Showing posts with label Les Combarelles. Show all posts
Showing posts with label Les Combarelles. Show all posts

Saturday, October 12, 2024

IS THERE A WOOLY RHINOCEROS PETROGLYPH IN THE GRAND CANYON?

Wolly rhinoceros. Online image, public domain.

On 10 January 2015 I published a column on RockArtBlog about the Doheny Expedition to the Grand Canyon to record petroglyphs of dinosaurs. In this column I wrote “This expedition was led by Samuel Hubbard, director of the expedition and an honorary curator of archaeology at the Museum (The Oakland Museum, Oakland, California), and accompanied by Charles W. Gilmore, Curator of Vertebrate Paleontology at the United States National Museum. The report on this expedition was written by Hubbard and published on January 26, 1925.” (Faris 2015) I tend to be quite critical of creationists and all of their claims such as ‘dinosaurs and humans living together in history.’ In order for there to be a petroglyph of a dinosaur most people would expect that dinosaurs had to be alive at the same time that there was a human artist to record it. Although there is the possibility that the petroglyph could have been the result of a prehistoric interpretation of fossil remains, that strikes me as unlikely.

The Moab petroglyph, Doheny expedition report, p. 27. Photo by Mr. Kelly of Grand Junction, Colorado, 1925.

The Moab petroglyph as seen today showing re-pecking. Photograph Dell Crandall, 2004.

Then, I continued “On page 27 of the report is the astonishing claim that the petroglyph found along the Colorado River near Moab, Utah, and often called the “Moab Mastodon” is really the picture of a wooly rhinoceros. Hubbard wrote: ‘A PREHISTORIC GAME TRAIL: From the Grand Canyon in southern Utah comes another remarkable petroglyph. This was photographed and sent to me by Mr. George Kelly of Grand Junction, Colorado. The outline of the figure was so faint that he was obliged to chalk it in to secure a satisfactory photograph. There is not the slightest question in my mind that this was intended to represent a rhinoceros. All the ‘rhino’ character is present. The menacing horn; the prehensile upper lip; the short tail; the heavy body and short legs, all suggest a ‘rhino’ about to charge. This is the first time it has ever been known that prehistoric man in America was contemporary with the rhinoceros. I have before me an outline of a wooly rhinoceros sketched by an artist-hunter on the limestone wall of the Cavern of Les Combarelles in France. The difference between the two is that the Cro-Magnon hunter shows the ears of his ‘rhino’ erect and pointed forward, while the American artist shows the ears turned over. I venture the prediction that there was that difference in the two animals.’ The photograph illustrating this claim shows the “Moab Mastodon” as it was prior to 1925. How much prior we cannot know because Hubbard does not reveal when he actually received the photo from Mr. Kelly of Grand Junction, Colorado. What I find very interesting is that this early photo allows us to compare with the same petroglyph as it is presently found. The first time I visited the “Moab Mastodon” I suspected that the figure had been seriously re-pecked as the patina across its torso seemed to me to show a suspicious variability. Indeed, comparing a new photo of that image with the pre-1925 photo suggests that the torso has indeed seen a major episode of touchup. This could possibly be a relic of the conditions under which it was originally photographed, so I cannot claim this to be any kind of definitive proof. The other major problem that I found with the “Moab Mastodon” was that it shows definite toes or claws. Checking those features in the 1925 photo they seem to be even slenderer and more defined. These are definitely not the feet of either an elephant or a rhinoceros.” (Faris 2015) I have elsewhere stated that while I do not believe we will ever be sure, I think that the so-called ‘Moab Mastodon’ is likely a bear with a large fish in its mouth.

So-called Wooly rhinoceros petroglyph in the Grand Canyon. Photograph by Jennifer Hatcher.

Now we have another report of a petroglyph of a wooly rhinoceros, this one actually from the Grand Canyon. In 2020 Ray Urbaniak wrote in Pleistocene Coalition News: “Jennifer Hatcher is a high stamina Grand Canyon, Arizona, rock art photographer whose pictures of rarely-depicted animals I have featured in two earlier articles, with what resembled a saiga antelope and with what resembled a peccary. Jennifer recently sent me a couple of new photos also taken in the Grand Canyon. One photo, which she described as a ‘bison,’ caught my attention right away. However, it didn’t strike me as a bison but I wasn’t sure what else it could be until I noticed what appeared to be a small horn near the middle of what is the presumed ‘head.’ I then thought it looked strikingly like a wooly rhinoceros – and extinct animal known for one long horn on the snout and a smaller horn farther back.” (Urbaniak 2020) The photograph in question shows what appears to be a quadrupedal animal of some sort although quite crudely done as no legs are shown. In the area presumed to be the head on the right there are two projections; a large curled on at the end, and a smaller one a little way in from the right end. I assume Hatcher called it a bison thinking the larger projection was a horn and the smaller an ear.

