THE HERO TWINS IN ROCK ART:

War or Hero twins with sky themes and other

petroglyphs. Galisteo Dike, New Mexico.

Among the Ancestral Puebloan peoples two mythical beings that were of importance in their creation cycle, and early mythology were the Hero Twins. These beings were involved in ridding the earth of the monsters and giants that threatened humans after the emergence. They were not, however, kachinas (katcinas) but instead are semi-divine cultural heroes.

Possible War or Hero Twins portrayal.

Galisteo Dike, New Mexico.

“In Zuni narratives that describe the time of the beginning, the Twin War Gods are culture heroes who bring the ancestors of the contemporary Zuni out of the fourth underworld to the surface of this earth; they contribute to making these people into “finished beings”; they shape the features of the earth’s surface (the Fifth World); they destroy or petrify the monsters that populate this world’ and they create constellations, stars, and other astronomical objects by throwing the body parts of various monsters into the sky.” (Williamson and Farrer 1992:76)

“In addition to depicting them as culture heroes or War Gods, some Zuni narratives also describe these twins as sons of the Sun Father – the Morning and Evening Stars, who serve as heralds for various ceremonial and agricultural activities.” (Williamson and Farrer 1992:76)

Homes of the Hopi Hero or Warrior Twins.

Chimney Rock National Monument, Colorado.

Photograph Peter Faris, 15 September 2002.

On September 23, 2009, I posted the column Chimney Rock and the Twin War Gods  in which I related the story of a delegation of Hopi elders who visited Chimney Rock National Monument after the Japanese attack on Pearl Harbor to awake the heroes - which live in the two rock spires at Chimney Rock - to assist the United States during World War Two.

Possible Hero or War Twins from

McConkey Ranch, Vernal, Utah. Fremont

culture. Photograph Peter Faris.

Many instances of paired figures in rock art as well as other forms of Native American art and craft show are assumed to be representations of the Hero Twins. Examples I present here include a pair of panels from Galisteo Dike in New Mexico and a Fremont panel from McConkey Ranch near Vernal, Utah. The Fremont example appears to me to be an unfinished pair of shield figures from their resemblance to so many other shield figures at that locale. Also both figures were obviously created by the same artist on stylistic and technical reasons so they can be assumed to have been intended to represent warrior twins.

 “Drinking Vessel Depicting Hero Twins,

Mexico, Maya, Central Campeche,

c. A.D. 593-830 (Cat. No. 39)”

(Fields and Zamudio-Taylor, 2001:43)

From farther south I illustrate a depiction of the Mayan version of the Hero Twins on a drinking vessel. (Fields and Zamudio-Taylor 2001:43)

The Hero Twins can thus be seen as a very real (and continuing) influence on Native American culture in the Southwest and Mesoamerica. These, and many other portrayals, provide a fascinating insight into the beliefs and influences of the peoples and cultures and are a very interesting theme in the rock art and other arts of the native peoples of the region.

REFERENCES:

Fields, Virginia M., and Victor Zamudio-Taylor,

2001    Aztlan: Destination and Point of Departure, pages 38 – 77, Fig. 15, p. 43, The Road To Aztlan: Art From A Mythic Homeland, edited by Fields, Virginia M., and Victor Zamudio-Taylor,  Los Angeles County Museum of Art, Los Angeles.

Williamson, Ray A. and Claire R. Farrer

1992    Earth and Sky, Visions of the Cosmos in Native American Folklore, University of New Mexico Press, Albuquerque.

METEOROLOGY IN ROCK ART – LIGHTNING:

For people who live in the environment the weather is a major determinant of the exigencies of life. Especially in the availability of food, both plant, and animal, the amount of sun, rain, and storm, provide the conditions that allow the society to survive and hopefully prosper. The facets of weather that lead to this survival and prosperity are usually focal points of religious rites in those communities in the attempt to favorably affect the conditions upon which their survival depends. Thus clouds, rain, rainbows, and lightning become elements in the imagery of the people, and can often be found in their rock art as well.

The Hogback, Pinyon Canyon Maneuver Site,
southeast Colorado. Photo: Peter Faris, 1997.

Elemental lightning is a force that can be dangerous, and as such is possesses great spiritual power. Places where lightning strikes tend to be seen as spiritually powerful, and items that have been struck by lightning contain strong medicine. A piece of lightning struck wood would contain tremendous spiritual power and, as such, would be prized for a medicine bundle or for use in fabricating weapons. A locale that lightning is seen to strike frequently would tend to attract other manifestations of spiritual importance such as rock art.

