BOOK REVIEW – “COMINGS AND GOINGS: 13,000 YEARS OF MIGRATIONS IN AND AROUND ROCK ART RANCH, NORTHEASTERN ARIZONA, PARTS 1 AND 2”:

It has been quite some time since RockArtBlog did a book review, but I have one for you this week. I was recently contacted by Bill Burkett, the Series Editor for the Arizona Archaeologist Series of volumes for the Arizona Archaeological Society. Their newest publication, “Comings and Goings: 13,000 Years of Migrations In and Around Rock Art Ranch, Northeastern Arizona” is a two volume set consisting of over 540 pages which covers all aspects of the archeology of the place in question, including the rock art that the ranch was named for. It is the report of archaeological surveys and work done at Rock Art Ranch, 20 miles southeast of Winslow, Arizona between 2010 and 2016, and it was well worth waiting for.

Front cover of volume 1, “Comings and Goings: 13,000 Years of Migrations In and Around Rock Art Ranch, Northeastern Arizona”, Arizona Archaeologist Series of volumes for the Arizona Archaeological Society.

“The volume is organized into five sections: background (Chapters 1 and 2), petroglyphs (Chapters 3 and 4), survey (Chapter 5), excavations (Chapters 6 and 7), and regional patterns (Chapters 8 to 10). Chapter 2 by Karen Adams, Susan Smith, and E.C. Adams summarizes the geology and the natural environment of the ranch. Darlene L. Brinkerhoff describes the petroglyphs in Chevelon Canyon in comparison to regional styles in Chapter 3, while Mairead K. Doery focuses on a significant central panel to imagine how it was used to manipulate social power in hunting and gathering groups in Chapter 4. Chapter 5 takes on the task of summarizing the data from survey to consider the striking patterns of changing land use through time expressed through sites and objects. Chapter 6 summarizes the excavations at Multi-Kiva Site. Chapter 7 summarizes excavations at Brandy’s Pueblo on the ranch. These summaries include those of architecture and material culture. The volume wraps up with three regional studies focused on the meaning and interrelationships among clusters of pueblos (Chapter 8), projectile points—focused on the preceramic era (Chapter 9), and ceramics (Chapter 10). All three highlight the one constant for the region—population movement. Chapter 11 provides some concluding thoughts and offers recommendations for future research.” (Adams 2023:18)

While this beautiful set does not focus primarily on rock art it has over 40 pages on the rock art of that area, predominately in chapters 3 and 4. I have so-called rock art books in my library that are smaller than that, and these volumes provide all of the in-depth data that goes with the rock art to help fit it into place, from the plant and animal resources, to cultural remains of the cultures that created it.

Figure 3.2c, Owl, Chevelon Canyon, photograph by Darlene

Brinkerhoff ; enhanced on the photograph by

Richard C. Lange.

Figure 3.9. Basketmaker Majestic Style, Chevelon Canyon, Repatinated glyphs (photographs by Chris Rhoads).

Fig. 3.12, Chevelon Canyon, Cinderella Panel, human/bearprint transformation,  (photograph by Rupestrian CyberServices).

In Chapter 3, “Chevelon Canyon and ‘The Steps’ Petroglyph Site at Rock Art Ranch,” subtitled “It’s All About Water – Life’s Blood Source” (pp. 39-67) Brinkerhoff wrote an in-depth analysis of that site.

“As non-Pueblo observers, we continue to call these etchings “petroglyphs,” “sites,” and other likely inappropriate names, and can only make inferences about their meanings. However, descendant communities offer the best interpretation of these enigmatic images. By themselves or in combination these symbols may indicate territory, clans, maps, food storage, water location, vision quests, hunting, seasons, ceremonies, altars, shrines, prayers, warfare, astronomy, proper balance in the universe, and probably metaphorical meanings. Serpents in Hopi are believed to bring about renewal and fertility in nature, including rain (Parsons 1939). Water serpent symbolism is widespread and are of religious significance in Aztec and Mayan cultures (Figure 3.17). Many other water icons such as waves, lightning zigzags, clouds, water birds, rake patterns, frogs and water serpents, which can be evident or metaphysical appear to be highly represented at The Steps. What appear to be water lines leading vertically down to the water source in various locations are frequently deep and heavily worn. These types of petroglyphs allude to rain and water and may have been invoked upon by later groups who passed this way. The physical location of the stone images on the landscape in the canyon were no doubt crucial to the people who made them. No doubt their placement, size, and associations were meaningful (see following chapter by Doery). The choice to place them in the canyon with a permanent stream and associated plants and animals is most significant as a referent.” (Brinkerhoff 2023:65) To a certain extent the proximity of rock art to water in arid regions is a function of the proximity of the people in those regions. We must be careful not to overthink that relationship.

