DOCSLIB.ORG

Prehistoric Cupule Site at Senetary: Recent Prehistoric Investigations in Kachchh District, Gujarat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Prehistoric Cupule Site at Senetary: Recent Prehistoric Investigations in Kachchh District, Gujarat Prehistoric Cupule Site at Senetary: Recent Prehistoric Investigations in Kachchh District, Gujarat Shaik Saleem1 1. Department of Archaeology, Krantiguru Shyamji Krishna Verma Kachchh University, Bhuj – 370 001, Gujarat, India (Email: [email protected]) Received: 16 August 2014; Accepted: 12 September 2014; Revised: 14 October 2014 Heritage: Journal of Multidisciplinary Studies in Archaeology 2 (2014): 449‐456 Abstract: The present paper gives details of recent prehistoric investigations carried out by the author, which have revealed a Prehistoric site which has revealed cupules was found in the rock shelters of Senetary in Kachchh District of Gujarat. The artifacts of Prehistoric period were found at 3 localities of Senetary. Apart from the cupules a few engravings and large number of microliths and a few potsherds of Chalcolithic as well as early historic periods were also found in the rock shelters. Keywords: Cupule, Senetary, Kachchh, Prehistoric Period, Microliths, Chalcolithic, Early Historic Introduction The prehistoric investigations carried out around in Bhuj taluka in Kachchh District have revealed large number of rock shelters at Senetary (23° 10’ 01.9” N 069° 37’ 32.8” E). The main aim of these prehistoric investigations is intended to explore for the archaeological sites of different cultural phases as well as for the rock art sites as large number of rock shelters are found near Senetary in Bhuj taluka as well as in different parts of Kachchh region. Previous Work Very few people have worked on the prehistory of Kachchh region. Among them the work was carried out by H.D. Sankalia (1964; 1968), Z. D. Ansari and R. S. Pappu (1973). The prehistoric investigations carried out by Sankalia (1964; 1968), Ansari and Pappu (1973) have revealed a few prehistoric sites ranging from Lower Palaeolithic to Mesolithic at Angia, Anjar, Beta, Bhajodi, Lakhond, Mathal and Yaksha whereas the surveys carried out by S.R Rao and K.V. Soundara Rajan of Archaeological Survey of India have revealed a few prehistoric sites which have mainly yielded microliths (IAR 1955‐56, 1960‐61, 1961‐62, 1963‐64, 1967‐68). Study Area Senetary (Fig. 1) located on the Bhuj‐Mundra road is 10 km on the southern side of ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 2: 2014 Bhuj, district head quarters of the Kachchh District, Gujarat. Large numbers of rock shelters were found around Senetary (Fig. 2). These rock shelters were formed in sandstone, but they are in a highly weathered condition (Fig. 3) and difficult to find any traces of the rock paintings as the weathering process might have started long time back during the mid or terminal Pleistocene period. However, the engravings of the early historic were found at 3 localities (Saleem 2013 in press). At Senetary 3 locations were found and they have yielded artifacts of prehistoric period which includes number of cores, flakes and flake‐blades. Large number of microliths, and ceramic assemblages of Chalcolithic as well as Historic periods (Figs. 8 and 13) were also found at Locality No. 2 and 3 respectively. Locality No. 1 Locality No. 1 (23° 10’ 29.0” N 069° 38’ 31.9” E) is on the far western side of the village Senetary has yielded large number of microliths and artifacts of prehistoric period. A few fossilized animal bones and a bovid tooth were also found associated with these artifacts (Figs. 4 a, 4b and 4c). The artifacts were made on Quartzite flakes. Locality No. 2 Locality No. 2 (23° 09’ 48.8” N 069° 38’ 00.9” E) is located approximately 300 meters on the eastern side of the Locality No 1 and it has revealed large number of microliths including cores, various types of scrapers (Figs. 5a and 5b) and a few engravings of early historic period (Figs. 6a, 6b and 6c) and ceramic assemblages of Chalcolithic period (Fig. 8). Microliths found at locality No 2 are mainly comprised of various types of scrapers, Blades, Borers, Burins, and a few cores and they were mainly manufactured of