Includes information on protected rock art sites in Arizona, Colorado, Nevada, New Mexico, and Utah. Gives information on these special rock art areas: Albuquerque and Santa Fe Area; Arches National Park; Bandelier National Monument Area; Canyon de Chelly National Monument; Canyonlands National Park--Maze Area; Canyonlands National Park--Needles Area; Capitol Reef National Park;Central Utah Area; Chaco Canyon Area; Desolation-Gray Canyon of the Green River; Grand Canyon National Park; Grand Gulch Primitive Area;Hovenweep National Monument; Indian Creek Canyon; Moab Area; Petrified Forest National Park; San Juan River Gorge; Three Rivers Area; Uintah Basin Area; West-Central Colorado Area; Zuñi-Cibola Area; miscellaneous areas; and Anasazi celestial rock art.
Over many centuries, the prehistoric Fremont and Anasazi peoples of present-day Utah left an artistic record in which distinctive styles are readily identifiable. From the Uinta Mountains through the central canyonlands to the Virgin River, Utah's abundant prehistoric rock art offers glimpses of a lost world. The Rock Art of Utah is a rich sample of the many varieties of rock art found in the state. Through nearly two hundred high-quality photographs and drawings from the Donald Scott Collection, all made during the 1920s and 1930s, rock art expert Polly Schaafsma provides a fascinating, comprehensive tour of this unique legacy. From the Uinta Mountains through the central canyonlands to the Virgin River, Utah's abundant prehistoric rock art offers glimpses of a lost world. Over many centuries, the Fremont and Anasazi peoples left an artistic record in which distinctive styles are readily identifiable. The Rock Art of Utah is a guide to the many varieties of rock art found in the state. Through dozens of high-quality photographs and drawings from the Donald Scott Collection, all made during the 1920s and 30s, author Polly Schaafsma provides a fascinating, comprehensive tour of this unique legacy. Now in an updated edition, it will engage anyone with an interest in the ancient peoples of the Colorado Plateau.
From the high plains of Canada to caves in the southeastern United States, images etched into and painted on stone by ancient Native Americans have aroused in observers the desire to understand their origins and meanings. Rock paintings and engravings can be found in nearly every state and province, and each region has its own distinctive story of discovery and evolving investigation of the rock art record. Rock art in the twenty-first century enjoys a large and growing popularity fueled by scholarly research and public interest alike. This book explores the history of rock art research in North America and is the only volume in the past twenty-five years to provide coverage of the subject on a continental scale. Written by contributors active in rock art research, it examines sites that provide a cross-section of regions and topics and complements existing books on rock art by offering new information, insights, and approaches to research. The first part of the volume explores different regional approaches to the study of rock art, including a set of varied responses to a single site as well as an overview of broader regional research investigations. It tells how Writing-on-Stone in southern Alberta, Canada, reflects changing thought about rock art from the 1870s to today; it describes the role of avocational archaeologists in the Mississippi Valley, where rock art styles differ on each side of the river; it explores discoveries in southwestern mountains and southeastern caves; and it integrates the investigation of cupules along Georgia’s Yellow River into a full study of a site and its context. The book also compares the differences between rock art research in the United States and France: from the outset, rock art was of only marginal interest to most U.S. archaeologists, while French prehistorians considered cave art an integral part of archaeological research. The book’s second part is concerned with working with the images today and includes coverage of gender interests, government sponsorship, the role of amateurs in research, and chronometric studies. Much has changed in our understanding of rock art since Cotton Mather first wrote in 1714 of a strange inscription on a Massachusetts boulder, and the cutting-edge contributions in this volume tell us much about both the ancient place of these enduring images and their modern meanings. Discovering North American Rock Art distills today’s most authoritative knowledge of the field and is an essential volume for both specialists and hobbyists.
Chaco Canyon, the great Ancestral Pueblo site of the eleventh and twelfth centuries, remains a central problem of Southwestern archaeology. Chaco, with its monumental “great houses,” was the center of a vast region marked by “outlier” great houses. The canyon itself has been investigated for over a century, but only a few of the more than 200 outlier great houses—key to understanding Chaco and its times—have been excavated. This volume explores the Chaco and post-Chaco eras in the northern San Juan area through extensive excavations at the Bluff Great House, a major Chaco “outlier” in Utah. Bluff’s massive great house, great kiva, and earthen berms are described and compared to other great houses in the northern Chaco region. Those assessments support intriguing new ideas about the Chaco region and the effect of the collapse of Chaco Canyon on “outlying” great houses. New insights from the Bluff Great House clarify the construction and use of great houses during the Chaco era and trace the history of great houses in the generations after Chaco’s decline. An innovative comparative study of the northern and southern portions of the Chaco world (the northern San Juan area around Bluff and the Cibola area around Zuni) leads to new ideas about population aggregation and regional abandonment in the Southwest. Appendixes present details and descriptions of artifacts recovered from Bluff: ceramics, projectile points, pollen analyses, faunal remains, bone tools, ornaments, and more. This book is one of only a handful of reports on Chacoan great houses in the northern San Juan region. It provides an in-depth study of the Chaco era and clarifies the relationship of “outlying” great houses to Chaco Canyon. Research at the Bluff Great House begins to answer key questions about the nature of Chaco and its region, and the history of the northern San Juan in the Chaco and post-Chaco worlds.
The author considers aboriginal rock art to be one source of information used by prehistoric peoples in constructing knowledge about the dynamics of the social and physical environment in which they lived. This study examines the relationships between the morphological content of petroglyphs and pictographs and the places at which they occur along the drainage system of the Colorado River in southeastern Utah. Hartley examines the assemblage content of rock art at 388 locations to assess their variation with situational features noted at these places. He argues that rock art situated on boulders and at the bases of cliffs reveals the greatest information while displays of access restriction are considered more prevalent in rockshelters. Hartley concludes that the frequency and diversity of use of places exhibiting rock art is reflected in the information content of the rock art and that rock art varies with the kinds of functions these places served in the socioeconomic system of aboriginal peoples.
