scholarly journals Warriors and Weapons: Late Prehistoric/ Protohistoric–Period Warfare in Bear Gulch Rock Art

Author(s):  
James D. Keyser

The third and final season of Phase III data recovery at Lake Alan Henry (formerly Justiceburg Reservoir), located on the Double Mountain Fork of the Brazos River in Garza and Kent counties, Texas, was conducted during the fall of 1992. The work consisted of intensive archeological investigations at one historic site and four prehistoric sites. Subsequent to the Season 3 data recovery fieldwork, a newly discovered rock art site (41KTl64) was documented. The historic component at 41GR474 consists of a dugout depression and the ruins of a wood frame house and related complex of ranching structures. It was the homestead of Jeff Justice, Sr., who platted the community of Justiceburg in 1910. The Justice family lived in the dugout from 1900-1907. Excavations revealed a typical Plains-style half dugout with upper walls of native sandstone, a roof superstructure of juniper logs, and a sandstone fireplace. Artifacts and features on and near the floor include items from the dugout occupation period, but most represent a short episode (ca. 1907-1910) of reuse as a multifunctional workshop. Numerous artifacts in the upper fill are typical of early twentieth-century household debris and indicate use of the abandoned dugout for trash disposal. The Sam Wahl site (41GR29l) yielded an isolated secondary, cairn-covered interment of an adult male radiocarbon dated to A.D. 240-400. The early occupation period, A.D. 600-1050, is interpreted as a seasonal residential base related to the procurement, processing, and storage of plant foods; it may represent the Palo Duro complex. It is characterized by a pithouse, storage pits, hearths/baking pits, bedrock mortars, and an abundance of ground stones. The late occupation period, A.D. 1150-1400, lacks the distinctive features of the earlier period. A decrease in the number of ground stones and an increase in arrow point frequency may indicate a shift toward a hunting-oriented subsistence. Two occupation periods recognized at the Cat Hollow site (41GR303B) approximate those at the Sam Wahl site. The Late Prehistoric 1 period is characterized by baking pits and an abundance of scattered burned rocks, apparently representing use of the site as a specialized plant processing area. The upper deposits, dating to the latter part of the Late Prehistoric 1 period or the early Late Prehistoric II period, lack evidence for intensive plant processing, and increases in some classes of chipped stone tools indicate an increased emphasis on hunting. Two completely excavated rockshelters yielded evidence of Late Prehistoric and Protohistoric occupations. Boren Shelter #1 (41GR546), only 12 m2, yielded few artifacts and three stone-lined hearths, one radiocarbon dated to ca. A.D. 1643. The site saw ephemeral use during the Protohistoric period. Boren Shelter #2 (41GR559), with a sheltered area of 30 m2, contained sparse artifacts and numerous hearths; a midden area in front of the shelter contained a number of clusters of animal bones. The deposits inside the shelter can be separated into two periods of occupation, A.D. 0-1000 and A.D. 1000-1300, during which the site was used infrequently as a short-term campsite. The deposits in front of the shelter, with a single radiocarbon date of A.D. 1500-1660, reflect use of the site as a hunting camp/processing location during the Protohistoric period. Collectively, these sites indicate that significant cultural changes took place around A.D. 1100, when people at the Sam Wahl and Cat Hollow sites changed their economic strategies. The Lake Alan Henry data correspond with other regional archeological data, and there is a growing body of evidence indicating that the Late Prehistoric 1 period (ca. A.D. 1-1100) was radically different from the Late Prehistoric II period (ca. A.D. 1100-1541). Intensive utilization of plant resources seems to characterize the occupations prior to A.D. 1100. Archeological evidence indicates that after A.D. 1100, subsistence strategies shifted away from intensive plant utilization toward more broad-based foraging with a greater emphasis on hunting. This change in subsistence strategies probably was related to regional climatic changes.


Author(s):  
David H. Dye

Water spirits as major Mississippian cosmic powers assumed various forms ranging from panther-like to serpent-like, and these varying visualizations were crafted as ceramic vessels, copper objects, rock art, and shell media. Evidence of water spirit religious sodalities is reflected in the numerous Lower Mississippi Valley “cat serpent” bottles and bowls found in northeastern Arkansas and southeastern Missouri. Their use flourished during the protohistoric period, the decades between the Hernando de Soto entrada and initial French contact. Water spirit vessels were crucial for transforming and in consuming medicinal potions for purification in water spirit rituals. In this chapter I discuss these Lower Mississippi Valley “Great Serpent” effigy vessels and argue that they were central to religious beliefs in Beneath World deities associated with the cycle of life and death and appealed to through ritual supplication and veneration.


2005 ◽  
Vol 50 (193) ◽  
pp. 57-71 ◽  
Author(s):  
Sara A. Scott ◽  
Carl M. Davis ◽  
Karen L. Steelman ◽  
Marvin W. Rowe ◽  
Tom Guilderson

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.