Agate, Chalcedony, Chert, jasper, Crystal and Quartzite as the raw material is available in the form of nodules in the streams around the site. Locality No 2 has also yielded artifacts such as scrapers (Figs. 7a and 7b). Interestingly cupules (Figs. 9a and 9b) were also found on the surface of two rock shelters at Locality No 2 and they were probably prepared during the prehistoric period. They were found in the form of a rectangular shape and a single cupule was found on the surface of another rock shelter. They are 2 cm in diameter and 1 ½ cm deep. Similar kind of cupules in large number were found on the wall surfaces of Daraki Chattan and a few Acheulian artifacts were also found in the rock shelters of Daraki‐Chattan near Bhanpura in the Chambal valley which provisionally suggests that they belong to the Acheulian and Middle Palaeolithic periods (Kumar 1996, 1998, 2000‐01, 2002 Kumar et al 2002, 2005; Pancholi 1994), whereas the excavations carried in the rock shelters of Bhimbetka have revealed Cupules in the Acheulian levels (Wakankar 1975: Bednarik, et al 1991, Bednarik, et al 2005 ; Bednarik 1993a, 1993b, 2001a, 2001b, 2001c, 1996, 1998, 2000‐01, 2002, 2003) and a few Cupule‐bearing sites such as Bajani Bhat, Moda Bhat, etc were found around Ajmer in Rajasthan (Kumar and Sharma 1995). Locality No. 3 Locality No. 3 (23° 10’ 29.0” N 069° 38’ 31.9” E) is located on the north‐eastern side of 450 Saleem 2014: 449‐456 Figure 1: General View of Senetary Figure 2: A Group of Rock Shelters, Senetary Figure 3: Highly Weathered Rock Shelter at Senetary 451 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 2: 2014 Figure 4a: Core at Locality 2 Figure 4b: Side Scraper at Locality 2 Figure 4c: Fossilized Bone, Locality 1 Figure 5a: Microlithic core, Locality 2 Figure 5b: Side Scraper at Locality 2 Figure 6a: Engravings, Historic Period Figure 6b: Engravings, Historic Period Figure 6c: Engravings, Historic Period 452 Saleem 2014: 449‐456 Figure 7a: Core at Locality 2 Figure 7b: Side Scraper at Locality 2 Figure 8: Chalcolithic Pot Sherds Figure 9a: Cupules, Before Cleaning Figure 9b: Cupules, After Cleaning Figure 10a: Core, Locality 3 Figure 10b: Core, Locality 3 Figure 10c: Side Scraper, Locality 3 453 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 2: 2014 Figure 10d: Hand axe at Locality 3 Figure 10e: Unfinished Hand Axe Figure 11: Engravings of Historic Period Figure 12: Crested Ridge Core Figure 13: Pot Sherds of Historic Period Figure 14: Recent Engraving of a Temple Figure 15a: Engravings, Rock Cut Cave, Figure 15b: Engravings, Rock Cut Cave, Siyot Siyot 454 Saleem 2014: 449‐456 the village and is about 1km on the eastern side of the Jak temple, has mainly yielded large number of flakes, flak‐blades and cores as well as microliths. They were mainly made of Quartzite. Two handaxes made of Quartzite flakes were also found among which one is unfinished. Number of cores (Figs. 10a and 10b) and two handaxes (Figs. 10d and 10e) and a Side Scraper (Fig. 10c) were found at locality No 3. The study of the handaxes and the cores suggests about the use of soft hammer, Levallois and discoid core techniques. But the source material of the artifacts is yet to be traced. This site might have served as a manufacturing site as the number of finished artifacts found at this site is very meager (Saleem 2014 in press). Apart from the artifacts, a few engravings (Fig. 11) of historic period, microliths and ceramic assemblages of Historic period (Fig. 13) were also found at this locality. A few Levallois cores and flakes were also found at the locality No 3. Among the microlithic cores found at locality No 3 the presence of a core with crested ridges (Fig. 12) suggests that the microliths were prepared during the Chalcolithic period. Large numbers of engravings of ancient as well as recent time periods were also found at this locality. A few engravings were found on the surface of the rock shelters whereas the trend of making engravings is still in practice here as a few engravings of the temples and game board pattern designs both of ancient as well as recent time periods were found (Fig. 14). Conclusion Large numbers of engravings were found at the 3 localities of Senetary. Among them a few are of ancient period (Figs. 6a, 6b and 6c and Fig. 11) whereas the rest are recent ones (Fig. 14). Similar engravings of ancient period found at Senetary can be seen in the rock cut caves of Siyot which were occupied during Historical period (Figs. 15a and 15b). Acknowledgements I am thankful to the Archaeological Survey of India for granting me Archaeological Permit in order to carry out the Archaeological Surveys in the Kachchh District of Gujarat. References Ansari, Z. D. and R. S. Pappu. 