scholarly journals Speech-Breath: Mapping the Multisensory Experience in Pecos River Style Pictography

2021 ◽  
pp. 1-21
Author(s):  
Carolyn E. Boyd ◽  
Ashley Busby
Keyword(s):  
Rock Art ◽  
Archaic Period ◽  
Human Origins ◽  
Hunter Gatherers ◽  
The World ◽  
Application Techniques ◽  
Graphic Device ◽  
Pecos River ◽  
Lower Pecos ◽  
Multisensory Experience

Archaic period hunter-gatherers of the Lower Pecos Canyonlands of southwest Texas and Coahuila, Mexico, created complex rock art murals containing elaborately painted anthropomorphic and zoomorphic figures. These figures are frequently portrayed with dots or lines emanating out of or into their open mouths. In this article, we discuss patterns in shape, color, and arrangement of this pictographic element and propose that artists used this graphic device to denote speech, breath, and the soul. They communicated meaning through the image-making process, alternating brushstroke direction to indicate inhalation versus exhalation or using different paint application techniques to reflect measured versus forceful speech. The choices made by artists in the production of the imagery reflect their cosmology and the framework of ideas and beliefs through which they interpreted and interacted with the world. Bridging the iconographic data with ethnohistoric and ethnographic texts from Mesoamerica, we suggest that speech and breath expressed in the rock art of the Lower Pecos was tied to concepts of the soul, creation, and human origins.

Response to Comments by Harrison

2015 ◽  
Vol 80 (1) ◽  
pp. 204-205
Author(s):  
Carolyn E. Boyd ◽  
Amanda M. Castañeda ◽  
Charles W. Koenig
Keyword(s):  
Rock Art ◽  
Field Analysis ◽  
Independent Group ◽  
Data Set ◽  
Microscopic Field ◽  
Pecos River ◽  
Lower Pecos

AbstractIn our article “A Reexamination of Red Linear Style in the Lower Pecos Canyonlands of Texas,” we presented the results of an analysis of 444 Red Linear style pictographs from 12 sites in the region. Using this greatly expanded data set, we produced a list of diagnostic attributes for the style and documented stratigraphie relationships among pictographs through macro- and microscopic field analysis. We identified 38 examples of Red Linear under Pecos River style, a style previously assumed to be older than Red Linear. No Red Linear figures were identified superimposing Pecos River style. These results were verified by an independent group of archaeologists and chemists engaged in the analysis of Lower Pecos rock art. We concluded that Red Linear style is either older than or contemporaneous with Pecos River style. In Harrison’s comments, he argues that our methods were faulty and the data inadequate to support our conclusions. We address a few of Harrison’s critiques in our response; however, a more careful reading of the original article and supplemental materials is advised.

A Reassessment of Red Linear Pictographs in the Lower Pecos Canyonlands of Texas

2013 ◽  
Vol 78 (3) ◽  
pp. 456-482 ◽  
Author(s):  
Carolyn E. Boyd ◽  
Amanda M. Castañeda ◽  
Charles W. Koenig
Keyword(s):  
Rock Art ◽  
Field Analysis ◽  
Radiocarbon Dates ◽  
Artistic Style ◽  
Relative Chronology ◽  
Microscopic Field ◽  
Recording Project ◽  
Pecos River ◽  
Lower Pecos ◽  
Insight Into

AbstractRed Linear is one of four presently defined prehistoric pictograph styles in the Lower Pecos Canyonlands of southwest Texas and Coahuila, Mexico. Based on interpretation of images and two experimental radiocarbon dates, the style was presumed to have been brought into the region by intrusive bison hunters around 1280 B.P. This would place production of Red Linear after the large, polychromatic Pecos River style paintings (4200–2750 B.P.). However, during a recent rock art recording project we identified Red Linear overlain by presumed older Pecos River style. This prompted our re-examination of Red Linear through analysis of 444 figures from 12 sites. We produced a list of diagnostic attributes for Red Linear and documented stratigraphie relationships through macro- and microscopic field analysis. We identified 38 examples of Red Linear under Pecos River figures, thus inverting the relative chronology for the two styles and forcing a reconsideration of previous assumptions regarding the culture that produced the art. This paper demonstrates the potential afforded by analysis of rock art assemblages to reveal inter- and intrasite patterning of attributes and provide insight into relative chronologies. Further, it cautions against the use of variation in artistic style as a marker for ethnicity.

