Table Of ContentREADING ROCK ART
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READING
ROCK ART
Interpreting The Indian Rock
Paintings Of The Canadian Shield
GRACE RAJNOVICH
NATURAL HERITAGE/NATURALHISTORY INC.
Reading Rock Art
Published by Natural Heritage/Natural History Inc.
P.O. Box 95, Station O
Toronto, Ontario M4A 2M8
Copyright © 1994 Grace Rajnovich
All Rights Reserved
No portion of this book, with the exception of brief extracts for the purpose of literary review, may be
reproduced in any form without the permission of the publishers.
Design: Derek Chung Tiam Fook
Editor: Rosemary Tanner
Printed and bound in Canada by Hignell Printing Limited, Winnipeg, Manitoba.
First Printing June 1994
Second Printing February 2002
Canadian Cataloguing in Publication Data
Rajnovich, Grace
Reading rock art: Indian rock paintings of the Canadian Shield
ISBN 0-920474-72-1
1. Rock paintings — Canadian Shield. 2. Indians
of North America — Canada — Painting. 3. Indians
of North America — Canada — Antiquities. I. Title.
E78.C2R3 1994 709'.01'1308997 C94-930436-0
This publication has been assisted by an Ontario Heritage Book Award from the Ontario Heritage Foundation,
an agency of the Ministry of Tourism, Culture & Recreation.
Natural Heritage/Natural History Inc. gratefully acknowledges the assistance of the Canada Council, the
Ontario Arts Council, and the Government of Ontario through the Ministry of Culture, Tourism and
Recreation.
CONTENTS
Foreword 6
1. Visions in the Quest for Medicine 9
2. Dating Rock Art 41
3. Secular and Sacred Picture Writing 57
4. Interpreting the Rock Paintings using Algonkian Picture Writing 65
5. "A Stone is filled with Spirit Power" 145
6. Conclusions: "My Painting Makes Me a Manitou" 159
Footnotes 165
List of Figures 174
Alphabetical List of Rock Art Sites Mentioned in the Text 178
Bibliography and Suggested Reading 180
About the Author 190
About the Illustrators 191
R E A D I NG R O CK A R T /6
FOREWORD
I was a field archaeologist for the Ontario government for 14 years in
Kenora, Ontario, the heart of pictograph country and the hometown of
Selwyn Dewdney, Canada's foremost rock art researcher. With Kenneth
Kidd, Selwyn wrote Indian Rock Paintings of the Great Lakes. This book is
intended to complement that classic work. Hundreds of people asked me
about the rock paintings surrounding us. What do they mean, how old are
they, who put them there? This book is written for those hundreds of peo-
ple: the general public. Footnotes are provided at the back for professional
researchers to do what they love best, check on my sources.
I met Selwyn late in his life at an archaeological conference in Winnipeg.
He read the name-tag on my lapel and exclaimed, "Kenora! My hometown!
I miss it so much!" I miss that beautiful part of Canada, too, and I am
indebted to the people in the towns and reserves of northwestern Ontario;
their unfailing interest in the rock art gave me the idea for this book.
I thank the Canada Council and the Ontario Heritage Foundation for
giving me grants for the research and production of this book. "Migwetch"
also to Chief Willie Wilson of the Rainy River First Nation and William A.
Ross of the Ontario Ministry of Culture, Tourism and Recreation for rec-
ommending my grant applications.
I also thank Peter Storck and his staff at the Royal Ontario Museum,
Department of New World Archaeology, for giving me access to the
Dewdney Collection, one of Canada's greatest treasures. I am grateful to the
Ontario Ministry of Culture, Tourism and Recreation and its staff, William
A. Ross and C. S. Paddy Reid, for providing reproductions of rock art from
ministry collections in Kenora, Thunder Bay and Sault Ste. Marie. James R.
Glenn and his staff of the Smithsonian Institution, National Anthropological
Archives, provided material by Frances Densmore and Garrick Mallery, two
early and excellent researchers of Indian picture writing. The U. S. National
Archives provided material by W. H. Hoffman, another superb observer of
19th century Indian ways.