Figure 4.2. Hidden access “steps” to the Herd panel at the Chevelon Steps; the panel is low on the cliff face to the left,

And in Chapter 4, “Accessing the Audience: An Interpretation of Panel Seven at The Steps” (pp. 69-82) by Doery offers a detailed discussion of concealed vs. public petroglyphs.

Figure 4.1. Petroglyphs from The Herd at the Chevelon Steps, some with repecking and grinding indicated by solid fill (figures not to scale).

Figure 4.4b. Concealed petroglyphs of The Herd, left of center, on horizontal surface.

“It is notable that the concealed petroglyph assemblage of The Herd displays significantly greater amounts of spiritual iconography than is found in the panel’s more visible areas. Geometric figures like those described above and sexed/gendered anthropomorphic figures are more common among the group of concealed assemblages—those that publicity analysis indicates required more power to view. It has long been established that landscapes containing watersheds, from which they first emerged, hold religious significance for the Hopi (Eggan 1994; Fewkes 1906). Given that a higher degree of geometric water signs and other forms of spiritual iconography are found in the concealed assemblage of this central panel, it is possible that The Herd plays a spiritual role in the lives of not only its canyon-wide audience, but its elite creators and modifiers.” (Doery 2023:81) Doery concluded that the petroglyphs designated “The Herd” and others in concealed locations were placed in those sites for spiritual purposes. Doery described the location of ‘The Herd’ panel as being placed in a difficult location. “Though all those with the ability to enter the canyon may have been able to view The Herd, accessing the panel was a much more restricted task. Given its extraordinarily high placement on the canyon walls, I faced initial difficulty in determining how The Herd’s creators (both those who made the petroglyphs, and those who repecked them) would have reached the panel.” (Doery 2023:72-3) It sounds to me as if ‘The Herd’ panel is not so much concealed as it would be apparently inaccessible.

In Chapter 11, “Summary and Conclusions,” (pp. 490-506) E. Charles Adams wrote a summation of the results of the ‘Petroglyph Project’ portion of the overall study.

“With support and permission from Brantley Baird additional research was conducted at The Steps Petroglyph site in 2018 a part of master’s thesis research by Mairead Poulin (Doery); (Poulin 2019). Results are summarized in Chapter 4. Her analysis supports the argument that access to the canyon and certain panels was restricted by leaders and/or religious specialists. This supports Brinkerhoff’s (Chapter 3) overview of the glyph styles and 11: Summary and Conclusions 505 distributions among nearly 3500 documented glyphs. Certainly, the breadth of elements, styles, contexts, and associations have only just begun to be explored. And beyond The Steps are many other petroglyph sites in the middle LCR in addition to intriguing relationships with sites in the Glen Canyon region of the Utah/Arizona border (McNeil and Shaul 2018).” (Adams 2013:504-5)

I love these volumes that analyze a culture in-depth, including the rock art. It allows us to forge a much deeper understanding of the culture and individuals that produced the rock art, and puts it in a detailed context. A high quality archaeological study that includes a look at the rock art. Congratulations to all persons involved in this magnificent effort.