1973. Stone Age in Kutch, Gujarat. Bulletin of Deccan College Research Institute Vol. 32: 150‐167. Bednarik, R .G. 2003. The earliest evidence of palaeoart. Rock Art Research 20: 89‐135. Bednarik, R. G. 1993a. Palaeolithic Art in India. Man and Environment 18 (2): 33‐40 Bednarik, R. G. 1993b. About cupules. Rock Art Research 10 (2): 138‐39. Bednarik, R. G. 1994. The Pleistocene art of Asia. Journal of World Prehistory 8 (4): 5‐24. Bednarik, R. G. 1996. The Cupules on Chief’s Rock, Auditorium Cave, Bhimbetka. The Artefact 19: 63‐72. Bednarik, R. G. 1998. The Technology of Petroglyphs. Rock Art Research 15: 23‐35. Bednarik, R. G. 2000/01.
Load more

Recommended publications
  • Foundation Document Petroglyph National Monument New Mexico August 2017 Foundation Document
    NATIONAL PARK SERVICE • U.S. DEPARTMENT OF THE INTERIOR Foundation Document Petroglyph National Monument New Mexico August 2017 Foundation Document To Rio Rancho To Rio Rancho B ou North e l dis ev 0 1 2 Kilometers ara a P rd Piedras Marcadas 0 1 2 Miles Canyon Paseo del Norte R To Rio a Universe Boulevard rd Rancho i va n e Information ul b o Jill o B w Patricia Restrooms r St e d s a del Norte n o o e B as Picnic area U P l R v d Parking Northern To 25 Geologic Hiking trails Window e Pets on leash T s a r y u d l r o o a r C v e l u Bo Butte R d a v Volcano n l c B Boca Negra h Southern olf s G r Canyon Geologic oo Bond C Window Volcano a t D s i r i V v h e Double t r Eagle II Montaño o Ro ad N Airport U o c n s i s er r t A B o u l Vulcan e v Volcano a r d d r a d v r To 25 e Volcanoes Visitor Center l a u v PETROGLYPH e Volcanoes o l B u Access Road o B Wes tern Trai e NATIONAL Rinconada l Black A d D tr Canyon Volcano ri i n sc e v a d e o MONUMENT n r a s r r G G Shooting JA Volcano seph Avenu o Jo e Range Road St.
    [Show full text]
  • Petroglyph National Monument: Geologic Resources Inventory Report
    National Park Service U.S. Department of the Interior Natural Resource Stewardship and Science Petroglyph National Monument Geologic Resources Inventory Report Natural Resource Report NPS/NRSS/GRD/NRR—2017/1547 ON THE COVER Photograph of Albuquerque volcanoes. Three spatter cones, known as the Sisters, form a distinctive skyline west of Albuquerque, New Mexico. These small volcanoes are part of the Albuquerque volcanic field and occur in the Volcanoes area of Petroglyph National Monument. The volcanic field was active about 156,000 years ago. NPS photograph by Chanteil Walter (Petroglyph National Monument). THIS PAGE Photograph of the West Mesa escarpment along the Rinconada Canyon Trail. Erosion of the Santa Fe Group sediments that underlie a basaltic cap rock has caused large blocks of rock to tumble down the eastern escarpment of the mesa. Most of the petroglyphs were chiseled into the dark patina of desert varnish on these large boulders, exposing the lighter colored basaltic rock beneath. NPS photograph by Dale Pate (Geologic Resources Division). Petroglyph National Monument Geologic Resources Inventory Report Natural Resource Report NPS/NRSS/GRD/NRR—2017/1547 Katie KellerLynn Colorado State University Research Associate National Park Service Geologic Resources Division Geologic Resources Inventory PO Box 25287 Denver, CO 80225 November 2017 U.S. Department of the Interior National Park Service Natural Resource Stewardship and Science Fort Collins, Colorado The National Park Service, Natural Resource Stewardship and Science office in Fort Collins, Colorado, publishes a range of reports that address natural resource topics. These reports are of interest and applicability to a broad audience in the National Park Service and others in natural resource management, including scientists, conservation and environmental constituencies, and the public.
