REPORTS

A Birdstone from San Diego Ranch at Agua Hedionda Lagoon, northern County, California: a Possible San Diego County, the senior author was Example of Dimorphic Sexual shown by Allan O. Kelly the artifact de­ Symbolism in Luiseno Iconography picted in Figure 1. The specimen is 14.6 cm. HENRY C. KOERPER, Cypress College, long and 8.2 cm. wide with a maximum Cypress, CA 90630. thickness of 3.35 cm. The material is a ARMAND J. LABBE, Charles W. Bowers Museum, somewhat mottled greenish-gray soapstone. Santa Ana, CA 92706. Mr. Kelly was given this "puberty fetish" by THE literature of California prehistory a building contractor who years before had records the occurrence of representations in recovered it from a sand pit being mined for stone of human genitalia. There are num­ construction material. The sand pit is in erous references to phallus-shaped charm- the San Luis Rey River drainage and is lo­ stones (e.g., Wallace 1978:32; Chartkoff and cated north-northwest from, and within a Chartkoff 1984:132) and phallic effigies (Lee mile of, the grounds of Mission San Luis Rey 1981:50-51), and vulva symbolism is described (Fig. 2). in studies of rock art (Payen 1968:37) and Macroscopic and binocular microscopic yonis (natural features, sometimes enhanced, analysis of trait differentials indicates that resembling pudenda) (McGowan 1982). In the piece probably had a watery and sandy contrast, there is sparse mention of dimor­ provenience. The finish of one side (Fig. phic sexual symbolism, reflecting the com­ la) is smoother than that of the opposite parative rarity of this genre in native Cali­ side (Fig. lb), where harsher striations fornia iconography. suggest that this was the side facing down In this report, we document an artifact (bottom side) in the river bed. Small, hard, that merges phallic and vulvar motifs, and dark crystalline inclusions (ahnandite?) we offer an explanation of the artifact with­ imbedded in the soapstone exhibit differen­ in the context of the fundamental concepts tial wear. On the top surface of the arti­ of duality and unity in Luiseno cosmology. fact these inclusions are well rounded. They We further suggest that dimorphic sexual are less rounded on the bottom surface, but symbolism, while rare in prehistoric southern within the break on the bottom side (Fig. California plastic art, is not as rare as once lb), the inclusions are angular and subangu- believed, but has gone unrecognized due to lar, indicating an in situ breakage. The kind its abstract rendition. The artifact described of differential wear observed on the artifact here, with its comparative realism, allows an is unlikely to have been produced by water interpretation of meaning that might reason­ action in a tumbler or other mechanical ably be extended to similar, but more ab­ device. We have little doubt that the piece stracted, artifacts including perhaps the is authentic. enigmatic "pelican" stones. The overall appearance of the artifact is that of a phallus flanked by labia (majora on DESCRIPTION top side, minora on bottom) at the base end In the summer of 1985, while conducting of the shaft. There is a tendency in some archaeological investigations on the Kelly native American art to create a polymorphic [110] A BIRDSTONE FROM SAN DIEGO COUNTY, CALIFORNIA 111

Fig. 1. Top, bottom, and side views (left to right) of dimorphic sexual effigy found in northern San Diego County. Allan O. Kelly collection.

Mission San Luis Rey de Francia

Oceanside Harbor

Fig. 2. Approximate location of discovery of dimorphic sexual effigy.