For large expanses of open countryside in the arid West in a lightning storm the features at greatest risk of lightning strike are the geological features that stick up the highest. These are often features such as volcanic dikes. I know of two volcanic dikes that have attracted considerable rock art and also show evidence of attracting lightning strikes.

Lightning Strike at The Hogback, Pinyon
Canyon Maneuver Site, southeastern
Colorado. Photo: Peter Faris, 1997.

One is the prominent dike known as “the Hogback” on the Pinyon Canyon Maneuver Site in southeastern Colorado, so excellently recorded by Dr. Larry Loendorf. This broken basalt prominence not only shows rock art, and discolored patches caused by the heat and blast effects of lightning strikes, but, as a location of such power, it also possesses the remains of spirit quest enclosures.

Lightning and sky theme petroglyphs,
Galisteo Dike, New Mexico.
Photo: Peter Faris, 1997.

Lightning portrayals in rock art may also be expected to be found on such high positions as these. The third illustration provided came from Galisteo Dike, south of Santa Fe, New Mexico. The rock art at Galisteo Dike is also found on the surfaces of a high, prominent volcanic dike, and includes a very large amount of sky symbolism including eagles, stars, sun signs, clouds, and lightning. This illustration includes an eagle (the Pueblo beast deity for the sky above), a star, and a lightning blast, combining multiple aspects of spiritual power.

Sun Symbols with possible lightning strike,
Three Rivers Petroglyph Site, New Mexico.
Photo: J & E Faris, 1988.

Another volcanic dike which possesses considerable rock art is the dike at 3-Rivers, New Mexico, where thousands of symbols and images cover the eroded surfaces of blocks of basalt. There are also instances of remaining evidence of possible lightning strikes at 3-Rivers. The illustration here shows a basalt boulder with an apparent lightning strike on the top and a pair of concentric circle sun signs on the side. The question here is did the rock apparently blasted by lightning attract the petroglyphs, or did the spiritual power of the petroglyphs attract the lightning strike?

NATIVE AMERICAN METEOROLOGY - CLOUDS AND RAIN:

Mortendad ruin cavates,

Pajarito plateau, NM. 2003.

Back in 2003, friends Bill and Jeanne Gibson guided us into Mortandad Canyon near Los Alamos on the Pajarito plateau, in New Mexico. Our goal was a large pueblo ruin that they call Mortandad Ruin, and the considerable rock art to be found there. The Mortandad ruin is a cavate ruin with the remains of rooms that had been carved into the soft volcanic tuff cliff. Many of these rooms had been subsequently plastered with adobe mud and decorated with pictographs.

View from cliff top, Mortendad ruin,

Pajarito plateau, NM. 2003.

We had clambered up to near the top of the cliff finding and photographing petroglyphs and I had worked my way out near the point when I looked out upon a spectacularly beautiful view of the valley below with an oncoming storm approaching from across the valley. I found myself thinking that it was an ideal spot from which to view approaching weather. Turning back to retrace my steps I found myself looking directly at the cloud altar petroglyph (illustrated). The round circle next to the cloud altar appears to be a case of defacement with a steel chisel, perhaps in an attempt to remove and collect whatever image had originally been there.

Cloud petroglyph (next to vandalism),

Mortendad ruin, Pajarito plateau, NM. 2003.

I realized that I had stumbled upon a perfect weather watching station. With its view toward the prevailing weather direction and marked by the cloud petroglyph, this seems to me to make perfect sense and could be expected from a culture that subsisted on precipitation-dependant agriculture. Indeed, weather themes are common in Ancestral Puebloan rock art of the Rio Grande area. Two examples from the Galisteo Dike in the Galisteo basin south of Santa Fe are included. With little or no irrigation for most of their agricultural Ancestral Puebloan farmers depended to a great degree on precipitation for the water to raise their crops. Much of their religion and ceremonial life was devoted to encouraging the spirit world to send the water they needed.

Cloud and rain petroglyph,

Galisteo dike, NM.

Cloud and rain petroglyph,

Galisteo dike, NM.

I can easily imagine that if I depended upon precipitation to provide the food I and my family need, I would want to know of approaching rain so I could enact the rites to bring it to my fields. And if I lived in that pueblo in Mortendad canyon, I cannot imagine a better place to watch for the approaching rain than this point of land near the top of the cliff. I cannot know if that cloud petroglyph was part of those rites, or was just put there to mark the station, or just because clouds were on someone’s mind at that location. Its position there facing the valley and the prevailing weather seems significant however, and I privately am sure of the connection.