Rock Art in the Santa Rosa Mountians of Baja California
Nifty Landscape Rock Art consists of prehistoric paintings of humans and other animals, often larger than life-size, on the walls and ceilings of natural rock shelters in the mountains of northern Baja California Sur and southern Baja California, Mexico. This group of monuments comprises the site Rock Paintings of Sierra de San Francisco, which is included on the UNESCO World Heritage List.[1]
Characteristics [edit]
The rock art may be either monochrome or polychrome. Red and black were the colors well-nigh frequently used, but white, pinkish, orange, and greenish also occur.
The near common figures are humans and deer, but a variety of other animals, such every bit rabbits, bighorn sheep, birds, fish, and snakes are as well represented. The human images oft include stylized headdresses. A minority of human images are shown with sexual characteristics, such every bit male genitalia or female breasts. A minority of human and animal images are overlain with depictions of projectiles (presumably arrows or atlatl darts).
The images are essentially silhouettes, without representational details inside their outlines. Instead, geometrical patterns such as stripes or bands of different colors are used. A dorsal/ventral (front-facing) perspective is employed for humans, turtles, birds, and virtually fish, while a lateral perspective is used for deer and about other animals.
Overpainting of earlier by afterwards images is very common. Some murals seem to prove intentional limerick in their arrangements of multiple images, merely in many cases the figures seem to have been painted individually, without regard to other nearby (or underlying) images.
Distribution [edit]
The Neat Murals occur in the sierras of Guadalupe, San Francisco, San Juan, and San Borja in the fundamental part of the Baja California peninsula. To the due north and southward their identify is taken by other, less spectacular stone art styles. Within the Corking Landscape area as well, pictographs and petroglyphs belonging to other styles are present.
The Peachy Murals prevarication within the ethnohistoric territory of the Cochimí, and they have been commonly linked with the late prehistoric Comondú Complex, although the Cochimí denied to eighteenth-century Jesuit missionaries that they were responsible for the paintings. Recent radiocarbon studies, both on materials recovered from archaeological deposits in the rockshelters and on materials in the paintings themselves, have suggested that the Great Murals may have a time range extending equally far dorsum as 7,500 years ago.
Interpretations [edit]
No consensus exists about the motivations that led to the painting of the Great Murals. Among the contexts suggested for their production have been hunting magic, warfare, shamans' traces, weather command, and ancestor veneration.
Studies [edit]
The existence of the Cracking Murals was noted by Jesuit missionaries José Mariano Rotea and Francisco Escalante in the eighteenth century. The outset scientific studies were made between 1889 and 1913 by a French naturalist, Léon Diguet. Mexican journalist Fernando Jordan and archaeologists Barbro Dahlgren and Javier Romero reported on Peachy Mural sites in the early 1950s.
The Bang-up Murals came to popular attention in the United States through a 1962 Life mag article past mystery writer Erle Stanley Gardner. Since then, numerous investigators have documented and analyzed the sites. For instance, Eve Ewing has been studying the art for l years and has fabricated over a hundred trips to view the different paintings. Particularly notable have been the extensive contributions from Clement West. Meighan, Campbell Grant, Harry W. Crosby, Enrique Hambleton, Justin R. Hyland, and María de la Luz Gutiérrez.
References [edit]
- ^ Foundation, Bradshaw. "The Cave Paintings of the Sierra de San Francisco". Retrieved 2016-09-06 .
- Crosby, Harry W. 1997. The Cave Paintings of Baja California: Discovering the Great Murals of an Unknown People. Revised edition, showtime published in 1975. Sunbelt Publications, San Diego.
- Dahlgren de Jordan, Barbro, and Javier Romero. 1951. "La prehistoria bajacaliforniana: redescubrimiento de pinturas rupestres". Quadernos Americanos 58(iv):153–177.
- Diguet, Léon. 1895. "Annotation sur la pictographie de la Basse-Californie". L'Anthropologie six:160–175.
- Ewing, Eve. 2011. "Calling Down the Rain: Peachy Mural Art of Baja California, Mexico". American Indian Rock Fine art 38:101-128.
- Gardner, Erle Stanley. 1962. "The Case of the Baja California Caves: A Legendary Treasure Left by a Long Lost Tribe". Life 53(iii):56-64.
- Grant, Campbell. 1974. Rock Art of Baja California. Dawson'southward Book Store, Los Angeles.
- Gutiérrez, María de la Luz, and Justin R. Hyland. 2002. Arqueología de la Sierra de San Francisco: dos décadas de investigación del fenómeno Gran Mural. Instituto Nacional de Antropología e Historia, Mexico Metropolis.
- Hambleton, Enrique. 1979. La pintura rupestre de Baja California. Fomento Cultural Banamex, Mexico City.
- Laylander, Don. 2005. "Ancestors, Ghosts, and Enemies in Prehistoric Baja California". Journal of California and Dandy Basin Anthropology 25:169–186.
- Laylander, Don, and Jerry D. Moore (editors). 2006. The Prehistory of Baja California: Advances in the Archæology of the Forgotten Peninsula. Academy Press of Florida, Gainesville.
- Meighan, Clement West. 1969. Indian Art and History: The Testimony of Prehistoric Rock Paintings in Baja California. Dawson's Book Shop, Los Angeles.
Source: https://en.wikipedia.org/wiki/Great_Mural_Rock_Art
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