This volume is available for purchase on Amazon. You can view it at https://www.amazon.com/Comings-Goings-Migrations-Northeastern-Arizona/dp/B0CCZWS1CH/ref=pd_vtp_h_pd_vtp_h_sccl_2/137-4279999-8817434?pd_rd_w=3eqaw&content-id=amzn1.sym.e16c7d1a-0497-4008-b7be-636e59b1dfaf&pf_rd_p=e16c7d1a-0497-4008-b7be-636e59b1dfaf&pf_rd_r=1T6DMPZWM7S8PXB3TPE2&pd_rd_wg=N7Tw7&pd_rd_r=532dc541-498b-4cc1-96fa-5dc339fe4481&pd_rd_i=B0CCZWS1CH&psc=1 

NOTE: I have not included citations to secondary sources in my Reference listing below. For the actual sources I suggest you access the volumes being herein reviewed.

REFERENCE:

Adams, E. Charles and Richard C. Lange (Editors), 2023, Comings and Goings: 13,000 Years of Migrations In and Around Rock Art Ranch, Northeastern Arizona, Parts 1 and 2 (Color edition), Arizona Archaeological Society, Number 45, 541 pages.

A BOOK REVIEW – “NO BEAR: VISIONS THROUGH TIME.”

Keyser, James D., Carl M. Davis, David A. Kaiser, Mark D. Willis, Stephen J. Lycett, 2021, No Bear: Visions Through Time, Oregon Archaeological Society (OAS) Press, Publication Number 27, Portland, OR.

The 27^th volume published by the Oregon Archaeological Society is about a Montana rock art site named the No Bear site. Titled No Bear: Visions Through Time, this volume relates another example of cutting edge recording techniques and analysis of rock art. This site was found on the Blackfeet Reservation in northern Montana, in a nowadays inaccessible location high on a cliff.

View of No Bear petroglyph site, Montana.

No Bear is a small, but complicated site, multi-component in that a number of styles and techniques are represented. “No Bear is located on the Blackfeet Indian Reservation in north-central Montana just east of the Rocky Mountains. The site consists of an extensive and unusual array of red pictographs painted across three adjacent faces on the lower portion of a massive sandstone cliff situated at the confluence of a deep coulee draining into a major stream valley. Petroglyphs are also scratched and abraded across two of the rock faces where they are both superimposed on and superimposed by various pictographs.” (Keyser et al. 2021:2)

           

    Drawing of panels 1 and 2, No Bear                  petroglyph site, Montana.

Due to the inaccessible location of the rock art the team had to utilize innovative techniques to photograph it in depth. “We initially debated using either a drone or pole-assisted aerial photography (PAP), and after consultation with Mark Willis we brought both types of equipment to the site. Although we used both methods, after examining the site Willis and Keyser decided to rely primarily on PAP photography because of its time-efficiency and accuracy given the site access and weather conditions.” (Keyser et al. 2021:3)

     Detailed drawing of Panel 3, No Bear                petroglyph site, Montana.

The images on these panels were quite difficult to see because of fading and erosion. “In addition to the collapse of a large part of panel 2, significant erosion is evident on the right half of Panel 3, in this area, the painted images are significantly fainter than most others painted on the panel’s left half, making them less visible in ambient light photographs. Some of this is clearly due to age, since several of the fainter images, which are older and thus exposed to more weathering, are scattered among fresher ones. But we also note that photographs show distinctive patterns of abrasion across the right half of the panel and on the extreme lower margin of the panel’s left side.” (Keyser et al. 2021:2-3)

Composite of panels 1, 2, and 3 as photographed, and then DStretched to bring out the pictographs. No Bear petroglyph site, Montana.

“Given the soft slope and weather conditions, we photographed the panels from a range of about 30 cm to 3 meters (1 to 10 feet) and at an elevation of approximately 4 to 6 meters (13 to 19 feet) above stable ground. Willis controlled placement of the camera to take more than 750 photographs while Keyser triggered the shutter at Willis’s direction. – The more than 750 photographs taken by PAP from multiple vantage points in front of the panels allowed Willis to process the photographic data in a commercial Structure from Motion (SfM) photogrammetry package called MetaShape (Version 1.5.3). This software takes a set of overlapping photographs, analyzes the location of visually similar objects in them., and then creates a three-dimensional point cloud (Figures 7, 8) based on the relationship between the objects. The point cloud is a highly accurate 3D representation of the rock art panel surface.” (Keyser et al. 2021:5)

To make the images visible the team processed the resulting 3D model with D-stretch. “During and ofter preparing the composite photograph, DStretch enhancements of many individual photographs were used to emphasize the painted imagery for purposes of photo-tracing. This also helped highlight the scratched petroglyphs.” (Keyser et al. 2021:7)

 All in all approximately eight pages are used to explain their recording methods in detail, highly educational for others seeking a recording model.  The subsequent sixty pages are devoted to the in-depth analysis we would expect from this team. Every detail of every panel is studied, identified, and compared with other examples from the region to try to find its significance.

