Rock art is one of humankind’s most ancient forms of artistic expression, and one of its most enigmatic. For centuries, scholars and other observers have struggled to interpret the meaning of the mysterious figures incised or painted on natural rocks and to understand their role in the lives of their long-vanished creators. The Great Basin of the American West is especially rich in rock art, but until recently North American archaeologists have largely ignored these most visible monuments left by early Native Americans and have given little attention to the terrain surrounding them. In Great Basin Rock Art, twelve respected rock art researchers examine a number of significant sites from the dual perspectives of settlement archaeology and contemporary Native American interpretations of the role of rock art in their cultural past. The authors demonstrate how modern archaeological methodology and interpretations are providing a rich physical and cultural context for these ancient and hitherto puzzling artifacts. They offer exciting new insights into the lives of North America’s first inhabitants. This is essential reading for anyone interested in the petroglyphs of the American West and in the history of the Great Basin and its original peoples.

Recipient of the Jo Anne Stolaroff Cotsen Prize The product of ten years of fieldwork at Little Lake Ranch in the Rose Valley, the southern gateway to the Owens Valley, this book presents the results of intensive rock art analyses carried out by the interdisciplinary research team of the UCLA Rock Art Archive. The research attempts to establish a connective web of associations to break down traditional but artificial barriers between rock art and the rest of archaeology. Through time-honored methods of stylistic analysis, the focus is on recent breakthroughs in the analysis of meaning and religion in the context of landscape attributes and ecological opportunities. Regional or ethnic differences suggested by the rock art record has made it possible to create a flexible analytical framework containing previously unpublished or overlooked archaeological excavation and object data. This book describes the occurrence, concentration, distribution, and formal variation of pecked and painted motifs. Scratched, pecked, and painted patterns are analyzed separately. Full-color illustrations throughout enhance the physical appeal of this beautiful book.

Prehistoric rock art is the markings - paintings, engravings, or pecked images - left on rocks or cave walls by ancient peoples. In this book, Paul G. Bahn provides a richly illustrated overview of prehistoric rock art and cave art from around the world. Summarizing the recent advances in our understanding of this extraordinary visual record, he discusses new discoveries, new approaches to recording and interpretation, and current problems in conservation. Bahn focuses in particular on current issues in the interpretation of rock art, notably the "shamanic" interpretation that has been influential in recent years and that he refutes. This book is based on the Rhind Lectures that the author delivered for the Society of Antiquaries of Scotland in 2006.

Uto-Aztecan iconic practices are primarily conditioned by the consciousness of the snake as a death-dealing power, and as such, an animal that displays the deepest fears and anxieties of the individual. The attempt to study a snake simulacrum thus constitutes the basic objective of this volume. A long, all-embracing iconicity of snakes and related snake motifs are evident in different cultural expressions ranging from rock art templates to other cultural artifacts like basketry, pottery, temple architecture and sculptural motifs. Uto-Aztecan iconography demonstrates a symbolic memorial order of emotional valences, as well as the negotiations with death and a belief in rebirth, just as the skin-shedding snake reptile manifests in its life cycle.

Showcases the wealth of new research on sacred imagery found in twelve states and four Canadian provinces In archaeology, rock-art—any long-lasting marking made on a natural surface—is similar to material culture (pottery and tools) because it provides a record of human activity and ideology at that site. Petroglyphs, pictographs, and dendroglyphs (tree carvings) have been discovered and recorded throughout the eastern woodlands of North America on boulders, bluffs, and trees, in caves and in rock shelters. These cultural remnants scattered on the landscape can tell us much about the belief systems of the inhabitants that left them behind. The Rock-Art of Eastern North America brings together 20 papers from recent research at sites in eastern North America, where humidity and the actions of weather, including acid rain, can be very damaging over time. Contributors to this volume range from professional archaeologists and art historians to avocational archaeologists, including a surgeon, a lawyer, two photographers, and an aerospace engineer. They present information, drawings, and photographs of sites ranging from the Seven Sacred Stones in Iowa to the Bald Friar Petroglyphs of Maryland and from the Lincoln Rise Site in Tennessee to the Nisula Site in Quebec. Discussions of the significance of artist gender, the relationship of rock-art to mortuary caves, and the suggestive link to the peopling of the continent are particularly notable contributions. Discussions include the history, ethnography, recording methods, dating, and analysis of the subject sites and integrate these with the known archaeological data.