"l' (

{
,l I: I l: I i) (; I'l l) l: )

ROCK
ST
0l tl-,* G**ater Southwest

,;'
!:,,. '-'' "

tt\ l' \ / I I /.' ()

 T-
I

". . . I am very pleased to see this ¡)¿ld ()uidl. appear and hope that it
I

is the first in a series of bot¡ks that makc the results of Alex's exten- i

sive and systematic surveys of rc¡ck art sites and litelature av¿rilable
to scholars and the general public. The l¡i¿ld Cuid¿ ts an ambitious,
wide-ransins, yet properly cautious attenrpt to begin to dcfinc re-
current rock art elements in the Clreater St¡uthwest and to assenrble
published accounts of possible iDterpretati(¡ns t¡f these elcrncttts."
D. LíPc
P¡désso¡ of Anthropologv, Wirshinflton Statc-Willian
Llniversity, and
Directr¡r r¡1 Rese¿rch, Orow Clartyon Archacologicitl Oerttcr

"'fltis lield Gzfule provides an interesting ancl inrrr¡vative approach to

the classilication ol rock art fc:rtures of the (]reater Soutllwest. and
it will benelit both the nr¡vicc and the prof'essional . . . litl may well
help to standardize narles arrcl meanings applied to rt¡ck art fea-
tures derived from prr>fcssional rep()rts. . . it is an irnport¿rnt c(rntri-
buti()n t() the licld ol rock art."
lt. Sthr¡«lt
-All¡ol antl autbor
Archaeologist

"This is an invaluablc guidc to a crrltrrral treasure $'e [iust leanr t()

understand if we are to conscrvc it f<rr {tttrre generatiorrs. As ir
scirola¡ I forrrrd the l'ickl (htide very exciting fbr its dc¡llr¡nstlatit,r,
of highly suggestivc clusterings of meaninqs irr pctroulyphs, rccrrr- I
ring over wide areas of thc Wcst and northern Mexic<>."
Ortiz
-Alfinzo
Native Arncri< an sclr<¡lar, teacher, a¡r<l autho¡

"I applaud and salute author Alex Pattersolr oll his rvork a¡rd his hr¡r:rrl
spcctrum of informati<>n. This is a worthy collecti<¡rt :trld :r lrrxrL llr:rt
is needed in every library across the lirnd. I arvait his ncxl t t¡r k :rr r ¡t !"
litrvt l\ yu tt
Mythologist, [)ucl)l() sl(,r'\l( ll(- r, rr¡rrI .rr¡tIr<,r
A FIELD GUIDE TO
ROCT(ART
SYMBOLS
O[ th" Greater Southwest

ALEX PATTERSO¡\r

lolr rrsorr lk ¡oks: I!l¡lrk'r'

 !l

'lb Llary McPhexon Patttrson CONTENTS

l x¡nttttttlt,]i'ierul, bdrolL uarnwt; ,tta| arul ltrortJi'eader, rorh r¿¡l Ackrtorvledgments ......
fintlrt ltl.rLrLl kuLy, keepo' of the "nicc," mother of four, grandmolher of Introduction vtl
Itt¡tt, tt¡ul. kxtirtg wife oJ'lhirt)-seutn )ears.
Thc Meaning of Rock Art .x
Dating Rock Art xi
Rock Art Swle . . xii
Authors Cited xiii
Rock Art Site Manners xiii
How to Use Field Guide xiv

l-inder:Humanlike .... .l
Iindcr:Animallike .... .9
F-inder: Abstmct 14

O 1992 bv Alex Patterson Alphabetical lndex lty Ascribed Meaning

Plrrs Related Svmh,rl Descripriorr . . . . .t,
Oovcr photograph by Marr' l):rtterson: Ne:rt'Petrified Nrtional Park,
,\lphabetical Index by Symbol Description
A¡izona. At the winter solstice su¡rrise, the shadort t>fa rock pinnacle
across the canytttr passes directly thrt¡ugh the concentric circles at
l)lur Related Ascrihed Meaning
the top of this panel. Note the damage byvandalism at centcr right.
C)over design by Robert Schram RockArtSymbols...... 42
Text clesign by Wynnc ÑlcPherson Pattersorr and Allen N{oore III
( lt'ne¡-al Locatir¡n of Rock Art Sitcs .. . 215
I Arizr¡na. 216
( )alifornia/Nevada ... .. 218
l-ibrary of Congress Cataloging-in Publication Data ( )olorado/Utah 220
A Fie)d guidr to rock art syrntxrls ofthe gleater Soulhwest / [cornpiled Nt'w Mt'xicr ¡
byl Alex Patterson. Ii'xus/\4exicrr 22:l
P
Includcs 'm'
bibliographic¡l rcl¿rences (P. ) ¿nd i¡dex.
ISBN l -55566-()91-6 l)irc( li()ns tt¡ ltl Rr)ck Art Sitcs in Natio¡ral Parks,
of North Ari.rica-Southwcsl, Ncw-Antiquitie s-
l. India¡s Strrtt'l)arks, tn(l Ar('as Sct Asidc firr Prrblic Vit.wirrg
Guidchooks. 2. Rock paintings-Southwcst, New-(iuidebooks.
!'.lt;
3.Southwest,New-Antiquities-Cuidebook. I.Patter!()n.r\lex.
ll7il.S7F:'r-l 1992 l{r'r ,,tttrtt trrkrl l(r'.rr lir r g l,:}{
!)79'.1)l <tr 20 92-rJ83
(]IP
( )rg;rrrizlrliorrs lo.loirr lrrrrl l,lvr.¡r(s to r\tlr.rrrl . . . . . . :t:tB
l'r ir rtr'<l irt t llr' I Irtitcrl Stal('s (f' A¡ncl icil l)v
llr I rlr, :i:t!)
l,,lr r rsr rr r l'r ittlirtg ( irttt¡lrttty
r :r
'q ¡rlrr
llsl{(I Sr¡rr(lr 57t l¡ ( i¡rrr t
ll,,rrlrl¡ ¡. ( i¡lr¡rrrrLr ll0lt0I ( i¡r rlil., ..... . t, t'i
 ACKNOWLEDGMENTS
'l'llrrrks go 1o lül those who gave trs a srnilc:rrt<l;r ltr'l¡rirtu hand t¡n
orrr iorr lrtcy:
Il¡ i¡rrr Arrrrrr', Alt'x rurtl l)atti Apostolides,.[inr arrrl Nlrrr Bain, M:rr.qery
'lirr rr.r lhr lx r', (k¡n irnd l)awn Bergland, Narrcy llt'r'rrirrd, Natasha
lirrrillrr. I"r'rrrrk arr<l A.l. Br:¡ck, Nina Bowcn,.ft't t v rrrr<l .fearr Brocly,
.lolrrr lltrlkt', [,]rnest ¿rnd Ellie Cartcr,.f irn an<l I'cuuy (ihapin, John
( llrrrvcz, Sallv Cole,.fames fh'ocker,
Jav and H('l('rI
(lrott¡ L)ebra Dan-
rlr itlge , Br-rrnie Davidson, Marv l)avies, Dal<: Dtrvison,.f ohn Delons,
I{orr liismiur, Red and Vireinia llllison, Barry an<[ Rr:ne Fell, Roland
l'orcc, Jolvnn }-ox, Fred Frampt()n, Tom artcl Matrrecn Frcestone,
Phil Garn, Bill (iibson, Jeff Clr¿rthwohl, (iampbell and l.otr (irant,
J<>lrn Gree¡ Sally Hadlock, Ken Hedges, Brtrce Htrrdct'son, Rebecca
Herr, Tom Hoskinson, Bill Hyder, Leigh.fenkins,john and Ecl,
Bobby Joncs, Boma.fohnson, Tim ald Siste Kearns,.John King,
Smokey Knolton, Jan Larvson, Cli{ton Aubre,v Larvsor.r, Ilill l-ipc, \{hl-
ter Lorcnzut, Bill and Mully l,ynch, Ekkehart Malotki, LcVan Mar-
tineau, Bob and Margcry McBride, Jack and Pat Mc(lreer¡ Michacl
McNierne¡ Allcn Moore III, Marty Mullisan, Diur Mr.rrph¡ Barbara
Johnson Mussil, Rcrny and Margaret Nacleatr,.Joy Nevin, Alft¡nsc¡
Ortiz, L)avc I'irrkcr, Alex and (larol Patterson III, -fill Patterson,.fim
Pattersorr, .loar) Patters()n, \{ynne Patterson, Rafáela Peralur, Pctcr
Pilles, Pat ar)d Dcnnise Rabidearr, (ius ancl Lcslie Rathe, (lar()l Pattcr-
son Rudolph, Ciliff Ryal, I)arryl Sanders, (lurt and Polly Schaafsma,
Albert H. Schroeder, Morgan and Babbie Surith, f)oug Schwartz,
Shtrrban, l)on Simonis, B()b Staflánson, Larry Starr, Stevc Stonc¡
Stuart Streuvcr, Garl Sttrmpf, Laine Thom, Bill Thompson, Mary
Elle¡l Toner, Richard Townsencl, Wilson Turne¡ Teresa l'ijoan,.lohn
and l,aura Holt Vavlrrska, Hen11, Wallace, .f esse arrtl Jutlith Wartrc¡
Don We:rvc¡ [,cc Young. Profirrrnd apoloeies firr any rnisspellings,
mistakes, omissions, etc.
FOREWORD
Altt:r' r'onrpleting a successful carcer in thc l¡usiness rvorld, Alex
Patters()r) h¿rs dedicated himself to learnitrg as much as he can
about Anlerican lndian rock art in western North Atncrica. Several
years af{() I hi¡d the pleasule of taking Alex ancl Mary Patterson on
their flrst visit to an important rock art site in (l.rand (}ulch, in
southeastern Utah. During the trip, Alex exprcssed trepidation
about publishing some of his studies; I encouragccl him to "iust do
it." Oonsequentl¡ I am very pleased to sce this.¿ü¿1¿1 Ottide zrppear
and hopc that it is the tirst in a scries of bor:¡ks that m¿rkc thc restrlts
<>l Alex's cxtel)sive and s)stematic survcys of rock art sitcs anrl liter-
aturc available tt¡ scholars and the ueneral public.
The Field Guide is an ambitious, wide-ransins, yet pr()p(:rly cau
tious attempt to begi[ t() define rccurrent rock art elcnrents i¡r tllc
Grcater Southwest and to :rsscmble published acc()unts of possible
interpretations ol'thesc clcnrelts. F-()r the studcnt zrnd incipicnt
sch<¡l¿rr, it is a use{irl introduction t() the vast anrl sc¿rttered litera-
turc on rock irrt interpretation in this lirrge area. For the rock art
viewe¡ it rvill promote intelligcnt reflectir¡n orr lhc cntllcssly fasci
natil)g question ol how (and il) hunrarr minds can c()lurrluricttc
across barriers erected by timc a¡rd cr¡lturirl dill'ercnct:.
n I). /,rr'1r, April l1)92
Proléssol of Anthropoloul,. -Willia
\\hshington State Urr ivcrsi ty
Director of Rcsearch, Or<>w Canyon Arclraeol<>gical Oenter
Th\s l¡iekl (irirla providcs arr interesting and in¡lovative approach
to the classification of rock art f¿atr¡res <>f thc (]rcater S()uthwest,
and it will l¡enefit both the novice arrd the proféssit¡nal. 'I'he au-
thor combed the literature on the Southwest lor rock art illustra-
tions and names or meanings applied to each of thc dcpictions irr
the reports. The results are assembled and well illtrstrated i¡ llris
guide under three major divisit¡ns: hurnanlike, animallikc, a¡¡<l rrl>
stract-with representatiolls or rneatrings as given by thc arrllrors
<>l the reports.
-A separ¡rte secti()lr ()f thc grricle lists thc ascritred lncuuirrus itl
phabe ticallv alr¡rrs with a tlt:scripti<>n o[ the svmbol or li'atr¡r(..'l lris
is li¡llr¡rvt'rl l)\' ir s('(ti()n tllrt lists thc svrnb<¡ls alplrabcticallv rvirlr
llr('ir itll:r( ll( (l lrsr r ill<,rl rrrcrrrrirrgs :rs girt.rr irr llrc olil¡irral sorrlt cs.
'Ilrt ¡rrrtlrr¡¡ Ir:rs lxt.r¡ <:¡tr.lirl r¡ol to injr'< t lris ¡rcrsorurl iul(.tl)r(.lil
liorts,rl tlrc srrlrjcr tr 'llrc qcrclrl lor¡rlt.ol r.:rr lr sitt. ir¡r'r¡lrt.rl is
I¡I,'\I,Ir..I ,,|| ,r \l.rl( rr.ll,, llrl irr ,,¡rlct tr, l)tr)(( ( I lll( s¡l('s. the maPs
¡NTRODUCTION
rr ¡,, \\,r\ r, r,.rl ¡,r, , rr, lr¡¡,rlrr¡rs, rr t tl¡r't nill rtI:tL( (listributi()I)
,trr,lrr , ¡,,, , ,r1,1r What started as a nostalsic trip to my bo1üood home of rtescrts,
car)y()ns, circtus, ¿lnd sagebmsh led to a love aJIair with the ancients.
I lrr, 1,rrr,l, rr.r rr, ll lrr l¡r t. t r r l, r r I / r ' n.u r( s.ttrtl tttcanings ap
, , r r r r

In l9tl4 my wifc, Mar1,, and I r,isited the rui¡rs at Bandclier. (]haco

¡,lr,,l r,, r,,, Lrt lr.rlrr. .,l, ¡ n,,l lr,,tt¡ l¡r,,fcssirrtrrl tl'lx)rts. It may Canlon, Oanyon cle Ohelly, Beut¿rkin, and Kiet Siel- It rvas a w()llder-
r1,,, ¡'r,,rr,l, .r lr,r',, l,,r lrrrllr¡ ¡ rr'lt¡rlttrr ttls itt r l;tssilir:rtion. [tisan
|l l",rt.|lrl ' , ¡ r r I r r I ' r r I , , r r lo llrl. lrrlr l ,,1 t l)r L .¡¡ t :ttt<l proYides a
r
ful trip, and'rl'e rvere excited bv what wc s¡¡u. But st¡meltor thE rlril)\,
l, rr¡itlrr LrIr|r,,¡ir.r¡rIrt l,,r rr lctr ttr ( rr'( (ls. ittterestirtg as thcy are, seemed sterile. \4¡e llt-'re looking at Lrng-va-
cated apartmcnts, shrouded iD silence. But these sites oftelt had
.lllt¡t ll. ,\thnutltt. March 23. 1992 sonte rr¡ck art. It was the one elerncnt th¿lt seerned tnrlv t.alicl.
r\ rr lrrcolrgist irfid author Tht.n we saw the rock art at Tllrce Rivers Statc P¿rrk in s<ltrthern
New Mexico. There wcre thr¡trsands o[ t'ngravin e s-pctr( )gl],ph s-
on two miles ol basalt rocks. Thc pictr¡rcs appearcd t() r('prcsent
birds, animals, lish, people, haDds, Ieet, abstract dcsisns, and fan-
tastic beings. \{'e werc fáscinated. These cngravings were exlctly as
the ¿rncient artist had drawn thern many centuries ago. Wc li,lt we
wcre lo()king directl)'int() the rniBds o{ these ancient pe()plc.
But what did all these pictr¡rcs, thcse syr¡¡l¡¡ls, rnean? f,ike most
newcomers to rock art, we wal)tcd t() know uhat thcy meaDt. \t'lrat
was the message that the ancicnts had sr¡ careflllly placcd on the
rocks long ag()?
\AIe soon fi¡u¡rd orrt that thcrc ure prcciotrs fcn,¿rnswers. I he park
rangers we talkerl tc¡ were irrtt'r'csted brrt cor¡ld not help ntucll. The
lil¡raries and bor¡kstores had books on rock art, but thcy were
mostly beautifül photoeraphs, rvith scklc¡m ¿r refercnce to rneaning.
We even managecl t() talk to a¡r ar-chaeokxlist ot casi<»r:rlly irnd sooll
fotrrrd that thcy fo(), rvith r¿re cxccpti()ns, had felv clrrcs to the
r¡rca¡lir¡g t¡f rr>ck art. M()re il)rp()rlnr)tly thev rvert: rr()t stu(h'it)f{ the
qr¡estion.
T his se cmed strange as we carnc tr¡ the r-ealizatir)tr that th(:rc
wert' thousands ()f rock art sitcs in the Sotrthwest. N<> <>trc krrt¡ws
the exact number. One rescarchel clairns that thcrc are 7,ir64 rock
i¡rt sites "knt>wn tr¡ exist" in Litah alc¡nc (Nlaruring 1990:l.lti). Arizona
and (lalifornia are probably nt>t far behind Lltah, with Ncru Mexico,
Netada. and Col.rado u ith lt,sscr qr¡artilic\.
As we begarr ()rrr o\\,'n study in dcpth, we wt rc elated t<> Iirr<l llrirt
there rvas in yc:rrs past a¡rcl is today a small group of authols slrrlr'
inc the q\t( stion of rttc'.r»irrg arrd r-cportitrg their lilrrlirru. ir¡
prrblislrc<l wolks. l)rivcn by a rlt'sirc t() un(l('rstiu)d thcsc t<¡r¡rIrrrrIri-
c¿ttir)us ()n llrc rr¡r ks. w(' rut(l(.t l()(rk a litt:r-att¡rc search ol tl¡t' tx k
;trt wt ilittgs ol a|r l)ltt ()l()gisls, lr¡lllu o¡tolouists, rt'seltrCIrCr-s, NltliYt'
r\¡rrt lir':rn irrfirr lu,rr¡ts. ¡rnrl r¡tlrcl rvl itcls-rrll ¡lrrlrlislrt'rl (,\'(.t llt(.
lrrsl l'lfr tlrrrr. \,\i lrcg:rrr r o¡¡¡¡¡jlj¡¡q ( I I t{ I I I i ( , r I \ :rrrrl illrr.ilrrrtiorrr
r i
tlilccllv li¡»rr tltt'il wolks, l¡()ting the general lt><atittlt <¡f the r<>ck
illl sil('s l() rrlti< lr tltty tcfi'rrcrl.
Wc r-lt()st l() ('xl('tl(l tlttr stttcly to cover all ill('il gr('at('r than tht'
uslr:rl s(,ullrw( sl('t lt st atcs-Ariz()n a, Ncw Mt'xitr¡ [ llltl¡, irtld Col<l-
r:rrl. to ittr lttrlc r¡ttotations relating t() N(lva(la, (l:rlilirlllia, Texas,
V['r r Ircr¡t Nlcxico alltl ot casiollltllv t'lst wltt t t"
¡r¡¡i¡¡].i. tr )¡ I
It rlrrs tltis grttlrcritre of idcas that f{rcw int() tltc l'irll Cuid¿ ltis
,,rrr lropc tlrir( visitors to rock art sitcs may ettrit)r tllt'it cxpericnce
lrr r crrrlirrg lh( sc selccti()r)s ¿urd scanninrt the illtts(ratit¡ns.
The Meaning of Rock Art
I lave rve fou¡l<l the re¿rl nlcaltillg of the rock art sylrllx)ls citecl in
tlris b<¡c¡k7 l)o the qr¡olati()I)s an¿l illu§tratiorls we ltave st'leclt:d re-
ally dcfinc tlte tneatritrg of ttris r'ock art? The alrswer, strcllf is tto'
'l'here is no pr<tof that anv of tht.se meaniupls are corrcct. lt is Ilot
possiblc t() rtefine a svmb()l, as y()tl w()trl(l a word i l\hbsler's l)irlion-
«r1. Thcse qlrotations are only thc meatring these selected writers
trilier,ccl was the right mearlitrq when they wrote thc r>r'iginal b<>ok
r¡r article-and it trsr.rally pertaint'd only to a partictrlar palrel in a
particular location.
\{rt'hlve g:rtherccl t()r¡('thcr tht'st: co¡lt nrerl laries r»l tltc slntlxlls
anrl labeled each gr<>rtping rvith an "Ascribecl Illeaninr¡." This is a
wr¡rcl or phlase that in rlttr opittion ntost closely sttmrlrarizes the
comrnentarics ou the svmb<>l mealtinqs cited. l'reqtlcntly the com-
nrcntirrics cLr lot cxpress an opitlion on the mcaning,:tnd rve have
chosetr a sirrr¡rle <lescriptive wr¡rrl or phrlse as the "Ascribed Mean-
irltr." l'he lrook is rtrt-atrged alphabt't icall¡- by thcse "Ascril>ed Mcan-
ings," artri au irrrlex is providcd.
\\'itlr eitth "As<riherl Nfearring' u'c ltave .slrt¡rllr it "Svnlbt>l I)e-
scriptiort' alsr¡. lt rlescribe§ \{hrtt y()tl actually see on th(: r()(:ks in
tcrrns r¡f littcs, circles, spirals, d<lts, anthrop<>nlorphs. qtradmpcds,
ctc. Thcse "SyIDbol l)escriptiol)s" are in ttrrn arrangcd in an alpha-
bctic irldex, s() that the r'<:ader can deterrnine if a particular design
of lines, circlt's, clt:¡ts, seelt on thc rt>cks has an "Ascribed Meaning(s) "
athched t() it in thc liekl (htide.
Note that the cited c()lntncl I larics give the rcader a seleclion of
opirrions r:i to the possiltle rneatrirtg(s) of ¿t r<¡ck art syrnlxrl.,{t
tiiut's <¡rtt'<lpirtiotr mav conllict rrith a sect¡nd <>pitri<ln. The second
o¡rirrion nrly rclate (() s()mc ()ther locati()n, mayl¡e far removecl
Irrrrr llrc filsl. Artothcr cttltrtre tttay have bec¡r in place at the sec-
,,ril l,r irlio¡r, iuxl ils ttrt anittg firr this s,vtnlxrl mav be sharply diflér-
( ¡t tlriur llr:rl (rf ll)( ot igittttl < ttlitttr'.
There is cvidence that somc symbols have more th¡ul ()rl(.ur(,iln
ins, evr:n in a sinsle culture. Lrrrnholtz in his study of thc Hrrit.lrr¡l
Indians iD western Mexico (l,Lrmholtz I9r)():?23) f,¡uncl that tht:
equilatcral cross represented t}¡e four quarters of rhe world, the
morni»g star preceding the rising strn, the hc.art (wlrt,n t-nckrsed in
a circlc), and sparks from a fire.
Dating Rock Art
There is, as yet, no senerallv accepted, precise nrcthocl of dating
rock art, but the following techniques can give an approxirn¿ttion of
the age of lock art:
Degree of Repatination, Most petroglvphs are engraved r¡¡l r.lifli <>r
rt¡cks that are covered, ()r "patinatcd," with a coitt <¡[ ,,clescrt var-
lish." f)cst:rt varnish is a thin l2rycr <.rI brown or bltrish black r-nater-
ial that is believed tr¡ be the rcsidue ol boclics <¡f dcad, bacreria
lvhich have been intpreenatc<l with iron ancl manganese salts
leachcd liom the rock itsell'ovcr all unt()ld numl:¡er r>[-years. Bv cut-
tirrg thrirurlr tllc dr.s|rt ralDi,.lr ll¡r. arrisl ctposes thrl lightr.r r(,ck
underneath, thl¡s creatins thc picture. As so<¡n as thc petroelyph is
ntade, the dcscrt varnish l)ef{ins t() lirr.rn argain, vcrt, slotllt,. in thc
lines of the pctroglyph. Or.cr tinre these lincs becorrrc ,.repatinated.,
with this new varnish, until thet,approach the color of the original
desert valr)ish-the darkcr the lines, thc older thc petroglyph. l)e-
gree of' repatinati()tr is ollly a qr()ss way <>I meastrrirrg the relative
age of a petroglyph. Patinatio¡r itsell seems t() var]. substantially
fiom rock to.o.L. plo.e t() place: it seems t,r.l.pr',iri up()rr rnany
Iáctors-fbl' cxarnple, typc ol rock, direction of cx¡tosrrre. rainfall,
¡leograph ical locati()n, clc.
Association with Ruins. ()n occusion wc find rock :trt in or adiacerrt
t() rLrins. 'I'hc rrrins may be datccl b1'conventional rnethods that ar-
chaeologists all agree are accephble, sr¡ch as carbt¡n dating. If the
r<¡ck art is closely associated with a dated ruin, we mav make the as-
sr.rmpti()n lhat thc r()ck art was ¡n;rcle hv thc peoplc rvhu i¡rhabite<l
the nrin. 'fhis is not absr¡lr¡tc proof. by atry mcaus. However., it
sccms t() lrc itttt'¡rtcrl as a lajr i¡¡dicatit>¡t r.¡f the ase of llle r()ck arl.
Rock Art Stylc (.\i? ¡¿1ro Rr¡<.k Ar.t Stylc belorv) . ()r'er the years ar,
< ltltcologi.il\ :rltl n sclullrt.rs ll;rtr. irk'nlili<'<l ¡lun)('r-()us "r()Ck
art
slylt's" lirl ¡rctroglt'¡rlrs :urrl I¡it tr¡ulirl¡lls. Ilsr¡trllv wl](,t) a x)ck .lr.t
st,ilc is lx¡strrltrtr.rl. it is srrr¡gr.str.rl tl¡¡tl llrilt stvlr. lx.lorrgs l() it
lrilr ti( tF
lar crrltrrre <¡r subculture that produced the r'()ck ar1.'flrrough:rr-
<'lurr.ologicerl ex<'avirtiolts, carbon dating, or olhcl ntt':rtrs, thal cttl-
Iurt'hirs l)('('n {littcd to a particr¡lar period irr llt('l)ast. Thus, ifa
¡r:rrr< l ol ro< k urt can bc linked to a particulal slylt' of rock art, yotr
Irirx'sr¡r¡t <'vi<lt:nce that the time period zrttrilrrrtr'<l t() the rock art
slll(.( irrl iils() l)c attributed to your panel.
Itigh Technology Dating. Very sophisticatccl t( ( h¡riques of dating
r¡x k art irre being developed and tried expcrinrentally by a few sci-
crrtists. ()ne of these pioneers is Rr»lald I. Dorn of'Arizona State
I lniversity who has been developing a technique called cation-ratio
rlating. Beginning with the rock varnish itself, "cation-ratio dating
r¡ses the ratio of (K+Ca/Ti) to establish a relativc sequence of ages
in a given area, that can be calibrated by numerical dating methods
such as radiocarbon" (Dorn 1990:I). Once this key curve is estab-
lished, readings for individual petroglyphs from the same area can
be plotted on this key curve atrd approximate dates obtained. I)<¡rn
also works in radiocarb<¡n dating, using "accelerator mass spectrom-
etry (AMS) to date organic matter collected urderneath the var-
nish and encapsulated alter the varnish starts to grow" (op. dt.t l).
Bock Art Style
Rock art style is a basic concept with which every person attenpt-
ing to undcrstand rock art should be acquainted. In essence, stvle
refers to the r¡verall impression that the panel of rock art makes on
the viewcr. It bcgins with the invent()ry of elements used. Are they
mostly abstract designs or are there humanlike or animallike sym-
bols invr¡lved? Second, it includes the way the symbols are cx-
pressed: Are the humanlike symbols mere stick figures, or do they
have bodies with irrterior designs and heads with fáces, horns, or
other appendages? Third, how do these symbols relate t() each
other in the seneral pattern?
An analogy is style as expressed by various artists in their print-
ings. For example, the French Impressionists of the late nineteenth
and early twentieth centuries have styles very diflerent from those
of the Surrealists of the ¡ventieth century. Rock art styles can be ex-
amined in much the same way as any art style.
Researchers have ascribed certain rock art styles to given cul-
t rrrt's, based on such factors as geographic locations of the rock art
rrrrrl lllt'r¡thcr indicators of the culture, i.e. ruins, pottery, ctc. It is
gcrrt llllt, lrgrccrl tlrat llr(: cultrlrc of a p<:ople cletermines thc rrrt'a¡r-
irr¡1 ol tlrt ir syrrrlrols.
We recommend the discussion of style in Schaafsma's lntliun llodi
Art of lhe Southuest (1980:8-24), particularly her summary of the dil-
ferent rock art styles, their cultural affiliations, and approximatt:
dates.
Authors Cited
We have quoted from almost 150 authors in this b<¡ok. Their repu-
tations for reliability vary. For example, there are indications that
much of what I'rank Waters wrote about rock art in thc Booh of lhe
Hopi-helped by his Hopi informanr Oswald Whitc llear Freder-
icks-may be suspect. In fact, we have had difliculty l()cating the
rock art named in some of his very general rel'erences. Thc story
goes that l'redericks occasionally made up things, and Watcrs did
not fully check this material. Despite this, we have chr¡scn to irr-
clude some ol'Waters' writings on the meaning of rock art, as we
f'eel that, on balance, the Booh o[ lhe Hopi is a remarkable telling ol'
the story ol'the Hopi people.
The early archaeologists, ethnologists, and researchers-Fewkes,
Colton, Cushing, Stcphen, Mallcr¡ Lumholtz, Stevenson, to name
a few-are quoted with confidence. For the most part these men
and women, working around the turn of the century, were in direct
contact with thc Native Americans of that era. The full impact of
white culture had not yet been felt. Quotations Iir¡rn more recent
researchers-Schaafsma, Grant, Young, Cole, Hedges, for exam-
ple-are also confidently presented. Schaal.sma has produced a
thoughtftrl and perceptive body of work, particularly ín her Inrlian
Roch Art of Lhe Southwest (1980) . Hedges' writines on shamanism and
rock art seem very astute. And the value ol all thesc authors'works
is beyond question.
Artists have been attracted to rock art. Schaafsma herself has
shown considerable talent in art. Campbell (irant was already well
into a career as a respected artist when he became intrigued witlr
rock art. Grant did the necessary research to produce several wcll-
received studies such as Roch Drawings of the Coso /inngc (l{Xitt wirlr
Baird and Pringle) and, Canyon de Chelly-lts Peoph rtrtd llt¡tl¡ ,l¡ t
(1978). Agnes Sims, now deceased, received considclalrlc rr',,,¡irrr
tion as an artist in her hometown of Santa Fe an<l ¡trrr<lrr r.rl sr.rr.r.rl
interesting works on rock art.
Rock Art Site Manners
IIow tkr yorr lx'lt:rvr. lrl it rr)( k il t sil(.i I.'irsl lrr¡rkt. srr¡ r. ror¡ .r¡ r' u r,l
rolt¡r'. I)r¡ r()l ( rl(.r trrlt, lttnrl rvillrolrl llrr.owttr.r's ¡rr.rrrrirrrorr Sr'r
\llt
 ondly, lct as if y()rr \{.¡crc visiting both a mttscrtt¡r rrrr<l it ¡rlace of wor 2. Decide wheüer the sunbol is mo¡e like a hunran being or "l Ir u rur¡ r

