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Shaman Stone with a Hunting Ritual: Petroglyph Based Upon Motives of the Ancient Inhabitants in the Baja California (5000 BC – 1100 AC)

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Shaman Stone with a Hunting Ritual: Petroglyph Based Upon Motives of the Ancient Inhabitants in the Baja California (5000 BC – 1100 AC)

Dimensions: 5 inches x 3 ½ inches x 2 inches

Weight: 480 grams

The central part of Baja California peninsula is a region of Mexico that concentrates one of the most extraordinary repertoires of rock art in the country, the Rock Paintings of the Sierra de San Francisco. The region is insular-like and kept the native peoples relatively isolated from continental influences, allowing the development of local cultural complex. One of the most significant features of the peninsular prehistory is the mass production of rock art since ancient times and the development of rock art tradition of the Great Murals.

The Sierra de San Francisco is the mountain range which concentrates the most spectacular and best preserved Great Mural sites, scale wise one of the largest prehistoric rock art sites in the world. Hundreds of rock shelters, and sometimes huge panels with hundreds and even thousands of brightly painted figures, are found in a good state of conservation. The style is essentially realistic and is dominated by depictions of human figures and marine and terrestrial fauna, designed in red, black, white and yellow, which illustrate the relationship between humans and their environment, and reveal a highly sophisticated culture. The paintings are found on both the walls and roofs of rock shelters in the sides of ravines that are difficult of access. Those in the San Francisco area are divided into four main groups - Guadalupe, Santa Teresa, San Gregorio and Cerritos. The most important sites are Cueva del Batequì, Cueva de la Navidad, Cerro de Santa Marta, Cueva de la Soledad, Cueva de las Flechas and Grutas del Brinco.

The rock art may be either monochrome or polychrome. Red and black were the colors most frequently used, but white, pink, orange, and green also occur.

The most common figures are humans and deer, but a variety of other animals, such as rabbits, bighorn sheep, birds, fish, and snakes are also represented. The human images often include stylized headdresses. A minority of human images are shown with sexual characteristics, such as male genitalia or female breasts. A minority of human and animal images are overlain with depictions of projectiles (presumably arrows or atlatl darts).

The images are essentially silhouettes, without representational details inside their outlines. Instead, geometrical patterns such as stripes or bands of different colors are used. A dorsal/ventral (front-facing) perspective is employed for humans, turtles, birds, and most fish, while a lateral perspective is used for deer and most other animals.

Overpainting of earlier by later images is very common. Some murals seem to show intentional composition in their arrangements of multiple images, but in many cases the figures seem to have been painted individually, without regard to other nearby (or underlying) images.

One of the key questions in the context of studies in this macro cultural region concerns the antiquity of the Great Murals. The absolute dating of these paintings is crucial for the investigation of how and why about this phenomenon and understanding its relationship with other diachronic factors such as the prehistoric demographic and climatic changes.

Before 2000, there were only six absolute AMS5 dates of three Great Mural panels of the Sierra de San Francisco, a much reduced number for a phenomenon that spans thousands of square kilometers (Fullola. Due to this, in the last decade one of the main objectives of the archaeological investigation developed in the region was to expand the known chronology for the Great Murals. At present, we know that AMS dating of rock paintings is subject of severe controversy, especially when the purity of the samples is questioned and the origin of carbon from which the dates are obtained. Then, we ignored that over time this revolutionary dating technique would be seriously debated, so we continued addressing this aspect of research along all these years. The investigation not only contemplated the possibility of obtaining direct AMS dates, but also characterizing the components of painting, putting a special emphasis in the identification of the binders that were used in the formula. Near 300 painting samples were collected between 2002 and 2003, from some of the most emblematic sites of the Great Mural substyles. 60 dates have been currently obtained. The most outstanding date was one got at Cueva San Borjitas, Sierra de Guadalupe, which disclosed an antiquity of 7.500 years BC these results are surprising because they surpass all the expectations by placing the production of this tradition at a so remote time.

Archaeological research carried out in this mountain range allows us to point out that the practice of painting and engraving was a long-term phenomenon of essential importance in the indigenous worldview European missionaries and chroniclers described a few ritual practices and artifacts that were used in them. We know that the veneration of ancestors and the dead formed the core of the peninsular ideology around which a set of ritual practices was developed. The communication with the ancestors led these practices through the death personification and spirit possession in a state of trance6 . Capes of human hair, ceremonial tables, wooden figures carved and painted and feathered sticks, unique artifacts of material culture of the peninsula, were the objects of ritual paraphernalia and served as surrogate images of mythological heroes and remote ancestors . Thus one can argue that the importance and intensity of image processing in the peninsula for the representation of dead ancestors is the key to understanding the meaning and the role played by some of the Great Mural sites, let’s say those places characterized by containing the most emblematic rock panels of this tradition.
Shaman Stone with a Hunting Ritual: Petroglyph Based Upon Motives of the Ancient Inhabitants in the Baja California (5000 BC – 1100 AC)

Dimensions: 5 inches x 3 ½ inches x 2 inches

Weight: 480 grams

The central part of Baja California peninsula is a region of Mexico that concentrates one of the most extraordinary repertoires of rock art in the country, the Rock Paintings of the Sierra de San Francisco. The region is insular-like and kept the native peoples relatively isolated from continental influences, allowing the development of local cultural complex. One of the most significant features of the peninsular prehistory is the mass production of rock art since ancient times and the development of rock art tradition of the Great Murals.

