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Pecos River style pictographs are one of the most complex forms of rock art worldwide. The dramatic prehistoric pictographs on the limestone overhangs of the lower Pecos and Devils Rivers in West Texas have been the subject of preservation and study since the 1930s, and dedicated research continues to this day. The medium is large-scale, polychrome pictographs in open rock shelter settings, emphasizing the animistic/shamanistic religion practiced by the local aboriginal peoples. Creating large-scale rock murals required intelligence, skill, and knowledge. These enigmatic images, some dating to 4,500 years ago and possibly earlier, depict strange, vaguely human and animal shapes and various geometric forms. While full understanding of the meaning of these images is abstruse, archaeologists and other scholars have identified what they believe to be patterns and religious themes, mixed with what could be figures and objects from everyday life in the local hunter-gatherer culture as it existed in the region centuries before the arrival of colonizing Europeans. Although interpretation of these pictographs remains controversial, in Pecos River Style Rock Art: A Prehistoric Iconography, James Burr Harrison Macrae contributes to the beginnings of a syntactic “grammar” for these images that can be applied in diverse contexts without direct reference to any particular interpretation. “The strength of structural-iconographic analysis,” Macrae writes, “is that it relies on repetitive patterns rather than idiosyncratic information, such as trying to make broad inferences from one or only a few sites.” Pecos River Style Rock Art offers the framework of an empirical methodology for understanding these ancient artworks.
The story of ancient canyon dwellers along the Lower Pecos and their culture
Boyd seed a way that hunter-gatherer artists expressed their belief systems; provided a mechanism for social and environmental adaptation; and acted as agents in the social, economic, and ideological affairs of the community. She offers detailed information gleaned from the art regarding the nature of the Lower Pecos cosmos, ritual practices involving the use of sacramental and medicinal plants, and hunter-gatherer lifeways.
"In The Rock Art of Texas Indians, Kirkland's meticulous watercolor copies of this rich and diversified art are reproduced, 32 in full color, the rest in black and white. The informative and engaging text is contributed by W. W. Newcomb, Jr., former director of the Texas Memorial Museum and author of The Indians of Texas." "Those early Indians, at different times and places and in a variety of styles, carved and painted their art from Paint Rock in West Central Texas to the canyons of the Big Bend, from the Canadian River Valley in the Panhandle to the Hueco Tanks near El Paso. As the form for this art was varied, so too were the reasons for its execution. Much rock art was no doubt born of magical and religious beliefs, or served to illustrate myths, but some apparently commemorated actual events and some seems to have been only tallies or messages. Kirkland recorded it all with consummate skill, preserving for other generations, as he said he would, the often remarkable, always fascinating art of vanished people."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Ontologies of Rock Art is the first publication to explore a wide range of ontological approaches to rock art interpretation, constituting the basis for groundbreaking studies on Indigenous knowledges, relational metaphysics, and rock imageries. The book contributes to the growing body of research on the ontology of images by focusing on five main topics: ontology as a theoretical framework; the development of new concepts and methods for an ontological approach to rock art; the examination of the relationships between ontology, images, and Indigenous knowledges; the development of relational models for the analysis of rock images; and the impact of ontological approaches on different rock art traditions across the world. Generating new avenues of research in ontological theory, political ontology, and rock art research, this collection will be relevant to archaeologists, anthropologists, and philosophers. In the context of an increasing interest in Indigenous ontologies, the volume will also be of interest to scholars in Indigenous studies. Chapter 14 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at https://www.taylorfrancis.com/books/edit/10.4324/9780429321863/ontologies-rock-art-oscar-moro-abad%C3%ADa-martin-porr?context=ubx&refId=3766b051-4754-4339-925c-2a262a505074
In the tradition of Ian Frazier's Great Plains, and as vivid as the work of Cormac McCarthy, an intoxicating, singularly illuminating history of the Texas borderlands from their settlement through seven generations of Roger D. Hodge's ranching family. What brought the author's family to Texas? What is it about Texas that for centuries has exerted a powerful allure for adventurers and scoundrels, dreamers and desperate souls, outlaws and outliers? In search of answers, Hodge travels across his home state--which he loves and hates in shifting measure--tracing the wanderings of his ancestors into forgotten histories along vanished roads. Here is an unsentimental, keenly insightful attempt to grapple with all that makes Texas so magical, punishing, and polarizing. Here is a spellbindingly evocative portrait of the borderlands--with its brutal history of colonization, conquest, and genocide; where stories of death and drugs and desperation play out daily. And here is a contemplation of what it means that the ranching industry that has sustained families like Hodge's for almost two centuries is quickly fading away, taking with it a part of our larger, deep-rooted cultural inheritance. A wholly original fusion of memoir and history--as piercing as it is elegiac--Texas Blood is a triumph.
A mouse couple, in search of the mightiest husband for their daughter, approach the sun, the clouds, the wind, and a butte, before the unexpected victor finally appears.
First published in 2005, this brief introduction to methods of studying rock art has become the standard text for courses on this topic. It was also selected as a Choice Magazine Outstanding Academic Book in 2005. Internationally-known rock art researcher David Whitley takes the reader through the various processes needed to document, interpret, and preserve this fragile category of artifact. Using examples from around the globe, he offers a comprehensive guide to rock art studies of value to archaeologists and art historians, their students, and rock art aficionados. The second edition of this classic work has additional material on mapping sites, ethnographic analogy, neuropsychological models, and Native American consultation.
Pecos River style pictographs are one of the most complex forms of rock art worldwide. The dramatic prehistoric pictographs on the limestone overhangs of the lower Pecos and Devils Rivers in West Texas have been the subject of preservation and study since the 1930s, and dedicated research continues to this day. The medium is large-scale, polychrome pictographs in open rock shelter settings, emphasizing the animistic/shamanistic religion practiced by the local aboriginal peoples. Creating large-scale rock murals required intelligence, skill, and knowledge. These enigmatic images, some dating to 4,500 years ago and possibly earlier, depict strange, vaguely human and animal shapes and various geometric forms. While full understanding of the meaning of these images is abstruse, archaeologists and other scholars have identified what they believe to be patterns and religious themes, mixed with what could be figures and objects from everyday life in the local hunter-gatherer culture as it existed in the region centuries before the arrival of colonizing Europeans. Although interpretation of these pictographs remains controversial, in Pecos River Style Rock Art: A Prehistoric Iconography, James Burr Harrison Macrae contributes to the beginnings of a syntactic “grammar” for these images that can be applied in diverse contexts without direct reference to any particular interpretation. “The strength of structural-iconographic analysis,” Macrae writes, “is that it relies on repetitive patterns rather than idiosyncratic information, such as trying to make broad inferences from one or only a few sites.” Pecos River Style Rock Art offers the framework of an empirical methodology for understanding these ancient artworks.
Pictures, painted and carved in caves and on open rock surfaces, are amongst our loveliest relics from prehistory. This pioneering set of sparkling essays goes beyond guesses as to what the pictures mean, instead exploring how we can reliably learn from rock-art as a material record of distant times: in short, rock-art as archaeology. Sometimes contact-period records offer some direct insight about indigenous meaning, so we can learn in that informed way. More often, we have no direct record, and instead have to use formal methods to learn from the evidence of the pictures themselves. The book's eighteen papers range wide in space and time, from the Palaeolithic of Europe to nineteenth-century Australia. Using varied approaches within the consistent framework of informed and proven methods, they make key advances in using the striking and reticent evidence of rock-art to archaeological benefit.