Medicinal and hallucinogenic plants identified in the sediments and pictographs of the Lower Pecos, Texas Archaic

Antiquity ◽  
1996 ◽  
Vol 70 (268) ◽  
pp. 256-275 ◽  
Author(s):  
Carolyn E. Boyd ◽  
J. Philip Dering
Keyword(s):  
Rock Art ◽  
Plant Remains ◽  
River Region ◽  
Mexico Border ◽  
Pecos River ◽  
Lower Pecos

The rock-art of the Pecos River region, on the Texas-Mexico border, is deservedly celebrated for its very large and inspiring human depictions, convincingly interpreted as images of shamanism. Study of plant remains in associated middens gives a new aspect to understanding of the images.

scholarly journals Digital Documentation and the Archaeology of the Lower Pecos Canyonlands

2012 ◽  
Vol 3 (5) ◽  
pp. 98 ◽  
Author(s):  
Carolyn E. Boyd ◽  
Francisco Marcos Marín ◽  
Christopher Goodmaster ◽  
Angel Johnson ◽  
Amanda Castaneda ◽  
...  
Keyword(s):  
Rock Art ◽  
Future Generations ◽  
Education Programs ◽  
Northern Mexico ◽  
Cultural Legacy ◽  
Hands On ◽  
The World ◽  
Unique Nature ◽  
Digital Documentation ◽  
Lower Pecos

<p>The Lower Pecos Canyonlands of southwest Texas and northern Mexico house some of the most complex and compositionally intricate prehistoric rock art in the world. Because of the unique nature and the incomparable richness of this cultural legacy, it is imperative to create a permanent visual, auditory and textual archive for present and future generations and to promote preservation of this resource through education. SHUMLA’s Lower Pecos Rock Art Recording and Preservation Project is meeting this need through digital documentation of rock art sites, creation of a digital library to archive rock art data, establishment of a comprehensive, multi-disciplinary research program, and continuation of hands-on education programs that connect people of all ages to this unique cultural legacy.</p>

Australia's Ancient Warriors: Changing Depictions of Fighting in the Rock Art of Arnhem Land, N.T.

1994 ◽  
Vol 4 (2) ◽  
pp. 211-248 ◽  
Author(s):  
Paul Taçon ◽  
Christopher Chippindale
Keyword(s):  
Early Development ◽  
Rock Art ◽  
Northern Territory ◽  
Pronounced Change ◽  
Middle Phase ◽  
Hunter Gatherers ◽  
The World ◽  
Arnhem Land ◽  
Battle Scenes ◽  
Land Region

Depictions of battle scenes, skirmishes and hand-to-hand combat are rare in hunter-gatherer art and when they do occur most often result from contact with agriculturalist or industrialized invaders. In the Arnhem Land region of the Northern Territory of Australia we have been documenting rare depictions of fighting and are able to show that there has been a long tradition of warrior art. At least three phases have been identified and in each of them groups of hunter-gatherers are shown in combat. The oldest are at least 10,000 years old, and constitute the most ancient depictions of fighting from anywhere in the world, while the newest were produced as recently as early this century. Significantly, a pronounced change in the arrangement of figures began with the second, middle phase — beginning perhaps about 6000 years ago. This appears to be associated with increased social complexity and the development of the highly complicated kinship relationships that persist in Arnhem Land today. Evidence from physical anthropological, archaeological and linguistic studies supports the idea of the early development of a highly organized society of the type more commonly associated with agriculturalists or horticulturalists.

scholarly journals A Black Deer at Black Cave: New Pictograph Radiocarbon Date for the Lower Pecos, Texas

2015 ◽  
Author(s):  
Lennon Bates ◽  
Amanda Castañeda ◽  
Carolyn Boyd ◽  
Karen Steelman
Keyword(s):  
Mass Spectrometry ◽  
Accelerator Mass Spectrometry ◽  
Rock Art ◽  
Radiocarbon Date ◽  
Plasma Oxidation ◽  
Time Period ◽  
Pecos River ◽  
Age Range ◽  
Lower Pecos

A Pecos River style painting of a black deer from Black Cave Annex (41VV76a) in southwest Texas was radiocarbon dated. Using plasma oxidation and accelerator mass spectrometry, we obtained an age of 1465 ± 40 RCYBP (2 sigma calibrated age range of A.D. 470-660). This age is younger than the accepted age range for Pecos River style paintings, which is approximately 4000-3000 years B.P. This new measurement in association with other younger dates prompts us to question whether the Pecos River style endured for a longer time period than previously thought. More radiocarbon research is needed in order to understand how this anomalous result might fit within the Lower Pecos Canyonlands rock art chronology.

