Crow Indian Rock Art

McCleary, Timothy P.

doi:10.4324/9781315431130

Cited by 14 publications

(6 citation statements)

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“…Stylistically, the images fit into the regional biographical rock art tradition, which continued at least to the First World War (Lycett & Keyser 2019). They also compare favourably to mid to late nineteenth-century fine-line images at site complexes such as Joliet and the Turner Rockshelter in Montana, and No Water and Seedskadee in Wyoming (Keyser & Poetschat 2005, 2009Keyser 2007;McCleary 2016). The panel is extremely difficult to discern in the field, requiring comprehensive analysis with digital augmentation software.…”

Section: Riders Rock Petroglyphsmentioning

confidence: 92%

“…Biographical rock art often depicts scenes demonstrating an individual's personal accomplishments or war honours, including counting coup (striking without killing), capturing weapons, raiding horses and fighting with enemies. These are narratives of past events, drawn at socially charged places close to actual battles and along well-travelled routes (Keyser & Klassen 2001;McCleary 2016). Typically, these images are not associated with supernatural visions, although they are connected to the power that contributed to the success of the warrior-actors.…”

Section: Riders Rock Petroglyphsmentioning

confidence: 99%

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Writing histories at Êngkahonovita Ogwêvi: multicultural entanglement at Red Canyon, Wyoming

Scheiber

Burnett²

2020

Antiquity

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Section: Riders Rock Petroglyphsmentioning

confidence: 92%

Section: Riders Rock Petroglyphsmentioning

confidence: 99%

Writing histories at Êngkahonovita Ogwêvi: multicultural entanglement at Red Canyon, Wyoming

Scheiber

Burnett²

2020

Antiquity

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“…Pecked, incised, and scratched on a towering east-facing cliff on the south side of the Rock Creek Valley at Joliet, Montana, is found the region's most intensively studied rock art site. Known in the professional archaeological literature since 1962 (Conner 1962), the Joliet site has been the subject of study by at least a dozen scholars since then (Conner and Conner 1971; Gebhard 1974:44–47; Keyser 1987:57, 65; Keyser and Cowdrey 2008:25–28; Keyser and Klassen 2001:22, 32, 230, 237, 242; Keyser and Poetschat 2014:198–199; Loendorf and Porsche 1985:16–23, 64–68; McCleary 2008a:142–181, 2008b, 2016:113–137). Of primary interest at the site are pecked and incised shield-bearing warriors, six large Timber Creek style grizzly bears, and more than two dozen combat scenes or biographic records of successful warriors.…”

Section: Methodsmentioning

confidence: 99%

“…Although there are large assemblages of both Crow rock art (Conner 1980, 1984; Conner and Conner 1971; Keyser 2010, 2012, 2014, 2018; Keyser and Cowdrey 2008; Keyser and Klassen 2001; Keyser and Minick 2018; Keyser and Poetschat 2009; Keyser and Renfro 2017; Loendorf 2012; McCleary 2008a, 2016) and portable biographic art in the form of painted robes and ledger drawings (Brownstone 2001; Cowles 1982; Heidenreich 1985; Keyser 1996; Logan and Schmittou 1995; Lowie 1935; Wildschut 1926), scholars have long lamented the absence of a strong connection—both chronological and stylistic—between these two datasets that would aid in interpreting the petroglyphs. Conner expressed this gap most succinctly: “Missing in the chain of evidence is a stylistic link between the rock drawings attributed to the Crow and the known Historic Crow hide paintings.…”

mentioning

confidence: 99%

Dating Crow Rock Art through Multivariate Statistical Comparison with Biographic Artworks

Lycett

Keyser²

2019

Am. Antiq.

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Historic period Plains biographic art provides narratives of the deeds and actions of Indigenous peoples of the region. The Crow (Apsáalooke) are one such people with a rich record of biographic drawings in rock art and portable works. However, chronological and stylistic links between these two media have long been thought out of reach, even though such links are essential if the abundant Historic period rock art is to be fully incorporated into discussions of Apsáalooke history and their connection better ascertained to documented historical and ethnohistorical events and trends. Indeed, the lack of such a framework locks away a vast wealth of history in these hundreds of rock art pictures. In this article we present a statistical framework for comparing better-dated Crow portable artworks with their rock art equivalents. We are able to place rock art imagery from five sites into a relatively fine-grained chronological order, which permits a better understanding of changing patterns in Crow stylistic imagery. This permits a direct association with changing historical circumstances and facilitates a better understanding of the link between social history and the changing patterns seen in these artworks. Moreover, in one case, our analysis provides archaeological confirmation of Crow ethnohistory.

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“…Thrown Behind The Tipi Curtain then shot her with an arrow and, as she fled, Thrown Into The Spring slashed at her with a knife. Her blood spilled throughout the drainage staining the cliffs red (McCleary 2012:64; Old Coyote 1995:35).…”

Section: Bacheeishdíio and Crow Oral Traditionsmentioning

confidence: 99%

Bacheeishdíio (Place Where Men Pack Meat)

et al. 2017

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Bacheeishdíio (“Place Where Men Pack Meat”), now called Grapevine Creek in English, is the subject of Crow oral traditions that document the cultural significance of the landscape and celebrate centuries of bison hunting in the drainage. We report an ongoing, community-based project that integrates archaeological field training and research goals into a collaborative indigenous archaeology project supporting the expressed goal of the Crow Tribal Historic Preservation Office to prepare a district-level nomination for the Grapevine Creek drainage basin. This paper describes findings from field investigations that document buffalo jump locales, a previously unreported bison bonebed, and associated archaeological features in the drainage, grounding Crow oral traditions that document buffalo jumps and large-scale bison hunts firmly into the landscape. We take a holistic approach that incorporates multiple lines of evidence to assess the archaeological record associated with bison jumps and bison hunting on the Crow Reservation in southern Montana. Results of this project include an enriched understanding of the Grapevine Creek archaeological record, greater awareness of buffalo hunting strategies on the northwest Plains, and, through field training, enhanced cultural resource management capabilities for the Crow Tribal Historic Preservation Office.

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Crow Indian Rock Art

Cited by 14 publications

References 0 publications

Writing histories at Êngkahonovita Ogwêvi: multicultural entanglement at Red Canyon, Wyoming

Writing histories at Êngkahonovita Ogwêvi: multicultural entanglement at Red Canyon, Wyoming

Dating Crow Rock Art through Multivariate Statistical Comparison with Biographic Artworks

Bacheeishdíio (Place Where Men Pack Meat)

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