ship. 'l lrc r<x k t'rrglirvirrgs or' ¡r:rirttirrgs .rrc irs rrrrir¡rrr' ;r\ any art ()l) like" (an anthropomorph), more like an anilnal or "Anirnallikc" (;r

.i('( I y(,n Ii¡l<l i¡r a r))uscurr irr)(1,

()t)(('<krlltccrl or'(l('slroyed, cannot zoomorph), or is neither and thus can be considered as "Abstract."
Ix x ¡rl:rr t <1. Sin<t'somc cxperts lrt licvr' (ltirl r'()( k arl ofien had rcli-
¡liorrs rrrr':rrrirrg, y()u nlay be visitirrg tlr<'orrt<kx» ¡rlr«t of worship of 3. Select the appropriate section of the Finders-either "Human-
:r r';u r isltt tl ¡rcopk'. like" (an anthropomorph), "Animallike" (a zoomorph), or 'Abstract."
M(rst importantly, do not touch or walk on the rock art. Y<ru may
¡k liu t. llrc irnages or leave oils that nr:ry <lcfi'at sornc future dating 4. Scan through the Fir]ders in the appropriate section until you lo-
¡rr rx < ss. Do not mo\,e the rocks or disturb the sile irr ¿rny way. I-eave
cate the Finder that most closely matches vour chosen symbol.
tlr(' l)lir¡)t material as you found it. Peruse the quotations and lull-size iliustratio¡rs r¡f the synrbr¡l.
( l()ntemplate the writings arrd enioy the surroundings. Most sites
¡¡t'nestled in beautiful scenery, often with superb views. You are If you do not find your symbol in the Finder sections, vou might
where the ancients wrote a message for all to see, mal'be even their try the alphabetical index by Syrnbol Descriptions. For cxample, if
gods and rrlcestors. Ponder thc syrnb()ls and what others hare rr'rit- you decide a sy,nbol is "Humanlike" (an anthropomorph) and has
ten about the m. two projections from the top of the head, turn to the alphabetical
To some Native Arncrican people rock art is very special. The an- index by Symbol Description.
thropcrlogist M..fane Youne describes an elderly religious leadel of Find the listings for "Anthropomorph" and under it the category
the Zuni people. visiting a loc¿rl rock art site. He spent tlrree hours, for "with horns or special heacldrcss." You lvill be referred to
mostlv in silence, looking at the symb(rs. Often he approaclred a "Shaman" and "Headdress," which are the Ascribed N{eanings for
Iisure and gently traced its outline with his fingertips (touching an anthropomorph with projections from its head.
permitted here-thc original artist was undoubtedly his ancestor).
Finally the elclerly man said, "l don't knorv what it Incans, but I
knou il is irrtportant" (Younu 1985:42).
\,t'e irgrce with the Zuni religious leader-the rock art ()f the
S()uthwcst is important. We have a duty to preserve these intriuuing
symbols firr futurc generatior)s to see and ponder. Who knr¡ws wlr¿rt
thel sav? Wc shor¡ld encourage thcir stl¡d),. With patient research,
orrr glartdchilclrcn and their grandchildren may be able to read,
un(lcrs(arrd, anrl profit by thesc messagcs from the ancients. We be-
licvc this is a wr¡rthrvhile soal.

How to Use the Field Guide

Tha l"itld Gtile is designed to permit the study of sl'mbols at the
lock art site. One aid in this study is a section called "Findcrs."
These consist of Iittle duplicates of the illustrations in the text,
gathered tosJether in three secti<¡ns entitled "Humanlike," "Animal-
like," and "Abstract" and arrlnged alphabetically by "Ascribed
Me:rning" <¡f thc svmbol.
Wlrcrr rrsing the ()uül¿ i¡t the ñelcl, please follow these steps rvith
tllt'I.irrrkrrs:

l. l'ir I ;r st'¡rrlxrl o¡r tlr<'¡¡¡r'ks votr worrl<l likc lo krrow nlr¡rc al¡<¡trl.
 FINDER: HUMANLIKE

Arrow Arrow Arrow Atlatl

Beans Bird-Headed Bird-Headed Birthing

Humans Humans

Birth ing Blanket Design

@
Blanket Design Bow

I
I

Bow Bullroarer Butterfly Cloud

Cloud Co¡lrrs Coitus Combat

 FINDER: HUMANLIKE FINDER: HUMANLIKE
\

>L

Corn Corn
w" Curing
$.q
Flute Player Flute Player or Flute Player or Flute Player or
Kokopell¡ Kokopelli Kokopelli

,Y +r r 1.- ¡ ,1,"
1!!.' : '\u J .

Curing Dancers ¡n Bow Dancers in Row Death Footprints Footprints God of Death God of Death
I

4, x¡
Death Death Dragonfly Ear Extensions God of Death God of Death Handprint Handprint

P@ qql'
fii.I
.ó\.N
Áfr
Ear Extens¡ons Family Family Family Handprint Handpr¡nt Headdress or Headdress or
Shaman Shaman

tM-
- \ 7---r
Feather Female Figure Female Figure Female Figure Headdross or ll..i r(klrcss or I'loacldress or Headdress or
Slt¡tt¡l¡rn lilrillIíIt Sll;¡rrutn Warriors
 FINDER: HUMANLIKE FINDER: HUMANLIKE

Head Hunting Head Hunting Head Hunting Head Hunting or

Masks
b
Katcina-Ahole
) '.--,'
r)

Katcina-
Cha'veyo
,
,

Katcina-
Cholawitze
Katcina-Cloud

1r'r.

h# (l
Headless Headless Headless Headless Katcina-Deer Katcina-Dumas Katc¡na-Hehea Katcina-
or Tumash Hemis or Tableta

¿=i=§
H
m
++
,,9,
Itl^Jl
/t
Hocker Hocker Horns Horns Katcina- Katcina- Katc¡na- Katc¡na-
Mudhead Clowns Mudhead Clowns Planet or Star Sayathlia

Horsemen Horsemen Human Figure Human Figure Katcina- Katcina- Katcina-Shalako Katcina-Shal; rkr r

Sayathlia Sayathlia
I

-H-'
lhrrnan Figure Human Figure Hunler's Katcina-Ahole
w
K¿ltcina CliIr lVltrtor lrnirr¡c Mirror lmaqo [/ollx)r r)l
D¡sguise Arur¡r;rl:.
7
FINDER: HUMANLIKE 1 FINDER: HUMANLIKE I
\

L]
(^)

17 \\
Tiifiiiril
IY ','e.'l
L-/ mm
Mother of
Animals
Mother of
An¡mals
Mother of
Animals
Patterned Body
Anthropomorphs
ll.rllll
.l Bunner Ru nner Shaman

VF *:
1,) S
n
Phallic Figure
t-
Phallic Figure Phosphenes
I)
l,1t ,

',lr.r l Shields Sh¡elds Sh¡elds

I I \

¡{ tr
diri'i:''.

Power L¡nes
Y
Power Lines or
Sp¡rit Helpers
_,,Y':[
Praying Person
fl'
Praying Person
illlillr
'il;Jr¡r

,r r, I l!r
f ¡+,1

"§,Hf,t,
Spirals Spirals Spirits

Pregnancy
(D
\

Ouetzalcoatl
§
Quetzalcoatl Ra¡n God
1rl
',lrIt1,, Swallower Swallower
ffi
Swallowor

r¡- . .-l
-. i..1
- t-
¡,-.,.
' ,.
:.1'r .
'',
'
.:

oo
o
fr
ll rin God Rain God Bain Grxl llirllli) lw[r Will ( i(xlri lw[] W¡ll (i(xIi Wrttlr¡t:; r ¡t
I otlt ( lttr:lll;
7
FINDEB: HUMANLIKE FINDER: ANIMALLIKE

Warr¡ors Warriors Waving Man Waving Man Arrow or Badger Badger Breath
Mountain Sheep

-<
Weeping Eye Weep¡ng Eye X-Ray Style Coyote, Dog,
ffi1.
Coyote, Dog, Coyote, Dog, Coyote, Dog,
or Wolf or Wolf or Wolf or Wolf

Corn Crane or Heron Datura or Dot Deer or Elk or

Heart L¡ne

Deer or Elk Dragonfly or

:r
JI=
Dragonfly Dragonfly
Water Skate
I

Eagle Fagle Eagle I;rr¡lo

 FINDER: ANIMALLIKE FINDER: ANIMALLIKE

-
..,¿<' M

tn a.T
-*\,.) . /,¡\l .s

Enclosures Enclosures Enclosures Facing Birds Lightning or Mastadon Mountain Lion l\¡ountain Lion
Snakes

í(:t *,,*tut
Íi*-+-*"4
f:': i, t
/, \
/'N '1..;, "!,.,.*;
L L {L
Facing B¡rds Fish Fish l\4ountain Sheep Mountain Sheep Parrot Parrot

Parrot Plumed Serpent Plumed Serpent Plumed Serpent

tu r"¿t *

Heart L¡ne Horns Hunt¡ng Hunting Praying Man Pregnancy Rabbit Rabb¡t

,*'*',É.
j

ü{f V Élt
ii ',,
yrlyhf "J ¿"t.
'e '.tl*
*¡
Hunling Kinship Lines Kwataka Kwataka Rabbit Babbit Bed Ant Red Ant
 FINDER: ANIMALLIKE FINDER: ANIMALLIKE

Biver Snakes Snakes

:O'-'^--^

Snakes
w
X-Ray Style X-Ray Style

+s f-\
Y
Rfi^
Speech Spider or Spider or Spider or
Spider Web Spider Web Spider Web

Spirits Spirit Helper Spirit Helper Thunderbird

If(q
t( \\\
W"
Thunderbird Turkey or Bird- Turkey Turkey
Headed Human

I wo Headed Water Skate Water Skate X- lncu rved

 FINDER: ABSTRACT FINDER: ABSTBACT

.?.
r tI /:Y:V.\
llllillill]IlTlTllllllIl

Arrow Atlatl Cloud Cloud Cloud Cloud

üt W,.- ,
Y@X
re)9
*
Beans Beans or Dots
üUBear Comet Concentric Concentric Concentr¡c
Circles Circles C¡rcles
I
Y

\-t¡rr
':==g/
Y
J
x
A
^
ffire g
Boat Corn Corn Corn or Grid
Blanket Design

v V ,i,
tr

% x rA
.-_GJ-
/+ rl *\

Bow Breath Butterf ly Butterfly Corn

i.t"
,.,,,,i,í."

Crane or Heron
..,
ht
Creator or Crook
I skyFod
I \
a=
12
¿b
1--

IlLrllorfly Cenlipede Centipede Centipede Cross Cross or Cross ( )rrI;l;

Or rol./¡ tkx)i tll
 : ABSTRACT FINDER: ABSTRACT
rfi\r
@
ll
¿ft''.ii,t
.!iE),
ül \f\ .5.
@ 4+ $i$

Cross Datura or Sun Deer or Elk Deer or Elk Four Circles Four Circles Fr¡endship Fr¡endship or
Water
\

.i'.',i':i..
t
.al
t
Diamond Chain Diamond Chain Dots Dumbbell Grid Grid Grid Grid
or Snakes or Squash
t

,tO' .ii;ül
S+ "'
1/f-'{
Dumbbell Emergence Emergence Emergence Hourglass or Hourglass or Hourglass or lrrigation
Masks Twin War Gods Twin War Gods

[) o0
ü
i, (,ii ,+
Emergence Enclosures Enclosures Feather lr rigation or Map Katcina Clan L¡ghtn¡ng Lightning
I

{fi9 a oo Itútt
00q w oo 'i 'ii .
,.'l t

I r..r¡r;rle Fiqure Female Figure Four Circles Four Circles Map Map Masks M¡tzrr

lr;
 FINDER: ABSTBACT FINDER: ABSTBACT

.,Í;t:'"
,r:v1,t?i§,i\il,

1**#ii
/4 iiiir
Il
:;,!6i ii:q\
i\JLt
ry
i-:-:
.!r'.:, ,)r'i. 'i.{ j
,.
!-
:¡:_r-i -.'..

Maze Maze Med¡cine Bag Medicine Bag Rainbow Rainbow Rattle Sandals
t

s# u/( áG
w\7
ffiffi
ffis
l\4 ig ration s Migrat¡ons or Migrations Moon Sandals Shell Shell Shields
Spirals
I

o ffiiw
q# tq
Moon Moon Moon Phosphenes Shields Shrine Sipapu Sipapu

Pit & Groove

E)'
x+o
*

Planetar¡um Pottery or Text¡le

Designs
Pottery or Textile
Designs
Solstice
b Speech
#i;t
¡'!v'
Spider or
Spider Web
Spirals or
Phosphenes

l¡(Jllory or Textile
l)( )s¡( lr)s
ffi /f..n
Rain Flain
w Rainbow Squash or
ir¡trtrsh Blossom
ü
\y
Squash or
Sr¡rr;rr;h Rlol;som
Squash or
Sqrrash Bkrss<xrr
Sl;tll or ( lrx¡k
 FINDER: ABSTRACT FINDER: ABSTRACT

Slaff or Crook Staff or Crook

I
1T
Staff or Crook Star
I
'ry
Swastika T-Shaped Tablet

;l=¡

Star Star Star

*#:
\7 [?
X"

Tablet
t-,1
.lil§rE][

tri Tablet
V Vulva
§úJ
Vulva
t

.H#
ffi;ffi; t; t9)
/V
#E l«
0 /
/--/é
ttl''fi'r

Sun Vulva Water Water Water Gourd

f t I

G
Sun or Cross
CD
Supernova
o
Supernova Water Gourd Water Gourd
(double)
ffi
Weeping Eye
I t

c ^_-l
(ct
@ # :l
Sul)crnova Supernova Swastika Swast¡ka Whirlwirrd Wllirlwirrrl X-lncurved X lncurvod
 ALPHBETICAL INDEX OF ASCBIBED MEANING OF BOCK ASCRIBED MEANING SYMBOL DESCRIPTION
AHT SYMBOLS, PLUS RELATED SYMBOL DESCRIPTION
(lloud . Horizontal line with stacked
ASCBIBED MEANING SYMBOL DESCRIPTION inverted half-circles or step
pyramid above; may have r,ertical
lines descending below (rain).
(loitus . Two anthropomorphs or zoo-
r\tl¡tl ( )r Sl)('¡r'fhrower . Line thxrugh circle. o Line with
morphs connected at genital areas.
hoc¡k at t¡nc end. ¡ [,ine through
circle(s), olien with hook at one (lombat o A¡thropomorphs displaying
end and kxrp(s) at other. weapons toward each c¡ther.
llrrlgcr ¡ Small quadruped with claws. . Paw (lomet o (lircle(s) with rays and long tail.
print with claws. (loncentric (lircles . Cr¡ncentric circles.
Beans (sea also Diamond Ohain) . (iir,-le with dtlt. . Line with hook. . Vertical line bisected by nranv
Oorn (see also Dots and Fish)
Bear . Large quadruped with claws. lines which may slant downwarrl.
. Paw print with claws. ¡ Paw p¡int . Oval bisected by vertical and
with dots for toes and claws. horizontal lines; may have dots
. Anthropomorph with bird in within these lines. . Anthropomorph
Bird-Headed Hurnans with extended anrrs and legs.
place ofhead or on top of head.
. Anthropomorph with srnall figure Ooyote, Dog, r» Wolf o
Quirdruped with srnall c¿rs and
Birthing ( rer nAo Two-Headed) tail,
r¡f ten near game animals.
between legs or adjacent to main .IIead of zoomolph rvith ears and
figure.
long snout.
Blanket Designs (saa also Pottery or . Rectangle or square with interi(rr
(lrane <¡r I Ieron . Bird with krng legs. . Thrcc'
Textile Designs) design, ofien wittr "t¿tssels" at
pronged bird track.
corners.
Oreator or Sky God . He ad with <¡ne horn. ¡ (lircle with
Boat ¡ Florizo¡rtal banana-shape with
ctoss.
multiple vertical lines extending
fiom top side. (i ook . Line with hook at t¡ne end. <¡lien
held by anthropomorph.
B<¡rn-for-water (ree Twin War Gods)
. Bow.
( irrss (rrz aAo Stars, (l¡eator (lr¡d, . Equilaterirl stick cr()ss, ofien
Bow
irrrd Quetzalcoatl) outlined; may be double or
Bow Tie ( srz X-Incur-ved) multiple. . Stick cross within circle.
. Fat or "red cross." . "Maltese cross."
Breath (srr nllo Ileart Line) . Line(s) from mouth to chest,
ending in heart-shaped object. ( llrring o Anthropt¡¡norph holding O- or
. "S" sign in center of fiBule. U-shaped object near another figure.
Bullroarer or Rhombus or Whizzer .Vertical rectangle with design. ( )vclone ( scz Whirlwind)
Butterfly o Butterfly. . Nested or connected l)¡ncers in Row . Rou of anthropomorphs, often
multiple tr-iartgles. holding hands.
Canoe ( srz Boat) l)llllraa ()r.Jinrs()r¡ Wet'rl (.rer z/.ro . Dots sur-ror¡nding ol arljat t ¡t to
( lcn
I)()ls a¡r(l I)lr()sl)lr( n('s) figrrrt'(s). ¡ Matr<l<'lalikt r ir r r¡l¡r
tipede or One-P<¡le l,adder o Vertical line bisected by many rlt'signs.
short lines; may lrave head, ]rorns at
t()p, logs al bolto¡n. l)r'rrtlr (vT, alvr I Icrt lk ss :tt ttl ( )ttt ing) oI l¡rsirk. rLrwrr iu)tlrr()lx)nror l)lr.
¡ IIr¡r it on tlrl iulllrr)lx,rri)r l)lr.
¡ IlcrrrlL ss rrrllr¡r¡¡x¡trot ¡rlr.
i7-
ASCRIBED MEANING SYMBOL DESCRIPTION
ASCRIBED MEANING SYMBOL DESCRIPTION

