Cheval Bonnet: A Crow Calling Card in the Blackfeet Homeland

Ethnohistory ◽  
2018 ◽  
Vol 65 (1) ◽  
pp. 129-156 ◽  
Author(s):  
James D. Keyser

Abstract Cheval Bonnet, a small petroglyph site located along Cut Bank Creek in northern Montana, contains coup-counting and horse-raiding narratives from the early 1800s. By careful comparison to known Crow-style rock art and robe art imagery, most of the petroglyphs at the site can be identified as Crow drawings, begging the question of why they are located here, so far from Crow country and in the heart of Historic Blackfeet tribal territory. Detailed ethnohistoric research shows that one aspect of Historic Plains Indian warfare was the leaving of such drawings as “calling cards” by war parties who entered enemy territory and wished to taunt their adversaries by illustrating deeds that they had executed against them. Understanding this site as such a calling card enables us to identify other similar ones elsewhere on the northern Plains.

2009 ◽  
Vol 28 (5) ◽  
pp. 641-660 ◽  
Author(s):  
Calvin D. Croy ◽  
Marjorie Bezdek ◽  
Christina M. Mitchell ◽  
Paul Spicer

1966 ◽  
Vol 31 (5Part1) ◽  
pp. 721-732 ◽  
Author(s):  
David Gebhard

AbstractThe representation in the prehistoric and the early historic art of North America of circular shields or human figures whose torsos are depicted in the form of a shield provide a revealing indication of how widespread and complex was the diffusion of objects, ideas, and forms on the continent. Drawings of the shields and of shield figures are found in rock paintings and engravings, on paintings and skins, and on incised bark scattered throughout the continent. The origin of the motif is still in question, although present evidence would seem to point to central Mexico. The earliest examples north of the Rio Grande would appear to be in the rock paintings of the lower Pecos area of Texas. It next appears as an important form in the rock art of Utah which has been attributed to the Fremont Culture. From this latter area in late Prehistoric times, it apparently spread to the northern Plains, and thence into the central and southern Plains where it briefly became an element in the rock art and the mural paintings of the late Pueblo cultures. During this late period it also entered into the art of the region east of the Mississippi and into the rock art of the far western part of the continent.


1999 ◽  
Vol 16 (3) ◽  
pp. 240-243 ◽  
Author(s):  
Loretta Bad Heart Bull ◽  
Valborg L Kvigne ◽  
Gary R Leonardson ◽  
Loralei Lacina ◽  
Thomas K Welty

2012 ◽  
Vol 39 (1) ◽  
pp. 109-118 ◽  
Author(s):  
Blakely Brown ◽  
Curtis Noonan ◽  
Kari Jo Harris ◽  
Martin Parker ◽  
Steven Gaskill ◽  
...  

1988 ◽  
Vol 12 (4) ◽  
pp. 347
Author(s):  
David Wooley ◽  
Glen E. Markoe

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