The Sierra de San Francisco is the mountain range which concentrates the most spectacular and best preserved Great Mural sites, scale wise one of the largest prehistoric rock art sites in the world. Hundreds of rock shelters, and sometimes huge panels with hundreds and even thousands of brightly painted figures, are found in a good state of conservation. The style is essentially realistic and is dominated by depictions of human figures and marine and terrestrial fauna, designed in red, black, white and yellow, which illustrate the relationship between humans and their environment, and reveal a highly sophisticated culture. The paintings are found on both the walls and roofs of rock shelters in the sides of ravines that are difficult of access. Those in the San Francisco area are divided into four main groups - Guadalupe, Santa Teresa, San Gregorio and Cerritos. The most important sites are Cueva del Batequì, Cueva de la Navidad, Cerro de Santa Marta, Cueva de la Soledad, Cueva de las Flechas and Grutas del Brinco.

The rock art may be either monochrome or polychrome. Red and black were the colors most frequently used, but white, pink, orange, and green also occur.

The most common figures are humans and deer, but a variety of other animals, such as rabbits, bighorn sheep, birds, fish, and snakes are also represented. The human images often include stylized headdresses. A minority of human images are shown with sexual characteristics, such as male genitalia or female breasts. A minority of human and animal images are overlain with depictions of projectiles (presumably arrows or atlatl darts).

The images are essentially silhouettes, without representational details inside their outlines. Instead, geometrical patterns such as stripes or bands of different colors are used. A dorsal/ventral (front-facing) perspective is employed for humans, turtles, birds, and most fish, while a lateral perspective is used for deer and most other animals.

Overpainting of earlier by later images is very common. Some murals seem to show intentional composition in their arrangements of multiple images, but in many cases the figures seem to have been painted individually, without regard to other nearby (or underlying) images.

One of the key questions in the context of studies in this macro cultural region concerns the antiquity of the Great Murals. The absolute dating of these paintings is crucial for the investigation of how and why about this phenomenon and understanding its relationship with other diachronic factors such as the prehistoric demographic and climatic changes.

Before 2000, there were only six absolute AMS5 dates of three Great Mural panels of the Sierra de San Francisco, a much reduced number for a phenomenon that spans thousands of square kilometers (Fullola. Due to this, in the last decade one of the main objectives of the archaeological investigation developed in the region was to expand the known chronology for the Great Murals. At present, we know that AMS dating of rock paintings is subject of severe controversy, especially when the purity of the samples is questioned and the origin of carbon from which the dates are obtained. Then, we ignored that over time this revolutionary dating technique would be seriously debated, so we continued addressing this aspect of research along all these years. The investigation not only contemplated the possibility of obtaining direct AMS dates, but also characterizing the components of painting, putting a special emphasis in the identification of the binders that were used in the formula. Near 300 painting samples were collected between 2002 and 2003, from some of the most emblematic sites of the Great Mural substyles. 60 dates have been currently obtained. The most outstanding date was one got at Cueva San Borjitas, Sierra de Guadalupe, which disclosed an antiquity of 7.500 years BC these results are surprising because they surpass all the expectations by placing the production of this tradition at a so remote time.

Archaeological research carried out in this mountain range allows us to point out that the practice of painting and engraving was a long-term phenomenon of essential importance in the indigenous worldview European missionaries and chroniclers described a few ritual practices and artifacts that were used in them. We know that the veneration of ancestors and the dead formed the core of the peninsular ideology around which a set of ritual practices was developed. The communication with the ancestors led these practices through the death personification and spirit possession in a state of trance6 . Capes of human hair, ceremonial tables, wooden figures carved and painted and feathered sticks, unique artifacts of material culture of the peninsula, were the objects of ritual paraphernalia and served as surrogate images of mythological heroes and remote ancestors . Thus one can argue that the importance and intensity of image processing in the peninsula for the representation of dead ancestors is the key to understanding the meaning and the role played by some of the Great Mural sites, let’s say those places characterized by containing the most emblematic rock panels of this tradition.

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Mystic Artworks
Hans Oswald
Raiffeisenstr.14
D 93077 Bad Abbach

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All items will be shipped via German overland postal service.
If you want express courier service for overseas destinations from Germany via DHL (tracking number included), please contact me at hansoswald@t-online.de for a cost estimate.

We will then send you tracking number for the delivery process. For overseas delivery outside of Europe, shipping charges will be based on destination.

We will discuss the details with you in advance via Etsy or e-mail. All items shipped will be secured up to a maximum value of € 300 = USD 350 roughly.

Packaging:
All canvases will be carefully bubble wrapped and boxed. Sculptures will also be carefully wrapped in bubble wrap and appropriately fitted in boxes.

Shipping address:
Please make sure your Etsy address is correct. If you like it sent to a different address than that of your Etsy-account, please include your corresponding details along with your purchase order. We are not responsible for packages sent to outdated or incorrect addresses.

Shipping times:
All items have already been created. Upon receiving payment, the items will promptly be packaged and shipped within 1-3 days. You will receive a message with your tracking number when your order has been shipped.

Note to international buyers: You are responsible for any customs fees, taxes, etc. incurred.

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Shaman Stone with a Hunting Ritual: Petroglyph Based Upon Motives of the Ancient Inhabitants in the Baja California (5000 BC – 1100 AC)

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Overview

  • Handmade item
  • Materials: Stein, Farbe, Klarlack
  • Feedback: 23 reviews
  • Favorited by: 18 people
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