Fish . Fish.
l)cer r¡r Elk o
Quadruped with antlers. o Hoo[
print with two parallel V-shaped or Flute Player or Kokopelli o Anthropomorph in profile with
one U-shaped mark(s), often with Iine from mouth and arms holding
two dots at oPen end. this line, often with hump on back
. Diamond chain. and ithyphallic.
I )i:r¡¡ron<l ( lhailr
Pootprints (see also Sandals) . Footprints of bare human foot.
I )r |ts Datura, Enclosure,
(.§.r, /r¿so . Dots surrounding or adjacent to
:rrr l I'lrosphenes) figure. . Dos alone. .Dot in center Four Circles (sea also Warriors) oFour small circles, in a cross
of circle. design; may be connected with
¡Vertical line with dot head at top, lines or separated by stir k cross.
t)ragonfly
bisected by two (at times one), Friendship (.rrz alro Swastika and .Interlocking "U"s or "(1"s.
horizontal parallel line (s). Water)
Dumbbell . Two circles connected with Frog, Lizard or Toad . Zoomorph with tail, arms
Iine(s); may be embellished with upraised and bent at elbow, legs
designs. spread and bent at knees, often
¡ Standing bird in profile. . Bird with circular body.
Eagle ( see also Thunderbird)
facing front, wings spread, feathers God of Death or Metamorphosis . Anthropomorph with "pumpkin"
prominent. (Maasaw) head, round eyes arrd mouth. r Head
. Front facing anthropomorph with of anthropomorph in profile with
Ear Extensions large forehead ( "pac-man").
extension fiom left (usually) ear,
ending in arc or balloon. Goggle-eyed Figure (see Rain God)
Earth Altar Woman (seeMother of Grid (s¿z ¿lro Enclosures and . Abstract design of horizontal and
Animals and Hocker ) Phosphenes) vertical lines, usually enclosed.
Emergence (saz also Sipapu) . Spiral. . Double-linked spiral. Handprints (ree aAo Twin War . Print of human hand.
. U-shaped line (or dots) with Gods)
Enclosures (rrz aLro Dots and
Hunting) game animals enrering or within. Headdress (sez a/so Shaman and . Headdress of anthropomorph;
. Vertical lines like a picket fence 'l'ableta, Tablet, and Tabla) often includes horns, feathers, and
with game animals nearby. other materials.
Equinox (sez Solstice or Equinox) IIead [Iunting o A¡thropomorphs carrying human
. Two birds in profile facing each heads, often suspended from line.
Facing Birds . Head of anthropomorph alone,
other.
occasionally with Ioop on top.
Family . Two anthropomorphs-male and
t Ieadless (see a/so Death) . Anthropomorph headless.
female-together, occasionally with
smaller figure. I leart Line (se-r also Breath and . Line(s) from mor¡th to chest,
. Extended oval or rectangular X-Ray Style) ending in heart-shaped object.
Feather
object(s) above head of anthro- I Iocker or Receptive Female oFemale anthropomorph with legs
pomorph. . Same shape with step spread and bent at knees, often
design in end. showing lulva.
Fernale Figure (sre also Vulva) o Anthropomorph with hlled-itt llor'ns . F[()rns on thc head ol anthrr¡-
circles r¡n I¡oth sides r¡fhead. pornolplr ol z<xrrttotJrlt.
¡ Arrthrr¡ponlr¡rplr with down-turned
llr¡rsr'rrrr'rr . (.)rr:rrlr rr¡x rl willt :rrrtl:rrt¡x rrrror'¡rlr
"( I" ol vr¡h'¡ slur¡x' lx'lwt't'rt lt:gs. r¡¡r its lr¡rr l.

lr
ASCRIBED MEANING SYMBOL DESCRIPTION ASCRIBED MEANING SYMBOL DESCRIPTION

llorrullss .l I()urlllitss. Katcina-Savathlia, Tungrup, Hu. . Mask with two l¿rge horns. round
Hututu, or rvVhipper eves, arld toothed mouth.
Ilrrrrrrrr l'igrrrr' o Arrt h rr¡rrrrrrrph. . A¡thropomorph with arm raised,
Ilrrrrto s I)isBt t isc . Anthr'op()¡n()rpll wearinÉ{ animal holding stick or whip.
head, rrsrrllll carrling weapors l(atcina-Sh¿lako . Mask with large snout, h<¡rns and
Dear garne anilnals.
feathers. ¡ Ma¡k ls aboye o¡r top of
llrrrttirrg . Antl)r()p()morphs with rveirpons exte¡rded body.
near g¿¡rnc animals which are ()ften Datrlra or.limson
impaled. .limson Weed (.r¿.¿

Weed)
lr r i¡¡rttion . C()mplex clesigns with rvalel and
Kinship Lines (sez a/rrr Power Lines) o\4ri¡r1 lines colr¡rccting r()r)Íl)orphs
plant svnrbols. and other figures.
Krtcina Clla¡r . Masks. \'arious. ¡ Line bisected by
Kokopelli (sea Flute Plaver)
'V"s (s¡rrttce bough ).
Kwataka or Qaletaqa or Kwa tok<r ¡ Li¡rge unreal bird.
Katcina-Ahole . Mask, with feathers on top i¡r)d a
snout. l,ightning (.srz rzlso Snakes) . Wiggly line, with or withc¡r¡t hearl
at one end.
Krtcina-Cha'veyo . Mask, with big ears and top
feathersl ruay have strout \!ith teeth. [-ightning Snakes ( see Lightning
. Mirsk. black with spots and big and Snakcs)
K¿tcina-(lholawitze or Kokosori
cars. . Anthr-()po¡n<» ph with hig Lizard (sez Frog, Lizard or lirad)
eals and léather'; m¿rv carry spruce God of l)e¿th or
Nl¿rasaw (sr¿
bough atr<l wcirpr»r. Metamorphosis)
K¿tcina-Ck¡ud (rez n&o OIoud) . M¿isk or anthropomorph uith . (lun'ilinear meanders.
Maps
clor¡cl syr¡rt¡<>l on head.
llasks ( r¿¿ ¿1so I(atcin¿s) . Masks.
Karcina Clcruns (sez Krt< ina-
Ntudhead Clr>wns) Mi¡stodo:¡ and Mam¡n()tlr . Hea\}-bodied quadruped with
raised trunk.
Katci¡ra-Deer r¡r Sr¡wiñu . Mask, with deer horns on topi
mty havc snout with teeth. Maze . (lircular or rectangular design of
_f
.lvlas| with rrian¡¡le in the cer)tcr oI nested lines.
Katci»a-Dr¡¡ras o¡ t¡¡¡rash
the face a¡rd wing-like "ears.' Medicinc Bag . Trapezoidal design suspeDded
from a bar. o Oval with dots or rays
Katcina-Kokosori (.lre Krtcina suspended from an anthropomorph.
Oholawitze)
Meeting (.taz Dumbbell)
Katcina-llehea o Mask ol face desig», with t<>othed
rnouth at 4Sdegrce an¡lle. Migrations (see a&o Spirals and o Cun¡ilinear meander, . Double-
. Mask $ith steppe<l pyramid on Srvastika) linked spirals. .Swastika, \a,ith arms
Krtcina-Hemis pointing clockwise or counter-
toP.
clockwise.
Katcina-Mudhead (lk»rns . I Iead ol anthr()pomorph wirh
Mirror Images . Anthropomorphic or abstract
knobs r¡n sides or rop of head.
designs that look similar viewed
K;I< ina-Planet or Star . Mask wirh star in tlrr r¡¡iddle of norrnitlh or upside down.
ltrce r¡l' slitrs as ercs.
lllorrslt l Sl;¡yt.r' (rrr llow rrn<l 'l wil
Wru ( irxls)

,t1
- ASCRIBED MEANING SYMBOL DESCBIPTION ASCRIBED MEANING SYMBOL DESCRIPTION

l\'ft x,r r . Ciresccnt. . Hall t¡r I't¡ll cilcle rvitlr
Nlottritru Strrr (v,r,(ilrrss, St¿rls, atrd
()r r( t/;rl( ( )ll l)
Nl¡rtlrcr ol ,\rtiutirls (.rrz alro IIockcr
.rrrrl \\':rtcr Sk:t1r')
Nlr¡r¡rrtair¡ l,i<>n
\l<»rnlain Sheep (rrz alro Ooyote)
()¡re-l'r¡le l,addcr (slr (lcntipcdc or
()ne-Polc l,adder-)
l)arl-()t
P¡¡ttclrrc<l l]otly Anthropomorphs
Phallic Fisrr e (rrr «lv; Flrrtt' Plalcr)
Pltosphcnes (.rle nlso Oonct'ntric
(iirclcs anci Gli<l)
['it arlr[ (]roove
Planetariunr ( srr alro Stirrs)
I'hrrled Serpent (.rrc rilro
Quctzalcoatl, Oross and St:u )
Ilrtlt'11 or'I cxtilt' [)esigns (saa nlro
Iilrrrrkt t Dcsigrrs)
l'r¡rrcl Lirrt s (ra,rrlro Kinslri¡r l.irrcs)
I'raying Person . Anthropomorph rcith both hands
dot. o (}¡rnpletc circle ñllcd in. upraised.
I'regnancy (.rer «lro Birthing) o furthropomorph or zoonrorph
with small ligure witlrin body.
.llockcr.. with filled-i¡ circlc on Qrretzalcoatl ( srz nlso Plumed . Singlr-- or dot¡hle-r)l¡t li¡ed ('rL,\s.
e¿rch side ()f b()d\'. . \\I¿rter Skate, Serpent, Oross and Stars) . Snake with head plume. . Iluman
with two c()ncentlic circles head rvith tall hat; nray have snake
()ve.lavi¡f{ body. body.
. Qrradnrped u'ith ball-like féet, Rabbit . quadruped with lorrg car-s.
sh()rt ears, krng tail, olten dr¡ublecl- Rain .Ilorizontal lilc with vclti< al Iines
hack orrr h,,d¡ ,rr extcrrrl.rl tt1, ot descending from it.
down.
Rainbow . Arc of parallel lines, witlr < rrrls
. Quadnlped witll one or t\{()
pointing down. ¡ Ilorizo¡rt¡l lcctirn-
horrrs ctrning l>irck over l¡odv. glc cnclosin¡¡ short verlicirl lir)(,s.
. Qrra<lruped with horns spreading
lefi antl right. Rain (lod <» Tl¿rloc o Gogglc-eyed anthropomor plr,
often with dcsign on bodv.
o Vcrtical design of. connected
rectangles, ofien with "eyes."
¡ Bir rl ir Pr¡¡filr. witlr, r¡r rc¡l lrr.rL . Vertical line bisected with line(s)
Rattle
and triangrrlar body, often lvith (» oval(s), ustrirlly carried by zrn
lorrg lail. anthrop()morph. r Single or dotrblc
. Anthloponrorphs rvith complex ()val on stick.
designs on bo<I,v. Rattlesnake (sez Snakes and
o Anth ropomolph witlr phallus. Diamond Chain)
. Thr-ee c(»rneated dorvn?oirting .Vertical line with dot herd anrl
Red Ant
triangles. dot body. . Vertical line lvitl¡ "V ' ¿rt
. Patterns ()f d()ts, checkerl¡oa¡ds, t()p and circles bel()w.
grids, circl<'s, crosses, spilarls, Rht>mbus (sez Bullroarer)
Jrarallcl lirrt's, ('tc., s()nlctirn(:s s('erl
'r{ith t}rc eycs cl()scd. River (sez alro Snakes and Maps) o Meanderinq line in complex
desi¡;n. . SnakeJike figure, possibly
. Mr¡ltiplc pits on rrrck sr¡rfa('e; rn¿ly
with head.
inclrrde ¡¡rooles :urr()ng flre pils.
Roadrunner (sae X-Incuned)
. () osses, r¡sually paintcd, ()f
r'iuai¡g sizes, (m the r(x)f ()f cave ()r Run ner o Anthlr¡p<¡rnr¡r'ph nr¡r rirg.
sheltt'r. S¡ndals ( .rP¿ ¿r¿r¿ Footprints) . Foot-shaped rk'sigrrs, ofir.rr rritlr
. Snakc *ith plumc on hcad or rnay' It'li arrtl right sll(^(r: s()rr lrr\{
lravt: hurnarr-likc hcixl nith tall hat. inl('r-i()r pilllclrs.
. (i)¡nplex designs, rrsrralll seen on Sccrl¡xxls ( srz l)iarrror<l Ohairr)
p()ttc¡f ()¡- tcxtilcs.
S('lll( rr( r)ls (rrr ( lrrrrr.rrtr ir ( iirrlr.s)
. W¡rv li¡rt's, c¡¡ra¡ati¡lg fi()ur
Sr :rl¡rs ( vz I lorrr gl.rss)
lll)llr1)lx)n¡)¡ l)lr. {)lir'rr (orrrrccl irrg
u itlr otlrcr ligrrr cs-

'11)
7
ASCBIBED MEANING SYMBOL DESCBIPTION ASCRIBED MEANING SYMBOL DESCRIPTION

. Anthropomorphs with horns or Squash and Squash Blossom . Ship's wheel de sign. o Open
Slra¡¡ra¡r (.r¿¿ ¿&o Bird-Headed
Ilrrnitrrs. Ouring, and Patterned special headdresses. florrer in proñle. . Dots. . String (l
l}rxly Arrthropomorphs) co¡ nected circlcs.
.Vertical lines enclosed in oval Staff ( se-e a1"ro Crook) . Lonے line, with object or cun'e at
Slr<'ll
frame- . Spirals. one errd, often carried by
a¡)thropomo¡-ph.
Slr icl< l o Circle or oval, with interior
Stars (sae also Cross, Planetaria, and . Four isoceles tri¿rnglcs.joi¡red at
design, often with head, Iegs, and
spear shown around edge. . Design Quetzalcoatl) bases to for¡n st¿r. . Equilateral
in circle. oval, square or rectanBle. cr<¡ss. t¡ften outlin('d. . [)()ts.

Slr line . Rectangles witlr interior designs. Storvteller (sea Waving Man)
Sun (.rzr alro Concentric Oircles, Pit, . Circle with rays. . ( i)ll( ('r ll'i(
Sickness ( see Curing)
and Solstice) circles, often wittr dot ir ( ( Úl( r'.
Sipapu or Sipapuni (szz Shrine, ¡ Dorrblelinked spirals. o Rectangle . (lircle with face or ctt'sigrr:.
Spirals, and Emergence) with interior design. o Ci¡-cle with cross and ¡-a)s. . I'it.

Skeletons (r¿z X-Ray Style) Supernova . Crescent with circle or stlrr.

Sky God (rze Creator Cod) Swallower . Anthropomorph swallowirrg
Snakes (rre also Lightning, River- o Wiggly lines, with or without head arrorv, stick or bough.
and Diamond Chain) at one end. Swastika (sez afto Friendship and . Swastika, with arms pointirrg
Solstice or Equinox ¡ Spirals. ¡ Concentric circles. Migrations) either clockwise or counter-
clockwise.
Spaniartls ( sre Horsenren )
T-Shaped ¡'l'-shaped.
Spear (sa-rArrow)
Tablet, Tableta, or Tabla o Ste pperl-pyramid design worn
Spear fhrower (sea Atlatl) on top of the he¿xl <¡r mask.
. A¡thropon)orph, zoomorph or . Rcctang\rlard( sign on wooden
Speech
absü-act design, with shape, often boa¡d rrsed by sharrrirn.
commalike, exiting from mouth or Thunderlrird (see ako Eagle\ . l'lying bird, wings outstretched,
associated with it. féathers olien prominent.
Spitler and Spider Web . Zoomorph with circular body Tlaloc (.re,e Rain God)
and rnultiple legs. . Design with
radial spokes, connected around Turkey o Bi¡rl in profile, with drooping nose.
. Three-toed footprint <¡f biId.
circumference.
Trvin War Gods ( ¡¿¿ r¡lrr¡ Bow, . T\ro sr!rall anthr(rp()m()rphs,
Spirals (sce also Emergence, 'SPilals.
Migrations, rvVJrirlwind, and Hourglass, and Handprint) without facial féatures, but with
"pony tails." oTwo parallel lint:s.
Solstice)
often on cheeks ofanthropom(n l)lr.
Spirits ¡ Unusual life forms. o Bow and hourglass. . Red hl¡r(1.

Spirit Helpers o S¡¡rall zoomorphs near anthro- 'lw<¡Headed (sez a/.so Birthing) o l1¡emorph uith head irt lx¡tlr crrrls.
pomorph, often at head and
shoulders. Venrrs (szr Oross, St¿rrs, and
(¿l¡('lzrl(r,¡ll)
\¡rr t ;rrl l.egged Figrrr t t Hor ket
'rr Vrrlvrr o ()val or trianglt: verli(al¡\ l)i\r'r t( (l
rrr llt.r r'¡rlivc lienrtlt')
by Jir t c.

:t I
ASCRIBED MEANING SYMBOL DESCRIPTION ALPHABETICAL INDEX BY SYMBOL DESCBIPTION,
PLUS RELATED ASCRIBED MEANING
Walri( )¡ s (.v,¿ r¿¿ro C<¡rnbar and Four . Anthrop()m()rphs with shields,
( lirr k':) rveapons. and possibh' hel¡nets. SYMBOL DESCBIPTION ASCBIBED MEANING
Wlrt cr ( v,r, z/.ro l'rienrlsl-tip) o Horizontal waly lines. o lnter-
locking "U"s or "C"s. . Spirals. Anthropomorph
with big ears and feather¡ mav Katcina-Cholawitze
\\'irl{ r ( i)rn(l . Round obiect, enclosed in a
carrying net, <¡fien carriecl bv , carry spruce bough and
weaPon
anthropomorph. . Double-round with bird in place of head or on Bird-Headed Hur¡an
obiects coDnected one to the other. top of head
\{':rl('r Skate . Zoomorph with dot head and with filled-in circles or ovals Female Figure
horns; arms and legs bent down at attached to both sides of head
elbows and knees: als<¡ has ¡ail. carrying human head(s), often Head Hunting
. A¡thropo¡n()rph with o¡re hand
suspended liom line
Waving Person wi¡h cloud symbol on head Katcina-Cloud
upraised. with complex designs on body Patterned Body Anthropomorph
\{'eeping Eye o An throponrorph with.larrt lines front facing, üth extension from Ear Extension
descending lrom eyes. ear usually his left, ending in
arc or balloon
Whirhvind (.rrz also Breath, Spirals, oSpirals. . ¡\n thrr¡pomorph with
with extended arms and legs Corr¡
and Swastika) spirals attached or within. rvith eyes t}¡at have slant lines Weeping Eye
Whizzer (se-a Bullroarer) below
female, horned, with arms and Mothcr of Animals
Wolf ( ree Coyote, Dog, or Wolf) legs spread, bent down at
X-lncr¡ned ¡ X" shape with tips cr¡¡1,cd in. elbows and knees, with two
concentric circles overlaf ng
X-Ray Stvle (see also Heart Line) . Anthropo¡norph with bones ¿rnd
body
internal organs showing. female, with spread legs, bent at Hocke¡
knees, often showing nrlva
female, with arms and legs Mr¡the¡ of A¡rimals
spread, arms bent up and legs
bent down, often shoüng
rulva; has filled-in circle on
each side of body
with small figure between legs or Birthing
adjacent to main figure
goggle-eyed, often wiü designs Rain God or Tlaloc
on body
with both hands upraised Prayin¡¡ Person
rvith one hand upraised Waving Person or Woman
head of, circular, with toothed Katcina-Hehea
mouth at 45-degree angle
head of in profile $,ith large God of Death
forehead
head of. with knobs on the head K¡tcina-Mudhead (ilown
head of, occasionally with loop at I Icarl Htrntin¡¡
t.)P
hc¡d o[, with tall hal; rrray hrvc (.)rrt tzlrl oirll
srrakc lro<ly
SYMBOL DESCRIPTION ASCBIBED MEANING SYMBOL DESCRIPTION ASCRIBED MEANING

head of, with two deer anders Katcin:r-Dt:cr Anthroponorph, zoomorph, or Speech
ab(rvc abstract design, with shape, often
hoaddrcss of, often includes Headdress comma-like, associated üth it or
horrrs, feathers, and oüer exiting from mouü
¡naterials Arc of parallel lines, with ends Rainbow
hc¿¡dlcss Death
hrrrizontal Death
, pointing down
witlr horns or special headdress Shaman o¡ Headdress Arrow Arrow
witlr line from mouth and arms Flute Player Banana-shape, horizontal, with Boat
holding üis line, often with multiple vertical lines extending
hurnp on back and ithlphallic from top side
wcaring mask üth large snout, Katcina-Shalako
horns, ruff and feathers on top Bird(s)
plus circular body extension flfng, wings outstretched, Eagle
with phallus Phaltic Figure feathe¡s often prominent
with "pumpkin" head, round God of Death flf ng, winBs outstretched, Thunderbird
eyes and mouth feathers often prominent
running Runner in profile, with curved beak and Parrot
with shield, weapons and/or Warrior trianEular body, often with
helmet long tail
with spirals attached or within Whirlwind in profile, two, facing each other Facing Birds
body in profile, with drooping nose Turkey
swallowing arrow , stick or bough Swallower large, unreal Kwataka or Qaletaqa or Kwa'toko
upside down Death with long legs Crane or Hert¡n
holding U-shaped object near Curing sta¡¡ding, in proñle Eagle
another anthropomorph track üü th¡ee prongs Crane or Heron
with dowDturned "U" or n¡lva Female Figure track with three prongs Turkey
shape between legs Bow Bow
with weapons near game animals, Hunting
which ar<' often impaled Bow and hourglass Twin War Gods
wearing animal head, usually Hunter's Disguise Bullroarer Bullroarer
carrying rveapons near game
animals Butterfly Butterfly
Anthropomorphs, two, male and Family Circle(s)
female, togeüer, occasionally complete Sun
with smaller figure complete, filled in Moon
Anthropomorphs, two, small, Twin War Gods concentric Concentric Circles
without facial features, but with concentric Solstice-Equinox
"pony tails" concentric, often with dot in Sun
centea
Anthropomorphs, row of, often Dancers in Row rvith face or designs Sun
holding hands four, small, in cross design; may Fr¡ur (lirdcs
Anthropomorph or Zoomorph be c(»lnectcd with lines <¡r
with bones and organs showing X-Ray Style separale(l by sti( k ( t ()ss
with small figure within body Pregnancy half or full, with dot Mrx¡l
two, connected at genital area Coitus nested, sometimes with d()t Srrn
v-
SYMBOL DESCRIPTION ASCRIBED MEANING SYMBOL DESCBIPTION ASCRIBED MEANING

()r ()val, with interior destn, Shield ship's wheel Sqrraslr lSlossonr
often with head, legs and stepped p¡ramid, worn (» top ol' Tablt'ta, 'I'able1, or 'l'irblir
spear shor,§rr around edge head or rnask
lw(), connected with line(s); may Dumbbell T+haped 1--Shapcd
lrc cmbellished with designs that look similar üewed normally Mirrr¡r I¡nages
with rals and long tail Comet , or upside do*rr
with rays Sun trapezoidal, suspended from bar Medicine Bag
witlr cross and rap Sun vertical, of connected rectangles, Rain (krd o¡ Tlaloc
often üth "eyes"
(lrljscent Moon
(lrescent, with circle or star Supernova Diamond chain Diam<¡nd Chai¡r

Cross(es) Dot, in center of circle D()ts

Fat or "red" Cross Dot. in center of circle Beans (also (krrn, Squash)
four-pointed, like connected Stars Dots, alone Dots
isoceles triangles Dots, pattems of Sta¡s
Cross Dots, surrounding or adjacent to Datrrlir or.linrsor Weed
"Maltese"
"Maltese" figure (s )
Queualcoatl
stick, equilateral, often oudined; Cross Fish Fisl¡
may be double or multiple
stick, equilateral, often oudined; Forms. unusual life Spilits
Quetzalcoatl
may be double or multiple Hand, red 'I win War (lods
stick, equilateral, within circle, Cr<¡ss
often with dots surroundin¡; Horns I Iorns
circle Hourgla.ss Hotrr¡¡lirss
stick, equilateral, within circle, Quetzalcoatl Hourglass 'lwin \Alirr Oods
often with dots surrounding
circle Line(s)
of varying sizes on ceiling of cave Planetarium bisected with "V"s (spruce [vrtci¡ra (]l¡ur
or shelter bough )
throrr¡¡h circle(s) Atl¿tl
Design(s) from mouth to chest, ending in Hcarl [,irrt:
abstract, of horizontal and Grid heart-shaped object
vertical lines, usually enclosed rvitlr hook at end Adatl
circular, mandela-like Datura orJimson Weed with hook at end Beans
in circle, oval, square or rectangle Shield rvith hook at end (lrook
complex, usually seen on pottery Pottery or Textile Designs long, with object or culye at one Staff
or textiles end, often carried by anthro-
complex, with water and plant Irrigation pomorph
symbols; may be in form of meandering, in complex design Rive¡
map nested, in circular or rectangular Mitzc
foot-shaped, often with left and Sandals design
right shown; some have slant, descending from eyes \t'ecpine livc
interior patterns two parallel, on cheeks of 'I rvir¡ \{'irr ( }rxls
with radial spokes, connected Spider or Spider Web añthropomorph
around circumference U-shaped line (or dots) with l'l¡tr'L ¡sr¡r¡
rectangular, on a wooden board, Tablet, Tableta, or Tabla game animals cnlcring or
used by shaman within
rectangular, with interior design Shrine $ary, c()nnccli g zoonri)r¡rhs an<l lrir rslri¡r I irrls
ship's whcel S¡rirlcl irnd Spidcr Web ()lhcr l'¡g¡¡t-(.s