intent (e.g., Labb6 1980, 1982, 1986), that is, Thus, one side of the vulvar element here to produce a form that when viewed from a might double as a testicular element. different perspective s)mibolizes another The object's phallic element is stylis­ meaning, perhaps even an opposite meaning. tically distinct from Millingstone period 112 JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY charmstones from along the southern coast. oration could be a raised area, lipping, or a Comparatively realistic representational art distinct element wider than the shaft at its in soapstone (e.g., whale effigies) is a phe­ terminus. Three specimens had small raised nomenon of the Late Prehistoric period (e.g.. nubs toward the end of the shaft (Fig. 3c). Hoover 1974a), a time of significant increase In light of the realism of the San Diego in the quantity and variety of soapstone art­ County example, it is evident that these ifacts in southern California. In the fol­ elaborations probably represent a glans penis. lowing section we link this artifact to a At the opposite, wide ends of these arti­ class of objects variously labeled "hooks," facts, there are oblong, bulbous and/or bird stones or effigies, and pelican stones or raised and folded elements that suggest the effigies. There are at least two ethno­ forms described for the wide end of the San graphic references to these objects (Yates Diego County object. We speculate that 1889:305; de Cessac 1951:2), and one bird likewise a vulvar (testicular?) motif is repre­ effigy was unearthed in a burial dating to sented. Thus, the Luiseno piece may be one 1,000 years B.P. (Meighan 1976:27). Thus, of a category of artifact which denotes dual we assign the dual symbol from San Diego sexual symbolism and which was rendered in County to the late period (viz., Luiseiio varying degrees of stylization and abstrac­ occupation). tion. We believe that there are clear morpho­ STYLISTIC PARALLELS logical parallels between some attributes of A collection of soapstone artifacts at the this category (dimorphic sexual effigy) and Southwest Museum (Fig. 3) shows stylistic the so-called pelican stones. The "beak" on affinities to the San Diego County specimen. a typical pelican stone may be, speculatively, Some of these "effigy figures" were char­ a further elaboration or exaggeration of the acterized by a shaft with some sort of elab­ kind of lipping seen on some specimens of oration towards the narrow end. This elab­ the kind previously described. The neck of

Scnij Fig. 3. Dimorphic sexual effigies from the Southwest Museum. A BIRDSTONE FROM SAN DIEGO COUNTY, CALIFORNIA 113

(1974a:34). Other scholars have also found a bird interpretation problematical (e.g., Bamett 1944:42). Drawings and photographs of many of the Mus^e de I'Homme specimens appear in Hudson and Blackburn (1986:200-215), where most are labeled as bird effigies or pelican effigies. While it is documented that local Indians told de Cessac that such forms represented birds (hence de Cessac's [1951:2] term, "pajaritos"), it is possible that these informants identified the objects at only one level of abstraction or, anticipating an ethnocentric reaction, purposefully evaded the issue of sexual symbolism. Fig. 4. "Pelican effigy" showing affinities to dimor­ Interestingly, one of the most abstract phic sexual effigy. Southwest Museum. Shown effigies pictured in Hudson and Blackburn slightly reduced. (1986:215, Fig. 318.9-61) "has an incised line in a form suggestive of a vulva." This spe­ the "pelican" may be the equivalent of the cimen was collected by Barnard in 1882 and shaft previously described. One of the pel­ is housed with the collections of the Amer­ ican stones in the Southwest Museum collec­ ican Museum of Natural History in New York tion (Fig. 4) has rounded elevations like (Hudson and Blackburn 1986:181). those we believe to be the vulvar (testicu­ Further, Hoover (1974b:32-34) described lar?) element on several of the artifacts in an effigy resembling "hook" or "pelican" the dimorphic sexual effigy category. stones that possesses a graphic pudendum on Others have similarly interpreted the a "laterally expanding base that flairs [sic] pelican stones and what we are calling di­ abruptly into a convex lower margin." morphic sexual effigies as a variation of the Hoover recognized that female genitalia are same genre (e.g., Lee 1981:48-49). Heizer represented, yet he did not discuss the (MS) described several such artifacts col­ artifact's equally graphic phallus (Fig. 5). lected by Leon de Cessac and now at the And finally, at the base of a steatite pelican Mus6e de I'Homme as birds, and accounted stone from San Miguel Island (SBMNH for stylistic variation seen in the bird # 132-13A-1) a vertical incision flanked by category as differences in degrees of realism wider parallel channels gives the appearance (or abstraction) employed to render multiple of a stylized vulva (Fig. 6). genera of avifauna. For Heizer, one kind of Ethnographic notes shed some light on bird was definitely a pelican. Hoover sug­ the magico-religious function of at least the gested that particular avifaunal species might kind of "bird effigy" shown in Figure 7. even be identified by size and orientation of . . . twenty of them were arranged in a the "beak" on "pelican stones" or "hook" square, five on each side, in the center effigies, "assuming these objects were actu­ was a bowl of water, beside which stood ally intended as representations of birds" the medicine-man, with a long stone pipe 114 JOURNAL OF CALIFORNL\ AND GREAT BASIN ANTHROPOLOGY