1991 ◽  
Vol 56 (3) ◽  
pp. 389-418 ◽  
Author(s):  
Martin P. R. Magne ◽  
Michael A. Klassen

The rock art of Writing-On-Stone has been the focus of detailed interpretation relying on concepts of group migration. Indeed, results of previous research at Writing-On-Stone have been pivotal in reconstructions of northwestern Plains group distributions. It is apparent that many anthropomorphic petroglyphs and pictographs contain elements and co-associations that allow chronological ordering from prehistoric through protohistoric and historic times. Cluster analyses described in this paper offer a more objective means of assessing changes in anthropomorph depictions through time, leading to a critical evaluation of prior concepts concerning stylistic changes and Native group distributions. In particular, the analyses demonstrate that rock-art anthropomorphs at Writing-On-Stone are more strongly interrelated than previously thought. We believe there is no need to invoke a Shoshonean presence in this area to account for differences in late prehistoric and historical-period rock-art anthropomorph styles.


The second of three seasons of Phase III data recovery at Justiceburg Reservoir (Lake Alan Henry), located on the Double Mountain Fork of the Brazos River in Garza and Kent counties, Texas, was conducted during the summer of 1991. 11le work included survey of dam borrow areas and site recording in and near these construction zones, limited work at selected rock art sites, geological investigation of an upland playa, and intensive investigations at two primarily Protohistoric period archeological sites. Pedestrian survey of active borrow areas resulted in the discovery and emergency recording and evaluation of site 41GR606 at the mouth of Grape Creek. Although this site is unusual because of its high frequency of ground stone tools, it lacks temporaIly diagnostic artifacts or datable organic materials and has an extremely low artifact density. In addition, site 4lKTl61 was discovered because of recent erosion along Grape Creek. This site also lacks diagnostic or datable materials and is characterized by a low artifact density. Due to their low research potentials, no further work was recommended for either of these sites, and they are considered ineligible for listing on the National Register of Historic Places. Investigations at the rock art sites included the salvage of pictograph pigments from sites 41GR423, 41GR426, and 41GR437, which will !>e destroyed by inundation. These samples have been submitted for extraction of organic components and radiocarbon dating, but the results are not yet available. In addition, a consultant visited selected rock art sites in the project area and proposed preservation alternatives for several sites that will not be impacted directly by construction or inundation. Geological investigation of Morgan Playa, a smaIl upland playa located approximately 3 km north of the Double Mountain Fork, included excavation of a 2.5-m-deep backhoe trench from which a series of stratified sediment samples were taken for paleoenvironmental reconstruction. A single radiocarbon date indicates ·that the playa sediments probably accumulated from approximately 9000 B.P. to the present. Fossil poIlen was found to be poorly preserved, and the resulting data are uninterpretable. But opal phytoliths appear to document a sequence of changing grassland environments. Although more dates are needed to refine the chronology, the phytolith data are interpreted as evidence of Holocene climatic changes which generally correspond with regional paleoenvironmental reconstructions. Archeological investigations at the Headstream (41KT51) and Longhorn (41KT53) sites revealed evidence of chiefly Protohistoric period occupations by nomadic hunter-gatherers who were heavily involved in trade with the New Mexico pueblos. The archeological investigations at these sites have significant implications for understanding seventeenth-century settlement patterns in the Texas South Plains. Both sites are interpreted as residential base camps with multiple occupation episodes, which date mainly to the seventeenth century. The sites probably were inhabited by bison-hunting peoples during nonhunting seasons, and at least three tipi structures may be represented at the Longh0!J1 Site. Activities suggested for these sites include the staged processing of hides and maintenance of hide-processing tools, intensive utilization of wild plant foods, and extensive use of ceramics for cooking and storage. A petrographic analysis of the ceramic assemblages indicates that the majority of the wares are Puebloan in origin and that Pecos Pueblo was the major source, with other wares coming from the Tewa pueblos of the northern Rio Grande and perhaps the Taos/picuris region and the southern Salinas district. Of particular interest is the interpretation that almost all of the plainwares may he from the same Puebloan sources as the decorated glazewares and that the inhabitants of the sites did not make much, if any, of their own pottery.


1992 ◽  
Vol 2 (1) ◽  
pp. 89-113 ◽  
Author(s):  
David S Whitley

Ethnographic data on the production of rock art in far western North America - the historic hunter-gatherer cultures of California and the Great Basin - are reviewed and analyzed to identify widespread patterns in the origin and, in certain cases, symbolism of the late prehistoric/historical parietal art of this region. These data, collected in the first few decades of this century by a variety of ethnographers, suggest only two origins for the art: production by shamans; and production by initiates in ritual cults. In both instances, the artists were apparently depicting the culturally-conditioned visions or hallucinations they experienced during altered states of consciousness. The symbolism of two sites, Tulare-19 and Ventura-195, is considered in more detail to demonstrate how beliefs about the supernatural world, and the shaman's relationship to this realm, were graphically portrayed.


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