Wooly rhinoceros from Chauvet Cave, France. Online image, public domain.

Another Wooly rhinoceros from Chauvet Cave, France. Online image, public domain.

We now have one major problem in this identification. All of the references I could I could find agree that the wooly rhinoceros never lived in the Americas. “By the end of the Riss glaciations about 130,000 years ago, the woolly rhinoceros lived throughout northern Eurasia, spanning most of Europe, the Russian Plain, Siberia, and the Mongolian Plateau, ranging to extremes of 72˚to 33˚ N. Fossils have been found as far north as the New Siberian Islands. Even during the very warm Eemian interglacial, the range of the woolly rhinoceros extended into temperate regions such as Poland. It had the widest range of any rhinoceros species. It seemingly did not cross the Bering land bridge during the last ice age (which connected Asia to North America), with its easterly-most occurrence at the Chukotka Peninsula, probably due to the low grass density and lack of suitable habitat in the Yukon combined with competition from other large herbivores on the frigid land bridge.” (Wikipedia)

Wooly rhinoceros image from Les Combarelles Cave, France. Online image, public domain.

So, it would seem that we are faced with two possibilities; either there were wooly rhinoceroses in the Americas and we have just not found the fossil evidence yet, or this is another misidentification of a Grand Canyon petroglyph. For the first possibility, if there were actually wooly rhinoceroses in the Americas people would have arrived before their disappearance so they would have been able to see them, but, lacking any fossil evidence to back that up, I have to assume that this just is another case of misidentification. I will add another possibility to the mix, perhaps, as in the case of the Moab Mastodon, this is also meant to be a bear eating a fish and the smaller projection is meant to be an ear. All in all, it is an interesting question, but I am pretty sure it would not be accepted as proven in a court of law.

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:

Faris, Peter, 2015, Is There a Wooly Rhinoceros Petroglyph Near Moab, Utah?, 10 January 2015, https://rockartblog.blogspot.com.

Urbaniak, Ray, 2020, Possible Wooly Rhinoceros Petroglyph, Pleistocene Coalition News, edited by John Feliks, Volume 12, Issue 6, November/December 2020. Accessed online 30 September 2024.

Wikipedia, Wooly Rhinoceros, https://en.wikipedia.org/wiki/Wooly_rhinoceros. Accessed online 30 September 2024.

Saturday, November 2, 2019

INCORPORATION IN ROCK ART - SHAPE AND VOLUME:



Drinking reindeer, Les Combarelles,
France, www.donsmaps.com,
Public domain.

There is a phrase you often see in rock art papers nowadays - "incorporation." Basically, it refers to using a natural feature of the rock face as part of a composition. The most engaging example I know of is one I posted a column about on September 8, 2018, "The Drinking Reindeer of Les Combarelles."

      Drinking reindeer, Les Combarelles,
      France. Drawing, Peter Faris, 2019.

In this panel a reindeer engraved onto the cave wall has his head down and his tongue out lapping water from a small seep that originally exited the cliff face at that point. The composition includes both the created reindeer and the incorporated natural water seep.


Spotted horses, Pech-Merle, France.
Internet image, Public domain.

Another famous example is the spotted horse from Pech-Merle cave, France, where a rock projection the shape of a horse's head seemingly suggested that the large horse be painted in that position. In his book "Painted Caves" Andrew Lawson describes it as "overlapping figures of two horses filled and surrounded by spots and negative hand stencils. Note the diminutive head of the horse on the right, but the shape of the rock which might suggest a head with better proportions. This figure, 1.6m long, has provided an age estimate of 26,640±390 (uncal bp). Fine red paintings of a fish, indented circles, and bent thumbs also appear on the frieze." (Lawson 2012:133)
Lawson apparently sees the black portion of the horse on the right above and to the right of the front legs as the horses neck tapering up to a diminutive black head. I prefer to look at that as the black mane and forelock on top of the horses head which is represented by the painted rock projection (shaped like a horse head). I think this is also true of the horse on the left with a black mane and forelock over a somewhat indeterminate neck and head. Whether Lawson is correct, or my version is correct, it is the shape and volume of the wall projection that inspired the painting of the horse in the first place.


Polychrome bison ceiling, Altamira,
Spain. Internet image, Public domain.