Fig. 5. Unusual dimorphic sexual effigy from the Glidden Collection. Large rendition after photograph provided courtesy Catalina Island Museum; small rendition after Hoover (1974b:Fig. 1).

Fig. 7. "Bird stone" after Abbott (1879:215). Shown approximately actual size.

shaped like a cigar, in which an herb, called pispivate by the Mexicans, resem­ bling southern wood, was smoked. The smoke was first directed toward the bowl of water, then toward the stones. The people came and moistened their faces with the water of the bowl, which had been made holy by the previous cere­ monies. This ceremony brought rain, Fig. 6. Pelican stone with probable stylized vuhra. caused death to enemies, and various other Santa Barbara Museum of Natural History. things [Yates 1889:305].

Some scholars have assumed that the "twenty" artifacts of the above quote refers to charmstones (e.g.. Grant 1978:514), but A BIRDSTONE FROM SAN DIEGO COUNTY, CALIFORNL\ 115

Tom Blackburn (personal communication artifact was manufactured by a Luiseiio 1987) in checking Yates' reference to Abbott artisan, but until chemical characterization is (1879:215, Fig. 96) discovered that it was available for local steatite/schistose, a actually bird stones which were arranged in definitive statement is not possible. a square, five on each side (see also Hudson Solely on the basis of distribution of ob­ and Blackburn 1986:171, 179, 200, Fig. 318. jects falling to the bird/pelican/hook cate­ 9-38). There seems little doubt that other gory, one might suggest that the San Diego kinds of "bird effigies" are magico-religious County artifact could have been a trade item objects. from a more northerly point on the mainland or from an island. The majority of these THE QUESTION OF effigies are found in the area occupied CULTURAL ATTRIBUTION historically by Shoshonean groups, particu­ Duality is a salient characteristic of larly the islands of San Clemente, Santa Luiseiio world view, and hence Luiseno eth­ Catalina, and San Nicolas, but they also nographic notes might add dimension to in­ occur on mainland and island property held terpretation of the specimen from San Diego by the Chumash. The largest single clus­ County, particularly if the artifact was tering of pelican/bird stones (25) was manufactured locally. Presently, there are discovered near the mouth of Santa Monica no chemical characterizations available for Canyon at Pacific Palisades (Wallace 1986) in local soapstone/schistose, but using macro­ Gabrielino territory near the Chumash bor­ scopic inspection we tentatively suggest a der. Only two dimorphic sexual effigies San Diego County origin for the green-gray were found in Orange County, both discov­ piece found near Mission San Luis Rey. The ered on the coast at Corona del Mar (Works material is unlike the generally higher qual­ Progress Administration 1938) and nearby ity, fine-grained steatites of the dimorphic Crystal Cove Park (Cameron 1984). Even if sexual effigies from the islands and northern it was not manufactured locally, the effigy mainland. Rather, it is somewhat more from San Luis Rey might have been imported coarse with crystalline (almandite?) inclu­ because its symbolism was compatible with sions. Parenthetically, other materials for Luiseiio cosmology. these effigies include bone, tooth, yellow ochre, wood, schist, serpentine (Lee 1981:48) THE SYMBOLIC CONTEXT and shell. Assuming a Luiseno cultural attribution is There are several steatite quarries in San accurate, the symbolic content of the arti­ Diego County (Polk 1972; Shackley 1978; fact might be interpreted with reference to O'Neil 1983; Parkman 1983), where soap- fundamental concepts of dualistic oppositions stone commonly was obtained (True 1966; and unity. Applegate (1979) explained that a Parkman 1985:36). Coarse green-gray salient feature of Luiseno myth, ritual, and material occurs at Stonewall Quarry in world view is an extensive system of polar Cuyamaca Rancho State Park (Polk 1972:7), opposites united under higher principles (see but it is too fine-grained to be confused also Levi 1980). He cautioned that, while with the material of this specimen. Hard duality is readily perceived, "the evidence inclusions occasionally are described for San for unifying principles