed bladelet of a type common in the Levantine Natufian (where this period dates to ca. 14,900–11,750 years BP), albeit also known from the PPNA (ca. 12,175–11,000 years BP), was found. The presence of archaeological deposits at the site dating to the Neolithic, but also to earlier periods (ca. 13,400–8,800 years BP), and their association with large naturalistic camel engravings, supports earlier hypotheses that this rock art tradition may pre-date the Neolithic.” (Stewart et al. 2024:2) Since the area was inhabited prior to the Neolithic Period, it seems logical to conclude that the creation of rock art predates the Neolithic as well.

Petroglyphs from Umm Jirsan Cave (lava tube), northwestern Saudi Arabia. Figure 6, Stewart et al.

Steward continued with more detail. “Umm Jirsan is located in the Harrat Khaybar, a volcanic area comprised of harrats (singular: harra, Arabic plural: harrat) in north-western Saudi Arabia. Early work by Gilmore and colleagues (1982) reported archaeology ranging from the Lower Palaeolithic through to the Neolithic, the latter including “tabular flint scrapers, blades, bifacial retouch, ground stone, trianguloids . . and “T” shaped notched tools.” (Stewart et al. 2024:4) This is related to the so-called “Black Desert” of Jordan and Syria, vast areas of volcanic lava flows.

Sheep petroglyph from Umm Jirsan Cave, northwestern Saudi Arabia. Figure 6A, Stewart et al.

Goat and two humans with tools on their belts, petroglyph from Umm Jirsan Cave, northwestern Saudi Arabia. Figure 6B, Stewart et al.

Gillian Dohrn quoted Mathew Stewart (2024) on human use of the lava tube. “The distribution of samples suggests that people did not live in the cave for long periods, but stayed there occasionally. Nearby rock art depicts people with goats and sheep. The drawings are difficult to date, but they support the fossil evidence that people used the cave as a place to rest and shelter their herds. Even today, farmers seek shade and water in underground lava tubes for themselves and their animals, says Stewart.” (Dohrn 2024) So this did not provide a permanent residence, but a place of refuge. As cited above water may persist in lava tube pools, and it would be considerably cooler in the hot summer weather.

Long-horned bovine, petroglyph from Umm Jirsan Cave, northwestern Saudi Arabia. Figure 6C, Stewart et al.

Petroglyphs show examples of not only sheep and goats, but long-horned cattle and wild ibex as well. Differential pecking on the images with some areas pecked out completely and others left untouched suggests variations in the color of the animal’s coat.

Ibex petroglyph from Umm Jirsan Cave, northwestern Saudi Arabia. Figure 6D, Stewart et al.

“Our findings point to use of Umm Jirsan by predominantly pastoral populations that had increasing links through time with oasis settlements. The lava tube does not appear to have served as a permanent habitation location, but rather as a site that likely lay on herding routes and that allowed access to shade and water for passing herders and their animals. Prior to this, as well as during pastoral periods, the lava tube was likely also linked with hunting activities, which probably remained a cornerstone of local economies into the Bronze Age. Lava tubes like Umm Jirsan offered a rich resource for human populations living in arid habitats and provide important insights into the resources these populations drew upon to increase their resilience in a challenging environment.” (Stewart et al. 2024:21) So cultures from hunter-gatherers to herders and beyond found this lava tube to be an important resource providing shade and water in an arid environment. This study has advanced knowledge of how people in the past interacted with their world in Northern Arabia.

REFERENCES:

Dohrn, Gillian, 2024, Early Humans Sheltered in this Lava Tube 10,000 Years Ago – And It’s Still in Use Today, 19 April 2024, https://www.scientificamerican.com. Accessed online 21 April 2024.

Stewart. M. Andrieux, E. Blinkhorn, J., Guagnin, M., Fernandes, R., Vanwezer, N., et al., 2024, First evidence for human occupation of a lava tube in Arabia: The archaeology of Umm Jirsan Cave and its surroundings, northern Saudi Arabia, PLoS ONE 19(4): e0299292, https://doi.org/10.1371/journal.pone.0299292. Accessed online 17 June 2024. 