    [Show full text]
  • Art Masterpiece: Black Bull at the Lascaux Caves
    Art Masterpiece: Black Bull at the Lascaux Caves Pronunciation: (Lass-Kough) Keywords: Art, petroglyph, art: The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture Petroglyphs: An image that is carved or chipped into the rock using another stone or other tool, or may be painted on a rock using hand-made paints and brush tools. Grade: 1st Grade Activity: Prehistoric Cave Drawing Background of the Lascaux Caves in France: (5 min) In 1940, a cave was accidentally found by children and their dog. The children were playing fetch with the dog. The ball they were throwing was accidentally thrown into a complex under- ground cave. Looking for the ball in this cave, they found wonderful cave paintings on the walls. These walls had drawings of animals, people, and handprints on them. People believe this is the beginning of art since some of these caves that have been found are almost 20,000 years old. Scientists believe that the handprints were their signatures. Who were these first artists? Cavemen lived some 20,000 years ago. By the light of oil lamps, prehistoric artists drew wild animals that they hoped to capture. Using charcoal, they traced the outlines of bison and mammoths on the cave walls. For paint the cavemen ground lumps of earth into colored powder. They would then spread this powder with leaves or they would use wads of fur for a paintbrush. They would sometimes “sign” their art by including their hand- prints. Property of Knox Art Masterpiece Revised 6/26/13 Discussion: (10 min) · What do you see in this painting? · What is art? Briefly introduce the basics: · Color – three colors: red, yellow and blue are mixed to make all the other colors of the rainbow.
    [Show full text]
  • Searching for Rock Art Evidence for an Ancient Super Aurora by Marinus Anthony Van Der Sluijs and Anthony L
    Searching for Rock Art Evidence for an Ancient Super Aurora by marinus anthony van der sluijs and anthony l. peratt or tens of thousands of years, humans have expressed themselves artistically on their sur- roundings—painting, etching, carving, and mold- oglyphs ing designs, decorations, and imagery on surfaces ranging from portable, often hand-held objects (suchF as animal bone and stone) to more stationary features of the landscape, such as scattered rocks, caves, and cliffs. The most famous early examples of this so-called rock art are the fabulous etr Paleolithic cave paintings from southwestern France and north- ern Spain, which date to about 15,000 years ago (see Expedition p 47(3):20-24). Less well known, but far more common, are the petroglyphs (drawings or etchings carved on stone) that have been identified around the world. Besides a general human fascination with visual representation in different media, these rock art images can tell us not only about the people who made them—a broadly anthropological question—but also about environmental conditions of the past. To understand this, one must first appreciate the nature and variability of the subject matter. Rock art images are quite diverse, seemingly depicting everything from simple geometric shapes (lines, circles, triangles, squares) to more or less recog- nizable representations of creatures or elements from the local environment (such as humans, animals, plants, or tools). Less obvious representations of real or imagined phenomena (such as the sun, geographic features, natural forces like wind or run- ning water or creatures of fantasy) can also be identified as well as things that no two people would agree upon without having the artist there to explain what is being depicted.