becomes progressively Diego County steatite (Rogers MS; Parkman more speculative as we move from color and 1985:32). We think it more likely that the direction symbolism through ritual to con- 116 JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY cepts of the soul" (Applegate 1979:71). a solid and its complement as hachured. Extensive male-female dualism found in the Ample references in the ethnographic creation myth, the origin myth of the no:tus literature indicate that all such dyads (concerning mourning ceremonies), and else­ essentially are viewed as interlocking male where, was discussed in detail by Applegate, and female forces denoting the interplay of and he summarized (1979:86) its position in complementary dualities and invariably Luiseiio cosmology: connoting fertility and dynamism (e.g., Reichel-Dohnatoff 1975; Labb6 1980; Roe The central theme is the complementarity 1982). of the male and female principles, which These dyadic geometric design elements are unified and transcended by the spirit. derive from a widespread geometric symbol This basic conceptual triad is represented tradition utilized by certain Indian cultures visually by the color triad black, red and white, and structiu-ally by the pattern of extending from the American Southwest to concentric circularity. The master symbol Argentina. There is a cross-cultural consis­ of the Luiseno cosmos is the ground- tency in the basic denotations and connota­ painting, whose three concentric circles tions applied to homologous design elements condense a number of diverse elements in­ by informants from cultures as diverse as to a basic tripartite organization. that of the Hopi of northeastern Arizona Given this background, it is reasonable to (Waters 1963), the Kogi of northern Colom­ suggest that the dimorphic sexual aspects of bia (Reichel-Dohnatoff 1985), or the Desana the soapstone artifact are symbolic concep­ of the northwest Amazon (Reichel-Dohnatoff tualizations of the sacred belief system des­ 1971). cribed above. The two sexual elements, the With respect to dimorphic sexual rendi­ oppositions, conjoin in a single object, ef­ tions in clay, soapstone, jade, and other fecting a complementarity through copula­ materials, the greatest frequency of depic­ tion. tion is to be found in the prehistoric cultur­ Copulation as a unifying principle for bi­ al art of groups extending geographically nary oppositions is not restricted to the from Ecuador to Mexico, with marked de­ Luiseiio. In few instances did North Ameri­ creases in frequency of depiction as one can Indians depict copulation in rock art moves south of Ecuador or north of central (but see Vastokas and Vastokas [1973:86]; America. Again, true dimorphic sexual WeUmann [1974, 1979: Plates 29, 647]; renditions in the art of California Indians Hedges [1976:134]). In the ceramic arts, are relatively rare, but perhaps not as rare dimorphic dualism frequently is depicted in as once believed. the geometric designs painted on vessels of Anasazi, Mogollon, Hohokam, and Casas METAPHORIC/AESTHETIC Grandes traditions. The dimorphism is CONSIDERATIONS rendered in innumerable variations of Each culture and tradition leaves its own interlocking elements such as triangles, peculiar stamp on its material artifacts. All crooks, frets, and other geometric motifs. too often, the Western researcher observes The dyadic character of these design such objects from his or her own ethnocen­ elements is emphasized by painting an tric perspective and ignores the distinct un­ element one color and its complement a derlying perspective directing the eye and second color, or by drawing one element as hand of the non-Western artist. A clear de- A BIRDSTONE FROM SAN DIEGO COUNTY, CALIFORNIA 117 viation in perspective can be distinguished facts and works of art enhances his/her between the typically linear, literal realism ability to assess the authenticity of the of the Western researcher and the typically object. The basic form of the artifact re­ abstract, impressionistic and metaphoric per­ ported herein and the manner in which in­ spective of many native American artists. dividual components of the object were Western civilization is marked by a perspec­ integrated with one another indicates man­ tive