Around the world, rock art has long been studied in efforts to decode its meaning and thereby understand the minds and realities of its hunter-gatherer artists. In Argentina, rupestrian art was...Show moreAround the world, rock art has long been studied in efforts to decode its meaning and thereby understand the minds and realities of its hunter-gatherer artists. In Argentina, rupestrian art was first mentioned on the record by Jesuit missionaries from the 16th century, but the first true documentation of these ‘sacred rocks’ was completed by Moreno in 1877 in northern Patagonia. Rock art has been conceived as many things, as territorial markers, evidence of contact between groups, indication of group mobility, transmission of information, and as domestic/non-domestic symbolic creations. The question is, however, what happened to the study of hunter-gatherer rock art outside of these complexes? What can an ontological approach to these pictographs tell us about the cosmologies of the communities from the far-reaching past? The aim of this study is to add to, or rather to spark up again, the discussion of early hunter-gatherer cosmologies as seen through the lens of hunter-gatherer rock art assemblages from several different sites in the central plateau of Santa Cruz, Patagonia. This is accomplished by adopting an interdisciplinary stance combining archaeology and anthropology with an ontological approach that uses ethnographic data as a means of conceptualizing new interpretations. This is all done through a bibliographical position in which previous research is re-evaluated. To this end, the thesis is guided by the following research question: Could an ontological approach to hunter-gatherer rock art from the Late Pleistocene to Mid-Holocene periods (c. 9000–3500 BP) in southern Patagonia (Argentina) help us come up with the beginnings of their cosmology? Three possible interpretations are discussed in this thesis regarding rock art and hunter-gatherer cosmologies. The first relates to the importance of the hunt and identifies handprints motifs as part of an initiation ritual into the hunting tradition. Additionally, I posit that hunter-gatherers used the depictions of hunting scenes as a means of understanding the ecological relationships in their environment and to keep track of hunting strategies, thereby ensuring the continuation of the tradition by possibly using the pictographs to teach their children. Lastly, I suggest that the iconic images of large felines and their accompanying bodily remains in situ were part of a process of symbiosis in which the animal’s favourable traits and capabilities as a prime hunter were taken on by hunter-gatherers themselves. These theories are then conceptualized by ethnographic accounts of the Aónik’enk, their mythology and traditions.Show less
