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.



Bighorn sheep from Station #16,
Nine-Mile Canyon, UT.
Photograph Peter Faris, 1993.

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.


Anthropomorph on left of panel,
Station #16, Nine-Mile Canyon, UT.
Photograph Peter Faris, 1993.

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.


Eaton's analysis of panel (p. 39), 
Station #16, Nine-Mile Canyon, UT.

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. 

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)



"16. A Przewalski horse showing the contours of the face and sharp color demarcation around the muzzle depicted in figure 15. (Photo by Sandra Olsen)" (Olsen 2003:5)

            "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.

Saturday, October 10, 2015

POSSIBLE OLDEST PETROGLYPH IN SOUTH AMERICA DISCOVERED:




Little Horny Man petroglyph,
Lapa do Santo, Brazil. from http://www.livescience.com/


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.


Sketch of Little Horny Man
petroglyph, Lapa do Santo, Brazil. from http://www.livescience.com/


"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.

Saturday, October 3, 2015

A PALEOLITHIC PALIMPSEST:

Scratches on a stone plaque
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  Ï€Î±Î»Î¹Î½ + 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.

In his book he illustrated a detailed tracing of an engraved stone plaque (20 cm. by 18 cm.) from Gonnersdorf, Germany, and then a horse figure extracted from the mass of lines.





Horse on plaque, Gonnersdorf,
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.

REFERENCES:

Bahn, Paul G., and Jean Vertut,
1997    Journey Through the Ice Age, University of California Press, Berkeley and Los Angeles.

Wikipedia

Saturday, September 26, 2015

PENITENTE ROCK ART:


Abiquiu morada, Abiquiu, New 
Mexico. Photograph Peter Faris,
September 2011.

This posting is a review of an article from Archaeology magazine, May/June 2015 issue, volume 68, number3, pages 42-47, by Dean Blaine, entitled Mysteries of the Brotherhood. The article discusses a Penitente site at Pilar, New Mexico, being studied by archaeologist Severin Fowles. I have added some other material and some photographs were taken by myself.


May-June 2015.Crosses atop orbs.
Archaeologyillustration #2, p. 45.


The penitentes, los Hermanos de la Fraternidad Piadosa de Nuestro Padre Jesus Nazareno, were a religious support group for many small and isolated Catholic communities in northern New Mexico and southern Colorado. The Spanish conquerors of the southwest had strictly enforced Catholicism in their territories. Whether descendants of Spanish settlers, creolos, or genizaros (Native Americans and their descendants who had adopted the Spanish way of life, customs, and beliefs), the inhabitants knew that for important life occasions a religious rite was required. Baptism, marriage, confession, last rites, and many other events were accompanied by important religious ceremony that required a priest. The problem always was a definite shortage of priests which, at times, only amounted to a handful for the whole of the American southwest. People in many small communities did not have access to a real priest much of the time, hence the Penitentes, a home-grown religious support group to fill the need.



Crosses with Native American petroglyph.
Mesa Prieta, New Mexico. Photograph
Peter Faris, September 2011.

"Few groups are as ripe for misunderstanding as the Penitente Brotherhood, a lay association of Roman Catholic men long active in remote northern New Mexico and southern Colorado. Historians and journalists have wondered about their origins for 200 years. Known formally as los Hermanos de la Fraternidad Piadosa de Nuestro Padre Jesus Nazareno, the Penitentes materialized in the early nineteenth century as un unofficial surrogate of the Catholic Church, dedicated to the spiritual needs of far-flung communities with little or no access to clergy." (Blaine 2015:44)

"It's just simply not the case that all Catholics out here are colonizers who came in and kicked around native folks," Fowles says. Many Spaniards married Genizaros, Native American captives who were raised and worked in Spanish society. In fact, by the early nineteenth century, historians estimate that as many as a third of New Mexicans could be classified as Genizaros, people who were at once devoutly Christian but also had inherited knowledge of Native American practices. It's likely that some of the Penitentes were either of mixed heritage or were Genizaros themselves. "A lot of Catholics out here came from native traditions and were trying to figure out how to work within this very complicated ethnic landscape." (Blaine 2015:46)

A community that was served by a penitente group possessed their morada, the meeting house that stored their possessions and served as a chapel for many of their rites ceremonies. The morada almost always was accompanied by a calvario, the spiritual recreation of the hill of Calvary. The illustration shows the upper morada at Abiquiu, New Mexico, and the three crosses are the calvario representing the site of the crucifixion.