    [Show full text]
  • Jeffers Petroglyphs: a Recording of 7000 Years of North American History Tom Sanders 4/24/14
    Jeffers Petroglyphs: a Recording of 7000 Years of North American History Tom Sanders 4/24/14 Introduction For thousands of years, indigenous people left a seemingly endless variety of symbols carved into Jeffers Petroglyphs’ red stone outcroppings. Elders (Dakota, Cheyenne, Arapaho, Ojibwa and Iowa) have told us that this is a place where people sought communion with spirits and a place to retreat for ceremonies, fasting and guidance. They tell us that there were many reasons for carving the 5000 images at the site. These elders stressed that the carvings are more than art or mimicry of the natural environment. They tell us that the carvings are eloquent cultural symbols of the rich and complex American Indian societies. They say that elders taught philosophy through parables pictured on the rock and American Indian travelers left written directions for those that were to follow. These carvings of deer, buffalo, turtles, thunderbirds and humans illustrate the social life of the cultures that inhabited this area. Some of these images are drawings of spirits. Many of the carvings are the recordings of visions by holy people. Some of the images are healing alters or prayers to the Great Spirit or one of the helping spirits. Dakota elder Jerry Flute tells us that “Jeffers Petroglyphs is a special place, not just for visitors but also for Native Americans. It is a spiritual place where grandmother earth speaks of the past, present, and future. The descendants of those who carved these images consider this an outdoor church, where worship and ceremony still take place.” Many elders believe that Jeffers Petroglyphs is an encyclopedia that records historic and cultural knowledge.
    [Show full text]
  • Acoustical Studies of Rock Art Sites on Three Continents
    Waller -- Acoustical Studies of Rock Art on Three Continients Page 1 of 10 Steven J. Waller, Ph. D. 3000 words December 13, 1994 109 Saint Regis Drive Newark, Delaware 19711 U. S. A. © 1994 Steven J. Waller, Ph. D. Telephone: 1-302-738-5929 (home) Fax: 1-302-451-3487 1-302-451-3659 (work) Submission of paper for: From Rock Art to Tribal Art: A Global Perspective KEYWORDS: Acoustics - North America - France - Australia - Conservation - Rock art research (TITLE) Acoustical Studies of Rock Art Sites on Three Continents (AUTHOR) Steven J. Waller, Ph. D. (ABSTRACT) Echoes may help solve a mystery left many thousands of years ago by our prehistoric ancestors. Beautiful but perplexing paintings and engravings on rock have survived from the Ice Age. These images, found throughout the world, are commonly hoofed animals, but do not simply represent food. The baffling locations the artists chose to decorate were often difficult to reach, such as deep within caves or high up on canyon walls. Quantitative measurements support the observation that a large number of rock art sites have good sound reflecting acoustics. Echoing is known to have been regarded by ancient societies as a supernatural phenomenon, and the artists who produced rock art may have chosen such strange places to decorate because they reflect sound, giving them a mysterious aura. Furthermore, echoes of percussion noises can sound like hoof beats, and the hoof beat-like echoes could explain why hoofed animals were so often depicted. This paper is a summary of the results of acoustical rock art studies to date in France, the United States, and Australia, portions of which have been presented at the 1992 Second AURA Congress in Cairns, and the 1994 International Rock Art Congress in Flagstaff, Arizona.
    [Show full text]
  • Rock Art Drawings Discover More About the Ancient People Are Usually Realistic Representations Who Inhabited Southern Coastal Alaska
    Many petroglyphs are so old that the present inhabitants AN ANCIENT HISTORY are unable to interpret them. PRESERVING OUR HERITAGE United States Department of Agriculture Archaeologists are just beginning to The more recent rock art drawings discover more about the ancient people are usually realistic representations who inhabited southern coastal Alaska. of animals, fish, or supernatural beings. SE Even the pictures put there to tell a story SC are shrouded in mystery. Rock designs may have recorded The next few years are crucial to the preservation of rock important events such as births, deaths, potlatches, art. Destruction can be from natural or human actions. legends or contact with others such as European explorers. ROCK ART One of the ways to determine the relative Vandalism and theft threaten the survival of this important Some mark Clan territories, indicate portage locations, or Petroglyphs and Pictographs of age of rock art symbols is by association SE heritage resource. with other rock art record periods of time. While others may mark or warn of Southern Coastal Alaska sites or by comparing designs. burial locations for important people such as shamans and/ Rock art exists in a great open air museum for which Abstract designs may be older or their paraphernalia. However, no one can say absolutely we are all responsible. Be careful how you treat these than representational drawings. what the artist had in mind while creating many of these ligitimate artistic works. Walking on rock art causes images. Therefore, realize what many of these pictographs the rock and the design to crumble; touching leaves oil Some symbols are obviously and petroglyphs actually represent may in fact be very residues on the surface; chalking, rubbings and tracings SE more recent because of their personal and known only to the person who created them.