From the shape of feathers on a headdress to the weapon, or dance wand, displayed in a figure’s hand, this analysis happens, comprehensive and in-depth, and it has allowed the team to make a number of important conclusions. "All three panels have pictographs, and differences in weathering combined with superimpositions indicate that artists painted images in at least four different episodes on Panel 3. Other artists using Panel 3 also scratched and/or abraded a series of petroglyphs in at least three different episodes occurring between the two major painting episodes. One artist also drew a small scratched oval scrawl on the large anthropomorph in Panel 1. In all, we have identified at least seven different episodes of rock art production at the site." (Keyser et al. 2021:11)

The final product is not only an in-depth analysis of a fascinating and unique rock art site, but also is an example of detailed thoroughness and excellence for future rock art researchers and recorders.

For more information about this, and their other publications go to www.oregonarcheological.org/publications or inquire at Oregon Archaeological Society, PO Box 13293, Portland, Oregon, 97213.

BOOK REVIEW: “Standing on the Walls of Time”

Cover, Standing on the Walls of Time:

Ancient Art of Utah's Cliffs and Canyons,

by Kevin T. Jones.

I have never understood why so many self-appointed “experts” in rock art make such a big deal about "it is not really art" or, "those people never even had a word for art." Why would you choose to devote yourself to a subject and then begin by denigrating it? These people are usually brand new to the field of rock art and almost invariably totally ignorant of the disciplines of Art History. As someone with a background in Art History my answer to them has always been "of course it is art. It is art because I say so." Art Historians have always chosen what they wish to study based on the creativity of the material and their curiosity about the culture, and the designation of art goes with their attention to the subject. So-called "Primitive Art" has been a subset of the field of Art History for at least a century and a half.

Barrier Canyon style,

"the Perfect Panel",

Fig. 3.1, p. 26.,

Photograph Layne Miller.

Now, I have an official and legal backup for my position because the legislature of the State of Utah in 2017 passed SB2017-171 declaring Utah's rock art as Official Art of the State of Utah, signed into law by the Governor of Utah on March 22, 2017.

Earlier in 2017 the Utah Legislature had named Robert Smithson’s Spiral Jetty (a work of landscape art that I have always admired) as the official Utah State Work of Art. As a former Utah State Archaeologist, Kevin T. Jones was not supposed to consider rock art as anything but an artifact, without meaning, and certainly not ART. Yet the news about the Spiral Jetty bothered him. How could Utah, a state named after its indigenous peoples, ignore the amazing petroglyphs and pictographs found in such abundance all over the State, left by those indigenous people? Jones came to the conclusion that this was actually art, and, as such, deserved at least equal billing with a modern construction done by someone from outside the State. His subsequent efforts led to the passage of Utah’s SB2017-171.

Figure with yucca, Barrier Canyon

style or Basketmaker, Fig. 2.5, p. 14.,

Photograph Layne Miller.

That leads me to this review of his book Standing on the Walls of Time: Ancient Art of Utah's Cliffs and Canyons, by Kevin T. Jones, with photographs by Layne Miller, University of Utah Press, 2019, 152 pp., 153 color photos, 1 map, $19.95 (paper).

This is not a text book - it contains very little factual or scientific information about the prehistoric peoples who lived in Utah and created the rock art. This is not a coffee table book, although it is filled with magnificent photographs by Layne Miller. This book is an art appreciation book although Jones himself had never thought of it that way. Indeed, he seemed surprised when I referred to it as such when discussing it with him. It is a paean to the creative imagination and sophisticated cultures of the people who created the pictographs and petroglyphs that fill its pages.