that emphasizes dualities of opposition ufacture by a non-Western artist. perceived in absolute terms. For instance, the strong are opposed to the weak and SUMMARY AND good is opposed to evil. The individual CONCLUDING REMARKS human being is additionally dichotomized in­ Many prehistoric artifacts from California to a higher and lower nature. Mankind is and elsewhere have been removed unscientif­ seen as struggling with nature and uhimately ically from their original In situ contexts, dominating nature through exploitation. This and hence they lack provenience and usually perspective ultimately derives from philo­ cannot be dated using radiometric or other sophical movements arising in Asia Minor, absolute dating methods. Scholars should probably Iran, and is epitomized by Zoroas­ not ignore such potentially important mater­ ter's concept of the Lord of Light, Ahura ial, but if one is to incorporate an unpro- Mazda, in combat with the Lord of Darkness, venienced piece into a study, its authenticity Ahriman, a concept mirrored in the Judeo- must first be established. Here we employed Christian and Islamic traditions. On the physical as well as metaphoric/aesthetic other hand, many American Indian traditions criteria to support the probable authenticity hold that the world is composed of comple­ of an unusual example of dimorphic sexual mentary dualities and that oppositions are symbolism found near Mission San Luis Rey. always resolved on a higher level. Dualities Documentation of similar artifacts in museum are relativistic and form continua. collections helps corroborate our previous The basic Western perspective was formu­ assessment regarding authenticity. lated sometime between 1200 and 800 B.C. The general form of the specimen found but only became widely adopted after 600 in Luiseiio territory places it with an arti­ B.C., particularly in Greece and the Middle fact type that we label "dimorphic sexual East. Western art consequently became in­ effigy." The comparative realism of this creasingly less abstract and metaphoric and piece is the key for interpreting and cate­ increasingly more realistic in its depictions. gorizing specimens from the Southwest Perfection of line and form became the ideal Museum, San Diego Museum of Man, Santa whether the depictions were of real forms or Barbara Museum of Natural History, the geometric constructs. Formative-level native Mus6e de I'Homme, and other collections. American art, however, derives from another Available information makes the type a perspective. It often is better to suggest southern California island and mainland than to define, to be metaphoric and sym­ phenomenon, with northern San Diego Coun­ bolic rather than realistic, to depict qualities ty distribution now documented. Another of imbalance and imperfection rather than southern California island and mainland type, those of balance and perfection. the "pelican stone," is most likely a The ability of the Western researcher to variation of the dimorphic sexual effigy. discern the essentially native stamp on arti­ More elaborate ritual paraphernalia help 118 JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY set the Luiseiio apart from other Takic ican Indians, Vol. 8, California, R. F. groups (Bean and Shipek 1978:550), and the Heizer, ed., pp. 550-563. Washington: San Diego County object considered here is Smithsonian Institution. an addition to that inventory of ritual Bamett, E. K. equipment. This is not the first time that 1944 Inlaid Stone and Bone Artifacts from an attempt has been made to interpret a Southern California. New York: Contri­ prehistoric artifact with reference to Luiseno butions of the Museum of the American cosmology (see Irwin 1978), and, with antic­ Indian, Heye Foundation No. 13. ipated future discoveries, we hope that it Cameron, C. will not be the last time. 1984 Prehistoric Effigies from Orange Coun­ ty. In: The Natural Sdences of Orange ACKNOWLEDGEMENTS County, B. Butler, J. Gant, and C. J. Many people were helpful with their coopera­ Stadum, eds., pp. 19-22. Huntington tion and/or assistance. They include Carol Beach: Natural History Foundation of Rector, San Bernardino County Museum; Ken Orange County. Hedges and Grace Johnson, Museum of Man, San Chartkoff, J. L,. and