What about the Indians? There are no Indians in the Arches country now; they all left seven hundred years ago and won’t be back for a long time. But here as elsewhere in the canyonlands they left a record of their passage. Near springs and under overhanging cliffs, good camping spots, you may find chipping grounds scattered with hundreds of fragments of flint or chert where the Anasazi hunters worked their arrowpoints. You may find shards of pottery. At other places you will see their writing on the canyon walls—the petroglyphs and pictographs.
Petroglyphs are carved in the rock; pictographs are painted on the rock. Whether in one form or the other they consist of representations of birds, snakes, deer and many other animals, of human, semihuman and superhuman figures, and of designs purely abstract or symbolic. In some places you find only petroglyphs, in other places only pictographs, in some places both. The explicitly representational often comes side by side with the highly abstract.
In style the inscriptions and paintings range from the crude and simple to the elegant, sophisticated and subtle. They seem to include the work of different cultures and a great extent of time: on a wall of rock near Turnbow Cabin is pictured a man on horseback, which must have been made after the arrival of the Spanish in North America; on another rock wall a few miles southwest of Moab is the petroglyph of what appears to be a mastodon—a beast supposedly extinct more than twenty thousand years ago.
Whether crude or elegant, representational or abstract, very old or relatively new, all of the work was done in a manner pleasing to contemporary taste, with its vogue for the stylized and primitive. The ancient canyon art of Utah belongs in that same international museum without walls which makes African sculpture, Melanesian masks, and the junkyards of New Jersey equally interesting—those voices of silence which speak to us in the first world language. As for the technical competence of the artists, its measure is apparent in the fact that these pictographs and petroglyphs though exposed to the attack of wind, sand, rain, heat, cold and sunlight for centuries still survive vivid and clear. How much of the painting and sculpture being done in America today will last—in the merely physical sense—for even a half-century?
The pictures (to substitute one term for the petroglyph-pictograph combination) are found on flat surfaces along the canyon walls, often at heights now inaccessible to a man on foot. (Because of erosion.) They usually appear in crowded clusters, with figures of a later date sometimes superimposed on those of an earlier time. There is no indication that the men who carved and painted the figures made any attempt to compose them into coherent murals; the endless variety of style, subject and scale suggests the work of many individuals from different times and places who for one reason or another came by, stopped, camped for days or weeks and left a sign of their passing on the rock.
What particular meaning, if any, have these pictures on the canyon walls? No one has a definite answer to that question but several possible explanations come to mind when you see them, in their strange and isolated settings, for the first time.
They could be the merest doodling—that is an easy first impression. Yet there’s quite a difference between scribbling on paper and on sandstone. As anyone knows who has tried to carve his name in rock, the task requires persistence, patience, determination and skill. Imagine the effort required to inscribe, say, the figure of a dancer, with no tool but a flint chisel and in such a way as to make it last five hundred years.
Perhaps these stone walls served as community bulletin boards, a form of historical record-keeping, a “newspaper rock” whereon individuals carved and painted their clan or totemic signatures. Or the frequently repeated figures of deer, beaver, bighorn sheep and other animals might represent the story of successful hunting parties.
While many of the pictures may have had for their makers a religious or ceremonial significance, others look like apparitions out of bad dreams. In this category belong the semihuman and superhuman beings with horned heads, immensely broad shoulders, short limbs and massive bodies that taper down to attenuated legs. Some of them have no legs at all but seem to rise ghostlike out of nothing, floating on air. These are sinister and supernatural figures, gods from the underworld perhaps, who hover in space, or dance, or stand solidly planted on two feet carrying weapons—a club or sword. Most are faceless but some stare back at you with large, hollow, disquieting eyes. Demonic shapes, they might have meant protection and benevolence to their creators and a threat to strangers:
Beware, traveler. You are approaching the land of the horned gods.…
From: Desert Solitaire: A Season in the Wilderness by Edward Abbey 1968
