James Burr Harrison III M.A.

Texas A&M University IFRAO Albuquerque 2013 Session 2: Archaeology and the Science of Rock Art Kokopelli Room 3:00 PM May 30, 2013 Visual Hierarchies of Anthropomorphs in Rock Art: Bridging the Gap between High Theory, Middle Range Theory, and DataA Case Study from West Texas Site 41VV124 (1) This pictograph panel in West Texas is 41VV124, also known as the White Shaman site. It is found in a small rock shelter perched in a difficult to access alcove above the Pecos River. This paper presents an interpretation of this site based on structural analysis, and applies Harris diagrams, and Neo-Marxist theory to understand the imagery. As an archaeologist I see no real separation between rock art and traditional archaeological sites. Rock art research is component of archaeology, in turn a social science. Rock art research is a sub-field of archaeology requiring specialized methods. It can also sometimes borrow from other fields such as psychology, art history, and epigraphy. For example structural analysis, in the tradition of Linda Schele and the Palenque Mesa Redonda of the 70s and 80s, holds potential for decoding rock art canons such as the Pecos River Style. I used this methodology during my 2003 graduate research, recording sites throughout the Lower Pecos. This study is the basis of the following discussion. I was instructed in this methodology at Texas State University by Scheles student F. Kent Reilly III. Structural analysis, applied at a regional level with a sample of 43 sites, is the basis of the following discussion. A lack of cultural theory characterizes some recent rock art literature. Theoretical grounding is the necessary philosophy behind archaeological though. Theory-less research can be compared to a ship without a captain. Cultural theory is just as relevant today as it was thirty, fifty, or seventy years ago. We would do well not to forget the hard-fought lessons of cultural anthropology. Theory and archaeological context are both prerequisites for sound iconographic interpretation. 2) My 2003, revised, semiotic based, structural analysis of Pecos River Style art reveled 19 common themes that define the construction of narratives within the style. These core motifs are described succinctly in Harrison 2005. Core motifs are designated by particular visual relationships between known symbols, but have a creative range of expression in this rulebound iconography. Core motifs typically contain a central figure or figures at the focal point of the scene. Core motifs are archaeological features, almost always the product of a single painting episode. The White Shaman site, like every other Pecos River Style site, is a palimpsest with younger images over-painting older ones. It contains twelve different core
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motifs, although much of the panel is dominated by a single complex one, 41VV124 CM-1 or core motif 1. This scene is the focus of this paper. Most core motifs depict only one of the 19 themes, while around twenty five percent combine two or more. 41VV124 CM-1 is one of the most complex, representing a total of eight different core motif themes. I first gave a brief version of this paper at the Texas Archaeological Society 2012 annual meetings. Subsequently, at this congress on Tuesday, Boyd presented her own Harris diagram of this site and stated that it constitutes a whole panel narrative. However, my findings indicate that this site consists of numerous over-painted features rather than a single one. The imagery at the site is not inter-woven or anomalous, but instead conveys the typical conventions of the style. 41VV124 should be viewed on a diachronic rather than synchronic basis. (3) In December 2011 Margret Greco, Robert Botello and I traveled to the White Shaman site to create a Harris diagram. Harris diagrams are visual matrices used in archaeology to position overlapping features in an ordinal scale based on superposition. This technique is useful in helping trace the sequence of overlapping features, such as intrusive pithouses or in this case overlapping pictographs. The basic premise is the same as stratigraphy. Harris diagrams are a nondestructive method, requiring only time and the ability to examine the paintings in person. Images have to be numbered in some way, then notes are compiled of the instances where two different paintings intersect, and which image occurs on top of which. In order to avoid false positives, one must allow for situations where the sequence of painting cannot be determined; when used effectively this technique can help break down overlapping rock art scenes to establish relative age and site development. Analysis of this data focused on core motif one and confirmed the observations I had made in 2003. Core motif one represents two painting episodes, separated from one another by a considerable period of time. The first painting episode depicts a single core motif theme, while the second adds seven more. Viewed independently, the meaning