K. K. Chartkoff Diego; Constance Cameron, Museum of Anthro­ 1984 The Archaeology of California. Stan­ pology, California State University, Fullerton; ford: Stanford University Press. Chris Moser, Riverside Munidpal Museum; Steven Le Blanc and George Kritzman, Southwest de Cessac, L. Museum; James Smith, Museum of the American 1951 Observations on the Sculpted Stone Indian, New York; John Johnson, Jan Timbrook, Fetishes in Animal Form Discovered on and Susan Davidson, Santa Barbara Museum of San Nicholas Island (California). Ber­ Natural History; and Patricia Moore, Catalina keley: University of California Archae­ Island Museum. We appreciate comments on the ological Survey Reports No. 12:1-5. draft by Professors Frank Fenenga, Delbert True, Grant, C. and an anonymous reviewer. 1978 Eastern Coastal Chumash. In: Hand­ Joseph Cramer produced the drawings of all book of North American Indians, Vol. 8, artifacts. Pat Lynch produced the map (Fig. 2), California, R. F. Heizer, ed., pp. 509- and Karen Koerper and Dale Krage typed the 519. Washington: Smithsonian Institu­ paper's several drafts. We espedally thank Allan tion. O. Kelly of Carlsbad, California, who allowed us to study the unusual artifact from his collection. 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True, D. L. 1966 Archaeological Differentiation of Sho­ shonean and Yuman Speaking Groups in A Fluted Projectile Point Fragment Southern California. Ph.D. dissertation. from the Southern California Coast: University of California, Los Angeles. Chronology and Context Vastokas, J. M., and R. K. Vastokas at CA-SBa-1951 1973 Sacred Art of the Algonkians: A Study of the Peterborough Petroglyphs. Peter­ JON M. ERLANDSON, Dept. of Anthropology, borough, Ontario: Mansard Press. Univ. of California, Santa Barbara, CA 93106. THEODORE G. COOLEY, WESTEC Sendees, WaUace, W. J. Inc., 1221 State Street, Santa Barbara, CA 93101. 1978 Post-Pleistocene Archaeology 9000 to RICHARD CARRICO, WESTEC Services, Inc., 2000 B.C. In: Handbook of the North 5510 Morehouse Drive, San Diego, CA 92121. American Indians, Vol. 8, California, R. F. Heizer, ed., pp. 25-36. Washington: RECENT archaeological research on the Smithsonian Institution. Santa Barbara coast yielded a fragment of a 1986 A Remarkable Group of Carved Stone fluted projectUe point among a larger lithic Objects from Pacific Palisades. Paper assemblage from CA-SBa-1951. The avail­ presented at the Society for California able data suggest that the fluted point has Southern California Data Sharing Meet­ no direct temporal relation to the remainder ing, Nov. 1, 1986, University of Cali­ of the site assemblage, which was obtained fornia, Los Angeles. from a large low-density site that appears to Waters, F. date primarily to King's (1981) Early period. 1%3 Book of the Hopi. New York: Ballan- Although small, the fluted point fragment tine Books. exhibits attributes common to classic Clovis- WeUmann, K. F. like points found elsewhere in California 1974 Some Observations on Human Sexuality (e.g., Harrington 1948) and western North in North American Indian Rock Art. America. While similar fluted points have Southwestern Lore 40(1):1-12. been reported from many interior California 1979 A Survey of North American Indian sites (Davis and Shutler 1969; Glennan 1971; Rock Art. Graz, Austria: Akademische Carlson 1983; Moratto 1984), only one Druck-u. Verlangsanstalt. coastal specimen has been reported pre­ Works Progress Administration viously. This was a Clovis point from the 1938 Anthropological Project #7680 Daily northern California coast (Simons et al. Notes. MS on file at the Pacific Coast 1985). The CA-SBa-1951 fluted point ex­ Archaeological Society Research Li­ tends the geographical range of Clovis points brary, Santa Ana, California. in North America and represents an ex­ Yates, L. tremely rare occurrence along the Pacific 1889 Charm Stones: Notes on the So-Called coast. "Plummets" or "Sinkers." Washington: This paper discusses the geological and Smithsonian Institution Annual Report archaeological context of the fluted point for 1886, Pt. 1:296-305 from CA-SBa-1951, describes the technolog­ ical and material attributes of the specimen, and explores two alternative hypotheses for the derivation of the point.