Fremont, "The family panel",

Nine-Mile Canyon, Fig. 7.8, p. 74,

Photograph Layne Miller.

In chapter one (on page 3) he writes "Some view the art of early cultures as code for something knowable through induction, such as representing maps, stories, calendars, astronomical markers, even validation of Western religious teachings. This book represents a departure from nearly all of these approaches. I am not going to try to interpret the artist's meanings or symbols. In fact, I am strongly opposed to that approach. I do not try to match or categorize symbols in an attempt to advance culture history studies. I advocate for a much simpler, more human approach - to view the work of ancient artists purely as art. Let it reach you on more of an emotional, as opposed to intellectual level."  Jones' inner journey from the traditional archaeologist's position that "rock art is nothing but artifacts, we will never understand it" to his present belief must have been in equal parts uncomfortable and exciting for a professional archaeologist. His 180^ᵒ reversal from the predominant "official" position of North American archaeologists of 20 -30 years ago to his present advocacy must have been a remarkable adventure.

Kevin’s conclusions on how we should relate to rock art have also taken a non-traditional turn. In chapter fourteen (on page 140) he wrote - "While some take pride in keeping site locations secret and only sharing them with "trusted" associates, this does nothing to protect sites. Hoarding special knowledge may be good for your status among friends, but it is self-serving and not beneficial to the resource.

Sharing your love and appreciation of ancient art is beneficial, as it enables better management and protection of sites and brings more allies into the ranks of caretakers and stewards. Take photographs, share them with your friends. Post them on social media without revealing exact locations. Enjoy and love these gifts from those who lived before us, and those who live after us, those who live a hundred years from now, will likewise be able to enjoy and love them."

Fremont, "The Wolf Man",

Nine-Mile Canyon, Fig. 9.6, p. 94,

Photograph Layne Miller.

This volume is a once-in-a-lifetime book. There are many good, even great, rock art books on today’s market. I have reviewed a number of them here on RockArtBlog over the years. But I have seen nothing like this book before. Do yourself a favor, read “Standing on the Walls of Time” by Kevin T. Jones.

BOOK REVIEW - VISIONS FOR LIFE AND DEATH: PICTOGRAPHS OF THE LOWER COLUMBIA RIVER:

VISIONS FOR LIFE AND DEATH: PICTOGRAPHS OF THE LOWER COLUMBIA RIVER,  Keyser, James D., David A. Kaiser, and David L. Minick.

Front cover.

I have received another volume of rock art in the series published by the Oregon Archaeological Society; Visions for Life and Death: Pictographs of the Lower Columbia River, by Keyser, James D., David A. Kaiser, and David L. Minick, 2019, Oregon Archaeological Society Publication #26, Portland, Oregon. (www.oregonarchaeological.org) I have personal ties (family history) to the region, and have spent considerable time there, so I was pleased to be able to delve deeper into the rock art and customs of the aboriginal inhabitants of that (the Dalles/Deschutes) area. The bulk of the rock art there is found to be either Central Columbia Plateau Style, or Yakima Polychrome Style. I have some little familiarity with these as, back in August 1983, I had visited a large Yakima Polychrome style site on a cliff by the river at Yakima, Washington, and, in July 2000, I had the opportunity to spend a day with Jim Keyser examining rock art in this (the Dalles/Deschutes) area, including some of the Spedis Creek panels (I have had a few other opportunities to visit rock art around the Dalles as well). This is some of my favorite rock art and I am very happy to have this detailed book about it.

Map of the study area.

Fig. 2, p. 3.

"Painted at two sites in the lower Columbia River region are fascinating sets of pictographs detailing the ritual activities of the people who have lived along the Columbia and Deschutes rivers for thousands of years. Bright red and red-and-white polychrome pictographs found at Spedis Creek and Harris Canyon document the vision quests of shamans and laypersons and show the deeply held beliefs people had about the Supernatural world. Informed by ethnography and mythology, these paintings are a testament to generations of people practicing their customs and passing their traditions and knowledge on to others. 
With dozens of photographs and color plates, accompanied by other illustrations, as well as various maps and charts, the authors present the first detailed study of a Yakima Polychrome type site. In addition, they undertake a detailed comparison between that site and a much simpler group of pictographs at the nearby Harris Canyon site."  
This publisher's statement from the back cover of the book only begins to describe this volume. 

