Excerpt from Rock Art in the Navajo Reservoir DistrictHigh, inaccessible panels and those with little level foreground had to be photo graphed at an angle, thus distorting the figures to some degree. For this reason all accessible panels were drawn as well as photographed. In order to record large panels of petroglyphs in their totality, a string grid of foot squares were set up as a guide for drawing on graph paper. As an aid to copying, many of the petro glyphs were chalked in outline before drawing. In this way, Shapes were more accurately determined in vague cases and the small details were brought to the attention of the recorder.It was more expedient and accu rate to make tracings with crayons on plastic sheets taped to the cliff over iso lated or very small groups of figures and the many-colored and complex rock paintings. Colors Of the paintings were matched in the field with pastels.In addition to the drawings, field notes were taken on technique, weathering and patination, site situation, and other pertinent factors. Samples of the pigments of the paintings were obtained and brought back to the laboratory for analysis.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Rock Art in the Navajo Reservoir District (Classic Reprint)

Politics & Social Sciences

Polly Schaafsma

Archaeology

Forgotten Books

This comprehensive view of carvings and paintings on stone by Native Americans from 200 B.C. through the nineteenth century surveys the rock art of Utah, Arizona, New Mexico, northern Mexico, and west Texas, providing an incomparable visual record of Southwest Indian culture, religion, and society.Rock carvings and paintings are important sources in the archaeological and historical interpretation of Southwest Indians. Rock art reflects the cosmic and mythic orientation of the culture that produced it, and understanding of prehistoric peoples, both hunters and gatherers and the Hohokam, Anasazi, Mogollon, and Fremont cultures, and the Pueblo, Navajo, and Apache Indians. Culturally significant events such as the shift in prehistoric times from spear and atlatl to the bow, or, in the historic period, the introduction of the horse into the Southwest, are recorded in rock art.The illustrations--thirty-two color plates, nearly 250 photographs, and numerous line drawings--bring together in one volume petroglyphs and rock paintings that are scattered over thousands of miles of desert and mesa, giving the reader an overview of Indian rock art that would be nearly impossible to achieve in the field.Indian Rock Art of the Southwest examines from an archaeological perspective the rich legacy of stone drawings and carvings preserved throughout the Southwest. Professional and amateur archaeologists and historians, as well as the general reader with an interest in Indian art, will find this volume a valuable resource.

Indian rock art of the Southwest (Southwest Indian arts series)

Arts & Photography

History & Criticism

School of American Research

<p><p>Real-life dramas lurk behind the more familiar formal and structured content of archaeological literature. These untold tales reveal the personal experiences of the authors and the events encountered in the course of many decades of archaeological field work and travels throughout the Northern Plains, the American Southwest, and Mesoamerica. Some of them describe threatening encounters between landowners, stakeholders, and a public unsympathetic to archaeological pursuits. Close calls and drug-runners add to the potential risk of visiting rock art sites near the US/Mexican border. Other accounts explore the challenges of conducting rock art field work in adverse and demanding physical and social contexts. While these personal adventures are often shared between archaeologists over a beer, at parties and conferences, or around the campfire, they are seldom written down. Here are a few of these stories.</p></p>

Guns, Snakes, and Spirit Animals, Stories from the Field of Archeology

Mavis Greer

Social Sciences

Sunstone Press

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Books by Polly Schaafsma