- Basket Maker I (5500BC - 400AD)
- Basket Maker II (700BC - 400/450AD)
- Basket Maker III (450AD - 750AD)
- Pueblo I (700AD - 900AD)
- Pueblo II (900AD - 1100AD)
- Pueblo III (1100AD - 1300AD)
- Pueblo IV (1300AD - 1540AD)
- Pueblo V (1540AD - 1850AD)
- Pueblo VI (1850AD - present day)
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The periods and dates of Anasazi Rock Art run roughly parallel to those identified for the architecture of the Anasazi. Also, the dates can fluctuate according to regional variation in the Anasazi culture. However, for conformity, I will use those periods and dates previously identified. Examples and details of every period however, are not available.
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Basket Maker II: 700BC - 400/450AD
Rock Art from this period is believed to be the oldest surviving art of the Anasazi. The rock art of this period was dominate by large, anthropomorphic (giving something human qualities) figures. These figures were characterised by large, broad shoulders, can be up to 2m in size and often were depicted in pairs or rows of figures on the rock surface. Most often, these figures were painted in a single, solid colour (usually WHITE), however, much more elaborate figures have also been produced. These can feature two colours and often are adorned with some form of decoration, such as a head-dress or jewellery. Facial features are rarely shown, and if so, are generally restricted to the eyes. Hands and feet tend to be large and pointing down. The art of this time is rarely naturalistic, and Cole (1990) believes that the subject matter depicts supernatural and mythical events, together with historical occurrences. Pictographs from this period of time are more dominant than petroglyphs. Also, it is common to find solid, painted hand prints in association with these figures. |
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During this time there was a marked increase in the depicton of animals, though the species is rarely identified, except for the deer, which is generally identified by the inclusion of antlers. Occasionally, these animals are depicted surrounded by dots to indicate a trap.
Abstract designs such as small spirals and wandering lines, also appear in this period.
This style of art has been associated with sharman symbolism and practices. The SHARMAN was the medicine man of the tribe, thus this perhaps indicates that curing practices and beliefs could be part of the Anasazi subject matter of this time period.
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Battleship rock contains about 60 solid pecked designs, that range from approximately 15cm to a metre in length. One again, anthropomorphs predominate. Most are wearing headdresses. It is believed that this particular site may have been part of religious worship to honour the agricultural deities. Much of this site has been exposed to the weather, thus many of the designs have deteriorated badly. It is believed that this particular site contains petroglyphs from Pueblo I - Pueblo III period, indicating that this site may have contained considerable importance to the Anasazi throughout their history. The main stylistic difference, evident at this site, is that the majority of the figures have raised and extended arms and legs that point out to the side. These stylistic changes were expanded upon in the Pueblo II and III period.
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Again, human figures further reduced in size and stick figures became predominant. Many features of the figures became simplified and stylised. Representations of 'lizard man' emerged - these are phallic figures, with hands and feet missing, sticklike bodies and round heads. Many wear headdresses and earrings. These figures are an ambiguous combination of a man and a lizard. It is believed that these figures may have been of religious or ceremonial importance.
There is a much larger number of geometric designs from this period - swirls, concentric circles and shapes. A large degree of patterning occurs also, indicating a concern for aesthetically pleasing designs.
Probably the most distinct emergence from this period was the humpbacked flute player. This figure is often compared to Kokopelli, the modern day Hopi figure.
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Basket Maker III: 450AD - 750AD
This period is characterised by a general reduction in size and importance of the anthropomorphic figures. Subject matter during this time had expanded to include figures engaged in activity, birds and other animals. Also, the artwork became a lot more diversified as the number of petroglyphs increased. The human figures became a lot smaller, had pointed shoulders, exaggerated long necks, thin and short arms and legs, and when shown, the feet were turned to the side. The addition of head ornamentation was still popular. These figures were also often shown holding hands, or engaged in some form of activity, such as hunting, walking or sitting in groups. Flute players also began to emerge as a popular, rock art symbol. Again, the figures were generally arranged in rows.
Pueblo I: 700-900AD
Rock Art from this period has been difficult to identify and little from this period exists. However, the Mesa Verde National Park has a relatively large collection of rock art from this period. Many of these are found together in the one site, identified as Battleship Rock. This site has been used to interpret part of the socio-religious systems that existed in the Mesa Verde Anasazi community, and other surrounding communities.
Late Pueblo II - Pueblo III: 900 - 1300 AD
During this time, larger populations caused larger village concentrations and produced a highly creative period for Anasazi culture. Petroglyphs that date from this time period are very common. Painted hands still persist as a favourite art form, particularly on the walls of the cliff dwellings, perhaps indicating that they are simply a decoration, or perhaps a symbol of ownership.
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On to Meanings of Rock Art