A Comment On “A Reassessment of Red Linear Pictographs in the Lower Pecos Canyonlands of Texas”

2015 ◽  
Vol 80 (1) ◽  
pp. 201-203 ◽  
Author(s):  
James Burr Harrison
Keyword(s):  
Rock Art ◽  
American Antiquity ◽  
Diagnostic Characteristics ◽  
Pecos River ◽  
Definition Of ◽  
Lower Pecos

AbstractBoyd, Castañeda, and Koenig (2013) recently published a hypothesis in American Antiquity that Red Linear style rock art predates, or is contemporaneous with, the Pecos River style. While the authors present intriguing examples of over-painting at 41VV83 and 41VV612, their definition of the Red Linear style should be questioned based on its lack of diagnostic characteristics relative to the Pecos River style. The Boyd et al. report is preliminary in its findings and falls short of overturning the existing regional chronology; thus, further stylistic studies of Red Linear art are recommended.

Introduction

2018 ◽  
Author(s):  
Gianfranco Pacchioni
Keyword(s):  
Industrial Revolution ◽  
Homo Sapiens ◽  
Modern Society ◽  
Full Time ◽  
Human Race ◽  
Hunter Gatherers ◽  
The Past ◽  
The World ◽  
The Universe ◽  
Radical Transformation

About 10,000 years ago, at the beginning of the agriculturalrevolution, on the whole earth lived between 5 and 8 million hunter-gatherers, all belonging to the Homo sapiens species. Five thousand years later, freed from the primary needs for survival, some belonging to that species enjoyed the privilege of devoting themselves to philosophical speculation and the search for transcendental truths. It was only in the past two hundred years, however, with the advent of the Industrial Revolution, that reaping nature’s secrets and answering fundamental questions posed by the Universe have become for many full-time activities, on the way to becoming a real profession. Today the number of scientists across the globe has reached and exceeded 10 million, that is, more than the whole human race 10,000 years ago. If growth continues at the current rate, in 2050 we will have 35 million people committed full-time to scientific research. With what consequences, it remains to be understood. For almost forty years I myself have been concerned with science in a continuing, direct, and passionate way. Today I perceive, along with many colleagues, especially of my generation, that things are evolving and have changed deeply, in ways unimaginable until a few years ago and, in some respects, not without danger. What has happened in the world of science in recent decades is more than likely a mirror of a similar and equally radical transformation taking place in modern society, particularly with the advent ...

Palaeolithic Cave Art at Creswell Crags in European Context

2007 ◽  
Keyword(s):  
Late Pleistocene ◽  
Rock Art ◽  
Ice Age ◽  
Upper Palaeolithic ◽  
Southern France ◽  
European Context ◽  
The World ◽  
Cave Art ◽  
Illustrated Book

Cave art is a subject of perennial interest among archaeologists. Until recently it was assumed that it was largely restricted to southern France and northern Iberia, although in recent years new discoveries have demonstrated that it originally had a much wider distribution. The discovery in 2003 of the UK's first examples of cave art, in two caves at Creswell Crags on the Derbyshire/Nottinghamshire border, was the most surprising illustration of this. The discoverers (the editors of the book) brought together in 2004 a number of Palaeolithic archaeologists and rock art specialists from across the world to study the Creswell art and debate its significance, and its similarities and contrasts with contemporary Late Pleistocene ("Ice Age") art on the Continent. This comprehensively illustrated book presents the Creswell art itself, the archaeology of the caves and the region, and the wider context of the Upper Palaeolithic era in Britain, as well as a number of up-to-date studies of Palaeolithic cave art in Spain, Portugal, France, and Italy which serve to contextualize the British examples.

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