This second pictograph shelter in Indian Wells Canyon is located about a mile and a third westerly of the “Cradleboard” pictograph site. It sits on a steep hillside and is surrounded by some undergrowth, making it difficult to see until you draw close.
The view out of the shelter, showing the mortars ground into the large flat boulder.
The shelter itself is quite large, in excess of 20 feet across, and partially protected by a large, flattish boulder tucked under the overhang. There is enough room between the top of this boulder and the overhang ceiling to sit and enjoy an expansive overview of the valley below. Bedrock mortars atop this boulder attest to the fact that this was also considered a good idea many years ago.
The pictographs at this site are divided into two panels. The larger, left-hand panel is the only one visible as you approach the shelter. You have to go around the boulder, crouching down, to access the second site, which is more cramped and painted under an overhang.
Looking up into the shelter towards the left-hand side pictograph panel. The bedrock mortars are atop the boulder on the right.
A closer view of the left-hand panel. The second panel is just out of frame to the right.
This site shows signs of habitation. The lower portion of the overhang is fire blackened, shown clearly in the photograph to the left. Note that the pictographs have been painted over the blackened surface, indicating a temporal displacement between the use of this shelter as a habitation site and its use as a pictograph site.
Since these pictographs have several characteristics suggesting that they were created during the Ghost Dance movement of the 1890’s, it is likely that this site was used as a habitation site during prehistoric times, abandoned as such, and later reused as a ceremonial Ghost Dance site. In other words, the fire blackening and mortars come from pre-historic times, while the pictographs come from the much later Ghost Dance movement.
Many of the elements at this site have been painted in white, though some red pigment was also used. The white paint has held up better than the red, which seems to have faded away on some of the elements.
A close look at the main panel. The mandala-like element on the right is the most striking at this site. Note the faded red companion element on the left.
DStretch highlights the faded red color while still showing the more distinct white elements.
A DStretch view of the red circular element on the left and the sheep below it.
The white and red mandala-like element is the most striking, but DStretch shows that the red element to its left is even more detailed, with four inner circles and the outer circle divided into segments.
The panel on the left in natural color.
There are also some starburst elements in this panel. The one to the far left has a red inner center, white radiating lines, and is outlined in red.
Below, there is a red burst element with a white center.
If you look closely, you’ll see a small red anthropomorph painted over the head of the sheep below the right edge of the circular element. You may need to click the photo to see the larger version in order to see this.
These concentric circles are characteristic of the Ghost Dance movement. The Ghost Dance was a circular dance, and was sometimes danced by concentric circles of dancers.
The bighorn sheep.
Other elements characteristic of the Ghost Dance Movement are the white Bighorn sheep. There are four apparent bighorn sheep painted in white below the red circle element, all facing towards the second mandala-like element.
Some of the other white elements have become indistinct, but may also be bighorn sheep.
The horse riders and white chain element.
The final Ghost Dance element was also seen at the “Cradleboard” site – riders on horses, riding two to a horse.
These are painted in white, and therefore probably represents the messengers of Wovoka, the Ghost Dance prophet, arriving on horseback.
There are two such figures in this panel.
This design depicts a long-bodied zoomorph with a somewhat curved body that harkens to the Cosos style of depicting bighorn sheep.
One is very hard to make out, just to the top left of the mandala-like element, shown in the center of the photo to the left. The zoomed view of the photo shows the texture of the paint on the rock very well.
The other horse and rider is to the left of the white chain element in the lower portion of the panel, below the mandala-like element.
There are also some smaller, difficult to discern elements in this panel, most of them painted in white.
One that stands out is above the mandala element, and depicts a long-bodied cow ( or bull ).
This design depicts a long-bodied zoomorph with a somewhat curved body that harkens to the Cosos style of depicting bighorn sheep.
The prominent mandala-like element. The larger view you can obtain by clicking the photo shows the texture of the design on the rock.
The Ghost Dance movement was concerned with the betterment of the Native American people, and as such prophesied about the return of abundant bighorn sheep to the region, in addition to increased fertility for tribal members. This panel seem to contain elements of that hope, with the sheep galloping forth from below the circular element ( which could represent the dance itself ) as well as the messengers bringing a chain element, which was often used to decorate the cradleboards of girls and as such was a fertility symbol. The whole panel radiates a hopeful spirit of renewal and vitality.
An analysis of the red pigment from this site suggested that its origin may have been the Coso Hot Springs mudpots, given that a sample taken from the red circular element was very similar in structure to samples taken from that region.
Looking back at the main panel from the overhang. To the right some red elements from the second panel can be seen.
The white pigment has been compared to the white pigment at the “Cradleboard” site, and the white earth found at Cosos Hot Springs.
Interestingly, all three samples appear to differ chemically. This is of note because of the belief that Wovoka’s followers brought paint with them that was to be mixed with local paint and used in Ghost Dance ceremonies. The dancers painted themselves, but the pigment may also have been used for pictographs.
Regardless, these differences suggest that these two sites were likely not painted at the exact same time, or by the same person.
The second panel is smaller than the first, requires a bit of stooping to get to, and is painted on the underside of an overhang.
The second panel. A circular element, a bighorn sheep, and a red element on the outside of the overhang is most prominent.
The second panel, viewed from below.
DStretch brings the panel to life.
The most distinct elements on this panel are a white circle with angled spokes and another bighorn sheep.
The sheep is shown with curved legs, suggesting movement. It also has the distinct boat-shaped body that characterizes the Cosos Style. This representation was commonly copied for Ghost Dance sites.
Some linear red elements are drawn on the ceiling, intermixed with soot deposits from fire. They are crisp and well-protected, unlike the red elements on the main panel.
The panel, shown from the front.
The red elements are mostly Linear anthropomorphs or zoomorphs, as well as some abstract Linear elements in a style reminiscent of older elements found at one of the rare pictograph sites down in the Owens Valley. With DStretch, this panel, at first appearing to be fairly drab compared to the main panel, comes alive.
DStretch again renders the elements vividly.
Two of the zoomorphic elements show an elongated body. One has swept-back horns or ears. Both of these are reminiscent of the red predator element present at the “Ghost Dance” pictograph site. This site is in the same general area, so the elements may have their origin in a common influence.
The view outside.
The flat boulder protecting this rear panel has no doubt contributed to the preservation of this second panel — in particular the red pigment which judging from the condition of the main panel is more vulnerable to the elements than the white paint. The red pigment is progressively better preserved the deeper into the shelter you go.
As seen to the left, the two fairly deep bedrock mortars ( about four or five inches deep ) are accompanied by some indentations that may be cupules or the shallow start of more mortars.
This site is very well-preserved and free of vandalism. If you visit, please make sure to leave it behind just as you found it. When venturing into the shelter, take care not to accidentally brush up against the elements. The mandala, in particular, is in a vulnerable spot.