't
7
SYMBOL DESCRIPTION ASCRIBED MEANING SYMBOL DESCRIPTION ASCRIBEO MEANING

w¿rvy,(rnanatinH from anthro- Powe¡ Lines rritlr stepped py,ramid on top K.rtc ir r¿-Herr is
\\ it lr toothed mouth at 4Sdegree IGtcina-l Iehea
¡x»»orphs. r »fi r.r r con rrccting
witlr otlrr.r igtrn's
f
angle
wiggly, with r¡r without head at Lightning rlitlr triangle in center and wing- Katcina-Dumas/Tumash
(¡n(. (.Dd Iike "ears"
wiggly, with or without head at S»akes .\illr two large horns, round eyes, !(atcin a-Sayathl ia
(r¡r. (]nd and toothed moutJr

l.ir('(s ), horizontal Mcander, curvilinear Maps

rvitlr stacked inverted half-circles Cloud Meander, curvilinear Migratious
or step pJramid above; may ( )trject, round, enclosed in carrying Wate¡- (lourd
have vertical lines below (rain) net, r¡sually carried by anthropo-
with ve¡tical lines extending Rain morph
down from it ( )hjects, two, round, connected to Water Oourd (double)
wavy Wate r each oüer
üne(s), vertical ()bject(s), oval, oi rectangular
trisected by line(s) or ova.l(s), usu- Rattle extended, often on head of Feather
ally carried by anthropomorph anthropomorph
bisected try many short lines; rrrav Centipede or ()ne-Pole Ladder extended, üth step design at one Fea(her
have head, horns at top, and end
leg§ at bottonl Oval, bisected by vertical and (lorn
bisected by many lines which may Corn horizontal ünes; may have clots
slant downward r,' ith in tht sc lines
$,ith dot head, bisected by ttvo Drago»fly Oval, with dors or rays, suspended Medicine Bag
(at times one) horizontal from anthropomorph
parallel lines Oval or triangle, vertically bisected Vulva
rvith dot head and dot body Red Ant by line
enclosed in oval frame Shell Oval(s), single or double, on Rattle
Irle picket fence. ganrc arri:rals E¡rr:losures vertical line, often carried by
rtearby anthropomorph
usually with design at end, often Staff
carried by zrnthropomorph Patterns of dots, checkerboards, Phosphenes
with "V" at top and circles Red Ant grids, circles, crosses, spirals,
overlafng line below parallel lines, etc., seen with eyes
closed
Mask(s) Masks
Pits, multiple, on rock surface; may Pit and Groove
Mask also include grooves among pits
with biB ears a¡¡d top featlers; Katcina-Oha veyo
olien has snorrt Print(s)
with deer horns on top and snout (atcina-Deer ofbare human foot Footprints
wiü teeü of hoof, with two parallel Deer or Elk
with large snout, horns, and Katcina-Shalako V-shaped or one U-shaped
feathers mark, often with two dots at
with large snout, horns, and Katcina-ShalaLo open end
feathers on top of extended ol human hand I Iarr<l¡rr int
body r rl paw, with claws llirrlgcr
wit)¡ snout and featheis o¡¡ top l(;r tci¡r ¿-Aht¡ie r rl paw wilh claws li':r¡
rvitlr slar in middle of face Kalcin¿r-Pianet r¡r Star ()f p:rw, with dols li» l(x's a[(l lk rrr
r¡l'tcn with horns I(rt< i¡rr ( llit¡r claw ¡xrin(s

't( I
SYMBOL DESCRIPTION ASCRIBED MEANING SYMBOL DESCRIPTION ASCRIBED MEANING

three-toed footprint of bird Turkey "U"s and "C"s, interlocking Water

Quadruped(s) "X" with tips curved in X-Incurved

witlr anthropomorph on its back Horseman Zoomorph(s)
with antlers Deer or Elk with circular body, and multiple Spider and Spider Web
largc, with claws Bear . l"g"
witlr long ears Rabbit with dot head and horns, arms Water Skate
hcary body, with raised trunk Mastodon or Mammoth
and legs bent down at elbows
with ball-like feet, short ears, Mountain Lion
and knees; also has tail
long aail. ofien doubled-back with head at botl¡ ends Two-Headed
over bod¡ or extended up or
dov¡n
head of üth ears and long snout Coyote, Dog or Wolf'
small, near antlrropomorph, Spirit Helpers
with small ears and tail, often Coyotes, Dogs and Wolves
often at head or shoulders
near game animals with tail, arms raised and bent at Frog, l,izard, or Toad
small, with claws Badger
elbows, legs spread and bent
with one or two homs, curving Mountain Sheep down at knees, often with
back over body
circular body
with two horns, spreading left Mountain Sheep
and right
Rectangle, vertical, with design Bullroarer
Rectangle, horizontal, enclosing Rainbow
short vertical lines
Rectangle, with interior design Sipapu
Rectangle, with interior design Shrine
Snake with head plume Plumed Serpent
Snake wiü head plume Quetzalcoatl
Snake-like figure, possibly with River
head
Spiral, single Emergence
Spiral, single Shell
Spiral, single Solstice or Equinox
Spiral, single Water
Spiral, single Whirlwind
Spiral, double-linked Emergence
Spiral, doublelinked Sipapu
Spiral, doubleünked Migration
Swastika, with arms pointing either Swastika
clockwise or cormterclockwise
Swastika, wiü arms pointing either Migrations
clockwise or counterclockwise
Triangles, four, isoceles, joined at Star
bases to form star
Triangles, multiple, nested or Butterfly
connected
'l'riangles, tlrree, pointing down Phallic Figure
v
Arrow Af fOW (cont¡nued)

il

hctographs, Baja Califurnia, Mexico

'fhe belief that shamans could
cause illness by sorcery and that by
killing the suspected evil shaman,
Petrogllphs, Diabb Dam, l'exas
ind ividuals could 'purchase rheir
These spears have been likened to the A¡chaic Slrtttnlir poitrt (Sulherlarrrl own health and life" (Aschmann
and Steed 1974:3). In sorne cases the poirrt itsell takcs oD iuthr()punoI'- 1966:66), was a universal theme in
phic aspects and appears to be a very stylized man n'ith raisetl atns. Thc the central and southern regions of
man becomes the point or vice versa and ;rgirin sh¿rr¡¡anic powcr is irn- the peninsula. I would suggest,
plicit. Along with these elements are Iturnerous figures of s<¡turre-hrrlit rl however, that arrows . . . are used,
deer and mountain sheep, common)y pierced by a spear. ()ne canrl(ll es- in most cases, to symbolize the
cape the feeling that this is a site with magical power, that it rvas an itnpt'r- negation of the powcr of a shaman
tant hunting shrine. l;, lSchaafisrna 19{30:561 or animal in conjunction with a
mythological metaphor.

wf Vt*
(Above) A black deer lras the Petrogl\phs, 'I'hree Riuers, Neu Mexico
arrow shaft placed over the body,
holding the animal in place. Petroglyphs of desert bighorn
(Above right) the mythological sheep with arrows.
being or evil shaman is being held fGrant 1978:1921
in place by the arrows across his

ut tt ilt
body, negating his power.
ISmith 1985:46]

I'¿trogbphs, Coso Range, CaliJomia

('lirp row) Anthropomorphs with Proiectile Pc¡ints . . .'fhc shape ol the
l¡ ¡ints \ul{g('\l lx,l lr )m-tt,,l( l)r'(l :tt't ow ¡,,,irrls.
(ll()lt()rn r()w) I'r'ojcctile ¡roitttswillt fi¡t'shafis. (ilottpon lcliarc lllollablv
A
t\
ti
Hopi Mesa.r, no¡ lluttt Arizono
Figtrrc (iüxrvc) givcs skr.tr h<'s (of
Petroglllth, Colisl¿o, Nao Mr¡i,ll,
'l ltct-c at-e . . . arr<¡w swtllrwct s
rrrrow ¡xrirrls. Rr'ttritirrilrl¡ gtrrtt¡rs rrrttv lx :tllall ¡xrirlls. p('tr'()glyl)lrs) ol tlrt . . . <lillclr.r¡t (Sirrrs I 1){ill:2 I ll).
l(iIltrrt. lhitrl :rrrrl I'rirrglt ll)0t3:il7l Iir¡¡¡¡sr¡f :rrrr¡ws. llU.rlL rv l¡{1):l:7lfil I S< lrtirlsrrn I1|tt{):2{il-r I
v-
Atlatl or Spear Thrower . Line through circle. Line with hook at Atlatl or Spear Thrower (cont¡nued)

,fhh fi
one end . Line through c¡rcle(s), often
with hook at one end, loop(s) at other

ln Rock Art Actual

Hook or SPur
I

f
Weight or charmstone I

Thc irtlatl or spcar throrvcr

rvas a
Hand grip with notches or
finger loops
rr,¿rs man's lirst-cfficicnt hunting rvcir¡ron. It
straight stick ¿rl¡orrt l$'o fi'cl in lelgth with a hrxrk ol sprrr at the Ii¡r
s, lpT f,,i
t'nd and ¿r hand grip with notdres or finger l(x)ps:lt lhe othcl-c¡rd. C)r)c ()r Pelrog\phs, Coso Range, Califunia
sclerirl weights or chann str¡nes weLc ticd to thc slrali. I'hc spea., olcr Petroglyph figures wirh atlatls, Pet-
lour féet in length, had a corric:rl rlepression af ils l¡rrtt end which I'ittt'd roglyph and Renegade Canyons,
inlr¡ the hook or spur'()fllre alla(1. Coso Range. [Grant et al. 1968:54]
ln r-()ck art the rveights or dr:rrnl st()nes:u-c nrtrch t'xirggeralt'tl irr sizc,
due ¡rrobirbly t() th( rnirgic thcl supp()s( dly c(»rlainerl-nr¡gic t() l{lli(l(' tlrc
spcar to its tirrgct.
Tbc ust ofthe irilall began befirre l,(XX) B.t:.,.()nlirrlrirr¡{ lo al¡orrt 500
i¡l thc southwcst, wlrcrr it wits srrJr¡rl:u¡tc(l bv tlr('lxrw alrcl irr-r-r¡w.
^.t). [,\lit'r' (ir-ant I 1)71)]

11$ t I I
P?lrogbphs, Picatho Mountains, Arizona

Figur« ti. I3. Wrstern Ar( hai( lradi-

tion petroglyph on panel F-I3,
arl¿rl. Shclter Gap, Cluster F.
IWallace and Holmlund 19{i6:97]

Pctrog$lth:;, Coso llange,

The stylized atlatls
t t$ { O iJó»fut
al¡n()st invaliirl¡lt shorvn witlr orc, t\!(), ()r tlllcc
¿rrc
sl()ne wei8hts ¿rttachecl to the wezrp<»1. . . . I'hcsc str¡ues addcd litdc tr¡ thc
n
Pictographs, Seminolc Canlon,'l'exas
The shaman figures assume a dis-
tinctive form. . . . Thev are usually
single shade ofred, elongated and
large:40{ are over 6 fr. rall. arrd rix
a

cfli< icnc,v rl the atlatl ¿rnd it is likell their chief firnctiorr was as charr¡ ,,[them are over l0lr. in hr.i¡ihr. . . .
'fhey often lack heads. . . . More P
sl()r)( s (,r' li'tishcs tr¡ blirrg luck to tllc huDter. . . .'l'he (loso atl¿rtl stones
I'etroglyph.t, Sktu ol I tteh
rrl( glr llllv ('xags_('r:ttttl in pr'o¡xrttion 1() lhe sirt of thc rvc¡¡rott. AJrlarrri than half <¡f the . . . sharrra¡r hold arr
lrlt cr¡rllrrlrliorr f()r' tlris ( xirgg( r ¡lior is llrat it rnight irr< rt.ast' th. (,llitli\.e- atlatl in the lighr h;rrrrl wirlr tlrr. l,r¡< lrlir¡lt <l All¡tl ¡x lrrrglrlrlrs irr
¡rcss of llrr' ( lr:r rr slr)n( s il llrrr wclr' (l( l)i( l( (l ils \( ry liu t( . llrtt <¡l a Ii'lrtlrr.r t.rl rlirrt irr ¡rlrrr r. Strrlc oI I ll:¡lr.
l(ir:rrrt. llrrirrl irrr(l l'rirgl(. l1)(;8: 11)l rtg:rirrsl it. lNr.wrrrlrlr l1)7{;: l¡t:tl l( i;rstlctorr :rrrrl Mr¡lsr.rr l1)f{l:17!l

tt
7
Badger
IMurie 1954:82]
Petrogllphs, Gallisteo, Nao Mexico
Rio Grande Style petroglyph (oi)
badger. lSchaafsma1980:270]
Drau.ring of bad.ger from petrogfuh
The badger is another animal god,
and highly esteemed for his curing
powers. especially anrong the Hopi.
Because he lives and digs in the
ground he . . . knows roots and
herbs which "he is always scratchiog
out." According to legend the bad-
ger taught the Hopi how to use
tlrev' fi>r < uring, knt.rwledge that
lrrl ro tlrt. fourrding of thc still
(
inrlxrr tilnt lla<lgcr ilatl-
I l':rr krrlrl l1)74:213
. Small quadruped with claws
. Paw print with claws
Badger Trucks
(Top) Badger's left front foot.
(Bottom) Badger's left hind foot.
Badger tracks, shown herewith, are
extremely toed-in, and the long
claws of the f.ont feet . . . leave
marks. lMurie 1954:82-84]
*& *l¿ Ú
Petrogllphs, Wi¿lru Springs, Arizona
Badger clan, symbols tHopil recog-
nized by Edmund Nequatewa, a
Hopi Indian. IColton 1946:4]
(Abooe and fubu) Signalwcs of Hopi
at archaeologcaL site, noñlvrn Arizona,
1897
Yoyowaiya (liom Sircomoü I Honani
gens (badger clan); toterns: (above)
badger with bundle of medicine on
back and purification feather in
forepaw and (below) badger's paw.
lFewkes 1897:1-11]
1) |
Beans . C¡rcle with dot in center
. Line wilh hook at one end
C-'
,:Ü
9
Paintíng of lloli hathi fí!üri t
.\\ T:r.la vai (Mornirrg ka< lrirra) ligru irrr..
l\'trog$ph on bouldo oJ i»igtted larm
The eye. fuaru'lrusil, rrt wly s¡rrrrrrlcrl
it'! ,trcu, .\unt»u Rtt,,t. \unotu. Mtx¡ru
bean planq dre rnor¡tlr, /¿?'/.r¡'(/
I'ispecially evident i¡re the accurate huhundta, snipe f ootPlir)1.
l¡ ¡t ntions of the rnai¡r river channel, IStephen 193fi:21l, t latc tll )
tl..r: acequia madrt or pritcipal irrigzr-
ri()rr ditch, fields. ¿rnd the adjace[t
|)( rrn¿nent habit¿tic¡n sites. The
r( tt¡al locations offields are indi-
( rrted on the
Blyph by dots within
, rr r lr.. TIri. par tir rrlar icurrogrirplrit
rrrr¡tifhas becn interpreted as maizc,
lx aus, or squaslr plants in another
I)itrt ol Mexico (Mountjoy 19U2:119,
lx'low). lDoolittle 1988:4G471 . Jt,
Paintihg of Hopi kodtit¡L
ff'
The picture r¡f Muzlibi, the Bean
kachina, has on each side of the
mouth, the sprouting seed ofa bean.
I'itlographs, I'omatlán Rítrr, Jali st:ct, fFewkes 1903:101, PL. XXXIX]
Commcnl on bean pLanting .er?monJ
l.r¡¡nlr<¡lr¿ (1900) recorded the fre- At the full of the December-January
(
lÚcnt use of dots to indicate m¿rize moon (1887-8) . . . Pona'mLr chief.
kt r rtels, ears of maize, squash or
who is the Kachina clirn chief,
lx well as raindrops and stars
rrrrs, as plants beans secretly in Chicf kiva
,,rr occasion. Perhaps the clump of
. . . (p.155).Jan. 26-Maint¡ir l¡ot
li¡rt'circles or dots within circles
ñres in the kivas. . . (¡r.llil2). lirrr.
,.rt¡ be iDterpreted as nti¡ize. beans 3l-This rnornirr¡¡ ll:¡¡¡s rrlr l
,'r s(l\rash. IMounljoy 1982:l l9l plucked and gatht'rcrl lr onr tlrl
'CD boxes an<l pre¡rar<rl irr .r slr.w .r¡rrl
lÚ
scrved t<¡ tht'¡¡rt rr in tlrr'lir.rs.
)loItó (p.?1-r3). Prrw;r'rrrr is rt r cr crr¡r¡rrr
.
.I
óe
\¡tnhtls rtnn¡r»tl¡, ttwl on (llolti) I)¡'(,lll|r,\tir:rli¡)l|. f¡¡r ¡'rI¡ ¡rr l,¡¡ tlrr
y( irr''s I r(r[) ( ()ul(' lr r¡rrr tlrr' ]1r,,rr tlr
()l lltc t itrIrl lx rrrrs (¡r ll'lrt
lk.rrr s¡rr()rrt- l( l! 'lf0rr l1lll):l8l lstr ¡,lri rr l') t{,I
t')
7-
Bear
I t ?
. aaaa
ü
l)ear l'tacks
U P
Petrogl.vphs (except lower right
which is painted) from left to right
in order: California, New Mexico.
Nortlr Carolina, Nebr'¡.1.r, ldaho,
and British Columbia.
IGrant 1967:57]
Comment on bear in Indian lile
The bear uas a most important ani-
mal to the North American Indian,
the living symbol of strength and
courage. To kill a bear, especialh'
the formidable grizzly, was a greirt
feat. . . . fhe grizzll arrd l)rr mtre
timid black bear are the most wide-
spread of the Nor¡h Amerit ¡n car-
nivores and played a major pirrt irt
tribal ritual and rnythology.
IGrant 1967:55]
ütrw
#D*
(Abou arul beknt) Signatures of llopt
at archaeologtcal site, northern Arizona,
1897
All a¡e rrre¡¡rbers of the Bear Clarr.
Symbols are bear paw, except lower
right above which represe¡rts
bearskin rr¡be. [Fewkes 1ti97: l-11]
IR
. Large quadruped with claws
. Paw print with claws
. Paw print w¡th dots for toes and claws
#
# v-q
+'
Beo¡ Ltuck¡
(f.elt) Cirizzly hear, lefl fi'ont and
rear foot; (r'ight) black be:rr, left
front and rear fi¡<rt.
INfurie 1954:25-28]
PctroglJphs, lJa¡ul¿lin National Park,
. . . miig¡rificeDt beirr.
IRo)tn ct al. t9[i9:108]
Pd, ogl)ph \. (.ot'h't I'n h. N¿¡' .1f"rl,u
In the I'ucblo uorlcl. the bear tr¿rck
stands for the < trring power ol the
bear, ¿rnd the paw is eqrral in pot'er
to the mask crf r¡ttre¡ deitics. \A'hen
Keresan shanrans ptrt on their beirr
paws, tl¡ey "becaure bears" (Pa¡sons
1939:170). Bear- paw efli¡Jies fi-orn
Tul¿rosa (lirre datctl c.D. 799-900
(Martür and Plog 1973: 186, Plate
35) afñrrn the aucicnt significance
,,1 llri. r'l,.rnent irt tlrc r't r't rr,,rrial
lilt'<l ll¡c In<li¡r¡rs <¡f tlrc Sorrlhwesl-
I Sclr:urlsrtrt I 1)ltO: I 1)1-),
Bird-Headed Humans . Anthropomorph with bird in ptace ot
head or on top of head
rs
4r
rFT
l---"t>
Y
ñl^
/\
Il|rogbphs (tol rou) and pictographs
l,?maining rous) of ürl-headecl hu-
lnns, Conlon de Chell¡ and Canyon
lcl Muerto, notihem Arizona
{ )fien birds appear perched on the
lrt'irds of hum:rns or even in place
,I the huma¡r head. Not all of thesc
l)('rching trei\tu¡ es appear to l)c
trr|ke1s, but iD a siBtrilicant nunlber
¡,f insranr er lhe hig bir d i. rrnmi+
trk¿ble. . . the bird-headed man
rlr¡'ilrtion \ ould seenr to have origi-
rr.rtr.rl in ( .anlun de ( ihelly. Despite
H r
('at nLrmbers ofpaintings and
r,,rne petrc.rglyphs depicting this
Ix ilg in the cany()n. the motif is
r:rrr. elsewhere. Scver.al of thc fig-
Petngl¡ph, Ma¡sh Pa¡s, Ari¿on¿
rrrr.s (elservhcre) were recc¡rded Bird syrlbolisur is prevale,)t in
rvitlr rnen holding atlatls. . . . (Thrrs) shamanic syrnbolisnr lhrr>ughotrt
- . w(' ( irn p()str¡litlr :r begiDning the world. . . . Shan¡a¡ts often r.lirirrr
f0r llr(.¡n()til ¡tr l¿llc Rilskctr)lakel. tr¡ be ¿rl¡lt, t() ('ngaf{e irr Ilights irr
,,r l,l¡rly Mrxlif icrl llirskr.tn¡rrkr.r lvlrit lr ll¡t.sr¡r¡1, wlt<'¡r il k'avt.s tlrc
ttttl( s (r'ircir 5{)0 (i(X) \.1). ). lx¡lr'. trrkr.s tlr<. lirr rrr r¡l rr l¡i¡rl.
?1)7 I l(;rilrt l!,78:: l( )I ISr lr:r.r lsrl:r I1)lllirr:llIl I
7
Birthing . Anthropomorph with small figure Blanket Designs . Rectangle or square with interior
(See a/so Two-Headed) between legs or adiacent to main figure (See á/so Pottery and Text¡le Designs) des¡gn, often with "tassels" at corners

HXT§ ;*
**

llexico
ffiffi
(tlbove) Petrogl¡phs, WaterJlou, Nan

Watefflow is perhaps most well

M¿xico
N
(B?ku) Petrogbph, ()xtk's llruk, Nru'

The goggle-eyed figure, so pre'r'ir-

s¡le, Grand
C'recn Mask sil¿,
Pictografhs, C,recn k¡rown fbr its manv decorated block lent irt tlrc rock art of tlreJorrr¿rl.t
Cülch, Lltah
,lcsiBtts. . . . Sontr',,1 the [r,rms. . . region, is dcpicted i¡ abb¡eviated
lrave what appcar to be a strong lo¡-nr at the Mimbrcs sites. IIis pres-
(Above) Rock painting of a possible srrÉgestion of thc ftrur-cr¡rner encc is signified by the eyes alone
birth scene and "fernales." tassles of hlankets. or eyes att¿rched to striking blanket
[(]ole 1984b:31 [[. Wrrner 1983:31-32] motifi. . . . This figrtre is believcd to
be a nrx thern vcrsion of ttrc Meso-