of the two scenes is contradictory. Theories such as Agency, Neo-Marxism, and Turpin's middle range theory of Cyclical Nucleation and Sacred Space each help explain this sequential iconography. The first scene occurs at the bottom of the Harris diagram. Although spanning the entire panel it over-paints no other images, and is instead over-painted numerous times. It reflects a foundational painting episode at the site. The first episode represents the core motif theme known as Series of Equals, depicting a row of anthropomorphs of similar scale and appearance. The second phase represents a complex series of seven themes elaborated below: Related Superpositioning, Heraldic, Flying Across, Impaled Objects, Associated Polysymbolic Ethereal Being, Associated Amorphous Black and Sinuous Character, and In Sinuous lines. Core motifs can be identified not only by theme, but also by color and stylistic affect. The
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initial painting episode in this case is depicted in dark grey and red and is of a rather unadorned style. The second episode is white, yellow, red, and black and includes fine-line detail work. (4) At least two other independent figures or scenes occur between the two painting episodes, representing the passage of a considerable period of time. One example is a yellow dartheaded figure that occurs between the body of the second grey anthropomorphs from the left and the red extended hair of an episode two anthropomorph. A second example is another dartheaded figure. Core motif one painting episode two also consistently over-paints painting episode one throughout the entire panel, further evidence of the relatively young age of this scene relative to the initial Series of Equals. This observation is key to understanding the site. (5) The white anthropomorph is the focal point of the second painting episode, and was painted at a slight angle directly on top of the fourth grey anthropomorph invoking a sense of duality. (6) A second faint, white anthropomorph is painted near the center of the panel, a form seen at two other nearby sites. These are both expressions of the Related Superpositioning core motif. (7) The pair of S symbols painted near the hand of the white anthropomorph mirror the position of the pair of anthropomorphs and reinforces their relationship. (8) The white anthropomorph is accompanied by two series of smaller anthropomorphs, an expression of the Heraldic core motif, where smaller groupings communicate the importance of the central figure by relative scale. The first three are what I refer to as anthropomorph symbols, representing abstracted anthropomorphs with arms raised. (9) Four other anthropomorphs (three depicted here) have a slightly more naturalistic style. They face downward, with long unbound hair. This implied oppositional movement creates a visual focal point centered on the over-painted torsos of the white and grey anthropomorphs. (10) Flying Across is a third core motif conveyed in this scene. Five anthropomorphs sweep laterally and downward across the wall. Each is unique but has similar stylistic details; for example they have white and black dots inside their bodies. Several are impaled by darts; they also bear weaponry and their hair is unbound. These figures also help create a sense of motion to the painting. (11) Along with these anthropomorphs (some impaled), impaled dots and an impaled deer are depicted, collectively representing the core motif Impaled Objects. (12) Enigmatic characters are supernatural figures that occur in Pecos River Style art, often depicted alongside anthropomorphs, another form of core motif. This scene conveys two different associations between the white anthropomorph and enigmatic characters. The first is Associated PEBs or Polysymbolic Ethereal Beings, depicted below and right of the white anthropomorph. PEBs have recurrent characteristics and appear in groupings such as
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this, often accompanying a central figure. (13) A second association with a supernatural being can be seen in the relationship between the white anthropomorph and a three meter long bulbous figure depicted to its upper left. This figure appears to be a second enigmatic character, an AMBS or Amorphous Black and Sinuous Character. An apparent plumed spear or wand intersects both figures. The left arm of the white figure is painted in an interlocking fashion with the ventral portion of the enigmatic character. The anthropomorphs arm is painted on top of the figures body, while the outline of the body is painted over the arm. (14) Finally, a seven meter long wavy line crosses the entire wall, starting black then turning white. Anthropomorphs encapsulated by wavy lines reflect the core motif theme In Sinuous Lines. It appears this line was painted last; it crosses over all of the aforementioned imagery with the probable stylistic intention of unifying the entire scene. Turpin argues for the development of short term hierarchies in the Lower