Parts of this book are from a research paper I published in 1989 in the
Midcontinental Journal of Archaeology and are quoted here with permission
of the Kent State University Press, Kent, Ohio.
Archaeology is teamwork; it is never done alone. I am grateful to the fol-
lowing people for giving me ideas, help and encouragement: David Arthurs,
Carl Blackhawk, Len Blyth, Tom, Ann and Stacey Bruyere, Peter Carruthers,
Peter Engelbert, Colleen Halverson, Larry Hoffman, M. T. Kelly, Ian
R E A D I NG R O CK A R T /7
Kenyon, Herb and Peggy Lash, Robert McNally, Karen Nachtigall, Michael
O'Connor, Georgine Pastershank, Gordon Peters, Nan, James and Michael
Rajnovich, Walter Red Sky, Jacqueline Rusak, Dennis Smyk, James Swauger,
Elizabeth Tooker and Allen Tyyska.
I especially thank Maria Seymour, Director of the Lake of the Woods
Ojibway Cultural Centre in Kenora, for creating my interest in interpreting
the rock paintings and for reviewing the research paper that forms the basis
of this book.
I am also grateful to a number of people who read and commented on
portions of the manuscript: Dr. Robert Bothwell, Dr. Charles E. Cleland,
William A. Fox, Nan Rajnovich, Dr. Robert J. Salzer and Beverley Sawchuk.
Illustrations in ink of the rock paintings, presented in this book by artist
Wayne Yerxa of Couchiching Reserve near Fort Frances, Ontario, were taken
from field work by David Arthurs, Marieange Beaudry, Thor and Julie
Conway, Selwyn Dewdney, David Hems, Gordon Hill, Joan Holmes, Peter
Lambert, Victor Pelshea and the author. I thank Charles E. Cleland, William
A. Fox, Tim Jones, James Molnar, Robert J. Salzer and Gilles Tasse for the
use of reproductions from their works.
My biggest round of applause is in memory of the late Selwyn Dewdney
whose lifelong work in rock art research has given us the Dewdney
Collection, and it helps us get to know the Indian people a little better. Some
of the rock paintings here are from Dewdney s field tracings and the water-
colours are his.
The mistakes are mine.
Grace Rajnovich
Sault Ste. Marie, Ontario
C H A P T ER 1
VISIONS IN THE
QUEST FOR
MEDICINE
More than 400 rock paintings adorn the cliff faces of the
Canadian Shield (Figure 1): they are stories in picture writ-
ing put on the cliffs as far back as 2,000 years ago. Some people,
in attempting to explain how the picture writing got there, have
speculated that it originated with mythical visitors to our conti-
nent, Egyptians or even Phoenicians. However, the Canadian
Shield is the home of the Algonkian-speaking Indians who tradi-
tionally put picture writing on their birchbark, copper, stone and
wood objects. The 19th-century treaties between the Algonkian
nations and the Canadian Crown, that set out the Indian reserves
and annual payments, were signed by the chiefs using pictures of
their totems, or clans (Figure 2): the Beaver, Otter, Sturgeon,
Caribou, Moose and others. We need not go far, as Canadians, nor
dream up exotic visitors, to understand and respect the use of pic-
ture writing. It is a living part of our own nation.
The rock paintings - bright red figures of people, animals,
canoes, and bows-and-arrows common to the traditional bore-
al forest life — also abound with the signs of medicine - drums,
rattles, medicine bags and other items precious to the Indian
healer (Figure 3). They are an astonishing legacy of the first
nations of the Shield, astonishing both in their antiquity and
their ability to elicit a sense of wonder. J. W. Powell of the
Description:Over 400 rock paintings adorn the Canadian Shield from Quebec, across Ontario and as far west as Saskatchewan. The pictographs are the legacy of the Algonkian-speaking Cree and Ojibway, whose roots may extend to the beginnings of human occupancy in the region almost 10,000 years ago. Archaeologist G