Ik*-
a¡r¡crican Rain (lod, Tlaloc.
lSchaalima 1980:201-2031

A-56
Pet¡¡)gbpht, Pi«ttht¡ Mt¡untuin, Anzontt
Petrogbphs, Parified Forest, Arizona
Two panels liom the North Pass
Characteristics include . . . possible
Site display striLin¡¡ depictions of
birth scenes. IMartyrrec 1985:77]
what may be birthing sccnes
(Figures A-rí5 and A-l-¡6). In l¡oth
cases fhe "mother" is drawrr as a
hollow-bc¡dierl anthropotnorph. In
Figure A-55 something is apparent-
l,v depicted rvithin the "motlrer's"
body. In )xrth cases, the "infánt" is
( Abou) Pelrog$ph, LotienaguiLku Netl l)¿hist¡¡ric illexünn (lt¡d üvs
( B¿k¡tL,)
NI¿tito
(t,cft) The f,irst hurtran pair, the
,\t the (lochita Reservoir anrl at procreatiorr of :r:cn, liom the
Lar ienaguilla, Ncw Mexico, Oodex Bor¡¡ia. ISeler 1963:91
S< l¡aafisma ( 1975:149) describes (Right) The first human couple,
tlrese occurrenccs as masks or heads liorn Coclex Vaticarrus 3773 (R).
,,r<'¡ box or blanket designs. . . . All
ISeler l1)o:t:{i7l
, rl thrse could i;e taken as specific

drawn smirller than thc \nc¡ther," i¡¡stances <¡f co¡rsummation r¡r mod-
and in Figrrre A-56 the possible ( sl §cenes of c()pulatir¡n. . . . i\c-
Petrogqph, Oul S:Prings, Monummt u¡nbilical cord and placenta are r or rli¡¡g ¡1¡
thc derluctive rcasrrning
Valb1, Arizona illustrated xs a single warv line and (,1 (;(t)rf{iu lrc and A.l. It(xk ( l1)lt2)
. . . thil dclivery scene is rec<¡rded. irn area of amorph<-rus dinting. In tlrt.sirrrplc blurrktt rlcsiu¡r ¡t \(uter'-
ll thc . . . hcaddress corrfirrms to Figure A 56 the "infant" is still llow (\('('l()l) illrrrl¡:rtiorr) .. . r'r¡rrkl
nrrxlt rrr I lo¡ri cttslonr, she was attacl¡ed lr) the "tnotht'r" by ¿r ¡rrrssilrly lx :¡ slror tlrrrrrl li¡r r¡r ol tlrc
ttr rrutrtir.tl. ¡rossiblt' rrrrtlrilicirl <rrlrl. l¡l;rrrkcl srt ¡r's:rl ... L;rr icrr.rgrrillrr.
lllittr'¡ :¡rrtl l{ill( r l1)7:t:¡l0l I \{'¡tlrrr'< rrrrrl I k¡lrtrltttt<l I 1)lt{i: l'l'1 | ll \\'.rrrr,r l1¡st l:l lJ:il
7
Boat
r.llnt,e) Pirtograph, F'.aglc Caue- Pro'
Oanyon, Val Verd,e Countl, Texas
For example, in W65 a black
canoe Iilled with solid black post-
Iike shapes, presumably human
figures, is overlapped by a design
containing a black ñgure with a
geometric red body panel (termed
elsewhere "a later red and black
Fisherman; his Catfish is out c¡f the
picture to the right"). . . . The
pictographs, most especially in
W 65, offer the only evidence of the
knowledge of the dugout canoe in
this region. They are not necessarily
evidence of its use, for it might
have been known to coastal people,
though it is more plausible to
imagine that canoes were actually
used on the rivers (Rio Grande and
Pecos Rivers). Trees of sufficient
size are still found in some of the
canyons. . . . The painting, in mono-
chrorrre black. isabout l2 ft.l,'ng
and 6 ft. high. It seems to represent
six men riding in a dugour c¿ni )e.
fGrieder I 966:71 2 , 717 , e. 718)
\s
. Horizontal banana shape w¡th mult¡ple
vert¡cal l¡nes extend¡ng from top s¡de
(Below) Pictograph, Eagle Caue, Pecos
Canlon, Val Verd,e counq, I'exas
W 65. Red-outlined Canoe, about
fifteen feet long. Painted solid
black with red outline.
IGrieder 1966:713]
(Bekru le.ft) Pictograqhs, Painted Caue,
near Santa Barbara, Califitrnia
This pictograph ,. . show(s) the
centipede. a sign ol death. accord-
ing to local Chumash legend
(upper left).
Pictographs. . . ofñgures adjacent
(upper and lower righQ to the
centipede, allegedly show the dead
ready for burial and the funerary
boat transporting the dead to the
nearby Ohannel Islands fc¡r burial
(krwcr lt'li).
lRiltt r rrrrrl Ritttl l1)7lt:lt2|
Bow . Bow
l\ troglJph\. l.i t? Pptrogl)ph Can\oh.
( )t\u Ronge, Cahlomia
Ilrir pair ol archers might reprcsenl
... conflicting su pe rnai ural,-c,r he
rr ¡ecord of some battle or duel.
IRitter and Ritter 1973:77]
I
BB
\,trogllphs, Willou Springs, Arizona
The \4'ar Twins . . . are major
deitie. in Narajo myrhologl.'l lrr.y
I lopi clan symbols for Bow Clan. have nrarr! names but rhe álrl..
twin is móst often called Monster
IColton 1931:.1]
Slayer and the younger Born-for-
\,Varer. . . . Danre impersonators ol
Monstcr Slayer are painted with a
symbol of the bow. . . . Super,
naturals carryiug the bow may irr
§ome casrs rcpresenl tltis deity. . . .
\igtnture of Hopi uorkman al
Both the hourglass (symbol fÜr
, t rr hac.ologtcal site in 1897 Born-for-Water, the younger twin
\ii, irima (liom Oraibi) Awara gcns war god) and the bow (the elder
I , llrn ); totenr, bow. twin) also occur apart from anthro-
IFewkes 1tt97:9, pL. lV] pomorphic co¡rtexts in rock art.
ISchaafsma l9U0:315-31 ]
l\ rúUlylht. (h\t lh ü., ( htilonit
I rgrttr.s lrrrrrlilg witlr l¡¡¡r .r¡rrl,rrrotv._ l( ¡ rrrrt, llrrirrl,.ll'rll,r¡r'fi1!
l,tt,).t¡, ll
7
Breath
(See a/so Heart Line)
I l,t.ro¡¡hph, 7,uni R¿sc.nntion, N¿tt
Mexieo
lr) r))ar)) cáses the dee¡ I¡as ir "hcat't
line" llr¡m its rn<¡uth to its i¡rtcrior;
in pictographs the heart li»e is gen-
erall¡ r-ed. Sintilar depictkrns r>l'
deer rvith he¿rrt lines are als<¡ ft¡und
on Zu¡ri pottery watcrjars. . . . Thc
heart line is a symbolic representa-
tion of tlle source (¡r "breath" ol the
animal s life (Cushing tlJtl6:515). fn
the rock art, ilrr()lvs sometirnes pr(F
ject from the bodies ol ll¡e rlet'r as
if ther trad peneü-ated the hear¡
portmled at the end of this lir)c.
Sonretirnes picto¡¡raphs and petr(F
glvphs ofbears and horned or
plurne(l serpents also have hea¡t
lir¡cs.
[Yorrng l{}88:t{?l
Parog$ph (?). Hopi oea, northffn
l)csr libing the . . . (above) figrrre
ht (l\lr. Kclrn, trirder in Hopi area
of A¡ izon¡ irt lllit0s) sitys: "fhc
ligrrrr'r< ¡rl'scrrts ir rvr¡rrr:r¡r.'l h¡'
lrrcrrtlr sigtt is <lis¡rl;r1r'rl irr tlrr'
| \4llk rr ll'{1llt:7(li
. Line(s) from mouth to chest, ending
in heart-shaped object
. "S" sign in center of f¡gure
Desigt on 7,uni Pottelni, noñhuest.t'¡L
It rvill [¡e obsen'cd that in paintings
of ani¡rals (he re is ¡ot onl,v a Iine
drawn lr<¡m the mollth ofthe plain-
ly depicted he:rrt, but a little space
is lefi d<¡rvn thc centcr or either
side of this line (see above) which
is call, d ,,ne ¡ritLl-hua ltFha. tr the
"e¡rtra¡rce-trail" (of the sntrrce or
breath of lifé).
[Oushing in (]reen 1979:2451
Comrn?nli on lr«lh
'Io the prinritive Shlrnln, all fi¡rce
. . . seenrs lo be derivcd fronr st¡¡¡lt:
kind of litt. . . . N()w the supremc
characteristic. .. ol arty. .. f<rrrn of
lil'e, is breath, rvhich like fórce r¡r
stress, is invisil¡le. . . .'I'hus he
reasons. . . breath is the firrce <¡f
life. ... The¡efirre. he thinks. .. of
the wi¡rd as ¡rc<:css¿r¡ill the breath
of somc living forrrr or being. . .
I Ie alsrr imagincs that this greirt
beinq ol the rri¡trl rcsides irr tlrr di-
rection wheD(c comes prevailingly
its winrt or its l¡reath.
ICushin¡¡ in Green 1979:207-8 ]
(.ushirrq on rrreetirtg hir first Zrrni
Indian: "I sh<¡<¡k the prolléred
hand rvar¡nlv und said: 'Zuni?' 'E!
¡ xt lainred tht, frrdi.rrr. as he rever-
cotialll lrtc.rtlrt'rl ,rrr rrry Irand. ..
([,ater) one of them approached
. . . I graspecl his h¿rnd and
breathed t¡n it. . . . The old rn¿rn
w:rs ¡rlcast'<l; sr¡rilc<l ¡rlrl lrrt'athed
in lr¡r'¡r ()¡r rn1'It;ttt<1."
l l(irrslrirrg irr (lrrtrr l1)711: ltl, l-l)l
Bullroarer, Bhombus,
or Whizzer
I \,tnt¡¡l.tph:, .llatto illountain, Neu
Si¡nilal to figrrre seen on Apachc
lhrllroare¡, recorded by Bourke ir:
lltll0s. (See belorv) May depict the
\¡rache Wind God.
IBilbo and Sut]rerlancl l9t](i: l9
.
( hrkx Agenrl, Apudu area. Aizon«
lrt' rhor¡:l¡r¡s rvas ñrst seen b)
I
( lirl)t..John G. Bourke at a snake
,lrurce of the }Iopi in the village of
\\';rl¡ri, Arizona, in 1881. Thc medi-
, in(' men hvirled it rapidly about
rlrc lread and fiom front to rear.
rritlr a unif«rrnr nt()tiotr. and sl¡c-
¡ rrrl<'<l i¡r f¿irhfirlh.irniraling rhe
.,rrr¡r¡l rf ¡ t¿t¡st rl ¡'¡il-larle¡t u,i:¡rl.
. \' r'x¡>lairrcrl lry o»r'of tlrt: nrt'rli-
, ir¡r.rr¡t,r¡. l)\ r»itLi¡lll llris sr¡rrnrl
tlrcr rrrrrr¡x lL'rl lllc rvi¡r<l trr¡<l r-:rin
l,r ¡ (,¡l( t(, tl¡r'lrirlol llrc r trr¡rs. :\t
.r Iirl( r'(Lil( llr¡ulk lirrrrll il ir¡ rrsr.
.rrrrorrr lll. \¡r,rr lrr,,;rrrrl lor tlrc
r,rrll. I, r lr)\('. (( i)ttlt)¡lttl 1tl )¡:,ht)
. Vert¡cal rectangle with des¡gn
(Abotv ruul belut) l)¡uu'in!.ol llol¡i
ktchinas: 7'atl«u¡iIz¡, (t Im,t ) t ¡tI
P¿Ato¿tbi (b¿l<¡o), l¡¡¡lh utitlt ruhi:tr¡
uilh lightrttn g st n ltolt
lFeukes l1)0li:(i l , l{)lt I
Thr: f<¡rrn of rhonrl>us in lls('lull()rrll
thc r\¡rirche at this time was a lc( tan-
gulal pit'ce ofwood. scven or eiqlrt
| inches ir¡ len{¡th, one and a qu¿lrtcr
ir¡ches ir¡ width, and a qualter ol arr
inch thick. Tlrc extrcrnitt drrough
rvlti, lt tltc tsi.terl r olrl ¡r;r..r'rlrnas
sim¡>ly caned t() rcplesclr a hunran
ht'td. Thc Apachc cxp)nined that
the lines ctclretl <¡l¡ rllc fi-ont sitle of
tlrc lx,.r|rl ur.r e tlrc t.lttrlril. r¡l thcir
wind gotl arrrl tht>sc paintcd r»r the
lear side wele his hiri¡. I'he hirir was
()f-several col()rs. xll(l {lle sü_alt(ls
rverc c¡tx¡kcd t() tcp¡'cscnl Jightning.
'l'lre ntcdicirrc ltr<¡rnl¡rLr of tlrr
,\pache was rrrirrle l¡r rhc l¡lcdicine
rnen, generally t¡f pi»e ol fir th:rt
hird l¡ccn stluck bv ljglltning ()n llt(.
r¡rottntain tops. Such lvoorl was lrr.Ll
in the highest cslinratiorr ilrrolg
them and rvas tsc(l fol tlx. ¡r¡lrrrrrfrrr
Irrr r (,f-rrIrl( ls rvitlr r¡r,r i:rl ¡,r 'rr,.r
INfrrilr lr)7 l:li,ll
,
7
Butterfly . Butterfly . Nested or connecled BUtterf ly (cont¡nued)
multiple tr¡angles

K
I'?trogbph, Pidograph Point, Mes1.
Verde National P&rh, Colorado

(The design ab<¡ve) . .. is a stylized

brrtterflv. a.,ignature of tlre Pórol-
nvam or Butterlh (llan.
IWaters 1963:51]
Pettogbphs, (left) Moki (Hrtpi) area,
norlh¿'l Arizona (righ) Piruchu
Mounl.tin, Arizone
(t,eli) Butte¡fly. lltallory 1893:5551
(Right) Butterflv. [\{'allace 1986:225]
Potltry boul, Sihlathi, Arizona
The most beautifül r¡f all the butter-
fly designs are the six liBures on the
vase (above). [Fewkes 189tt:678]
Pdtery design, Sihyttlki, Arizona
ÉIopi depict the butterfly as a trian-
gle or as connected triangles sym-
bolizing fertility ancl lifé. . . . 'Ihe
stacked triangular fclrm is also re-
lerred to as the "cloud ladder."
IBendey 1988:421
l,ion Miml»es Blach o¡t Boul,
14hit¿
(lalaz lluin. N.zo Mcxi.¡o I'olte( .L'anior statuc, Tula, Mexico
Akrng the neck region is ttre butter- Ap¡rcaring in the familiar guise of a
fly rnotif forrning the hilt of rhe butterfly. Quetzalcoatl both shields
<lagger' (furvon and LcBllnc thc he¿rtt r¡fa war¡ ior arrd alights
l()8.r:93c). IBe»tlcyl988:59] t¡n his fr¡r'chead to inspire his
thor¡ghts. fVast¡uez 1968:901
Com¡n¿t¡l on buttcllies in llexico
'Ihry (btrtterflies) were treated with
affi'ctior¡ ar¡d rve¡e ttr()ught of as
the lt'tulninB spirits of the dead.
IBurland and l't»-rran 1975:30]

':@t- Pictografh Point,

E
<vtv47
ótr
l t lsik h¿ad, Casus (l¡andes, !+Í¿xito

w& Poüe1 tlesigns, Sifuathi, Arizona

x,
Abutterfly with a. . . geometric
Iornr (upper righr ) is represenred
Pctrcgl',ghs, WiLknt Sp'rng, ArizonL
with orrtstretched wings. rounded
(Lt fi) f\rttcrflv Clrrn Syrrbols, .rl'¡dr»¡tert. ar)rl rt.clangular h¡)d\ . .
llo¡ri. l( irlton l94ti:.11 (the other buttcrlJv dcsigns) have
( lligltt ) l}rrttr.rfll (il:rrr syrrrlrols, Dl()r'(' c()r¡)lri(-:rl('(l Ii)r'r¡ls.
lL,¡,i. I Mir lr:rr'lis l1)81: llt
I I l,i wkcs I1)I1):21-ri-r l
.\t (llrr¡s (ir¡ndc:,. . . tltc l)t¡trerflv
rr()til was als() identified l¡v DiPeso
.rs ll¡t'dead warri<)r'rn()tif ¿rnd is
,rlsr¡ relerrcrl l() :rs ¡'i'l()lt(l l¿(l(lrr'"
rrrotil. l his In()lil ...:rl li¡n( s is
¡rlrrrt.<l rlirt.r'tlv lrlx)\'( tll(. ll(.il(l
.
rr'uiol¡ rf lrrrrrlrrr ligrrrr's ¡r'r'orr.rr.rl l\,,t, lt,',\1,n,tt,rt t'.1 l t t
.rt l':rr¡uittlr' (( irrs:rs (ir.rrrrL s) 'lrl,t, I ltlttlq,'. ,\1, tr,,'
r I )r l'r'r,, llli l(l)::,');. (;r l-,1llr,(1. ( )t¡¡¡ ( )¡¡uttl, ¡ \1, tt,t¡
:t, ):i 1)7) l ll( rtl, \ lflsE:liSl)| ,\l ¡ ¡nln, t ¡t ¡t tt. ( itltt, u nt. \,1,,,lr, \/,,,
7
Centipede or . Vertical line bisected by many short Centipede (continued)
One-Pole Ladder lines; may have head, horns at top,
legs at bottom

g
l'ictographs, Paint«l Cave, n«r Sanla
llarbara, Califomia
(Above, upper left) Painted Oavc,
Pdrog\lh.s, Tttni area, notl.htoesta-n
¡rcar S¿nta Barbara, (lalifbrnia,
Neu Mcxi«¡
contains be¿rutiful polychrorncs
(Top to bottom): Pecked centipedes

&
whictt show thc centipede, a sign I'itogaph, l'aiLterl Caue (?),
30 cm x l0 cm, 111 cm x 50 cm, and oI death, according to locirl Cali[ornüt
l7 crn x 110 cm respectivclv. ( iltrrrnash legend.

IYoung 1988:761 ( Above right) Pictographs-again Thc ccntipede m()tif is presented

ñ#§ts
&@
iu Painted (lave-adjacenl lo the (abovc). Symbols ass()ciated with
( ('ntipede, irllegedly show the dead these sites prob¿bly represent

ffi
-Jt-)
AS rtady fbr burial and (above lower beings irn<l therncs conrrectcd witlr
a* It ft) the funerary boat transporting
tlrc dead to thc nearby Ohannel
the mythic past.. .. Pictographic
representations oI Ooyote, Lizard,
a_x
a§
?t
-.r:
Pctrogbphs, Arizona and Utah lsla¡rds f-or burial.
lRitter and Riuer 1973:U3, 8.1]
Bear, Cen lipede, Htrmrnin¡¡bird, and
so on ¿lre exarnples of the personal-
"Oentipede" (lef t) Santan
ized beings the (lhumash believed
1ñ Mountains, Arizona (alier
were c;rpable of acquiring and act-

#$ I
Schaafsma 1980:87) ancl near
Petrog\phs: (Lcft) lndian (ieck; ing upon (magical) power (Rlack-
Moab, Utah (after Schaafisma
kenl?r) Parotuan (klt and Cbat O.eeA; burn 1975:6G6U).
(right) Short (im)on, ¿ll Lttall l97l:55).
ISteinbring and (]ranzber¡¡
-, lHudson and Lee l{)lt 1:l}5 |

Elenrents (above) arc referred to by

diflerent rrarncs on differcnt ele-
ment lists. Above lcft show a very
i/
1986:2131
€§ $ +! (i¡mntnl on ctnlipub nolif itt
\' t n gl:¡lt hs, nort hou Atizona l¡itlogl4,hs d Ilurn¡ l,l¡tl¡. ( itlilr» ltl

Avfl
I
natr.rralistic centipede. N{¿rnv ele-
nrent lists refer t() more abstract I)riNvirrgs Ii()rn. .. (lilli'r(.r)l ar('as I¡t (ilrrrr¡lrslr rl\'tll, tlr( rr'rrtr¡x rI rs
fornrs irs one-pole laclders. \4hether r otrt¡ratcrl.'l'ltc li¡¡¡s I¡¡rt l¡r'<'lt llrt ittltt tl'¡r:tl sltlrrrr;rrr's.r¡r¡rrr'rrtrr r'
()r n()t these al¡stract fórrns are r l:rssific<l ls. . . (1'¡rtilx.(l(.s, ins('( ts (sct lllrrr kl¡r¡r rr l1)71¡:lll)ll llr)lt I lrr.
¡( lu¡¡l¡v ( ('DI ip(.(lcs is rrnct:rtairt. It Pctrog\? hs, Pi cac ho M ountr¡í n.
.rrrrl s¡ri<lt r (lvlrir lr;rrc rrot s¡x r ilitrl). (l Itlilxll( ltl¡s rrlro lx.l| ,rss¡r r.rlr rl
Aizona
is r¡rrt stiorrirlrlc lllllt il)\'()l tltctn Ilrl tlrrrt svrrrlxrls:rrc lrr¡rrr
k fi rvitlr rh rtlr (llittlr ,rr¡l Iiru¡ r

l( l)r ( s( rrI onelx rlr. lrrrlrlt rs. ( )t'rr t i¡r<rl<'/( irrrrstalk. tlr riglrt srrrrlx¡l i.i
li,r\( nlir itr(l l1l7oi loll ).
l\\'rrr rrcr l1)fl'Jlr:ir I lWtllrr'< :utrl I lolr¡rlrr¡rrl I1)ll{i:221 |
lror¡r ( l¡rlrorir.r l(:"11,,,r l1)l(,:71 lll¡ r¡sor¡.rrr¡lS¡ l,li,'l l'iri', lol

\11
7
CIoud
H ñ=P't
d* ffr6rH
116
,f
10 13
14
(Aboue anl ncxt pap. top) .Signatuüs
of Hopi urknen in arrhoalogiral dig
in 1897, no¡l.he.¡n A¡izona
6, 19. Omowuh (Rain-clotrd) gens
(clan); totem, rain-cloud.
9. 10. ll. Parli (\4aler-hor¡se) sen\
(clan ); totem. rain-cloud.
13. Nuva (Snow) gens (clan);
totem, ¡¿rin-clor¡d and corn olanr_
I4. lwrii l(i¡r¡l gens {cl¡n );' l or.m,
rain-clotrd and corn plant.
I 16. Kwalakwa; totem, rain-cloud
(and next page).
fFewkes 1897:t-10]
.d\.' * /^v--\ ,,.* er
Petroglt¡phs, Ooklq (Wilk¡úl Springs,
noñh¿¡n Aizt¡n.¡t.
Moki (Hopi) cloud etchings, the
three IcfiJrand characters (¡¡bove)
from the Gilbert Marruscript, and
variants ñ-om Oakley (Wilkrw)
Springs, Arizona.
IMallery 1893:700]
(i( I
. Hoízontal Iine with inverted halicir-
cles or step pyram¡d above; may have
vertical lines descending below (ra¡n)
'19
11
Pdrogllphs, l'hree Rivers, N¿.w Mexicr¡
Tht. rorn-cloud terrace-bird com-
plex. The example is unusr¡al in
th¡t rhe rel race appe¡rs on top ol
tlre corn instead ot tt the base.
ISchaafsma 198t]:2301
/l.eftt Stnbol on tariour ntedia, Hopi
areÍt, norlhem Arizona
The svmbol for cloud. and lalling
rain.... In rhe rradirional design a
IGchina face . . . lookr our uvei thc
bilkrwirrg < lorrrls.
|( )'K¡rrrc Il)1-r0:2.1It
CIOUd (contlnueo)
1In lou) Pctrogllphs, near Winona,
l,tat»La
\r r rong numerous petroglyphs
mAHHtFA
(Abotr) Petroe\phs, Willou Springs.
lorrrrd on the cliffsjust across the Arizona
v.¡ll<'v, those sht¡wn are particularly
rrrlcrcsting. The drawiDg on the left Clan symbols of Cloud Clan recog-
nized by Ednlund Nequatewa, a
r,'¡rrr,.errls a clottrl rellecled in the
Hopi [ndian.
*.rrer b<.k,r.. In llre (lr¿iair¡g lu the [(ir)ton I946:4]
r iglrt, the cloud terrace symbol
l, rrrned by the figure's upraised
.r'rns is repeated upside down by
lris le¡¡s in the same ll)ílnner as in
tlrt'cloud tr¡ the left. I'he figure
r tpr-csenls Panaiyoikyasi, deity of
rlr<' Water CIan. T[re drawing under
tlrcm shc¡ws firur l¿rge waves of
w¡ter, indicating the four migra-
ri()n routes to be completed by the
Wa¡er Clan. lWaters 1963:641
r3 \¡d
./A-
l^a.l
Pet.rogllph, (haibi ( Hopi), northnn
Arizona
On the west si(le of Oraibi peckt'd
ir¡ sa¡dsl<¡ne is the figure of a clorrrl
ka< lrirra (()'ntarr ka< [rirrr).
I lStt ¡rlrrt l 1):i{i: 1 0:t?-:i:t l
ril
 Coitus . Two anlhropomorphs or zoomorphs COitUS (continued)
connected at genital areas

| ,,'
,),'-.. ,1,.
(,

Petngl¡fhs, In\cillion Poi nl, Wltpatki

I N ¡úion a I M onu mcn t. Atizona

At the upper left and lower right

L'?troglfihs, PtlríJietl l'orest Nation al
Park, Arizona (lllustration from
Srhatfina. 1980: l-ig. 118)
ln the sr¡ called "(iave r¡f Life" in
the Pel¡ified !-orcst Nati<¡nal Palk,
Arizon¿ a remarkable petroglyph
panel can be fi¡r¡rrrl (above). Major
elerncnts r>f this parrcl irre ( l) a cot
ple engaged in thc act of sexrral in-
tercourse (bottom), (2) a kokopelli
(upper rniddle), (3) a shaman figur-c
with ceremr¡nial staffi adorned with
birds and féathcr tults (top), aurd
(4) a large star h the fornr of a cross
with a dt¡uble r¡utline. Altogether
they seem t() represent a por-traval
ofa fertility rite or cerernony irrclud-
in¡¡ the presiding priest or shaman,
a sfar of s¡¡me apparent symltolic
significance, the nl¿lc and Iém¿rle
Iitr¡irl act()r-s or-p¿lr'ticipants and the
sa< rt rl ¡llt'st'rrc<'r'r'Jrn'st'rrtt'rl by
l(oko¡rr.lli irr lris as¡x.r't ol tlrc lrx rrsl
lll r)llll r irs( ( 1. . . . Il lllrs lxr.rr srrg
gested that thc couple engaged in
sexual interc()urse represents an ex-
irmplc ()f ritr¡al coitiorr, a phenome-
non that has been identified in the
cercrlronial invcntory of other
primitive peoples including other
North Aneric¿rn Indian 'I'ribes
(Hunger l9ti3).
Petrcgl»p h, OtLtl Springs, Mon um.cnl
Vollt y, Arizona
( i ¡it:rl s< r'r r r'.
ll{irrr.r ,rrrrl l(irrr.r' l1)7ll:51
irre sealed pairs of anthropomorphs
r opulating. lHunger 1983:1161
ü
[Faris 1986:4-6]
I't I n¡d¡¡Phs, I'eterborough, Onktrio,
I rstirr¡.es (l-symbolic copulation. . ,
\rrrtlrcl Jrair of pelr()glyphs is simr-
l,rr irr <rrnct'ptiorr; tlr(: c(»npositi()n
rs rlitlrrr¡t a ¡rh:rllir ligtrlt', l¡t¡l ¡ scr-
¡r'rrtint lirlrrr r'r»rrnccls nitlr rvllirl
,rl¡lx;r,s l() lx llrt r'lilr¡risr¡l vcl lrr¡-
, ,t lrlr srrrrlxrlir rrrgirrrr.
| l\'.r.t,,k.rr :rrrrl \'.rstok.rs l'li"l:ll(il
'ü3,
.
I'etrogbphs, Watnf ou. Nnt Ilt¡¡t,,
Since there t¡t' s( \'( r':rl ( ()lllll,rlrrll
figurcs. . . thcrr llris rrrr¡LlrL li
rritcly a<l<l crt tlt'rtcc l. llr( \.r( ri rI
tt.rttn ,,f tlris l,r¡.rti,'t¡ .r ¡,,'..r1'1,
ft r tilitv sitr'.
Ilrrrlitlr \\';rr rrcr lrrsl li,l