Another commonly cited example of incorporation involves the great Polychrome Bison ceiling at Altamira cave. "the natural protuberances on the ceiling were employed for perspective and volume. Cracks were also used to represent outlines." (Bradshaw Foundation) Bumps on the stone ceiling of this gallery in Altamira were painted as bison, giving the animals roundness and three dimensions. "These conventions were used to best effect where they also utilized the natural contours and fissures of the ceiling. Thus, bosses were exploited to give volume to the bodies of the animals, while cracks and eminences were used to emphasize various anatomical features." (Lawson 2012:257) This represents incorporation of the surface relief of the rock face into the rock art - shape and volume again.


Bison, Portel, France, Thinking
with the Animals in Upper Palaeolithic
Rock Art, Georges Sauvet et al,
2009, p. 9.

A less known example that includes both the shape (as in Pech Merle) and a rock projection (as in Altamira), is found in Le Portel cave, France, where a bison is located on a rock projection the topside of which is defined by a crack that suggested the outline of his back. The shape of the rock projection suggested the body of the bison and its volume provides relief.

These three examples are relatively straightforward and easily defined. There are, however, many cases of rock art recording where incorporation is reported, but not so definitely proven. Advocates of the "S"-word (shamanism) often state that the rock face is a membrane between this world and the spirit world. In some cases, an anthropomorph or zoomorph on a rock face next to a crack in the rock is defined and explained as a figure that has just left the inside of the rock through the crack, however, unless the painting or pecking actually rounds the corner and continues inside of the crack there is actually no way to prove that the image and the crack are connected at all.

A recent example I saw in a paper published about Scandinavian rock art showed a number of images from a highly fractured cliff face. One image that was near a crack was touted by the authors as a highly significant example of  "incorporation" - the position of the crack was assumed to be included in the composition. Many other images with cracks were, however, ignored with no comment. Indeed, a couple of examples had cracks right through the image which were also not mentioned. This inconsistency cancels their credibility when designating the one example as "incorporation".

I am, by no means, denying that incorporation occurs in rock art, I cited a number of examples above. I do maintain, however, that it is reported much too loosely, without actual proof. The presence of a rock irregularity on the surface within a rock art composition, or a crack in the rock a panel is painted on, does not mean that it was ever intended to be an actual feature of the rock art. The examples I gave above are unmistakable - many others are not.

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:

Bradshaw Foundation
http://www.bradshawfoundation.com/spain/altamire/cave_art/index.php

Lawson, Andrew J.
2012 Painted Caves: Palaeolithic Rock Art in Western Europe, Oxford University Press, Oxford, UK

Sauvet, Georges, Robert Layton, Tilman Lenssen-Erz,
Paul Tacon & Andre Wlodarczyk,
2009 Thinking with Animals in Upper Palaeolithic Rock Art, Cambridge Archaeological Journal, 19:3

Saturday, September 8, 2018

THE DRINKING REINDEER OF LES COMBARELLES:



View of Drinking Reindeer in Les Combarelles,
donsmaps.com, public domain.

I LOVE this one. Carved into the grotto of Les Combarelles, in Les Eyzies de Tayac, Dordogne, France. It was officially discovered by pre-historians Denis Peyrony, Abbe Breull, and Louis Capitan in September, 1901 (although it had been used as a stable by local peasants for years).(Wikipedia) The engraved "Drinking Reindeer" reaches and delicately extends his tongue to lap at water that once seeped from a crack in the wall of the cave.

Drawing of Drinking Reindeer,
Les Combarelles. Peter Faris.

"The long corridor of Les Combarelles extends for 240 m (790 ft) into the heart of the rock - with most of the art only appearing more than 160 m (525 ft) from the entrance - and 14,000 to 12,000 years ago during the late Magdalenian times much of it would have been accessed on hands and knees, or lying flat along the narrowest sections (today the floor level has been deepened, enlarging the height from floor to ceiling to allow easier access for tourists). Although some of the artworks can be clearly seen, such as the reindeer with lowered head drinking water that once emanated from a crack in the rock, the only way of finding much of the more than 600 artworks would have been to carefully look on the walls, oil lamp in hand, one person at a time and face almost pressed against the rock in the narrow space." (David 2017: 181-2)


Drinking Reindeer in Les Combarelles
donsmaps.com, public domain.

Students of rock art love to identify examples of incorporation of natural features into the images, has another example of incorporation ever been so beautifully done? If the measure of art is the emotional response it elicits from the viewer, this is great art - primitive man, who's kidding who?

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 originals at the sites listed below.



REFERENCE:

David, Bruno
2017 Cave Art, Thames and Hudson, London.

Hitchcock, Don
2015 Combarelles, http://www.donsmaps.com/combarelles.html

Wikipedia