Columbia River canyon

in study area,

Fig. 3, p. 4.

With a wealth of photographs as well as comparative tables and charts, the imagery from this study area is integrated with rock art of the greater region. It should be noted that this is also the area that houses the great Tsagaglalal, "She Who Watches", but that is slightly outside the study area covered by this volume.

Black and white recording,

Fig. 5, p. 12.

As important as the results of such a comprehensive study are, there is another important aspect of this, the process itself. Because they were not allowed to do mylar tracings (by the Washington State Parks Department) the black and white images which look like marvelously detailed field drawings are actually photographs processed with D-stretch, Photoshopped, and then printed in black and white. "During the Spedis Creek/Harris Canyon project we made no direct tracings of the pictographs or petroglyphs at either site. Instead we based our recordings of the imagery entirely on color digital photography. This exclusive reliance on color photography results in some issues that must be discussed. The first is our production and use of what we term photo-tracings. There are two sorts of such images. The simplest is stipple tracing done directly from the photograph. This is much like a direct tracing of an image, but one cannot control for the parallax that occurs when the camera lens is not absolutely parallel to the painted or carved surface, or when the surface itself has irregularities.
Other photo-tracings are made using the "color-replacer" tool in the Paintshop Pro or Photoshop programs. This technical operation involves selecting the color of the parts of an image one wishes to save and removing all other color from the photograph.
Using photographs already manipulated by the DStretch enhancement often means that the image of the pictograph one wishes to preserve  is shown in the photograph as some combination of strange pink, white, orange, or even grey-black colors. Clearly making such a photo-tracing with the use of the color-replacer tool is a complex technical process that must be carefully orchestrated to eventually produce a two-color, black-and-white version of the image in the photograph." (pages 14-15) This will undoubtedly prove an important technique for many rock art recording projects in the future.

Spedis Creek panel,

enhanced with DStretch.

Plate 27.

One problem I have found in the past in recording rock art with team members who have artistic training is that they often cannot resist the urge to make small changes to improve it - "to make it look better."  That is changing the image, not recording it. In one recording project that I led a number of the field sketches by "artists" (self-identified, not academically trained) had to be discarded. Normally I would say that there is a danger in using such photo manipulation to produce the final record, that decisions might be made on the basis of creating an attractive result, not the most accurate one, but with this team, and knowing Jim Keyser, I am fully confident that the final record is as accurate as it can possibly be. 

All in all "Visions for Life and Death" is a marvelously detailed book by a highly professional team, of an area rich in important rock art. And, another important publication by the Oregon Archaeological Society. I am grateful to all of them for this contribution to the record of Northwestern rock art, and at an almost giveaway price.

The book is:

Keyser, James D., David A. Kaiser, and David L. Minick
2019 Visions for Life and Death: Pictographs of the Lower Columbia River, Oregon Archaeological Society Publication #26, Portland, Oregon. 
8.5″X11″ 112 pages, 59 illustrations, 6 pages of color photos
ISBN #: 978-0-9915200-4-6
OAS publication #26
www.oregonarchaeological.org
Price $16.00 plus $4.00 Shipping and Handling.

BOOK REVIEW - HORSE RAIDERS IN THE MISSOURI BREAKS:

It wasn't done by the butler in the library . . . . . it was done in the Missouri Breaks, by the Blackfoot and the Crow.

Cover: Horse Raiders in the Missouri

Breaks,  Keyser and Minick, 2018,

Oregon Archaeological Society,

Portland.

