- Light, Human Evolution, and the Palaeolithic
- The Role of Darkness in Ancient Greek Religion and Religious Practice
- Darkness and the Imagination: The Role of Environment in the Development of Spiritual Beliefs
- Rediscovering the Winter Solstice Alignment at Newgrange, Ireland
- Light and Shadow Effects in Megalithic Monuments in the Iberian Peninsula
- Sunlight, Divination, and the Dead in Aegean Ritual Tradition
- Illuminating Triangulations: Moonlight and the Mississippian World
- The Chacoan World: Light and Shadow, Stone and Sky
- Animate Shadows of Bears and Giants
- The Beautiful Face of Ra: The Role of Sunlight in the Architecture of Ancient Egypt
- The Handling of Light: Its Effect on Form and Space in the Greek Temple and the Byzantine Church
- In Visible Presence: The Role of Light in Shaping Religious Atmospheres
- Lighting in Muslim and Christian Religious Buildings: A Comparative Study
- Prehistoric Light in the Air: Celestial Symbols of the Bronze Age
- Phenomenology of Light: The Glitter of Salvation in Bessarion’s Cross
- The Light of the Flame: Use and Symbolism of Light and Lighting Devices in Traditional Greek Culture
- Encountering Photoamulets and the Use of Apotropaic Light in Late Antiquity
- Visibility, Privacy, and Missing Windows: Lighting Domestic Space in Ancient Mesopotamia
- Lighting the Good Life: The Role of Light in the Aristocratic Housing System duringLate Antiquity
- Thirty Days of Night: The Role of Light and Shadow in Inuit Architecture, North of the Arctic Circle
- Household Consumption of Artificial Light at Pompeii
- Industrializing Light: The Development and Deployment of Artificial Lighting in Early Factories
- Materializing Light, Making Worlds: Optical Image Projection within the Megalithic Passage Tombs of Britain and Ireland
- Lighting in Reconstructed Contexts: Experiential Archaeology with Pyrotechnologies
- Çatalhöyük: A Study of Light and Darkness—A Photo-essay
- Light and its Interaction with Antiquities and Works of Art: A Conservator’s Perspective
- Lighting and Museum Exhibits
- Modalities of Meaning: Light and Shadow in Archaeological Images
- Reconstructing Artificial Light in Ancient Greece
- The Eleusinian Projector: The Hierophant’s Optical Method of Conjuring the Goddess
- Constructing the Invisible: Light and Darkness in the Topography of Hades
- Commentary I: On Light
Abstract and Keywords
This chapter explores the performance of light and shadows in two ancestral Pueblo rock art sites in southeast Utah. These sites possess anthropomorphic rock faces and modified features to create both anthropomorphic and zoomorphic images that we argue derive from mythological traditions of Pueblo peoples. Specifically, light/shadow patterns at these sites produce and interact with Bear and War Twin imagery on prominent dates of the solar calendar. Traditionally such imagery would be approached through rock art studies in terms of motifs and symbolic interpretations. The celestial component would be addressed by archaeoastronomers. Using object agency theory, we seek to contextualize these data as places where people communicated with their Bear and War Twin deities.
Kevin Conti is an archaeologist who resides in southeastern Utah. He is a student in the anthropology graduate programme at New Mexico State University. His interests include rock art, Native American history, and parallels between Mesoamerican and Pueblo mythology and religion.
William H. Walker received his PhD in Anthropology from the University of Arizona in 1996. He is Professor of Anthropology at New Mexico State University where he has taught since 1997. His research and publications focus on archaeological study of ritual and religion including ritual deposits, ritual violence, cannibalism, and the study of object agency. He has participated in archaeological fieldwork in ancestral Iroquois sites in New York State, ancestral Hopi pueblos in Arizona, pueblo villages in south-western New Mexico, and Inka and pre-Inka towns in Northwest Argentina.
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