    [Show full text]
  • Rock Art of Latin America & the Caribbean
    World Heritage Convention ROCK ART OF LATIN AMERICA & THE CARIBBEAN Thematic study June 2006 49-51 rue de la Fédération – 75015 Paris Tel +33 (0)1 45 67 67 70 – Fax +33 (0)1 45 66 06 22 www.icomos.org – [email protected] THEMATIC STUDY OF ROCK ART: LATIN AMERICA & THE CARIBBEAN ÉTUDE THÉMATIQUE DE L’ART RUPESTRE : AMÉRIQUE LATINE ET LES CARAÏBES Foreword Avant-propos ICOMOS Regional Thematic Studies on Études thématiques régionales de l’art Rock Art rupestre par l’ICOMOS ICOMOS is preparing a series of Regional L’ICOMOS prépare une série d’études Thematic Studies on Rock Art of which Latin thématiques régionales de l’art rupestre, dont America and the Caribbean is the first. These la première porte sur la région Amérique latine will amass data on regional characteristics in et Caraïbes. Ces études accumuleront des order to begin to link more strongly rock art données sur les caractéristiques régionales de images to social and economic circumstances, manière à préciser les liens qui existent entre and strong regional or local traits, particularly les images de l’art rupestre, les conditions religious or cultural traditions and beliefs. sociales et économiques et les caractéristiques régionales ou locales marquées, en particulier Rock art needs to be anchored as far as les croyances et les traditions religieuses et possible in a geo-cultural context. Its images culturelles. may be outstanding from an aesthetic point of view: more often their full significance is L’art rupestre doit être replacé autant que related to their links with the societies that possible dans son contexte géoculturel.
    [Show full text]
  • A Strait Jacket on Hunters' Rock Art Research?
    Eva Lindgaard Style: A Strait Jacket on Hunters’ Rock Art Research? Summary Most research on the Palaeolithic cave paintings in Southern Europe has aimed at proving development of different kinds by detecting different styles. The use of style as a dating method has affected our entire view upon humans, technology and society during the Palaeolithic. Researchers have until recently emphasized their trust in style dating. With a rapidly accelerating development within radiocarbon dating of cultural layers and figure pigments, the foundation for a dating system built upon style and technological seriation is heavily contradicted. In similar ways research on the carved panels with hunters’ motifs from the end of the Stone Age in Scandinavia have been heavily influenced by the view that social development could be detected by stylistic development. Also in Scandinavia most researchers have been hesitant to discard style as the most trusted dating method. A few researchers, however, have pointed towards the need for using both shoreline and radiocarbon dating to obtain more tangible data, and see style dating as an outdated method. Introduction Even if it is highly doubtful that there is a ing rock art (Bahn and Lorblanchet 1992, cultural, geographical or periodic connec- Conard 2009, Cuzange et al 2007, Gonzales- tion between the Neolithic and Mesolithic Sainz et al 2013, Lødøen 2013, Petzinger & Scandinavian hunting art and Southern Eu- Nowell 2011, Ramstad 2000, Sinclair 2003, ropean Palaeolithic cave art, a lot of similar- Straus et al 2003, Valladas 2003). In addition ities between these two can be studied. A results from shoreline dating of panels with parallel development regarding dating has certain styles, have showed that style not taken place during the last 30 years.