Back in the dim past (1970s and 80s) when I was only a few years into my studies of rock art, I was lucky enough to meet Jim Keyser, the only archaeologist I know who had the courage at that time to state that we could, in fact, interpret rock art and learn a lot about it and the people who made it, not just record it. Since then, Jim's publications with a number of collaborators, provide an education in how to approach the subject of meaning in rock art. Now I have the distinct pleasure of presenting to you a 2018 book by James D. Keyser, and David L. Minick, Horse Raiders in the Missouri Breaks: Eagle Creek Canyon Petroglyphs, Montana, another volume in the series published by the Oregon Archaeological Society in Portland (www.oregonarchaeological.org).

Eagle Creek Canyon Petroglyphs

site, 24CH757, Montana.

Stylistic comparisons,

Fig. 12, p. 22.

Most rock art books are large regional surveys or site reports, but this is an in-depth analysis of the rock art of a single locale, but (as with all of Keyser's work) with a very broad range of comparative material explaining and establishing it in time and place. It includes very detailed descriptions of the rock art, and comparisons to ledger-book art as well. Including over 100 pages on just six panels at a single site (just five panels if you discount panel three which is a modern autograph - vandalism), its detailed chronologic and stylistic classification will inform studies over a much broader region, and its approach to the study of rock art sets an example that we can all benefit from. For example: it includes eight pages (31 - 38) of analysis of saddles in rock art. I also count forty pages devoted to interpretation of the rock art at the site.

Jim Keyser with a recording crew, 

Eagle Creek Canyon project.

From his beginnings in rock art studies Keyser has  propounded the theory that Native American winter counts and ledger book art provide a lexicon that we can use to inform our analysis of rock art imagery. Over his productive career Keyser has also accumulated comparative files of other rock art sites which join the winter counts and ledger book art in his lexicon of examples. This analysis, based on Keyser's huge comparative files, also places it in the broader context of regional rock art, and Native American art which could be applied to other art forms and media.

Plate 5, Horse, Carved and 

abraded on Panel 5.

David Minick is a long-time member of Oregon Archaeological Society and member of Keyser's rock art research team. His profession was Photo-journalist and Photographer and for the last 5 -6 years he has done much of their camera work specializing in DStretch analysis, along with lab work. He has also co-published some site reports with Keyser from Oregon, Washington, and Utah, especially recovering imagery with DStretch.

Plate 2, Horse and rider

from Panel 2.

This partnership has combined their talents to illustrate an example for the way rock art sites should be approached. As a result of their extensive analysis the authors have developed an explanation of the presence of the rock art being studied as an ancient form of tagging, or calling cards. Back on March 13, 2011, I posted a column titled Tagging and Territorial Marking in Rock Art, looking at the question as to whether some rock art was the equivalent of the modern form of vandalism - tagging. The idea is that it is a mark left by someone for someone else to find, not quite in the sense of "Kilroy was here," but more in a challenging sense, like "I was here and there was nothing you could do about it." Keyser and Minick have, of course, provided a much more thorough explanation of rock art as a "calling card."

In their analysis the examples of Blackfoot and Crow rock art in the same location are successive messages from one group to the other, taunting them. In their theory the basic motive was the Plains Indian phenomenon of horse raiding, stealing horses from an enemy group. This site, Eagle Creek Canyon in Montana, they present as being located in the area bordering between both tribes and on a natural route for horse raiding. If my group was successful I might leave a horse image on the cliff to taunt you, and after a reciprocal raid your group might leave a horse image there to trump mine.

Five Star Book.

This volume provides a lesson as to how rock art analysis should be conducted. It can be ordered from the Oregon Archaeological Society at

http://www.oregonarchaeological.org/publications/

REFERENCE: 

Keyser, James D., and David L. Minick,

2018 Horse Raiders in the Missouri Breaks: Eagle Creek Canyon Petroglyphs, Montana, Oregon Archaeological Society, Portland. www.oregonarchaeological.org

PUSHING THE BOUNDARIES - A BOOK REVIEW:

Pushing The Boundaries,

Front Cover

This volume is another rock art publication of the Oregon Archaeological Society (OAS), their 24th book, a remarkable contribution for such a group. This particular book covers a region in southeastern Oregon known as the Harney Basin, centered a couple of hundred miles south of Pendleton, and a transitional area between the Columbia Plateau and the Great Basin. Pushing the Boundaries: The Pictographs Petroglyphs of Oregon's Harney Basin, written by Don Hann and Daniel Leen adds a little-known area to the record, and covers this important region in great detail.