¡.
Combat . Anthropomorphs d¡splay¡ng weapons Comet . Circle(s) with rays and ¡ong ia¡l

x\r,
toward each other

Ti,¡l;I
F:';1i:"1";
i;i'".j

(Abooe) Piaograph, Burro Flal.s, (Belou) Pictograph, Shelter Ro.h sitc,

H.logatrhs, lhf a P Hous& l"agott?n.
Carryon, Lilah
The name (of the ruin) derives
fro¡n the clul>wielding pictographs
that appear «) guard thc vill¡ge,
Lx ared orr .r lalus \lope Irigh r55o
feet) above Forgotten Canyon floor'.
(Note: ñgure at right is about 1.2
rneters tall.)
[Jen n irtgs 1971]:137. Fig. 1391
( )alilomia
( BelotLr) Pict og a lth s, Cara Pi n t«la,
Sonora, Llexiro Symbols representing d,v¡ramic ele-
rr.rents in opp{)sition would be ex-
Paintings in black, middle cliff pected in the choice of subject mat-
area. All these figures are quite tcr and its a.r:rrrgement within the
snrall. (Sonre are) about trvr¡ inches l<ltal composition (of rock art
tall. IGrant 1976:521 .imr)ng lhe ( jlrt¡mash).
-I\r'o
exam-
are Paintrd (;ave rlilh ils possi-
¡'les
hle depiction ofa solar eclipse and
lhrrro Flas tab<,ret, with its depic-
t ir rn of the sarne cumet . r\ (r an in-
lcn¡al ofdavs as it approached and
rleparted from the sun (Hudson
and Underhay 1978:88, fig. 14).
fHudson and Lee 1984:3tll
ivlojaae Deserl, Califtrrnia (in
Ch emehua,i s I ¡ ¡li an teri tory)
A dramatic discovery was a red radi-
ating symbol with a "tail," which
may represent a comet.... The
I(awaiisu, who in cnlture and lan-
Buage are closely related to the
Chemehuevis, also believed in a Sky
(:oyole. somelimes referred to as
"VVhite Coyote." It was said that he
nray be seen going across ttre sky.
and that the siBht of hirr portends
death and destruction (Zigmond
1977:76\. IRafter 19t37:29]

Map shoating locations (dots) of ombat

nottÍs in [ltah
P?troglJlrh\. l.itt b Pelrogllph t-anton.
1 iqhtll restrir terl e¡emen(\.rsJoci-
Coso Range. Califumia
ated with tlre A,rasazi include . . .
t ornbat motili found l¡ebveen the This pair of archers rniBht repre-
(i¡-ccr¡ ¡nrl S:rn.[uiur Rivt:rs. . . (in sent. . . confli(tir¡g sr¡peroatr¡rals
í,1¡llr( irst I Tl:lll). r¡-lx :r r'<'r'¡rrrl {)f s()rrr(' l,itltlc ()!_
l( irstk torr;rtrrl I!'ltrrlscrr lllSl:l7:tI rlrrcl. lllittcr :rrrrl llilt( r l1)7:t:71

ti.l
7
Concentric Circles
Pidogr«phs, Hitlden Cau, Dumngq
Colorado
"(lonccnrrics" o¡r l¡ack and rr¡of of
cave. i¡¡ either blacL or white as
indicated. IDaniels 1964:n.p.J
(bnmtnt on Pictogralth.r, Arrou Orotto,
l:¿athn ('.auc. ( -nl'it,tn- Nr.u Mcxtr-
.r¿¿ Su n
Ihose (pictograplrs) associatc(i
with the crevice filled with arrows
in the upper grotto are relatcd to
Sun. . .. The prinritrl source f<rr
itlentificarion t>f the Srrrr . . . is
the slrnbol of thlec concentric
circles. . . .In Pueblo explanations
of this old symbol, so standardized
as possilrll' to warralt designati()n
as a gJvph, the or¡ter circle repre-
sents tlre ring of light around [he
Srrn, lhc second represents Sun
l¡inrsclf. ttr<l tht' inr¡er circle or dot
Itis tr¡trlrilit trs, rvlri<'lt o¡x rrs to pr<r
rirlt nrtrrrlirrrl r itlr g;rrnt.iut(l ()tltc!-
Irxxl ll'illisrrrxl llrtr¡trr;rrl l1){il{:ll5l
. Concentric circles
(Beluu) I'ootprinl of Mrtsou, god of
rlealh ¿ d [he m¡Tauorphosis oJ'
nalürP, as se¿n 14 lTopi Inrlítns
du¡ing m\ thi ca| migrqtion
'I'hev f<rund a place where (there
rvelr) rnani lo,'¡print\ like tlrir. .
!-<>trr days our uncles scarchctl f<rr
the r¡taker of the footprints, when
ot¡r oldest uncle saw, coming over
the west mesa, ir lvho-was-it. Our
uncle \!ent t() Dreet the straDBcr
who was hideor¡s and ten-ible. cov-
ercd with bkx¡d and lc¡athsomeness
and there was no flesh on his head.
Thel' kept walkins toward each
otl)cr and when they carl)e together
or¡¡' uncle took hold of him and it
\r2\s Maseu. . . . (He said), "Look in
the valleys, the rocks and the woods
ancl ¡ou will find rul footstc¡rs
the¡ e. " IStephen l94Ct:7-8]
Concentric Circles
t\t n¡gbllú, St'nol.t Ritn, So¡to¡a,
.\lr¡ito
... the 'inirP," fbund (ort a boul-
rlt r) on the edge of the flood plain
rr rhe extrc¡IIe n()rtherrl cnd of thc
\.rllt.) (¡l Srlr).r4. ¡ icrr kil,,rrrclrts
rro¡th of Bananuchi . . . l>ear(s) a
strikingl,v similar likeness to the
l,()r'1ion of tlte virlley i¡nntcdiatel,v
\urronn(ling the k)c¿t¡()n ()f th(r
g)1ph as sccrr fir¡n al>ove. Settle-
rrcnts are dePictetl l¡y tlle cr¡ncen-
l ic circles, ir ulotif used by rililny
r rrltrrres «r feprescnt aaeits (l'
.
lrrbit¿rtio¡r (firr cxatnplt' Nltrntr
It)73: I l9). IDoolittlc l9Utl:4G'17]
t)¡at!)¡ng ol phosphue dcsign
basic
tlion Kelbgq. KnttLl arul ÑtgLr
ltt65:l
129)
.. . '¡rhosp)rene" rcft'¡-s to the
irrragt's pt'r-ceivcd l)) lhe htlmalr
lrr¡rirt ¡svistt¡l itnages in th<:
.rlrst rrrr'ol list¡ll slirlt(lli- -. .
( llrt.y) irt('rrssrx i¡(t rlrritlr rrlt< t<
\l,rl( s ()l ( r,¡l\( l(,1lsll( \\.
lllr rlrir s
(continued)
Petrogb4h\, Pit Rhm, (hlilintia
According to I'loytl Buckskin, :r l'it
Rirr'r I¡rlian t personal c.llllllltlli('rr_
rion l98l ) thcconcctt¡rir r ircl«s
shown ¿bove mark the placc whcte
spirit beinBs or \en Powerful
shamans can Pass through the t ock
fiom o¡e world to the next.
IBensotr and Sehgal 198?:G7]
(i¡mntnl on Buto l-lttts, California
Úcsigrr elements w i¡h lhree ()r five
( onc(ntril circles m.tr bt dcpictitrns
of the (lhulnash ot'Fel Dandeño
conception of the universe . it
appe¿rrs that thc rnain Panel . .
integrales the sYmbolism. . to
c()n\(:\ -r. . . tlremr'. This themc is
virtr.¡ailr r¡nive¡sal a¡)d has to do
with thi ability of the shaman and
shaman-iuitiate to travel between
rh( upper and middle rvorlds . . .
for the prtrpose ofobtaining Jxrwcr
or knorvledge. IEdberg l1)lll-r:1) I I
F rthn ,ommotl on tottt'¡tlrit ttt,ltt
l)itlx r rlgr'{ l willr
'I'he authors of tlris
his iD ter-J)rc tal i( )t¡ (l')rllx rg rrlx»r'¡
ar¡d will (xl)1ltr(l lllxrlr lllis llr( rrrr'
l)v slrgg( slittg llr¡l lltc srrrrlxrl rlrrr
¡ls() lirtt( li()ll lts lt rrrr'l:r¡rltllr lrtr .r
<t tttrt t tcl, lrrrtlt ot PttssltÉr'tlltv ltr,llt
r¡trt ol llrcst §'()ILls l¡,:lll{,llrr'l
lrtsl:ll I I!r'ttsorr.rrrrl Sclrgrrl l!lll7:l{)l
lr?
7
Coyote, Dog, or Wolf
F \--JL
F
Petrogllphs, Cha(ont Canlon site,
California
The urrusual pecled elements..
are very intriguing (above). They
are all figures with long pointed
snot¡ts or beaks and appendages
which appear to be either ears or
head feathers. Possibly they are
sq,lized representations r¡f Wolf or
Coyote, both popular figures irr
the Owens Valley Paiute mythology
(Steward 1933). . . . ln the local
mythologv Coyote is portrayed as
the father of the Owens Valley
Paiute, but fcrr the rnost part is
looked trpon as a trickster and evil
being who motivates people to evil
behavior. Wolf is portrayed as a
wise. benevolenl beirrg and is pre-
sented as the creator in one cre-
ation myth. Steward's ethnography
also records prayers to both Coyote
and Wolf ( 1933:l.i01l).
[Mundy in Meighan 1981:1331
(Right) Pictographs, Chumosh (no
cxact site giten, exc¿pt in southern
Califwnia)
(loyote (larger figrrre) ancl
11)ssible
Liz¡xl, r¡f(t,n r¡¡ention('d l(rflether
ir ( ll¡rnrr¡sh nlvlIl()l()g),.
l l lrrrlsorr lrr<l l,r.r.
. Quarduped with small ears and tail,
often near game animals
. Head with ears and long snout
Comm¿nt on mlthícol Coyte and
Mounlain Sheep, OaWttia rtre¡t
Specifically the origin rnyth of the
.
Shoshone speakers in the vicinity of
the Coso Range indicates that the
world could not tre populated until
after Coyote had killed a bighorn
sheep and used its neckbone as a
penis or penis sheath to overcome
the toothecl vagina r¡f the first
woman, even though (itvote had al-
readr provcd his prowess in hunt
ing and shown himself tr¡ be an ad-
equate provider.. . the eviderrce
points to the bighorn shecp as sym-
bolic of m:Lle success in hunting
and i¡r sext¡al activities in a gene¡al
sense. IWhitely 1982:269]
I1)13 1:li5 | lr¡rrr rlirr'¡ liorr.rl I gs,'l lltcir rrrillrir
7|
Coyote, Dog, or Wolf (cont¡nuea)
@ñ.#)
-«--§¿\___.2
.^"^:>"s.-\.-_A
u---§.
l'r'trogbphs, loca.te¡L a¡ iru[i¿ated. tion. At Petrified Forest (Arizona) a
man is shown holding the tail of
I lrc coyote figr¡re at Oraibi
the coyote-in this case called a
( \r'izona) illustrates that the poho, "an animal who does things
( :()yote
Clan had completed all for you." To some Hopis the coyote
l,rrrr rounds of its migration, the figure found at Guatemala City
rril pointing to the ceDter Point indicates the starting place of the
rrcaning that the clan finally had
migrations. fWaters 1963:106]
r r':rche d its permanent settlement
l'he Ohaco'Canyon (New Mexicoj
ligrrre shows that the clan had
r ( ¡ched only two
latos at that ti¡ne.
I'he two flgures ¿t Gila Bend
(Arizona) indicate that the clan Signature of Hop| norlhem Arizona
lrixl gone in one direction and
Isauuh (Coyote) gens (clan);
lr:rd then returned. The tongue
totem, coyote's head.
lrirnging out ofthe coyote at
S¡rlinuerville (Arizona) shows that lFewkes 1897:5, Pl. III I
lrt' had been running ahead of the Comm"nt on co)ote in HoPi area
r l¡n to find
a place to settle and (Coyote) is foolish rather thatr ( vil.
Ir¡<l tt¡rned back. lt rvas a function He scattered the stars and ¡¡r¡l'r( (l
,,f lhe (loyote Clan to pcrform this the chiefs' plans g[settlng tht'rrr
,lrrty. Irr lrorrt ot the covote ftrund symmetrically in thr .kv: lrr'r.rst tlrr'
irr Vt nta¡ra (l¿ve Arizorra. is a f<¡ur- sione down thé 3i-papir anrl ¡rlr'
"[turry star," vented the return of thc tlc¿trl. Ilr'
lx )ir¡t('(l sli!r-lh('
rvlrost ;r1l¡rcarirrrct warttcrl llrt ¡x<r is thc pel r¡f Witt:hi ht' is a tltit'l alrrI
l)l( llr( l' rrtr¡sl lttt¡'lt' l¡r r l,rcr llrc sl( als ( ()r-rr rtrtrl r¡tckr¡ts.
l Slt ¡rlrcrrs llllt{i: lll2 1 5l
7t
r
Coyote, Dog, or Wolf
Petrog\ph.t, Coso Range, Califtmia
. . . dogs continue to be d¡awn
¡raturalisticalh'. though the dog
is sometimes pictured with a fan-
tastically long tail, curved over the
back and touching the head.
IGrant, Baird and Pringle 196[3:181
Dogs are depicted attacking sheep,
bearing out statements bv living
Paiutes and Shr¡shoni that in the
e:rrly days dogs were used to help
drive the gante animals past arn-
bush points.
ICrant, Baird and Pringle
1968:29-301
P kt o grap hs, H ors es hoe ( Banizr)
Can\on, Ut¡th
These figures are compa¡-atively
sirnple. The large dog at the lefi,
.rpproxir¡r:rtt-lr l8 ir( lrcs l,,nl.{. is iL
< ottt¡ltortlv <¡'r t¡t't'ittg rrrolif,
f Sr lra¡lsr¡¡;r l1)t{O:(i!¡l
(continue¿)
(Belou) Cuera Pinlada, Baja
Cakfomia, Nlttito
An importar)t relerence regarding
coyotes or'\{olves and thr: impor-
tance with which they were viewed
bv the Indians is provided by Father
Sigismundo Taraval. who rvo¡ked
among the Guaicura. "They belong
to the sun, the stars, the sea, the
globe. They believe that a dog was
their maker. Whatever the,v hear
ñ-¡rm their wiz¿rrds and old rnen
abor¡t the cr¡stoms, acts, and life of
the dt'g. rhis they artempl lo emu-
late" (Taraval 1931:29). Figure
below illustrates black wolves at
Cueva Pintada. This is <¡ne of the
best examples of the colote/wolf
motif to be found in the Great
rnural re¡Jion. The symbolism of
the coyote/wolf motif is fbund
throughout the Sierra de San Fran-
cisco cave paintings.
ISmith 1985:43]
Crane or Heron . Bird w¡th long legs
. Three-pronged bird track
P¿ttogbph, Canlon de Ohrll.t, .|ñzona.
ldentifiable trirds in (lanvr¡rr rk'
Chelly rock art (includcj: crarr<'
petroglyph at site Tw.f-1.
IGrant 1978:l7l I
l'?trogbph, P?t (¡ bbrough, On t aio,
'l'hese glyphs may represent
Irerons, local to rhe rnarshy :rreas
()f tht. Ka\"-arthas, but thev are more
likely depictions ol the crane, a
.ommon toten]-bird among the
Algonkians. . . . The crane was
rrlscr irn important manitou suppli-
.i¡ted by the proph esy\ng Jessuhkid Draaings of uorling birds
shamans in particular "as an oblect
(l-eft) Great blue heron
of a peculiar and benign influence." (Right) Sandhill crane
[Vastokas and Vastokas I973;l l0]
IMurie 1954:327 |
,.'\
-lrr:. {-,,
(,''1,...,
rirñ¡.,r II.¿ltt Pltn,!l\I'h\, /t¿t¡t, N¡¡r .\1, ¡t,,
ftnd (righl) /r¡ntittg of h¡tl ttr,l;
(l,t li) (i:rrr< t¡irr Ls. 7 ¡ rrr rrlr ¡rr
l\i,r r¡i I'lHll )r,
rr
1.t.
(Riglrt) Srrrrrllrill r t.¡r¡¡ t¡.rr [. rrr
¡¡rttrl lNlrrrrl I'lr,l ll''r'
7
Creator or Sky God
+tlr
dIU¿
O
P¿trogbph, Hopi Mesa¡ Arizona
It is very common to find shields
depictetl on the rocks by the
Tusayan pueblo people. . . . Of the
circular form, the most elaborate
(above) has the whole interior
occupied by a cross with bars of
equal length, in each of the four
angles ofwhich are seen a circle, the
friendship signs, and two smaller
crosses. A face with a single a-1a or
horn is appended to the rinr. The
cross is the symbol of the sky eod
Co-toh-i-mung-uuh znd has been
observed by me on shields intro-
duced in the Ma-lo-ha1ci-ru¿ dantce
at Oipaulovi.
[Fewkes 1tt92:23]
Drawings of ceremonial masks
(Left) Sotuqnang-u, a deity, not a
kachina; horn on top of head,
clorr<l slrnbols under eyes (p. 134);
(riglrt) irlso lrigh rrrnital rnask
¡rrrirrtcrl rvlritr. (¡r. I 2(i).
l( i,ltr)r' llIll)l
. C¡rcle with cross des¡gn
. Head with one horn
Painting ol hüto mur ., Hopi area,
north?m Arizona
Design on north side wall, Oak
mound kiva. Sho'tokununwa,
85 cm high. . . . In left hand, a
netted gourd (paüoi'iuht).
IStephcn 19i]ti:l'late Vl
Comm ent o n Sotuqnan g-11,
(kd
of the Sk¡
Sotuqnang r¡, god of the sky, the
clot¡rl...rnrl tlrc r airr. is g,rrd. digni-
ñrd and pornerlirl. He is occasiort-
ally impersonated in onc of trv<r
forms, masked and rrn¡naskcd.
\\hen masked the inrpcrsonator
wears a white case r¡rask with one
horn. There ¿re ( loud dt.signs on
the chceks and at the botton¡ of the
back of the r¡rirsk. \then unmasked
tl)e impcrsonator wears a hat
shaped like a star rvith léathers
hartging ort,r tlrc far e. rnd hi. hair
hanging dowrr this back.
IColton 1949:7ll]
l"iptrint ol Sho'tdr tt nu trtrta, llolti «rea,
¡¡t»lhrt¡t.lrit¡¡t¡t
l Str'¡rlror l 1)ltli:l'l;rtr' \ll l
Crook
l\ttogl:¡ph, San ()i obal, Nao Mexict¡
'l'he carving at the top of'this plate
i. irttel,cstillg rirrrr. il slr' '\^s. ir ql¡itc
.r realistic nlil¡lner. s()nle <¡f the ce¡-
cnronial paraphcrnali:r used by the
San (lristr¡l¡al people. ln his lefi
lrirrrd the man hol(ls ttv() p.avcr-
.tir ks, o¡e witlt rr léarlrr.r rurd o¡re
rttarlc r,l he¡rt recd::r u,ltrr,lwatt r-
jar is srrspcnded fi(rln his lvrist.
ISirns 19,19:6 Plate VI]
( B¿bu) Pchoghlh, Manto.t Ottrtyon,
lles a \,.¿¡tl¿. ( )¡l or¡ul.r¡
( Brlou right) Pcho!:ltúh, O¿¡lar Mesa,
(tt«h
( lr-(Dks a¡-e conrmt»rly depicted in
r¡rck art of the An:rsazi. Figtrrc
. Line w¡th hook at one end, often held
by anthropomorph
(helolr lelt) shows a Baskctrrrlrkr'¡
petroglyph from Mancos Canyon,
Mesa Verde, Colorado, ofa possibl<r
shaman with a bird "headdress"
irnd hokling a croc¡k. A number of
crot¡ks are exllibited in rock art <¡n
Oedar Mesa, Utah (Cole 1984a),
and a petroglyph panel from Cedar
Mesa is shown in Figure 9 (below
right) . .. (which) shows a "copul¿rt-
ing" couple an<[ a crook, graphically
cmphasizing a symbolic assr¡ciation
between crooks a¡ld fértility. . . .
Parsons ( 1985:69) observes that
cror¡ks are nsed at Hopi villages lbr
runners to touch "fbr long life" and
are placecl at the Soyala shrine with
pr¡\e¡ \li(lsiurd ar Hopi altarsa.
prayer sticks. Fewkcs (1903:PIs. 12,
30) ilhrstrates the Hopi katsinas
Natachka Wuqti or Soyok \,!'uqti
and Tcanatr both holding crooks.
lCole 1989:62 & 71)-81 |
?r[H
7
Cross
(See a/so Stars)
o)4L \\z
(=hJ ).K(
\t'
G,V '\
A u,,'
Paroglllths, El l'¿comate, State oÍ
Sirutloa, Mexíco
The most interesting type (of cross)
is found in El Tecomate and at the
foot of the Majada de Arriba (in
the State of Sinakra, Mexico), for
without doubt they seem to be the
same type of crosses that in Tula,
Hidalgo and other places (in Mex-
ico) represent Quetzalcoatl, under
the aspect of the "Morning Star" or
'Venus." To add further weight to
what has been shown about the
aforementi<¡ned god, in one of the
petroglyphs from El Tecomate (up-
per lefi, top row), the god would
seem for certain to be speaking, be-
cause of the commas which are ex-
iting from the image (an indication
of speech in the Coclices of ancient
Mexico).
[Ortiz de Zarate 1976:61-62, 117]
llt¡ut tl¡lú fu lhr llt¡¡tl \i'n¡t\
l Sr'L r l1){ilt: l1) I
. Equilateral stick cross, often outlined;
may be double . Stick cross within circle
. Fat or "red cross" . ''N¡altese cross"
ü)mment on Quetzolcoatl and ooss
A beneficent deity at Teotihuacan,
Quetzalcoatl later became an astral
figure, demanding human sacrifice
(Soustelle 1967:94). He occurs in
the Mexitan iconographic syrtern in
both anthropomorphic and serpent
lbrm, and he is also symbolized by
the morning star, often in the form
of an outlined cross (Villagra
195.1:80). LSchaafsmal980:2381
Petrogllph, Hopi Mesas, Arizona
Of the circular form (of shield),
the most elaborate has the whole
interior occupied by a cross with
bars ofequal length, in each of the
fbur angles ofwhich are seen a cir-
cle, the friendship signs, and two
smaller crosses. A face with a single
a-la or horn is appended to the rim.
I ht r ro:'r is thc syrnlx'l ,rftht skr
grxl Oo trlk i-rrrrng-wrrh (stal grxl).
I I li rvkt s llll)2:21t
CfOSS (continued)
@@@c@
@
l'?trogbphs and iictographs liom
áE
hd
( )aWrnia and Nnada sites; tuo lnun
right symbok are Mexican caue dcsign
(
,
t ¿ imprínt from rcll".t st.tmp
lonsisting generally of a double
irr ular patte¡n cenlered on a sel
ol orthonogonal lines, the so-called Drauings from Ho¡t; pottery and roch
art, northan Arizona
w
¡recked cross or quartered circle fig-
ru e is shown to exhibit a remark-
A cunven ¡ional design lrequenrl¡
rrble consistency in appearance
displaved in lheir po ery decora-
tlrroughotrt its 29 reported loca- tions. . . represents a Maltese cross,
ti<»rs (in the southwest and Mex-
which is the c<¡nventional emblenr
iro), thus suggesting that it was not of a virgin. The origin of this em-
l)('rfunctory. . . . These symbols may blem may be plainly traced: when
l¡.rvr been intcnded as astrollomi-
they depict the figure of a virgin,
, ;Ll r¡rientational devices, surveyor's
the hair discs on each side of the
lx.nch marks, calendars, or ritual head are always drawn thus (above
Ar rr res,
left). These rwo ligures represenl-
r
lAveni, Hartung and Buckingham ing the discs, laid across each other,
1978:267-2701 produce the Maltese cross (above
right). IStephen 1940:27-28]
I\t¡t¡!ltl,hs,'l'l¡et llit¡tts, N,¡t 11rxio " l.luIky ( )t¡tl, linahtl tnt¡t,,l »it ¡¡¡ tt
( ll(l( (l{)l nr('lil.... llrssil¡lr it S<rt rrlL'rl r lrrss ol (-lrrr.tzrrL o:rtl
r, lr,¡s lr) (.¿r¡( t,?ll{ (,irtl. ( l(lr illlt irr(l l\l;rr ti l1l(i,l: l,igs. l lii!
1 lSr lr;r.rlsur.r l1)11{ ):llitfr l :( X;). ¡ll,,r,,r,tti7t;::tl,r¡
 Curing . Anthropomorph holding C- or U- Dancers in Row . Flow of anthropomorphs. often shown
shaped object near another f¡gure holding hands

