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Offers artistic renderings of Native American art with information about location and cultural meaning, the visible language of petroglyphs, and preservation issues

Exquisitely produced by artisan craftsmen in Italy, these supple lambskin gloves are truly a head turner. Lined in a silk knit for comfort, they can be worn pulled up for drama or bunched down with your favorite denim jacket.  We only made a few of these beauties this season. details: 16" longlambskin and silkavailable in 7. 5, 8. 0 & 8. 5 - these run pretty tight and why we did not make 7. 0s Lambskin and Silk lining Clean with a gentle leather cleaner. Test a patch prior to use if using a leather moisturizer or water proofer.

Exquisitely produced by artisan craftsmen in Italy, these supple lambskin gloves are truly a head turner. Lined in a silk knit for comfort, they can be worn pulled up for drama or bunched down with your favorite denim jacket.  We only made a few of these beauties this season. details: 16" longlambskin and silkavailable in 7. 5, 8. 0 & 8. 5 - these run pretty tight and why we did not make 7. 0s Lambskin and Silk lining Clean with a gentle leather cleaner. Test a patch prior to use if using a leather moisturizer or water proofer.

Petroglyph is a stone hand percussion library recorded with a collection of authentic primitive stone artifacts from various North America tribes a...

Recent decades have seen an upsurge in visitation to rock art sites as well as an increase in commercial reproduction of rock art and attempts to understand the meaning and function of that art within the indigenous cultures that produced it. What motivates this growing interest and what do these interpretations and appropriations of Native American petroglyphs and pictographs reveal about contemporary cultural dynamics? Focusing on the southwestern U.S., this book critically examines the contemporary implications of the interpretation, appropriation, commodification, and management of indigenous rock art.   Neither archaeological interpretations nor commercial reproductions of rock art operate in a cultural vacuum. Both the motivation to seek out rock art and the specific meanings attached to it are deeply embedded in narratives about Native Americans already created by anthropologists, archaeologists, photographers, novelists, film and television producers, the tourism industry, and New Age discourse. For those interested in rock art as a window into indigenous cultures of the past, our contemporary projections of meanings are of great concern. Applying the tools of critical/cultural studies to both academic and popular discourse, Rogers explores the implications of such projections for rock art studies, contemporary gender dynamics, and the neocolonial relationship between Euro-Americans and Native Americans.  

Long before the coming of Euro-Americans, native inhabitants of what is now Kansas left their mark on the land: carvings in the soft orange and red sandstone of the state&fsquo;s Smoky Hills. Though noted by early settlers, these carvings are little known—and, largely found on private property today, they are now rarely seen. In a series of photographs, Petroglyphs of the Kansas Smoky Hills offers viewers a chance to read the story that these carvings tell of the region's first people—and to appreciate an important feature of Kansas history and its landscape that is increasingly threatened by erosion and vandalism.To establish the context critical to understanding these petroglyphs, the book includes a number of photographs for each of fourteen sites in central Kansas, highlighting individual carvings but also the groups and settings in which they occur. An introduction and captions, while respecting the privacy of landowners and the fragility of the carvings, document what is known of the petroglyphs, how and when they were made, and what they can tell us of the early people of Kansas.

Images on rocks depicting birds, serpents, deer, and other designs are haunting reminders of prehistoric peoples. This book documents Missouri's rich array of petroglyphs and pictographs, analyzing the many aspects of these rock carvings and paintings to show how such representations of ritual activities can enhance our understanding of Native American culture. Missouri is a particularly important site for rock art because it straddles the Plains, the Ozarks, and the Southeast. Carol Diaz-Granados and James Duncan have established a model for analyzing this rock art as archaeological data and have mapped the patterning of fifty-eight major motifs across the state. Of particular importance is their analysis of motifs from Mississippi River Valley sites, including Cahokia. The authors include interpretive discussions on iconography and ideology, drawing on years of research in the ethnographic records and literature of Native Americans linguistically related to earlier peoples. Their distribution maps show how motifs provide clues to patterns of movement among prehistoric peoples and to the range of belief systems. Rock art is an aspect of the archaeological record that has received little attention, and the art is particularly subject to the ravages of time. By documenting these fragile images, this book makes a major contribution to rock art research in North America.    

This book is an enticing introduction to this unique art form, its range, diversity and location as well as a record of many sites that are endangered or damaged or have recently been destroyed. As destruction by both vandals and the bulldozer continues, it is the author's hope that this book will bring greater public awareness to a fragile and irreplaceable heritage.