    [Show full text]
  • Rock Art Thematic Study
    Rock Art Thematic Study Jo McDonald and Lucia Clayton 26 May 2016 Report to the Department of the Environment and the Australian Heritage Council Centre for Rock Art Research and Management, University of WA Rock Art Thematic Study Page ii Table of Contents 1 Introduction ....................................................................................................................................................... 1 2 Rock art overview ............................................................................................................................................... 2 2.1 Introduction to rock art ............................................................................................................................... 2 2.2 Regional overview of Australian Aboriginal rock art ..................................................................................... 3 2.2.1 Australian Capital Territory (ACT) ....................................................................................................................... 7 2.2.2 New South Wales ................................................................................................................................................ 7 2.2.3 Northern Territory ............................................................................................................................................. 14 2.2.4 Queensland ......................................................................................................................................................
    [Show full text]
  • Petroglyph Point Interpretive Stops
    Other -colors are evident elsewhere. Bullets PETROGLYPH POINT This site looked different several and shotgun blasts destroy petroglyphs. PETROGLYPH POINT hundred thousand years ago. It Carved graffiti is abundant and early at­ INTERPRETIVE STOPS was a wetter time when ancient tempts to remove it have left numerous Lake Modoc covered the Klamath- scars. Ironically, some early modifications An interpretive walk Tulelake Basin. All was not peace­ are now considered historic. J.D. Howard, an 3ful, however. About 270,000 years ago One day Kamookumpts was rest­ early explorer of the lava beds, is said to have ing on the east shore of Tule Lake. magma, from deep within the earth, welled painted here, and Japanese characters dating Looking around, he realized that up through a crack, or fault, in the earth's back to the World War II internment camp at crust, erupting explosively when it contact­ Newell are inscribed into nearby rocks. there was nothing anywhere except the lake. He decided to make land. ed the shallow water of Lake Modoc. Small IHe dug some mud from the lake bottom and fragments of lava were blown upward in a Researchers are investigating ways of pro­ made a hill. He used the mud from the hill to succession of wet eruption clouds. This ma­ tecting the rock art from wind erosion and create land and mountains. He also created terial then fell back around the vent, creat­ vandalism, but for now they remain vul­ rivers, streams, plants, and animals. Creat­ ing a mound of muddy layers of volcanic nerable to the intentions of visitors.
    [Show full text]
  • Sandpaper Petroglyphs Use Rough Sandpaper As Your “Rock” Surface and Watch Your Child’S Imagination Fly
    CREATIVE ACTIVITY : ARCHAEOLOGY Stories in stone People have always been storytellers, from the Stone Age until today. In ancient times, humans painted or carved their stories on cave walls or rocks using pictures. They drew things that were important to them like celebrations, hunting, and animals. Prehistoric cave paintings more than 40,000 years old have been discovered in France (Lascaux) and Spain (Altamira). Rock carvings (petroglyphs) can be found throughout the world; here in the U.S., you can explore the Native American petroglyphs of the Southwest – some thousands of years old. What would your child paint on a rock or cave wall? The night sky? Animals? Family? Celebrations? What story would he tell? For each of the following activities, talk with your child about what he chose to draw and what it means to him. Sandpaper petroglyphs Use rough sandpaper as your “rock” surface and watch your child’s imagination fly. Drawing with crayons on the rough surface creates an interesting texture! What you’ll need: • Squares of rough grit sandpaper • Crayons Sidewalk petroglyphs What you’ll need: • Spray bottle with misting nozzle • Cornstarch • Food coloring 1. Gather up items that have interesting shapes: leaves, small kitchen utensils, plastic animals – and your hands! You could also cut shapes out of heavy construction paper. These objects will be used as your sidewalk stencils. 2. Mix 6 tablespoons of cornstarch with 1 cup of water until dissolved. Stir in a few drops of food coloring. (Continued on next page) Reading Adventure Packs: Hands-on fun & learning from Reading Rockets Find more themes and activities at ReadingRockets.org/readingadventurepacks CREATIVE ACTIVITY : ARCHAEOLOGY Stories in stone Sidewalk petroglyphs (continued from previous page) 3.
    [Show full text]