SECONDARY REFERENCE:

Gilmore M, Al-Ibrahim M, Murad AS, 1982, Comprehensive Archaeological Survey Program. 1. Preliminary Report on the Northwestern and Northern Region Survey 1981 (1401). Atlal. 1982; 6: 9–23.

HAS THE OLDEST HUMAN STONE CARVING BEEN DISCOVERED IN SPAIN?

 

Marbella, Spain. Internet photograph, public domain.

The discovery of a piece of stone with intentionally human-made markings on it may provide the oldest human stone carving yet found. Note, I said stone carving. At this time the oldest painted image may be a painted pig-like creature in a cave on the Indonesian island of Sulawesi that dates back to approx. 5.5 ka. (Faris 2024)

“The carvings were found during excavations at the Coto Correa archaeological site, located in the Las Chapas neighborhood of Marbella, Spain. Coto Correa was first identified during the 1950s with the accidental discovery of stone tools that date from the Palaeolithic period, as well as other tools from the Chalcolithic and Late Bronze Age. The oldest stone tools date from between 1,500,000 5o 100,000 BC and confirms the presence of prehistoric settlers living in the Marbella region during the Early to Middle Palaeolithic, a period when modern humans began migrating out of Africa and began to replace other Homo species such as the Neanderthals and Homo Erectus.” (Milligan 2025)

“Until now, the roots of prehistoric rock art have been assumed to trace back to the Upper Paleolithic era, beginning around 50,000 BC. Cave paintings and engravings from that period have been found throughout Europe, frequently in caves and other times on large rocks or cliff faces. The choice of rock art theme suggests a desire to communicate about daily life in some instances, and an interest in conveying more complex ideas about nature, mythology and spiritual interests in others.” (Falde 2025) This is, of course, the result of the Eurocentric bigotry that prevailed during the last (the 20^th) century.

View of stone showing incised lines in the center of the photograph. Internet photograph, public domain.

This stone has been tentatively dated to 200,000 years old. “An analysis of finds from ongoing excavations have identified a set of carved markings on a gabbro stone block that could be 200,000 years old, potentially predating the oldest known cave art by 100,000 years.  To confirm this finding, the Department of Culture is conducting a detailed geoarchaeological analysis: ‘The techniques applied for absolute dating consist of quartz analysis of different sediment samples, which will allow for a precise chronology of the samples.’” (Milligan 2025) Once this is accomplished there will be hard data upon which to build further analyses.

A few hypotheses have been put forward for the creation of these marks to date. “It’s possible the markings could have served as a form of early record-keeping, perhaps tracking events, quantities of objects, or notable achievements. Some suggest the markings could function as a form of identification, designating ownership over the stone itself. Alternatively, these carvings may have held symbolic or ritualistic significance, which if true would prove and intriguing glimpse into the cognitive abilities of ancient humans.” (Falde 2025) If, as suggested, the markings are tracking events or notable achievements, they would represent some form of mnemonic aide as they do not seem to present an image of an event or the accomplishment of a notable deed. It seems entirely possible that they are just some form of “kilroy was here”, just a record of presence.

Analysis is ongoing to establish firm dating and to examine it for any other markings. “’In addition, documentation work will be carried out using 3D scanning, which will allow for a high-resolution virtual composite of the set of marks. This will allow the entire surface to be studied in maximum detail, allowing for the identification of working marks and graphic elements,’ added the Department of Culture.” (Milligan 2025) Hopefully this will point to additional marks, more evidence for analysis.

So what do the marks represent? I personally do not see record keeping, tallies, or mnemonic aides. I think I see ‘tagging’. Humans seem to have a subconscious need to alter their environment, and I see no reason why pre-sapiens hominids would not have also possessed that trait. With more data and ongoing studies the team may be able to judge which hominid species had produced the markings, Neanderthal or Homo Erectus.

REFERRENCE:

Falde, Nathan, 2025, Oldest Rock Art: 200,000-Year-Old Carvings Found on Stone in Marbella, Spain, 14 March 2025, https://www.ancient-origins.net. Accessed online 3 April 2025.

Faris, Peter, 2024, A New Candidate for the Oldest Known Artwork, 10 August 2024, RockArtBlog, https://rockartblog.blogspot.com

Milligan, Mark, 2025, Discovery at Las Chapas could be the oldest stone carvings of human origin, 12 March 2025, https://archaeology.org/news/, Accessed online 13 March 2025.