Recent decades have seen an upsurge in visitation to rock art sites as well as an increase in commercial reproduction of rock art and attempts to understand the meaning and function of that art within the indigenous cultures that produced it. What motivates this growing interest and what do these interpretations and appropriations of Native American petroglyphs and pictographs reveal about contemporary cultural dynamics? Focusing on the southwestern U.S., this book critically examines the contemporary implications of the interpretation, appropriation, commodification, and management of indigenous rock art.   Neither archaeological interpretations nor commercial reproductions of rock art operate in a cultural vacuum. Both the motivation to seek out rock art and the specific meanings attached to it are deeply embedded in narratives about Native Americans already created by anthropologists, archaeologists, photographers, novelists, film and television producers, the tourism industry, and New Age discourse. For those interested in rock art as a window into indigenous cultures of the past, our contemporary projections of meanings are of great concern. Applying the tools of critical/cultural studies to both academic and popular discourse, Rogers explores the implications of such projections for rock art studies, contemporary gender dynamics, and the neocolonial relationship between Euro-Americans and Native Americans.  

236 pages. 9.00x6.00x0.59 inches. In Stock.

This recently revised and updated book presents a summary of the information available on petroglyphs, how to view them, where to find them, and tips for taking photographs. With its many illustrations and photos, Petroglyphs of Hawaiçi provides petroglyph buffs with extensive information and a complete bibliography of the sources used in the research. New maps of the Island of Hawaii show the location of the vast petroglyph fields there, with detailed instructions on how to reach the most accessible sites. Although the largest number of petroglyphs are found on the island of Hawaii, petroglyphs can be found on all the Hawaiian Islands.

"The territory's past is rich, complex, and relatively unstudies. There is a lot or rock art...and this book is the first comprehensive survey of what until now has been piedra incognita." "this book fills a large void in the rock art record and presents many sites previously unrecorded. I especially appreciate the authori's objective and unbiased approach."

This is a used book that has been loved and read by a previous owner. This book shows signs of wear and has some creasing but remains a good, readable copy. May not contain codes CDs Inserts that is included with the book. *Your satisfaction is our 1 priority so please feel free to contact us if you have any questions or concerns about your purchase. Thank you for choosing to shop with us and happy reading!

"The territory's past is rich, complex, and relatively unstudies. There is a lot or rock art...and this book is the first comprehensive survey of what until now has been piedra incognita." "this book fills a large void in the rock art record and presents many sites previously unrecorded. I especially appreciate the authori's objective and unbiased approach."

Birds, like animals, are associated with almost every aspect of Pueblo life. Although mythology varies among the Pueblos, certain basic symbolisms, rituals and myths are held in common

UtahProfusely illustrated with photographs and drawings from hundreds of sites, these two volumes are among the most complete records of Utah rock art available. Volume One covers sites in eastern Utah, from the Capitol Reef/Canyonlands area to the Uinta Mountains, and emphasizes art from the Fremont culture.

Long before the coming of Euro-Americans, native inhabitants of what is now Kansas left their mark on the land: carvings in the soft orange and red sandstone of the state&fsquo;s Smoky Hills. Though noted by early settlers, these carvings are little known—and, largely found on private property today, they are now rarely seen. In a series of photographs, Petroglyphs of the Kansas Smoky Hills offers viewers a chance to read the story that these carvings tell of the region's first people—and to appreciate an important feature of Kansas history and its landscape that is increasingly threatened by erosion and vandalism.To establish the context critical to understanding these petroglyphs, the book includes a number of photographs for each of fourteen sites in central Kansas, highlighting individual carvings but also the groups and settings in which they occur. An introduction and captions, while respecting the privacy of landowners and the fragility of the carvings, document what is known of the petroglyphs, how and when they were made, and what they can tell us of the early people of Kansas.

This recently revised and updated book presents a summary of the information available on petroglyphs, how to view, clues to their meanings, where to find them, and taking photographs. Although this study is not intended as a definitive one, this book, with its many illustrations, provides petroglyph buffs with extensive information and a complete bibliography of the sources used in the research. New maps of the Island of Hawaii show the location of the vast petroglyph fields there, with detailed instructions on how to reach the most accessible sites.

Item in good condition and has highlighting/writing on text. Used texts may not contain supplemental items such as CDs, info-trac etc.

This work is an attempt to integrate a popular and scholarly perspective on petroglyphs, rock paintings and rock carvings, of North American Indians, espcially those of the Pacific Northwest. The book is orgnized into a discussin of "problems," i.e., understanding the subjective meaning of petroglyphs, protecting them from vandalism and theft, and the need for comprehensive survey. The autors suggest ceremonial, subsistence and artistic purposes as the bases for petroglyphs, and focus on the relationship to Shamanism of many petrophyphs. A detailed description and numerous black and white photographs of significant petroglyphs are presented, and 172 pages are taken up with hundreds of such descriptions. A discussion of Southeast Alaskan (primarily Tlingit) petroglyphs is introduced and theories presented relating these to other Northwest Coast work and also to Eskimoid work. Overall, the detail which is presented is extremely satisfying! -- A.E.Hippley, American Indian Quarterly