Pecos during the Middle Archaic ca. 30005000 B.P due to population stress. Aridity forced populations to aggregate in canyons and near spring sites with reliable water. Quasi-sedentary base-camp formation particularly in rock shelters lead to population stress, the need to cope with conflict and establish leaders. Furthermore, cyclical nucleation events were taking place in which bands would gather together around shrines within the landscape at particular times of year as dictated by ritual and religion. These events incorporated aspects of band relations and group coalescence. By this theory Pecos River Style pictographs are a material record of the social and religious life of that era. Turpin's concept of Cyclical Nucleation and Sacred Space is a middle range theory, one that bridges general anthropological theories and archaeological data. It is a theory that can explain some aspects of human behavior that resulted in the archaeological record. The theory of Cyclical Nucleation and Sacred Space may explain the occurrence of core motifs as well as Pecos River Style art in general. Core motifs themselves may be the results of cyclical nucleation activities; records of ritual and social ranking. In Turpins theory particular rock shelters were visited repeatedly during a seasonal round. These sites became the nucleus of social aggregations and ceremonies set within a particular calendar. The large panels we see today such as Panther Cave, Rattlesnake Canyon, Cedar Springs, and San Vicente are each composed of dozens of core motifs and other painting episodes, a unique iconographic record of these cultural activities. Hierarchies of anthropomorphs are suggestive of social ranking within the society, while other scenes seem to convey religious information. Overall, the thematic, repetitive nature of core motifs suggests a record of canonized social and ritual behavior. In the example of the White Shaman Site it appears that an initial painter created the first Series of Equals across an, at that time, blank or nearly blank rock shelter surface. The five very similar grey and red anthropomorphs were interspaced across the shelter wall. This theme
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emphases the similar stature and appearance of each of the anthropomorphs; I interpret this as equating to an equal rank between individuals. Next, a series of other Pecos River Style painting events occurred at the site, none related to the initial Series of Equals. At some point, possibly toward the beginning of the Late Archaic, a creative artist took advantage of the spacing between the Series of Equals anthropomorphs of painting episode one to create an entirely new scene. Although all are clearly part of the same style, there appears to have been a rule or principle that each Pecos River Style painting be unique in some way. In this case the artist creatively utilized the older scene, while completely altering its meaning. Instead of a Series of Equals, the second artist rendered a clear center to the painting, the white anthropomorph. Layers of elaborate symbolism were painted around this figure, together creating a scene of great visual power. The theory of Cyclical Nucleation and Sacred Space states that incipient hierarchies developed in the community due to scalar stress. Privileged status and leadership within this band level society may have been sanctioned through ritual and religion. This information in turn was encoded in Pecos River Style iconography. It is possible, therefore, to conceptualize the content of Pecos River Style pictographs through Neo-Marxist theory. Within this prehistoric culture there may have been a dialectic between different individuals and groups vying for access within society. The first scene may express, in part, the concept of egalitarianism while the second may convey the concept of non egalitarianism as expressed through hierarchies of anthropomorphs of varying respective size and position. This one example is likely not representative of general social trends, but instead may convey the dynamic push-and-pull of incipient hierarchies as hypothesized by the theory of Cyclical Nucleation and Sacred Space. Furthermore, this iconography of power conveys what Marx might have called a false consciousnessan illusionary belief system that masks or justifies inequalities within society. Fields of spears, slain enemies, herds of game, images of flight, and control of supernatural forces all convey a mastery of nature and the vicissitudes of life. This was needed for band level societies that although spiritually rich faced an often harsh daily existence making a living in the Lower Pecos desert. Thus, those with access to and control of the supernatural had special status within society; only their intangible tools could mitigate the threat of the unknown as well as the terrible pain of fear, sickness, and death. History was, then and now, a dialectic between groups and individuals within society working in the context of conservative traditions.