G¡, {
\r. ,/uftJ
d,t
4
h\b'
Pictographs, Cary¡on d,e Chelll, Atizona
A wornan is painted in a horizontal
position. Bending over her is a li
,'{
=^""d.
fnl

1-

l,gltp/¿J, SouLh Mountoin, Arizont

feathe¡-ed figure pointing a wicker-
slraped obie, r .rr her pelvic legion.
This is a very sirnple but graphic
illustration ofwhat is possibly a
shaman exorcisirrg bad spirits that
are preventing the lvoman fir¡m
having a babv. Nearl¡) is anc¡the¡-
figure holding a similar wicker-
shaped object. IGrant 1978: lt35]
Belou) Petrcgl¡ph¡ Picacho l,eak,
Arizona
. . . rvhat we interlrret to be a sh;r,.¡)!l¡)
stands over a horizontal figtu-r. Irold-
ing some rrniderrtified ircm u1t r,r
his mouth with hrs righr arm. anrl
a¡)other figure, perhaps a dancer,
is actively irrrr¡lved.rhore hiur. \At.
bcliele this scene nra¡ be a reple-
sentation of a curing cerenr()n\'.
[Wallace and Hc¡lmlund 1986: 144]
'. :r- lrrr ::l;: :.
Pi.togt¡4ltt, Onn¡on. tle Ohdl1, Arizona
Baskt't¡nake¡ w<¡ltrar) ir) $ l¡itc and
plobabiv a sharnan cunlinq it
wicket slra¡red ohject. This scene
see¡Ds lo l)e rel¿rted to ¿rrrothcr itr
tlrr' rlrme shclrcr irr wlrir lr :r re< lir,-
ing l'ema1e is adrnirristt.rcd to by
sornc(»)c hr¡lding orer ]rcr'¡ sinrilar.
tlevice-
lSrhaalsma in Nohlc l9l36a:25l
I :_
-+
I for¡¡td . . . aIlt¡thcr extrernclv i¡l-
l¡!r (il¡rt Íjroup . . . a reprcseniatiorr
,,f :r sort ()f Pasture (?) dancc . . .
l,,r¡¡ ¡,a,,,,,r. llqru.¡.,i at r. <lepir trr l.
rlrcir rigltt ltatr¡ls r¡isld ¡lr,lt, rlleir
lr ft,. ¡ csti¡tg up,,rr rhe hips. ()rcr
rlr¡ lrr,:rd r¡l r.ar h r,1 Ilr«sc ligrrrr..,
rr,,rr'brrt flin rly rr.r<c¡hlt., rvert.
,rr iqirralll rcprcsctrtcrl the firrrns r¡f
,rrrirrrals, probaltly expressive of tlre
ril¡t('s or s¿ccrcl()t¿l characters ()f
rlrr' ;rt t¡¡rs . . . r¡rr¡. :rb¡,rr. lhenr . .
Ix rrrir:g tltc t¡¡rhartrlic<l t¡i(lcnt il)
'rrc hirrrd li<¡m wtrich ¡his line
,
\( ( rlls t() isstre. . . r,r,hile tlle ()tllcl.
,rr rn a¡d hand is held akrft. 'fhe
li'\t {,'l llrr:.er.orrrl g¡1,¡¡¡¡¡ , n,.,.¡,.*
irr lrir I ieht Ira¡d a r|t-pher.rl's
¡ r ¡,¡,L, rrl¡ile lrir lc!¡ l¡¡¡¡,¿
*,.,.O.'
rlr,. r iqlrt ,,f lhe t,rllot^irru tiArrlr.. . .
.
llris srall'is perfi'ct and disrinct il
,,rrtline; it is identical . . . to the
i lrl)()rate stalli ofthe Kaur¡ailliktue.
,,r "l Icrders' of the S:rcred l)rama
l);u¡r t, il Zr¡ni. l(:rrshing 188¡l:2-13]
j¡:ti,{,,#;,f
ftH"k"M
( Bdof0) I1,t¡ogl\phs, Nouojo llrsrnni t
tt¡ut, Nn¿ i\lctiro
TIre sr¡r.tlle¡ ligure.. . . ..rlrlr,,rrl:lr
still cr,¡rrerrrioir¿l ¡ntl redu,..l i,,
essentials, have flcxible l¡odies
arrangt'd in a varicty of lili-like
positions. l,i.tl¡rc(l in lrandJroltlirrg
5lIi,),.1\, ,ltc\ ¡rrsserr:r q:rict1 (,l lr,r m
¡rl(lrr lll¡)\i.r cIl ¡lut- tr¡ tlr(, repr.ti-
tron ¡,t slt.lP§\ rh¡r girt th<-r¡r ¡
darrcin¡¡ cflt'ct.
IS<:haalisrna I 963:30]
( llrlou le/t1 I)irtographs. Iltero-lhn.k¡
The ,\pachc. rrsulrlly f¡¡ri¡rtecl a
larqe panel nith dant:ing ligrrres.
nrr'¡t r'rillr ltrr gc pcrrises rrrr¡lir¡¡1¡i¡¡g
rvorren, a»d ir large snake ( l0-1i>
Iecl l.¡rrB).... llost pr(¡l)al)l\ llr(.se
trerc rerlirtit depi(ri,,trs ()t ¿ctua¡
h-rtilitr rl.trrcer, irs tllcre i\ !tr r)g
.r¡'tirli(' c\id(,n(( thlrt the str:rkr.
Irrill¡ l¡¡r.rllr\ :lr(l \lx..r ln)r¡rt \v(.r r.
( I,,s( l\ ls\¡ r,l( rl. :iit{.\ I , {, (..( ',,
'(
¡¡riurclrr' ( l tr. ), lt-r. l7g, rrr|(l.Jti,\ lt
rrt r, ¡rr olr.rlrlr lrirrorir \¡r:rr lr.¡ri<
totr.r¡rlrr l:iu llrl.r l;lrl l¡,7ti:t;ll

'/ l{
7
Datura or Jimson Weed
(See a/so Dots and Phosphenes)
",/
hctograph, Chumash Indian arca (Site
SBA 1318), soulhon Calil»nia
Possible example ol sr ¡¡¡hol as.t¡ci.
ated rvith the use of Diitura. lt is
quite reasonable to assu¡ne that a
certain number of these symbols
were the result of drug-induced
vision questing, which emphasized
inrersions and reversals of rro¡ ma-
tive standards and the distortion of
realia (Blackburn 1975:8G84).
Datura was one sr¡ch strbstance well
known among the (lhu¡¡¡ash ¿nd
used in the acquisition of power.
[Hudson and Lee 1984:41]
Cammmt on use of Datura-Chumash
A student who ingested Datura
.jimson weed . . . when the rain
described the physiological effects
to Dr. Thomas Blackburn (personal
cornnrunication). Following a state
of vivid hallucinatior¡s. the student
perceived large, brighth colored
nrandala f<rrms <¡n a darl back-
grr»rrrrl which sporrlant,orrsly
lr¡¡x ur't'tl ovr'¡- lris r¡o¡rrrirl visir¡¡r.
I 8()
. Dots surrounding or adjacent to
figure(s) . Mandalal¡ke cirdrlar des¡gns
For weeks aftenvard, everything he
looked at appeared to be surround-
ed bv tiny white dot^s. Any one
familiar with Chumash rock art
designs wilJ immediately recognize
the implications of these phenome-
na. The mandala (usually in red)
on a dark background is a common
motif in the Clhumash area. Outlin-
ing with small white dots is one ol
the distinctive fealures of their rock
IHrrdson and Lee 1984:42]
@ @o@
# @@
@i
Pi
ffi ographs, Sun uheel or mand«lo
Ll
elzments lH udso¡r an d Lee 1984:271
Commenl on C,humash roch art
'Abstract" r¡r non-naturalistic art of
rhis tlpe mav represent visions trig-
gered by thc ingestion of Datura
inoxia, whose veneration as the
supernatural Old Woman Momoy
and use by the Chrrrnash is well
documenterl in myth and folklore.
[]'urst 1986;2231
Commml, on usc of Datura-7,uni
In 1879 the writer discovered that
the Zunis ernployed a narcotic . . .
lound to be Daturu \tramonium or
priests go ottt at night to commune
with the feathered kingdom, they
put a bit of powdered root into
their eves, ears aDd mouth so that
the bir-ds »ay not be afraid and will
listen to the¡¡r when they pray to
tl¡r'l¡irtls lr¡ sirrg fol tlrc ririns t<r
( ( )! l l('. I Slcvcrtsorr M0,1:lilli-r
Death
(See a/so Headless and Cur¡ng)
\r ld i¡ i, ¡r
rllr ¡thr r,l
r¿l .lrr t ltr.,p.
ir rtr.r esr
'nlrrt
rrrtturl,i *crt.i.tl
rrhich ¿rc tlcrrly drawrr upsidc-
rk¡rrn ¿nrll'cw rvhi¡.h ¡re llorizorr-
t.rllv dcpicrcd. ( )cr.r.i.rralll rherc
,rre included as par.t ol apfarent
st e nes. wlrile tlrerc is no specific
r'( ason t() assunlc a sinilar. meaning
i¡r Holrr¡karn <.ultrrrc, in many othe.
s()cieties, rhis s()rr of depictioit indi-
( ¡tcs death <¡r illness.:rnd an exa¡n-
l,le ill(¡s(r:lt(.d (al)ove) fi.(,tl] the
North Pass Site rfIérs sr¡¡ne substa¡¡-
liati()¡t t() this cl¿rirn. Iu it what we
interpret to be a shamal stands
,,rr¡' a hor izont.rl t'igrIre, holdine
ro¡nr rr¡tiderrtiflctl itcnr Lrp to his
¡rr,lrtl¡ with his riqlrt arrrr...\\e be_
lir.rc tlris scr.ne ¡l.l\.bc ¡ tepr(.scl-
t.tttorr ¡rt a rtrring t'crrllt¡,ll\.
IWallace ancl I{olnrlurrcl 1986:14,1]
I
. Upside-down anthropomorph
. Horizontal anthropomorph
. Headless anthropomorph
n.logralh, Chumash lulfun:
I ()4), .toltthm Cali/itmút
(.\1.( )
A li.rr.lrr¡wercr.:rre r¡r r ite t1¡rir.rllr
rrr-tleroler¡t i¡r l¿trrre. srrch ls rlr.
Nrrna shistr, spirits, ghosts, rvcr.e-be-
irrgs, iurrl so on. We suspect rhlrt the
l)l¡i(
p(.trr F
,,ccu|r(.r)Cc l,f Jn\ (¡t thcw, .llong
rnitlt lrr.L.llcss hl¡us rrr tirrr¡s ¡,r'
pcr,¡tlt rr¡tsirlc d,rrn ,rr l¡lt,edirrg
Ii r 'r¡t lhr.rrrorrtlr (:th¡,\r), s\t¡tln,li,,e
sickrrcss <¡r death (Blackl>trin
l!)75:69; I Iudson 1979).
IIftrdsorr and t,ec l9ll4:43]
-tr,-x.¡.
Painlint l,luint Indi«nt
lry
.. it 'lrr,wr rhe laslrior¡ r,j l,¡rjrrrirrB
llre ¡lr¡rl lur¡orr* rhr lrrrqrrors; tlre
li¡st Irr¡r arr rnerr arrrl tl¡ri tlti¡¡l is a
w(»r)an. [Mallery lfil)3:660]
t Lpft) Pptto{l\l'ht, Pirtogtulth l\int.
,Vpvt l-erdt N túnql l1uh. (,,tlo¡o,lo
'l hc old chief'salavi
is picrrrr<.d hor-
i/r,nr.rll\ t,) \ltr,w th.lt lrc has p.t.rc,l
irrlay. l'lrt. ¡aggctl Iirrt. ¡rh|¡rc hirrr
(lc¡)()t('s witt('r, rvlri<.h <'¡¡<is il¡ :¡
.¡rrirrt irr tlrr. ritlrr..rrr¡l or¡r ¡,1 rlri,,
grows llrr.s¡rlrrrr.tt.(!.iltt() \tltir ll lr (,
¡ t|it,rsl()t¡¡¡(.r¡ l¡irrrsr.ll lrt rL..rtlr.
l\\ rrtIr s l')tiit:!r I I
7
Deer or Elk . Quadruped with antlers . Hoof print Diamond Chain . Diamond cha¡n
with two parallel V-shaped or one
U-shaped mark, often with two dots at
open end

(LeIt) Pülogttl¡lts, It l'c¡t¡t

Petrogbph, i[uni, Nar Mexito
Incised deer with heart li¡re.
l5 cm x 20 cm. ZR A.S site 10.
fYoung 1988:83]
(Belou) Signature of Hopi uorhman at
archaeologital site, north¿nt Arizona
Hahawi (Sitcomovi, obiit t892).
This man fünctioned for his
nephew as asperger in the secret
cere¡nonials of the Antelopes. . . .
He belonged to the Sowun$u
(Deer) clan. Totem, figure of an
antelope or deer. fFewkes 1897:2]
Petrogllph, Hopi Mesa, Arizona
I'intada sih,, 'I o¡nathn llitr¡.
Jali.sco, Mexico (nut ant ol
( Abou) Pictographs, Smu¡¡glos Cora and Hui¡l¡ol ltuliu¡¡.¡l
Oanlon, Anza Borego Stat? Parh,
The intertrcined lines i¡r tlrr.
Oahlornia arul (oboue right) Bah?¡
pictograph designs were
l)am area, Joshua I'ree National
f<rund by [,umholtz ( 1900:,11,
Monumen4 Califomi«
126: 1904: plate xx, 291) tcr
l he pubertl rites of the Luiseno signila the root of the squash
girls. . .lasted three months... . vine, the criss-crossing rvater gorrrd
vine, the bean plant, or thc double
l he final event of the Luiseno cele-
lr¡ation consisted of a race, c¿rlled a gourd. IMountjoy 1982:119]
''lra)ir." lo ¿ cerlain rrx k. whcre a
t'lative of each girl awaited her with
.r little pot of red ochre paint. On
rr¡rival each initiate painted a design
rlD this rock. Infbrmants indicated
rlr:rt tllese desiglls wrrt alwals dia-
rnorrd-shaped and represented the
r irlllesnake.
LVuncannon 1977:9Gl00l An element that kroks as if it might
represer rt u lung ripe seerlpod oc-
curs in the last . . . roorn.

rt Deer Track.
IMallery 1893:748]
ISchaafisma 1980:51
. . . the Painted Grotto, a shelter in
]

Fl'f,r tQt the Cuadalupe Mountains of s()rrllr

eastern New Mexico. is the nrosl
exciting. . . . The possibilitv tlrirt r cr
su it Petrogbphl Zuni, Neu I\|I oga| hs, Ilaket Dam area,.loshua
lain m(,lil:'. .. arr-.. . st)lilr'rl r( 1,
Iesentati()ns is reinlirrcctl lrv r,rrrr
Mexico l ¡tt' Nalion¿tl Monumen, Cnlilomia
Deer tracks, 5 cm x parisorr with Australiarr Alxrr igir r.rl
.r . ". 5cmx8cm. llrt s<'<rrnrl gr<lrping seenrs to bc ilrt, i,r 11lri('lr rliirrrr,,lrl r lr.rrrrs.rrrrI
Pi.fogrdph, Baja Calífurnia, Mexico "i
,.Ti;:.',1 IYoung 1988:75 ]
rrrrir¡tt«'. . . . lltc
rliiur¡<¡¡trls rL¡ rlol ¡>arallt'l zigz;rg tk sigtts rk rrotc rcrrI
A bl¡< k <k't:r hirs thc arrr¡w shaft ,r
lrlx rll() lx.j()irrrrl logr.llrcr'. rrrrrl ¡xxls irrrrl lrrt glrrlrs, rr'sl,{ i ti\( l\
¡rllrt crl orr.r' thc lxxly, lrolrlirrg tlrt' .llr' ll()l I):lirtr'rl ill l)rr)lx'r y( rli(;r¡ (l\,lr ( lrrr tlrr l1):i¡{::¡l).
:rrrirrr:rl irr ¡rl:rrr'. lSrrritlr l1)lt5:.1(il lr r rlr. lVt¡rr.rrr,,r l¡)77t1,1)l lSr lt;r;rlsrrr.r lllltl) l,lll

¡. u'l
7
Dots (see a/so Datura,
Enclosures, and Phosphenes)
{§"
'l ornallan Riter,
[,
Pitbgt¡lphs, La Pena Pintada site,
Jolis¿o, Mexito (near
trea of (kra aul Hu,ichol lulfuus).
Lurnholtz ( 1900) recorded the fre-
quent use of dots to indicate rnaize
kernels, ears of maize, squash or
beans, as rvell as raindrops and stars
o¡r c¡ccasion. Perhaps the clrrmp of
tinl r irtL s ord,'ts witlrirr t irr lr¡. .
can be interpreted as maize, beans
or squash. IMoun§oy 1982:119]
(Beknt) A antl
Enkúti(
B Drowings of
Ph?nom?non (Phosphenes)
. ated with the use of Datura. . . .
\ .\rt¡¡,'l h: (.ttntl D-
ltt77:llilbttu,l
I'iaoqruph,, .\on Ro, k An. .\ourh .\lrica:
arul l¡, Petrogl¡fh.t, Coso Range,
(i i/ómia
Entoptic phenonena (phospherres)
... mean .. . visual sensations
derived fiorn thc structt¡re of the
optic systern anlvhere fiom the
eyeball to the cortex. . . . Although
there are nurnelous entoptic fbrms,
ccrtain types rccur. \\¡e have se
lected six (including): (O) rlots.
ILewis-Williams and Dowson
l98U: 202, 203, 2061
ABC
o lrrrt srlx rnirllrill
[;;;
o !:r:,i
L !{.1
. Dots surrounding or adjacent to figure
. Dots alone . Dot ¡n center of circle
Pidograph, Chumash lruli«.n area (Site
SBA 1 J 18), southan Calilomia
Posrib)e cxample uf sl mbtrl associ-
A stlrdent who ingcsted Datura de-
.cribed the plrlsiologiral eflecrs. ...
Following a state ofvivid hallucina-
tit¡ns, the student perceived large,
brightly colored mandala forms on
a dark background which sponta-
neously appearcd over his nor¡nal
virior. FUr weelr a[te¡-ward. erery-
thing he looked at appeared to be
surrounded by tiny white dots.
[Hudson and Lee 1984:42]
(hmnents on dot s)rnboh
A sin¡¡le anirnal is sometirnes sht¡wn
enclosed in a circle of dots that ap-
pears to represent a corral or trap,
iln intcrc\ting adjunct lo the hunt
scene. ISchaafsma 1980:131]
0
@o
Dragonfly . Vertical line with dot head at top,
bisected by two (at times one)
horizontal parallel Iines
1
I\'t¡ogl\)ph, Hopi Mesas, Arizona
I lrc dragonllies have always been
lrl(l in great veneration by the
rloki (Hopi) and their ancestors, as
Slmbols u.sed
Indians
t1* $ Dahot¡t tñlr, I'fuius
rlrt l lrave been often sent by Oman The sanre disposition of straiglrt
r,, r('open springs which Muingwa lines, which is called the l,atirr cross,
lr.rl destroyed and to conf¿r other was and is used by the Dakota
lx rreñts upon the people. (tribe) to picture or signify both in
+f
IMallery t tt93:70,1-51 picto¡¡raph and gesture sign, the
mosquitohawk, more generally
I
16F
)n uonflies.from kíua murals, Awatotti
f
17E
called drag<»rfly. Thc Susl¡cca is a
supernatural being. IIe is gilted
with spcech. FIe warns ¡nen r¡f d¿n-
ger. Hc appr,,ar hcs the ear ol the
man moving carelessly. . . at right
angles, as shown in fiqrrre al al¡ove
,t ¡ttl lint¡aika-a ruins, Arizotttt leli, and says to hinr, rrow al¿rrrncd,
l o¡r: Fig. 16E. Awatovi, R<xrm 52ll ''Tr i-tr i-tci! '-which is.rrr irtt rjcr-
,rrrrl t'ig. l6F. I(arvaika-a, Rc¡c¡r¡r 6. tion equivalent to "Look orrt-you
l',,)llun: Fig. l7Fl. Awatovi. are surelv going t() destructionl"
[Smith 1952: 218-220] "Look or.¡t-tci-tci-tci ! "
IMallery I t]93:725-7?61
x4,
I1 lnul',iN¡h.v, Hopi Mesas, Arizona
tli, I'
1'?t t ogbphs, /) o¡¡, N ¡t I i t ¡ ¡t tI I\ ¡ t t t h
l)r irll(»rflies i¡re most ofien pol-
Ir.rrrrl r¡¡l irltars, p()ttery,:rnd ¡retrrr l)ragonflit's irr<' ir<¡r rrrt ir I if r'. rr¡ ¡r I
rilr ¡rlrs, ¡rossil>lv l:lt'('alls(' th('v ¿r-(' tlrcil son¡¡ rcscr¡rlrlt s IIrc ur¡r rl f,,r
rlrrrrr:rrrislir' ( r(.:rl ur'('s (l'ilIs()rs w:rtr'r rrr ptrt lrlo l.rrrgrr.rgcs lsr r
ls((.ls(("(l'¡rrkrrrrl l:llll) llr¡
.
l1l2{i:250) :rrrrl
¡,r,rrtrs (lk'ttrrlir I l1):t!', \.11, !)).
l\\ r rlilrt l'lHs: li,l '-ll
:rrc lr ¡xrsilirc sillr! r)l N.rtr'r . ll.rtrlrl\
; r¡ r r I ; ¡ I ¡r r ¡ r r I . r¡r r r'.
l1)7
lll.uri\ l'lf{(' l',1
r
7
Dumbbell . Two circles, two dots or two circles Eagle . Standing bird in profile . Bird facing
(See a/so Pit and Groove) with center dot, connected with line(s); (See á/so Thunderbird) front, wings spread, feathers prominent
may be embell¡shed with designs

(1,e.!) Pdrogl¡ph, Alamo Canl¡on /Diablt

l)am.l'exas
Topside again, a "dumt¡bell" or
"spectacle" symbol. One Navajo in-
q [brmant told us this symbol ureans
a conference took place at whatever