UNKNOWN LANGUAGE FOUND ON MYSTERIOUS STONE TABLET:

 

Bashplemi Lake, near Dmansis, Georgia. Online image, public domain.

A basalt tablet was discovered in 2021 near Bashplemi Lake in the Dmansis municipality, Georgia, which bears and inscription in an unknown script. The team who studied the tablet tentatively date it to the Late Bronze/Early Iron Ages. The stone itself is of local origin and the incised characters bear resemblance to at least 20 other ancient scripts from the Near East and Mediterranean regions. (Shengelia et al. 2024:96)

According to a study published in the Journal of Ancient History and Archaeology, the tablet measures 24.1 x 20.1 cm. The characters are organized into seven vertical registers running vertically, although the direction in which the inscription should be read is uncertain. (Milligan 2024) In the published photograph and drawing, however, the tablet appears to be rotated ninety degrees clockwise leaving the seven registers horizontal. Later in their paper the authors (Shengelia et al. 2024) from the team studying the stone state that the characters run horizontally, not vertically, so in this they contradict Milligan.

Tablet found at Bashplemi Lake, near Dmansis, Georgia. Online image, public domain.

“The history of studying pre-Christian scripts in Georgia begins with the archeological studies of the ancient city of Mtskheta, which was the capital before the Fifth century. In the 1920s-1950s period, 10 ancient epigraphic monuments were discovered there (five Greek, two Hebrew, one Pahlavi (Middle Persian), and one Aramaic. - - In addition, one Greek-Aramaic bilingual stele was found there. A fragmentary inscription of (the) pre-Christian period was found in Nekresi Monastery (extreme east of Georgia) and city ruins. Over the last two or three decades, attention has been paid to the so-called cryptographic images discovered in the territory of Georgia (especially in the mountainous regions). These images have been intensively gathered and studied (Great Catalogue of Petroglyphs of Georgia 2010). Regarding their fragmented nature, they are unreadable; however, the question of their origin and graphical similarity to some other scripts has also been debated. It is highly likely that these stones were reused.” (Shengelia et al. 2024:98)

The tablet was analyzed and proven to be made of vesicular basalt, grayish in color with lighter inclusions. The carved characters were determined to have been drilled with a conical drill and then the drill holes were connected. The resulting lines are round-bottomed and smooth with traces of many of the original holes visible. (Shengelia et al. 2024:99)

The photograph released purporting to be of the tablet is obviously not gray, vesicular basalt so I assume it to be a plaster cast, probably of the original.

Tracing of the tablet found at Bashplemi Lake, near Dmansis, Georgia. Online image, public domain.

Comparisons of these characters with a large number of other scripts showed many relative similarities, but no full agreement. Most notable similarities were with Caucasian scripts (Georgian Mrgvlovani, Albanian, and proto-Georgian). Based upon other artifacts recovered from the area of this discovery the authors concluded the given date of Late Bronze Age/Early Iron Age. The actual original finders of the inscribed plaque were local residents who supposedly received no reward, so the authors took this as a sign of authenticity, no motive for hoaxing. (Shengelia et al. 2024)

They also did not mention whether this was a surface find or dug up, and as I assume we are looking at a plaster cast, there is not any indication of a patina on the image presented. So, is this a real artifact, or a forgery? Based on the image and information presented I do not believe we can reach a conclusion.

NOTE: Some images in this posting were retrieved from the internet with a search for public domain photographs. If any of these images are not intended to be public domain, I apologize, and will happily provide the picture credits if the owner will contact me with them. For further information on these reports you should read the original reports at the sites listed below.

REFERENCES:

Milligan, Mark, 2024, Unknown language found on mysterious stone tablet, 3 December 2024, https://www.heritagedaily.com/. Accessed online 3 December 2024.

Shengelia, Ramaz et al., 2024, Discovery of Unknown Script Sign in Georgia: the Bashplemi Lake Tablet, Journal of Ancient History and Archaeology, No. 11(3), pp. 96-113, November 2024. DOI:10.14795/j.v11i3.1035.