Penitente cross with Native American
snake petroglyph. Archaeology,
illustration #1, p. 46.

As the penitentes were almost ubiquitous in northern New Mexico and southern Colorado, it is assumed that much of the religious themed rock art found in this region was of their making. Blaine shows examples from around the morada at Pilar, New Mexico, both of panels of Christian themes (crosses) and panels of mixed themes (crosses with Native American rock art). Fowles believes that the mixing of Christian and native rock art on many rock surfaces indicates that the Penitentes were consciously drawing on the spiritual traditions of all of the people who lived in that place. It is notable that the earlier native images were not defaced, they were added to. (Blaine 2015:46)


Cross above with Native American
snake petroglyph. Mesa Prieta,
New Mexico. Photograph Peter
Faris, September 2011.

"If the Penitentes were incorporating Native American traditions, Fowles says, this helps to explain how Lenten rituals such as the Procession of Blood materialized on the northern New Mexican landscape. It's quite possible that Penitente brothers at Pilar were engaged in an effort to reconcile traditional Native American religious conventions with the teaching of Roman Catholic dogma." (Blaine 2015:46-7)

Much Anglo coverage of Penitente rituals and practices has exaggerated what they saw as sensational aspects such as processions where men walked along whipping themselves bloody in the back with a yucca leaf whip. Anglo reports of this always emphasize how bloody the men's backs were. What they did not tell you is that one of the traditional roles in a Penitente chapter was reportedly that of the cutter, the man who was very experienced in making small incisions in the upper back of the men in the procession with a very sharp obsidian flake to provide controlled bleeding with virtually no pain at all.

Indeed, I have personally found the story of the Penitente brotherhoods to be one of inspiring faith and community responsibility. They were, and are, a living tradition that provides comfort and support among the inhabitants of the region. I have had the privilege of knowing a couple of participants in this, and have almost envied them their faith and sense of civic responsibility. Far from the bloody freak show that they have been painted as in the past, they were the best of their communities and the region was, and is, better off for them.

See how far we can get by beginning with curiosity about rock art!


REFERENCE:

Blaine, Dean
2015    Mysteries of the Brotherhood, Archaeology, May/June 2015, Vol. 68, No. 3, p. 42-7.

Saturday, September 19, 2015

HUMAN AND DINOSAUR COEXISTENCE:




Supposed Cambodian stegosaur
carving, artalien.net

Episode ten of season four on Ancient Aliens, on H2 channel, was named Aliens and Dinosaurs. This program proved the coexistence of humans and dinosaurs by various lines of evidence. One was the stone carving at Angkor that seems to portray a stegosaur. One was a dinosaur track site in Texas that includes what they identified as a human footprint along with the petrified dinosaur imprints. And finally, they dragged out the Ica Stones as proof.

First - the Cambodian temple stegosaur is a decorative carving of an animal in a rondelle on a temple at Angkor

"Young earth creationists Don Patton, Carl Baugh, and some of their associates and followers have argued that a stone carving on the wall of the Ta Prohm temple in Cambodia was based on a live Stegosaurus dinosaur seen by the artist. There are problems with this interpretation, even aside from extensive evidence that humans did not appear on earth until at least 60 million years after non-avian dinosaurs* went extinct. First, the image in question differs in several significant ways from actual stegosaurs. Second, the main evidence for the Stegosaurus interpretation consists of a row of lobes along the back of the carving animal. Although superficially resembling the bony back plates of stegosaurs, there are a number of alternate explanations, including the possibility that they merely represent background vegetation or decorative flourishes, similar to many others on and around other carvings on the temple. The lobes may also represent exaggerated dorsal spines of a chameleon or other lizard. When all features and factors are considered, the carving is at least as compatible with a rhinoceros or chameleon as a stegosaur. Moreover, even if it represents a stegosaur, the carving could have been based on fossil remains rather than the artist seeing a live stegosaur." (Kuban 2014)