-j 'il
,.".."'..1
locatir¡n it's found (Carl Gorman,
personal communication). This Painting oJ g ., /ttni atut. N,tt¡ ll,lexio
"/
i lrl
symbol may appear with either a
. . . lhc I(rile-lcatlrct rl V,,rrsr,.r . . .
straight or cuned connecting line,
is represented ¿r-s posscssirg it lrrrrrrarr
a"ar",t and the circles at each end may be lllrogbphs, San Clistobal, Neu Mcxit¡¡
form. furnished with llirrt krrili-
pecked in solidly or ¡rot. "Ifone or
l'he handsomely caned personage feathered pinions, ¿urd lail. Ilis <llcss
r'
!
both circles have rays coming fiom
them, it means a lot of talk took
. . . rvears a large headdress rnade consisls of the conventional tefr'a('('(l

i'-l'' place," said Carl.'fhe symbol is

forrnd throughout the southwest
lrrrm the fci¡thers of the solden
cagle, the tips ofwhich are rnarkcd
cap (rcpresentative ol his dwelling
place among the clouds). . . . His
lr¡ a step-pattern. \fei¡pons ¿re the Oreat l-lint-I(nifé
and deep into Mexico, to the
rvriter's certain knowledge. [Sims 1949:6, Pl. Vl] ol \\a¡ . the Bc¡w of the Skies (the
R¡irtbr»r)..rrrrl the Arrow ol Lighr-
IApostolides 1984:22 & Fig. 3] ning and his guardialts or warriors
are the (;rcnt Mountair¡ l.ion of ¡trc
N()¡ th and of the Upper Regions.
[(irshing 1883:,10 & Pl. X]
( Right) Petrogbphs, Tomatlan Vallq,
Sta,te ofJalisco, Mexico
e
On the rocks with petroglyphs in
I \,trogl.t?hs, P¡(tograph Point, Mesa
l'ole NationaL Paú, ()tlorudo
,8N
the Tunratlán zone, we [¡¡unrl 125
llagle clan symbol, indicating a sep- Pelruglylñs, 7.uni,
elements cornposed of two symbols
for eyes (simple or elaborated), ;rr'¿rtir¡n of that clan from the <¡tlter Ihe six Beast Gods, horuever, rarely
joined by one or mr¡re lines. . . . lxr()ple and settlemeDt near their appear to¡lether in rock art. Only
At times the line was embellished ¡xrint of origin-silapu (spirals\ .
thr¡se identified ¿s the mountain
with some elements, generally [Mesa Verde Mus. Assn. n.d.:10] lio¡r . . . Ihif e-Wing or eagle (above)
arcs. . . . Based on the calendric .., and be¿¡r track. .. co¡nmonly
aspect of the rock paintings at l-a occt¡r-itnd even these three seldo¡¡r
Peña Pintada l, and inclrrding thc aPPeat logethcr on the sanre rrx k
possible imporrance r¡f the transit f¡¡ce. fYoung l9ftlt: l:lll I

ofthe sun across the sk1' . . ., it is

suggcsted that the design of tht: (l.li) Pamg4lh, l,'riol¿s Oantut. l u
eyes (of the sun) unired bv one <¡r tIplm .\atnnttI l\Iu¡tu¡nrttl, \,tt, .\1, ¡-
more lines represents the.()a(l or
thc passa¡{e of the sun il the sky, In llr¡tttlt lit't lrx'k lu-t, cagk.s a¡r¡x trl
lionr lhc ctstcrn hr¡rizt¡¡l t<¡ thc irr lriglrlr stt'lizcrl li¡r'rrr rrs str.rr liorrr
w( sl( ¡ n lr()r'i/()n (tri¡rslitl(.(l l)l llr(
lx Lll irr llirlrt (lrlrl orr rlrickl).
rtl¡llt()r ). ll\4orrrrtj(,r l1lli7: l(il I l{r,lr i l.rl. ll)sS:ll!71
 Ear Extensions
L,
trIT
Lr_t
Á)k
Pido!!,rúh, ()ndon del Mueñq t\rizona
I'he rrost plovocative ()f tl¡e canyon
Artas:rzi paintings irre the large
hrrrnarr ligrrres with top<rf:head
<¡rname¡rts and lel't ear appendagcs.
Identical figures are fouud in petrc>
glyph fornr ir¡ the Butler Wi¡slr area
ol s,rr¡tlrc.t.tent ['Lah. Tltr: BLrtler
Wash figulcs irrclLrde bighorrr sheep
that appe¡r c()r\ter!\p()ralleous.
The¡e alt' marlv Baskennaker a¡ttl
\ft,rlilled B¡¡sk( tmaLr'r \itc\ ir¡ llri5
region, irrrd tlre petroglyphs o1 the
largc hu»ran ligurcs lvith ear orna
menls secr¡l of the s;rme period.
.fohrr Oawley (pcrsonal commrrnica-
tiolt lC74l r( p(¡t'ts tllc c. .lppetF
dage petroghph figrrres from ltoth
sides of Brrtler \4'ash arrd on the
solrlh h.l k ol tlre Sarr.]rran RJrer. . .
T1¡ere is c<¡rrsidelirlrle evidence
indicating a fLrrv r¡f ideas between
Butler Wirsh ¿rnd (lirrrrr¡n cle (-lhellv.
[(irant l97ll:21
rN
L
. Front facing anthropomorph wilh
extension from left (usually) ear,
end¡ng in arc or balloon
(Brlo , Pidogaph, ()on1on del
Muo7o, A¡izono
Ont't¡l the crrriotrs "ear" figures
fi¡rnr Ear (lave, site CDM-I23 with
claborate top<rf-head ¿rnd left-ear
appendages. These Basketm¿rker or
Mr¡dif ied Baskctmaker devices rnay
havc bccn connected with sh¡nra¡r-
Lstir .tttlilrtr¡t.. irrrlir ¿lirrg 'lr,rwe¡
of sr»I)c sorl. IGrant l97S:201]
.
1-212]
(I.rfi) Pdrogl¡lús, Bulkt Wnsh,
fuort Ritn, Iltalt
S,zn
ln t¡ne instance these objects ¿rre
clearly l'eathers, as indicated by the
detail in the painting, but in others
the scric' ul rrrr s or sirnilar rh:rpes
at the end of the "féathem" is cnig-
rnirti<. This tvpe of headgclu occrrrs
¡lso it¡ R¡rskctr¡r¡kcr ¡x trrrglt¡rlrs lrt
Ih¡tlt r \\'rr.lr o¡t llrc Strrr.Jrlrrr lli«.r
(l( lt). llllt{l:lll llfl
lSr lr.r.rfrrrrr
Emergence
(See a/so Sipapu)
l)esign on Mitnbres boul, Nat Mcxico
'the...bowl ... ilh¡srrates lfie
climbing liom the other worlds and
the moment of emergence (into
r lr is uorld L The figrrr cs :rrr pain ted
lrlacL. "th,.cr¡.¡umen crrlor ir) rep-
res('nt¡ g ttllde ligurcr." Since the
Iigrrres . . . are also rrirhour decora-
tion of any s()rt, the black of' nLrdin,
also tor¡Ll slrggr.\l l¡rle tlrr alriccr
corrdi¡iol¡ r,f the ¡¡le¡t irt rhc lirsr
three worlds. Fo¡-i¡§ (i¡shing reports
. . . (on the Zuni): ". . . black were
our fathers, the late bor¡r <¡f crea-
tures, like the caves [¡-o¡n w]rich
they came frrrrh." fCarr 1979:10]
PArogllph, Pictograph Point, Meso
Verde Notional Park, Colorado
A. "Sipapu," the place at which the
Prrehlr pt'ople emerged fiont rhe
(..lrlll { (;r.lnd ( :¡rnvon l-il| terpt eF
t'd hy l,rrn llo¡ri rrrcu rrr l,) ll.l.
Mcsir Vr.rrk. l\l rrrr.rrrrr \ssrr. r.rl.:tl
I I
. Spiral . Double.linked spiral
Petrogbphs, Ro¡.k llutu. Nat¡tn
Brid.ges National Monun¿rLt, I tta.l¡
The ror¡nd basc <¡f the Kiva is rhc
wr¡mb of the earth fiom which man
emergcd into this. the fourth
world. Birth in ¡his rvorld is nor,
rnallr ass,r< i¿(crl rr'irlr .rrrrl r h ¡,ugh
watcr. S,, alsrr the a,¡a,*.,raa,rt
mankind into this rvorlcl through
lhc L\r,r))b ol llle eartlr w¡\ thtr;ugh
tllc waters (,1 ;r flrrocl ¿¡¡l ¡sp¡.-
serrtecl by tht,spiral lirrcs rnóvirrg
tlpt\'ar d ¡r rd ()ul\rar'(1.
IHarris l9ltl :170-l Zl ]
#
tñ, rt
.iF
!r
I'}etrog\phs, Rock lluin, Natural
Bridges National i\'lorLum?nt, (Jlah
Each of these . . . emergence scenes
exhibits one or two emergence lad-
ders or planls. -l rees, vines and ani-
mals contribute to the success of
each ernergence (\{1ritc I g32:87-1):
'I'ylt'r l{)6,1: lO7; t,¡r'sorrs l112il:ltt7).
IIl:rrris 11lllI; I7O
l
7
Enclosures
(See a/so Dots and Hunting)
wáB
Paroglyphs, Nea¡ V¿ni« and oth¿r
in Llah
site.s
The Fremonl Petroglyph design
element referred to as an "enclo-
sure" occurs at l3 sites near Venice,
Utah. . . . Outside the Venice area ir
i. often represented with and par-
tially duplicates the distribution of
tht .rne-horned twr rleqged <heep. . . .
This rype of sheep is generally slrown
eitht r going irrto lhe enclorr¡re or
already enclosed. . . . Immediate
observation suggests that this form
which sc¡metimes include sheep,
may be a corralling device used in a
httnting process. . . . Thc basis lor
irnother interpretaLion comes from
the Ashley and D¡l Fork (Utah)
siles where a r upulation :\cene or-
curs within an enclosure. Since
there are also several anthropo-
norphs with "r,ulva forms" repre-
sented with the same shape, the
second point should be fertility.
IWar»er 1981:1045]
\ !Xr
. U-shaped line (or dots) with game Facing Birds . Two birds in profile lacing each other
animals entering or within
. Vertical lines like p¡cket fence with
game animals nearby
U
(
VYV
Beloú) Petrogúph\, Northumberlarul
«nd Hickison Summil siks, Nflada
(Aboue) I'drogllph, San Cr¡stob¿|, N¿n
Mexico
?q'rlff
Herds (of garre anitnals) very likely l'he ruirrg fearhers of the pirir ol
l)irds i¡t thc top of this pa¡4c are styl-
traveled . . . throu¡¡h passes to winter
ized into the symbol fór talling
pastures. . . . As a migrating herd
approached a preordained kill site, rain. [Sims l949:Plate I]
t Abuvt Pelrogl'tltht. W,'l .\'lp'a. Ntu'
hidden drivers would have shown Mexico
themselves in an attempt to fbrce
the herd to\a'ard the ñ¡st in a serics 'f he strongest correlations betrveen
(Be¿ou) I'¿ttog4ph, 'l'hree Rir¿rs, Nau
of attack st¡ttions u,here hunters werc Il4>i clan symbols and \4'est Mesa
waitin¡¡. . . . As the hunters showed cscarpn)er) l petroglyphs a¡-e Iound
lhemsel\es tc¡ lau¡rr h their projec- l'igure 189. Ft¡rther bird n¡otifs in a. .. group ol bear. . . i¡¡rd bad-
tiles, they too would be acting as lronr Tlrree Rirers: (h) a s\mmelri- ger. . . paws; and in a highly diverse
drivers. frighrening the animals . . . cal composition with birds i¡nd ter- grorrp of bird fbrm petroglvphs.
toward thc next atr¿ck station... .
r-ace. lSchaafsma l9ti0:230l IEastvold l9lt7:135]
The petroglyph clrrsters (below) are
the.e hr pothesized an.l.k staliuns.
IThomas l9ttl:68]
tti c) (.¡ 'l r;' ',
! "/'
tf:lo,l¿?0
ffi
( Left) Petrog\phs, Pohranagat Lahe
vicini\, Nnada
Ticked lines in combination with
iurimal and other figrrres . . . may
represent diversion fences uscd in
game rlrives (Ht:izel arrrl Ilcster
I t)78).
l St lr:utlsrrrrr in l ),\zcrrrlo l !)tt{ilr:2 11) |
7
Family . Two anthropomorphs-male and Feathers . Extended oval or rectangular object(s)
f emale-together, occasionally with above head of anthropomorph
small figure . Same shape with step design at énd

(Abo1i¿) P.lrogbph.\, o (i¡l¡em u¿l¡¡r
(iu¡on site, Nex¡ illcxico
A notable grotrp of antlrrop()rnorphs
r¡cctu-s in a Ciobelnad¡rr (i¿urvorr
site. I)ominirtirrg tlte ¡rzrnel are ir
pait of large htrruan figtrrcs holrling
han<ls. A ¡¡ale and fcn¡ale see¡r ttr
))c represented. fhat the fer¡lalc
figtrre is preunant is indicated by
the sm¡rll upside-rlolvn form of a
r'hil,l rvithirr tlr( t.rt'\,, . . . il serrr¡
possible that petr()gh'ph urakirlg in
tlicse instances w¡s c()nnectc(l !\,ith
1ér'tilitl ritrral. ISclrairf's»ra l{}72:1ij
( Bckntt) Petrogl:¡lh.s, llhloflou, Ncut
Mcxito
Since lhere are - . . scveral elerncnts
rrhich rna) suqgest it "famill con-
cel)t." then this c<¡tLkl delinitely a<ld
cre(¡ence t() the sítcre(l ¡taturt: rrl
this loc¿rtir¡D-¡ possible fcrtility
site.
[[udit]r Warner 1983:351
( Belou) I'etn¡¡$lths, N'atnjo Rrstntoir,
Ncu Mlxio (redntr,» fron Srlnal'ima
196))
Rock pictrrres pluvcd a par-t in fértil-
irv cerer¡lonics. an<l the <lcsign ele-
ntent r¡{ the hise< tcd cilcle, cr¡nsid-
cred a fértilitr sr:rl¡ol in lll¿ln,v piuts
of the world. is al¡rn¡tlant in lhe
\\¡est. Phallic dranings arc lie-
qr¡cDtlr_ seen ¿t south\!estefn sitcs
¿nrl:r lirrr,,rrunpl, is rlrr¡¡n hr.r'e.
Tlrc iunrrsing rock pccking seenrs tcr
sholv, in thc < lenlest ¡roster-like
rl¡r)ner', thc wish r>f lhe rrriüc ligrrre
fi¡r' a rnan-chilcl. [(ir-ant l9(i7:13l]
crr=,F lF->
I)¡auingt of uarious f«tthn drsigns on
ltollrn ol ,\ihy«thi Ruins, Atizona
Above figures represent a) unusual
trpc crl feathet s¡rtrlxr). rearlily dir-
tinguished fiom others by the notclr
at the end, thc edge ofwhich is
conlnlo¡h ¡<¡unded. Notc: Nfrllerv
lrcti:4i. Fig,. 12... illrrstr¡tr'd nvo
< h¡sters ol. . . Hopi fcathers copied
bv G.K. Oilbert fiom petro¡¡lyphs at
OaLL I {Will,,rrr Springs. Arizorrr.
Pctroghph, San (rituña[ N«r Mcxitr¡
'fhc first cluster bekrngs to thc type
:.h,,¡n (.thore right) a\ eagle tails. I'he hirndsornely carled personagc
IFervkes llt9tl:135] . . . \{ears iI ta.rf{c headdress rn¿rde
fi r ¡rn thc f'¿'rthersof the g<rklen
caglc, the tiJrs o1 lvhich ar c rnarked
bv ir stcppattern. . . . I'his sr¡rl>ol
(lou»¡rnl on letlhert tnrl lh iun
tr Jun appalt'rrtly hatl its origin arrd rlelel-
Feathe¡-s are arnonfl the n)ost
important objects ernpkryed in op¡ncnt in a rathcr brief peri()d
of Ptre[¡lo cultrrre; ir pcriod known
Pueblo cercrnonies, irnd ¿m()ng the
1() bc conlparativel,v late in pr e-
rnodern H<>pi léathers t¡f diffi'r'ent
hirrl,' ¿te lr*¿trdr<l ¿s elli,.rr iorts l(,t Spanish tirrrr.s, and t}¡is ¡n¿,- be ir
clrrc to hrl¡r irr rl:rtirrg thc r lrrrirrg.
<liffcrent speci(ic prrrposes. Tlrus
tllc tr¡rkey féathcr symlx>J is cllica- ISinrs 1049:6]
cious to l>ring rain, and thc hawk
and eirgle féathers ¿rrc potent iD
rvar. . .. Relief in a dilference in the
rnagic power of certain fé¿rthers was (lleknt) A *:lection oJ l"eatho
(:ont)?tlit»L\ as used in theJedlito
deeply rocrted in the primitive
Inind, and rvas regarded as crfgreurt tkltt<!l l,«¡»ling\.'l'hree at [e[t. = rlpl4
importarlcc b,v the a¡tcienl as weii thft't' tt ¡ighl = lurh4.
¡s thc ¡nodcr-n Hopi. IReclrirwn liom \{rrlsr¡rr Srr r itlr
fFewkes I1398:135] l1)51:l7ll

,m
,,¡*lÜ)i,
i"'
PP
i üü0tla r ¡,1
7
Female Figure . Anthropomorph with filled-in circles on Female Figufe (continued)
(See a/so Vulva) both side of head . Anthropomorph with
down{urned "U" or vulva between legs

f,
Atizona
flK
Petroglylth.s anrl Pictographs, Can ¡on
rlcl Mucrto and Canlon de Chelt¡

Anasazi depictions of women. (Bekru) Pictografhs, Oan4on del

Muo1q Arizonrr
Pctrogbph, Hopí Mcsas, Arizona
l\.rrughph ofa maid 2 feet high..
'Ihe maid is pecked with rubbed
outlines; hair and gown rubbed
over with dark iron ochre, fáce,
mantle and leggings whitened.
is called. paihi'shata, very old,
It
but
. .
Petrogl¡ph, Pelerborou,gh, ( )n k t ri o,
Conada
. . . the figure may thcreli)re be th¿t
of a woman. . . . The largest, visually
most impressive, and iconographi-
cally most signiñcant of the female
Iigures measures some five feet in
IGrant 19713:179] someone occasionally rubs the fig- length (above). . . . The most inter-
Therc are féw representations of ure with ochre and white clay. esting féature of this petroglyph,
women, rrho arc always rare in rock IStephen 1936:1012] however. is a red r¡rineral seam that
art. Fcmale flgr¡rcs are usually iden- runs along the length of the ñgure.
tifiable by square blocks alongside The rendering of this image was no
..
,ll,

\-!,
lr
,1 the hcad, inclicating hair coiling
over the c¿rrs, a¡rd sc¡metinres l¡y
genitalia. This tr¿ditional stylizarion
of rv<»¡en continrred into (lreat
Pr¡eblo times. At r¡ne site (ODM-88)
that includcs many kinds offigures
not l()und elsewhere in the region,
wolrlcn are indicated ¡lith hips or
breasts. fGrant 1978: l Ttt-l79]
Drawíng oJ Jbtnok' heir alrungcl ?nt
w0&
I)rauings, Hopi Mesas, Arizona
'fhe Maltese cross is the emblem
a virgin; still so recognized by the
\4oki (Hopit. It (ctrmes [rOm) . ..
the lorm in which the maidens
wear their hair, arran8ed as a disk
of
doubt directly inspired by the
crevices and the red seam and per-
haps the female itselfwas seen as
pre-existe¡rt at this site.
lvastokas and Vastokas 1973:80]
(Belou) Petrogllphs, Haulq Lakq
Sieta Countl, California (after Palm)

MU
of3 or 4 inches in diameter upon . . . there occur vulvaforms and also
fiom Detebpm¿nt Pltcblo htñ¡tl in cach side of the head. a figure with a vulvaform definitcly
'fse§ ()an¡on, Añzona (redmun
Jio.m
IMallery 1893:729] placed in its natural position.
G ?¡nsq 1931)
IMc(krwcrr l1)7tl:211 |

The cvide¡rce rock paintings and

<¡f
artwork on pottery shows that Modi-
ñetl Basketnl¿rke¡ 'womcn \! ere
{rg Q q,A f¡l ¡.¡ tr "r'
adopting a hair style that would
rcnr:rin tr r rt'lr:rr rgerl irr tlrl Ar¡asazi
c()lrnl11 r¡ntil rnrxlt'rn tinres. -[ he
hirir rvlrs ¡>irr-lctl in lht' ¡¡riddle anrl
00q09,'' l{t'"
|¡lrnfl Ir) tt ,"
g.rtlrcrtrl irr rrlr,,rl.r,t tir'¡l irr lrr¡l-
rlk s r¡rcr tlrc r':rrs. l()rtrrrt l1)7lt:l0l

!r 115
/
Fish . Fish FiSh (continue¿)

t'¡(togaph, Satun Conlon, Val Vtrde capitalized t() in(li(:tl(' llrirl lr( i5 ir
I'rtrogl"¡ph, (ixtk's Pcak, Neu Mexiro ( inti.q, 'l'exas tyPe. Since fish at t' < ;tugltt itr r ivt ls,
it seerns plausiblt' 1() i(k'rrlily llr('
. . . fish dcpictions are highly realis- ( Belou) Pütogtttph,'fomotlon llitc¡, l,, rhe center ()f\A/40 there is a
tic. Both tadpolcs an<[ fish rvere Jalisro, Mexico r.,ge,,,rnposiri,,rr i,r red. r,rack ¿nd xi'l,i['J*liJ:iilil,l,]i]:],,i;'ll"' '
found pccked on betlrock sr¡rf'aces Anolhct rlrril.{lr rnl¡,,lirall} rcllow. ()u the left we sec what is
r
r irlled a hu¡nan ñgure. ()n the risht
sr lrsr, i-
rte:rr potholcs in which rvater col- ated with maizc is the sp()tted black
large wary arch rlesign. Withir )Il;,1,[i,T,il:".'r"rr¿':ii: lli:;l'*'
lects cluring r airrstorms. is a i-p.."
ISchirafsrna 1980:203]
fish(bclou). (]reen corn is callerl
"l>lack lish" and cars <¡fcorn are cle-
pictecl . . . by the painting of a lish,
llre concelltlic b()rde¡s ttf the ¿r'cl
,rrc two fish,..p....,,r..1.''.,,-,n
' .;;);,;, ";;"; , ;i,.
il: i;l: il::1ff:lJ llil'iit
,r,.

which is cirllcd by tlre Mcxicans rheir skclclons. That the pcople of ¡J.. iiil., ¡,r.., ,t,.", ,r. if,. fi.f.,..-
-,1*
'brqrr'. Lrrrrrlr,
this region shor.rld represent [ish is ,"rrr, ii.ir, i"irf.fr'i*itt u.frit.u.-
1
'ltz l90r):214 in rr()1 surPrising, Ii¡r fish boncs are
Morrntjoy 1082:1191 ily dásignatc a carfish, and the

Rp
t <¡rnnron in the shelter r¡riddens
t'r',i.1|jilll,bffi!;|'}}r
(iohnson 1e64:7e; Sayres _
1935:l I U), and gar
.
and catfish
I],i;.
cspecially, are still caught in thc
I ivers Roth <¡f the paintctl lish art-
irltached t() lincs which lead t<¡wal
, I RcLolt)) Pülog q)hs, Erqb carc, val
lnl¿(¡tunlt"lpxn¡
rh( h.nran li¡¡rrre. r.rrrlirrg ar a
lrlirck pcrpendicular lirre ncar lris Large l'isherman i¡r black and red
,,.rrr. Órre. nr.,.t c,tncltrde thal thc with yellow intcrior panel, about
Iish are cau¡¡ht by tlte m:tn, whonr live feet t¿ll. Sun-like Catl'ish is at
(Bckno) Petntgl¡lú, ItrQi Mev\ rvc may iclentify as a Fishernrarn, far,right lGrietler 1966:7141
Arizona

,\{ 0.'.-.-.=: r-=trF

Fish (.p.t'hüM) gralrng. ''
IStephen 1936:t0291
l'hrce lliuat,
Parog\lths, l'hrce lliuen, Nau Mcxico ' ""
Abstrirct fish design (fish over a
foot L'ngl. I \lrqqert ¡ltitt the i t(.1 r fnf,-i-
pr etation of.fornarla Strlc lilé-fi¡rrns
goes beyorrd the mere identitv r¡l'
species. Whzrt rve sce here is rrot
tltc rvolk of pr-ehist()ric natrtralists,
lrttt ¡.rtlr,'r'.r gr,¡rrl).'l liArrtr.\r:ltr,
J;t{
fr¡llt'st.lt < trrl otr llr<' basis of tlrcir
trrL s irr tl¡r' i<lt olouir ltl stt'll(.tln(.
lSr lr;r;rlsnrrr lllSl):21t2 ]

tt'i
7

Flute Player (Kokopelli) . Anthropomorph in profile with line Flute Player (continued)
from mouth and arms holding this l¡ne,
often with hump on back and ithyphallic

Dra titlgs
ond hodtinas
The locust
b il.lu\lrate slmbols of clans

know¡r as the
r¿¿l¿u is
(Belc,'tLt) Kita Murul, Auatoa| Arizona
The erotic aspect of the male figure
almost certainly srrggests Kokopolo
I'etrcgbph-s and Piclograph
Oanlon de Chelly, Arizona
'fhere is a notable break in the
(cmw),

\trictly [rñnt-view ligure of Basket-

¡naker times, and in the climax
r6
Huntpbacked Flute Player, the Kachina, who appears occ:rsionally period ofcanyon rock art (protr
lochina oamed Kokopilau, lrccause ably mid-Developmental Pueblo),
at kachina dances. His mask ir
he lroketl like wrx¡d (AoÁ¿-wot¡d; Iigures are shown in profile. espe-
usuallv black, with a vertical white
2il¿¡¿-hump). In the hump on his stripe; he is representrd as ltump- t:ially as seated humans, often play-
back he carried secds of plants and ing the flute. [Grant 1978:177-178]
backed, with an crect penis. . . .
flowers (thc Kokopilau or l(okopelli 'Ihis latter, in darrces trxlav, is of
is r>ften made rcith a long penis
carved wood or ir ¡¡or¡rd tied
to symbolize the seeds <¡f human ar<¡und thc waist. He dashes about
reprotlur tion also) and with lhr
. . . simrrlating intercourse with
music of his flute he created varic¡us fenrinine rpectators, as
rmrnrth. \{'he¡r thc peoplc moved Petrogbph, Cienagillos, N¿w Mexieo
1
the nural suggesls. . . . I arn <>f the
off on their migratioris ovcr the opinion that Koktrpolo . . . is carry- A flute is being playedby Kohope i
continent they carved pictographs ing out his traditional role. who appears in typical fashion, as if
ol him o¡r rocks all the rv¿rv fiorn D<rckstader 1954:50]
I dancing and ithyphallic.
rhe tip of South Americir rrp to
Canada, and it was for these two IRitter and Rirter 1973:70]
.
rzaázs (left an<l middle above) that
the Blue Flute and Gray Flute clans

rrn
an<l societies lvele named.
fWaters 1963:38]

Parogtyph @j» and. pictographs,

Caryon d,e Chelly, Arizona

l)rrring this period there were rnany

cxarnplcs ol flute-players. . . . Some Pidographs, Hiddtn l'ulh1 ( in't . tlt¡
Drrango, (i orado
;rrc twinned with "r¿inbow" clltcts
I )nnoinr ol Ílolti Ktkojxlli ()ver rlr(:ir hea<Is, irs ¡t sit( ( ll)( :-7tt, I Itttrtarr Iigrrl tlrt. l r ¡ r ' l ' l t r ¡
l
,'
t r r
.

l'iclogra¡rh ( )irvr'.
[)rrr ilk
r irr l\4o¡ ¡ r:.rrrrl lh rr t,,lr
,\ltr'¡ l crrlt's. litt Sirrrs I1Il1):5 | l(;r.'r,r l97lt: 177 ITlil l¡X,l¡r'iHl

118