James D. Keyser

A Lexicon for Historic Plains Indian Rock Art: Increasing Interpretive Potential

AbstractHistoric period Northern Plains Indian rock art consists of well-drawn biographic compositions showing warfare and hunting scenes. In style and content this art closely resembles the hide p...

Decorated Bridles: Horse Tack in Plains Biographic Rock Art

Abstract Decorated horse bridles are probably the most common horse tack shown in Plains biographic art. Painted on robes, drawn in ledgers, and incised or painted as rock art from northern Mexico to southern Alberta, these images illustrate the emphasis placed on horse finery by Plains and Southwestern Indian cultures. Rock art is replete with these decorated bridles. A cursory literature review identified more than 25 sites with illustrated examples, located from northern Mexico through nine of the United States and into southern Canada at Writing-On-Stone, Alberta. Given the number of these rock art images and the wealth of comparative material from historical sources and recently published robe art and ledger drawings, we have identified and described seven distinct types of bridle decorations in Plains rock art. These decorations provide clues to ethnic identity of the artists and illuminate the extent of trade networks and intertribal alliances that extended across the region and into the American Southwest.

Bird Rattle's Petroglyphs at Writing-On-Stone: Continuity in the Biographic Rock Art Tradition

Abstract Writing-On-Stone is well-known for its Plains Biographic rock art, characterized by distinctive motifs and narrative compositions. Biographic rock art flourished from the Late Prehistoric period throughout the nineteenth century. Although related images were drawn on hides and paper well into the twentieth century, it was unclear whether Biographic rock art also persisted this late. The recent discovery of photographs and narrative of a 1924 trip by Roland Willcomb and Pi egan elder Bird Rattle demonstrates that a well-known historic petroglyph at Writing-On-Stone was carved by this Plains warrior as part of the Biographic rock art tradition. Aside from showing a continuity of Biographic rock art well into the twentieth century, the positive attribution of these glyphs to an Indian artist supports the use of stylistic criteria to identify rock art ethnicity. Finally, the photographs and notes that Willcomb took on this trip provide significant insight into the sacred nature of Writing-On-Stone

Dating the Deadmond Bison Robe: A Seriation of Blackfeet Biographic Art

Abstract The Deadmond bison robe was only recently recognized to be a surviving example of late Historic period Plains Indian biographic art. Using characteristic motifs from the more than 20 biographic scenes painted on the robe, the authors identify it as Blackfeet. By using the Deadmond family history and a seriation chronology of other, better-known Blackfeet robe art, the Deadmond robe can be confidently dated to the last two decades of the nineteenth century.

Every detail counts: More additions to the Plains Biographic rock art lexicon

Abstract Plains Biographic rock art is directly related to robe and ledger drawings created by Historic period Indian artists. Rock art often shows compositions, objects, and conventions that are identical to those identified and explained by the artists responsible for the robe andledger art. Identifying items of material culture and symbols used in various rock art scenes has previously led to the development and refinement of the Biographic rock art lexicon—a pictographic “dictionary” that enables relatively detailed understanding of many Plains pictographs and petroglyphs. Newly identified lexicon elements are used to interpret four Blackfeet rock art sites at Writing-On-Stone, Alberta.

McKean Complex Projectile Point Typology and Function in the Pine Parklands

McKean complex projectile point typology has been of keen interest to Plains archaeologists since the early 1950s. This article examines the typological and functional relationships of McKean complex points from the Lightning Spring, McKean, Red Fox and Scoggin sites in the Pine Parklands area of the northwestern Plains. Techno-morphological study of these assemblages demonstrates that Duncan and Hanna are a single form, while the McKean Lanceolate and Mallory are separate types. The article proposes that the three McKean complex point types functioned within a multiple weapons system: Duncan-Hanna points were atlatl darts while McKean Lanceolates, and possibly Mallory points, were used on thrusting spears.

Arminto Petroglyphs: Rock Art Damage Assessment and Management Considerations in Central Wyoming

Abstract Detailed figure recording in 2002 indicates engraved figures are suffering from erosion caused by wind-blown sand from adjacent well pad construction. Approximately 27% of one figure has been lost in the last 20 years. Eventual loss of the two remaining horse figures will amount to loss of about 10% of all known North American armored horse petroglyphs, and 20% of those recorded on the northern Plains. Management agencies should consider mitigative measures for such sites during project planning and permitting.

Lamarche Game Trap: An Early Historic Game Trap In Southwestern Montana

AbstractThe LaMarche Game Trap, 24BE1011, is a stylized, high altitude game trap in the Beaverhead National Forest, southwestern Montana. The site complex includes a wooden pole corral and an exten...

Turner Rockshelter: A Blackfeet Redoubt in the Heart of Crow Country

Abstract Turner Rockshelter, located on the southeast flank of central Montana’s Bull Mountains, contains extensive panels of Biographic rock art showing both triangular and rectangular body style humans, mature style horses, battle pit fortifications, and a characteristic type of decorated halter. By comparison to known-age Blackfeet robe art, the images can be identified as Blackfeet and seriation dating indicates that they were most likely drawn in the 1880s. Detailed ethnohistoric records document that horse raiding during the decade of the 1880s was centered in this area of Montana with the Blackfeet and Crow as the principal protagonists. The several panels of rock art here indicate that Turner Rockshelter served as a redoubt bivouac for parties of Blackfeet horse raiders during the last years of intertribal warfare.

Audrey's Overhang: A Pictograph Maze In Central Montana

Audrey’s Overhang, a small pictograph site in Montana’s Smith River Drainage, is part of a highly abstract rock art style localized in the Rocky Mountain foothills of central Montana. An abstract a...