Rock Art of the Colorado River Valley Field Office An Ancillary Study of the Ute Trails Project This was a Section 110 related project for the purpose of conducting a study of the rock art within the administrative boundary of the Colorado River Valley Field Office (CRVFO), Bureau of Land Management. It is ancillary to the Ute Trails Project, a research endeavor of Dominquez Archaeological Research Group (DARG). The purposes of the study were to revisit and digitally photograph previously recorded rock art panels and record any new panels or sites encountered during the revisits. Carl E. Conner, Principal Investigator Masha Conner, Photographer and Graphics Artist/Designer Numerous Western science classifications of rock art panels and motifs have been published. For this and other regional studies we are using Cole (1987, 2009, 2011, 2016), Keyser (2008), and Keyser and Klassen (2001) as our main references. Ten rock art sites were included in this project. Interestingly, they represent a broad spectrum of the types present in west- central Colorado. The style chronologies generally follow Sally Cole’s (1990, 2009): Abstract- Geometric Tradition (~4000 – 500/1000); BC AD Barrier Canyon style (~2000 – 400); Uncompahgre style BC AD (~1000 or earlier – ad 1000); generalized Basketmaker II - III BC (~1000/400 – 600); generalized Basketmaker III - Pueblo I BC AD and Pueblo II - Pueblo III (~ 600–1350); generalized Fremont AD (~ 400/600 – 1300/1500); early historic Ute (~ 1500s – AD AD 1825/1850) and late historic Ute (~1825/1850 – 1900 and later). Map showing the distribution of rock art sites considered by this study within the Colorado River Valley Field Office of the Bureau of Land Management. Rock art was created by artisan shaman (men and women) who were observers of nature and the universe. They were people who wanted to relate their observations, religious beliefs and experiences, or portray images of themselves or mythological figures. They used rock art to assist in a hunt, or to make a record of the seasonal passage of the sun or a star. Shamanistic symbolism is present throughout and represents techniques of a particular elite, who were able to communicate with the supernatural through visions created by fasting or ingesting hallucinogenic plants. They were able through animal spirit helpers to transform themselves, and such helpers are commonly depicted in rock art of the Southwest. As artisan-shaman probably created the majority of the rock art, sites where it occurs likely served some manner of religious center or spiritual focal point. Defining temporal and possible cultural boundaries through rock art images is an on-going research process. “Repeated motifs can be identified and traced through time and space, which in turn may shed light on the dynamic histories of human populations, patterns of their migrations and interactions, and even continuities to the present indigenous societies” (Zhu et al. 2009). Preservation of the images is key to the future research. Technological advances in photography and new computer programs are aiding in this effort. Photographs of the panels during this project were made with a Canon Rebel 6D full frame camera (20.2 megapixel), then imported into Adobe Photoshop and D-Stretch programs for processing and enhancement. Here you see possible Barrier Canyon Style rock art (black) super-imposed on Early Hunter Tradition zoomorphs (red) at 5EA1273. There are several distinctive, traceable motifs. The first, which Sally Cole has identified as belonging to the Abstract-Geometric style, is also a type she classifies as the oldest of two that represent the Archaic. It contains wheel-like forms with spokes, net-like forms and other linear motifs (Cole 1990, 2009). This is Panel 2 of 5GF2. It has three – distinctive elements: a large, colorful, wheel-like glyph with spokes; two anthropomorphs with apparent wings for arms; and, a phallic symbol that connects to the colored circle. The circular glyph with spokes is a prominent element in Abstract-Geometric sites in west central Colorado, and may represent a “medicine” wheel. This panel has a number of bullet holes that were digitally removed for this graphic. The two figures with wing-like arms are characteristic of the Abajo-LaSal style rock art, pre-AD 1–AD 900 (Cole 1990:151,157). Importantly, winged anthropomorphs in rock art are interpreted as symbolism of shamanistic flight and transformation (Hedges 1985:86-89). Basalt boulder at 5GF133 having Abstract-Geometric style pecked lines and one identifiable animal glyph.