Harney Basin, Oregon. Photo:

used with permission of OAS.

Map of Harney Basin, Oregon.

Wikipedia.

As with other volumes published by the Oregon Archaeological Society this book is seriously scholarly, boasting 14 pages of references out of a 107 page total.

Harney Basin pictograph sites.

Photo: used with permission

of OAS.

The website of the OAS describes the volume with this statement:

"Archaeologists Daniel Leen and Don Hann have joined forces to create this interesting and scientifically important volume on the rock art of the Harney Basin in southeastern Oregon. Sitting at the cultural boundary between the Columbia Plateau and the Great Basin, the pictographs and petroglyphs of the Harney Basin have long captured the interests of both professional and avocational archaeologists. Hann, a U.S. Forest service Archaeologist and Leen, a well known archaeologist and artist, describe the major sites in detail, interpret the imagery, and explain that the ancient drawings and carvings are likely the work of groups from both the Columbia Plateau and the Great Basin who used the Harney Basin throughout at least the last 5,000 years.

Fortunately, Leen, one of the premier rock art recorders in the Pacific Northwest, spent two summers in the early 1980s carefully recording more than 40 Harney Basin sites. Hann's knowledge of Blue Mountains/Harney Basin prehistory, coupled with Leen's excellent tracings have produced a volume that will quickly become a classic for any student of western North American rock art." (http://www.oregonarchaeological.org/publications)

Figure 6, 35HA1372, panel4, p. 22.

Photo: used with permission of OAS.

The finely detailed black and white drawings by  that illustrate this volume are gems in their own right, although they are generally reproduced in small scale. Their detail and clarity make me hungry to see the full-scale originals. A considerable amount of information about the people who created the rock art is provided as well.

Plate 1, Harney Basin, Site 24,

Rattlesnake Rim. Photo: used

with permission of OAS.

"The people living in Harney Basin bay have included members of both Columbia Plateau and Great Basin ethnic groups tied together through bonds of marriage and trade. (Rhode 2012:4-10)" (p.81)

"The Great Basin group which inhabited Harney Basin in the early historic period was the Northern Paiute - Several distinct bands of the Northern Paiute lived here including the Wadatika, Hunipuitoka (Walpapi), and Koa'aga'itoka." (p.6)

"Plateau tribes that lived adjacent to Harney Basin in the southern Blue Mountains include the Western Columbia River Sahaptins (also known as the John Day Band, the Dock-Spus or erroneously the Tenino), Cayuse, Umatilla, Walla Walla and Nez Perce Indians." (p. 7) 

Plate 2, Harney Basin, Site 24,

Rattlesnake Rim. Photo: used

with permission of OAS.

The authors found a cultural association with these groups and the style of the rock art as well as the media it was produced in.

"Harney Basin petroglyphs show clear affiliation with the Great Basin but local variation in design elements demonstrates influence from the Columbia Plateau." (p. 79)

"Harney Basin pictographs are associated with the Columbia Plateau. They fit clearly into Keyser's (1992:83) North Oregon Rectilinear Style." (p. 79)

To me, the striking quality of this book is that the authors present a detailed, scientific record and analysis of the rock art of the region without falling into the trap of trying to fit the material into any current fad espoused by pop rock art analysts. I think I only counted the "s-word" (shaman) once in the whole volume, and did not notice the word "neuropsychological" at all. This book definitely belongs in the library of any serious student of North American rock art.

Five star approval rating.

To purchase a copy of this, or any other of their excellent books, simply visit  http://www.oregonarchaeological.org/publications/.

8.5” x 11” 107 pages, 100 illustrations, two pages of color plates
ISBN #: 978-0-9915200-2-2 OAS Publication: #24. Price $15.00 plus $4.00 Shipping and Handling.

REFERENCE:

Hann, Don, & Daniel Leen

2017 Pushing the Boundaries: The Pictographs Petroglyphs of Oregon's Harney Basin, Oregon Archaeological Society Publication #24 , www.oregonarchaeological.org