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Abstract

Transitional Petroglyphs in Southwestern Wyoming - GreerServices ...

approaches are general

approaches are general — such as animal-human co-occurrence, use of animal tracks,interaction between animals and cracks, figures and panels connected with wavy lines,exaggerated hands and feet, and shortened arms and legs — but details of theseattributes and relationships almost certainly will have different temporal occurrence andgeographic extent.This short discussion, then, will be mainly a view of figures at three sites on theWyoming border with Utah and Colorado. The temporal range of rock art at these sitesis great, certainly from Archaic to very recent, and we look mostly at probable LateArchaic through the entire range of Fremont. Likewise, most stylistic influence — or acombination of content and artistic manner — appears to be from the south, with somemore widespread attributes that we see also much further north. We still feel that theregion is a thoroughfare, probably like any part of the country, with a constant flow ofideas and probably people, at least on an individual basis, and with the main directionof flow in a north-south direction.For our examples, we look at three petroglyph sites.Two are in southwestern Wyoming, just west ofthe Green River [48SW83 Lucerne Petroglyphs, tothe east; 48SW88, Henry’s Fork Petroglyphs, to thewest]. Access is easy, although some figures onupper ledges or high on the sandstone cliffrequire climbing, care, balance, and occasionalpole ladders. Figures and their messages alongthe extensive face overlook and affect nearbyvillages and distant fields.Another site [Vermillion Canyon, Colorado] a fewmiles to the east is in a narrow, deep canyon thatcuts through a ridge and contains permanentwater. The canyon is a few feet wide at thebottom and over a thousand feet deep, withmultiple ledges and cliff faces. Figures occupystream-side panels to ledges hundreds of feet upGreer, Southwestern Wyoming Page 2 2007 San Diego

the canyon walls. Most are easy to reach, once the location is attained, but some are 20feet or more high on smooth surfaces accessible only by scaffolds or climbing poles.Some locations are reached by walking, others require moderate climbing skill andendurance, and still others require unusual ability in technical climbing and an obviouslack of basic survival instinct or intelligence. That mental or emotional approach toreaching unreachable locations and pecking figures into the rock face is a Fremontcharacteristic seen in other areas, including the other two sites and one in Montana.Looking at a few selected characteristics ofthe art, animals are common and arerepresented by juvenile bighorn sheep, deer,lines of deer, elk, bison, a wolf, and afeathered snake. Antlions in the larval stage(often referred to as “doodlebugs”) are astrictly southern characteristic, with profusemythology for both the larval stage and thesubsequent dragonfly-like phase with its elaborate mating gymnastics. A grizzly bear isa style mostly present to the north, with its distinctive facial characteristics.Animal tracks are numerous and include bear paws, some with incised claws, a few deertracks, and human footprints, both with and without covering. Of interest are verticaltrails of miniature tracks, mostly animal but some possibly human, about a centimeter orso long. Tracks are often within integrated panels, again a southern characteristic.Humans often have associated animals, but the relationship or referent is never clear. Inonly one case is a hunter, holding a bow and arrow, shown in what could be a huntingscene, although such are much more common further south.Greer, Southwestern Wyoming Page 3 2007 San Diego

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