[book cover]
Indian Rock Art of the Columbia Plateau, James Keyser
1992, University of Washington Press, paper
139 pages, 22 b/w photos, 69 figures, 7" x 10"

An introductory book for the avocationist or the scholar, to the rock art styles of the Columbia River Plateau. Geographically, this region extends from the Cascade Mts. of Washington to western Montana, and from northern Oregon and central Idaho well up into British Columbia in Canada. The author, who is a Regional Archaeologist for the U.S. Forest Service in this area, visited his 1st rock art site at nine years of age. This book reflects his lifelong fascination with rock art. The text divides the Plateau into stylistic subregions, relating each to the Indian cultures who produced them. There are numerous pen-and-ink illustrations, several maps and tables which the author uses to compare the various rock art styles of the region. Chapters cover such topics as the ubiquitous Twins motif, the Tsaglalal petroglyph, the Rayed Arc motif, rock art and the Vision Quest, the Horse and its impact on native lifeways, and rock art sites developed for public visitation.

From the book ...

From the river valleys of interior British Columbia south to the hills of northern Oregon and east to the continental divide in western Montana, hundreds of cliffs and boulders display carved and painted designs created by ancient artists who inhabited this area, the Columbia Plateau, as long as seven thousand years ago.

Expressing a vital social and spiritual dimension in the lives of these hunter-gathers, rock art captivates us with its evocative power and mystery. At once an irreplaceable yet fragile cultural resource, it documents Native histories, customs, and visions through thousands of years.

This valuable reference and guidebook addresses basic questions of what petroglyphs and pictographs are, how they were produced, and how archaeologists classify and date them. James Keyser identifies five regions on the Columbia Plateau, each with its own variant of the rock art style identifiable as belonging exclusively to the region. He describes for each region the setting and scope of the rock art along with its design characteristics and possible meaning. Through line drawings, photographs, and detailed maps he provides a guide to the sites where rock art can be viewed.

In western Montana, rock art motifs express the ritualistic seeking of a spirit helper from the natural world. In interior British Columbia, rayed arcs above the heads of human figures demonstrate possession of a guardian spirit. Twin figures on the central Columbia Plateau reveal another belief - the special power of twins - and hunting scenes celebrate success of the chase. The grimacing evocative face of Tsagiglalal, in lower Columbia pictographs, testifies to the Plateau Indians' "death cult" response to the European diseases that decimated their villages between 1700 and 1840. On the southeastern Plateau, images of horse-back riders mark the adoption, after 1700 of the equestrian and cultural habits of the northwestern Great Plains Indians.

Despite geographic differences in emphasis, similarities in design and technique link the drawings of all five regions. Human figures, animals depicting numerous species on the Plateau, geometric motifs, mysterious beings, and tally marks, whether painted or carved, appear throughout the Columbia Plateau.

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