Pictograph (Other Keyword)

DOCUMENT Citation Only D. Pinto. B. Love.

This resource is a citation record only, the Center for Digital Antiquity does not have a copy of this document. The information in this record has been migrated into tDAR from the National Archaeological Database Reports Module (NADB-R) and updated. Most NADB-R records consist of a document citation and other metadata but do not have the documents themselves uploaded. If you have a digital copy of the document and would like to have it curated in tDAR, please contact us at comments@tdar.org.

DOCUMENT Citation Only Aurora Skala.

This presentation will showcase a cultural rediscovery and ethnoarchaeology project taking place in Kitasoo/Xai Xais Nations’ traditional territory on the Central Coast of BC in the town of Klemtu. In 2016, First Nations youth created a pictograph in their community using traditional materials and subject matter. The first painting of its kind in this area for approximately one hundred years, it is a significant statement on the landscape. By encouraging youth to engage with archaeologists and...

DOCUMENT Citation Only Paul Langenwalter. Titus Kennedy.

During 1851 the Mariposa Battalion was formed to quell conflict between a number of Central California tribes and settlers during the California Gold Rush. The battalion’s pursuit of the Chowchilla and Chukchansi tribes led to several important discoveries including a Chukchansi curing shrine and Yosemite Valley. Diarist Robert Eccleston named the shrine “The Great Medicine Rock” and provided a brief description of its use. This is the earliest account of any rock art in California and one of...

DOCUMENT Citation Only Ashley Busby.

From Viewer to Observer will discuss the visual elements of the Pecos River style rock art, exploring the painting techniques and patterns that created these complex spaces. In addition, this paper will examine Lower Pecos pictographs through David Summers’ Real Spaces, as well as other texts, to create a context within current and traditional art historical methodologies. In using Summers’ idea of the spatially aware "observer" instead of the "viewer" I hope to expand the boundaries of the...

DOCUMENT Citation Only Ken Hedges. Diane Hamann.

This resource is a citation record only, the Center for Digital Antiquity does not have a copy of this document. The information in this record has been migrated into tDAR from the National Archaeological Database Reports Module (NADB-R) and updated. Most NADB-R records consist of a document citation and other metadata but do not have the documents themselves uploaded. If you have a digital copy of the document and would like to have it curated in tDAR, please contact us at comments@tdar.org.

DOCUMENT Citation Only Tim Riley.

Polly Schaafsma was among the first to recognize the many stylistic elements shared between Utah's Barrier Canyon rock art and the Pecos River style along the Lower Pecos Canyonlands in Texas. While the Barrier Canyon murals are markedly simpler in execution, common elements include anthropomorph shape and torso decoration, composed sets of zoomorphs, and the depiction of wild plants. During this initial study, Schaafsma (1971) defined the Barrier Canyon style based on nineteen sites located in...

DOCUMENT Citation Only Tamara Whitley.

The Carrizo Plain National Monument (CPNM) contains some of the most significant Native American heritage sites in the United States. In recognition of this, a cultural landscape, which includes habitation sites, camps, quarries and pictograph sites, has been designated as the Carrizo Plain Archaeological District National Historic Landmark. In addition to these physical features, the Carrizo Plain is imbued with intangible values that embody a sacred landscape for affiliated tribes. The Bureau...