"Ta Prohm is the modern name for a temple at Angkor, Cambodia. It was built in the late 1100's and early 1400's as a Buddhist monastery. Originally called Rajavihara, it was among many other Buddhist and Hindu temples produced by the Khmer civilization from the eighth through the fourteenth century A.D. The temple was commissioned by self-proclaimed "god-king" Jayavarman VII, one of the most renowned monarchs and builders of the empire. Statues depicting him in Buddha-like poses are found throughout the region. Ta Prohm was built in honor of his mother and dedicated in 1186. The temple's stele records that it was home to more than 12,500 people, including 18 high priests and 615 dancers, with 80,000 thousands more people in surrounding villages providing various services and supplies. Some question whether these figures may involve some exaggeration, but clearly the temple was an active and impressive complex." (Kuban 204)

The protagonists of the young earth Creation theory argue that most of the carvings in these panels are detailed enough to allow the viewer to identify exactly which animal is being portrayed, and yes, many of them are that exact. But many others are not. Indeed, it is the details that are argued on both sides because that is what there is to analyze. What we see in the rondelle is an apparently four-legged animal, with fairly thick legs, relatively large horns on top of the head, a pointed tail, and a high-curved-back above which are a row of decorative petals to fill the background of the rondelle. There are no spikes on the tail - stegosaurus had large spikes on his tail. Stegosaurus did not have horns on his head, and his head was relatively much smaller than in the carving. As to the identification of the plates across his back upon which the whole identification rests, many of the other decorative rondelles there (and dozens can be found online) fill the background space with a range of petals as if the creature is in front of a flower. I do not believe that these are meant to be connected with the animal at all.

Unidentified figure second down from the so-called stegosaur. Credit: Colin Burns, from Kuban, Fig. 11, http://www.bible.ca/tracks/tracks-cambodia.htm

If we have to take seriously the Creationist's arguments about anatomical correctness, then I need to hear them give a logical explanation for the creature portrayed in the second rondelle down from the so-called stegosaur. It portrays an ugly little naked humanoid with a tail and legs like a goat.  If the one carving proves that humans and dinosaurs co-existed on 12th century Cambodia, then this other carving seemingly proves that the ancient Greek god Pan was there with both the humans and dinosaurs too. And do the Creationists really want to get into explaining the pros and cons of that?

Second - As to the dinosaur track site in Texas including a human footprint, that was bogus. It was easy to see that what they were identifying as a human footprint was just a portion of a larger dinosaur track, apparently a three-toed therapod track. I will refer you to Glenn Kuban's excellent online analysis debunking this one (see reference listing below).

And third - the Ica stones. One of the so-called experts that they had testifying to the importance of the Ica stones was so ignorant that he kept calling them Inca stones. On April 25, 2915 I posted a column titled DINOSAURS IN ROCK ART - PERU'S ICA STONES, in which I expressed my reasoning why I believe them to be modern forgeries instead of ancient artifacts. However, I should add that if they are not forgeries - if they actually prove that humans and dinosaurs coexisted, the fact that they are modern not ancient supposedly proves that humans and dinosaurs are still coexisting somewhere, but that gets us way too far into cryptozoology, and is not my field.

All in all, episode ten of season four of Ancient Aliens was laughable, but unfortunately some people actually seem to believe this stuff. Maybe we need the aliens after all, there still isn't enough intelligent life on this planet.

REFERENCES: 

Kuban, Glenn
2014    Man Tracks? A Topical Summary of the Paluxy "Man Track" Controversy, http://paleo.cc/paluxy/mantrack.htm
2014    Stegosaur Carving on a Cambodian Temple?, http://paleo.cc/paluxy/stegosaur-claim.htm


Dinosaurs in Ancient Cambodian Temple, http://www.bible.ca/tracks/tracks-cambodia.htm