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First, while the 1898 sketch depicts a near-horizontal line extending to the left from the mid-point of the central line of the 'waterspout', sketches and computer enhancement have revealed an indeterminate design drawn directly above the near-horizontal line, and a design similar to the 'headdress' recorded on the anthropomorph from the same site (an upward curving line extending from the upper right-side of the indeterminate image; eight short angled lines extend along the entire length of the curved line) extending from the upper right side of the indeterminate image.
Circles can also occur in the open with anthropomorphs (Figure 3b).
2m to the right of these are some scratch-work figures that superimpose an ochre painting of an anthropomorph.
At Writing-On-Stone, Alberta, classic V-neck figures are an important motif, whereas rectangular body anthropomorphs dominate element assemblages on central Plains sites.
There are only a small number of iconic designs, namely tracks (McDonald 1993) and some small anthropomorphs.
This is particularly evident from the human figures, most of which are very similar to the anthropomorphs of the Lalinde/Gonnersdorf type (see Lorblanchet & Welte 1987; Bosinski et al.
The peckings are dominated by animal tracks, circles and lines, and in some areas human figures with small numbers of large animals and anthropomorphs.
Faded red rock art on the shelter wall depicting anthropomorphs and large animals (including an elephant) could conceivably date to the late Pleistocene, as thick mineral deposits cover the panels in some places.
These paintings feature large anthropomorphs with 'head-gear' and associated objects often depicted as held in the images' 'hands'.
These stelae bear carved representations of anthropomorphs and items of highly ideological content such as weapons and toilet items.
Although in an area adjacent to the rock art of the Quinkan country, this rock art differs from the well-known Quinkan style, which is dominated by anthropomorphs and zoomorphs.