A CLASSIFICATION SCHEME FOR THE PUERTO RICO PETROGLYPHS

Angel Rodriguez Alvarez

INTRODUCTION

In Puerto Rico the study of petroglyphs has been documented in detail since the last century by Pinart (1890), Dumont (1876), and Krug (1878). During the early 1900's, the main studies of rockarl were made by Stahl (n.d.), and Fewkes (1907); and later by Frassetto (1960), Rouse (1949,1952), and Alegría (1941 ). Recently, studies on this subject have been published by Dávila (1976) and Martinez (1981 ).Among these studies, only Frassetto and Fewkes deal with the classification of local rock art.

Geographical description

Puerto Rico is part of the West Indies, and with Cuba, Jamaica, and H ispaniola it forms the Greater Antilles. The island is located between 18° 00' and 18° 26' N. ; 65' 38' and 67° 15' W. The Atlantic Ocean covers the North and East coasts, and the Caribbean Sea the West and South coasts (Gaiinanes 1977:51).

In general, the island has two main physiographic regions: the Coastal Plains and the Central Mountains System. This system includes the Uroyan Mountains, Cerro Las Mesas, Central Cordillera, Cayey Sierra, and the Luquillo Sierra. It stretches from the West coast, forming the central axis of the island, and ends on the East coast at the Luquillo Sierra. Around the central axis there are a series ot coastal valleys, which were formed by the deposition of marine and river sediments. Along the North coast there is a zone of low relief hills which are made up of calcium carbonate (derived from marine sediments). This zone is known as the Karst geological formation (Pico 1975:32-33).

The data presented in this study are part of a petroglyph survey started in 1987. All the specimens were photographed, and a hand drawing was made for each item. The photographic equipment used was a Nikon FM camera with a Nikorzoom lens (.15-150 mm.). Kodachrome ASA 400 film was used. In essence, the method employed in the present study to record and analyse the rock engravings is based on the works of Louch (1973), Anati (1977), and Swartz (1981).

Classification

According to Bullen (1973:94-105), the petroglyphs of Puerto Rico, and of the Antilles in general, can be divided into seven major groups.

Type 1 Abstract geometric designs. These motifs are involutes, concentric circles and diamonds, frets, simple crosses with surrounding borders, and other simple geometric symbols. For example, at Caonillas (Frassetto 1960, Fig. 7).

Type II Colonarie (Capa) style drawings. This type refers to pecked or incised curvllinears that are found on boulders or rock shelter walls. Bullen (1973:96-97) points out that the Colonarie style petroglyphs are the same as those referred to as Capa by Frassetto (1960, Fig.9) at the Icacos rock shelter in Puerto Rico.

624

ALVAREZ 625

Type III. Representation of faces. These are facial representations without bodies. This type is divided into three subtypes:

A Simple faces. They consist of a circle surrounding three dots or small circles, one of which may be elongated to form a mouth.

B Developed faces. Simitar to A/but with a nose, ears and hair or rays. For example at Salto Arriba (Frassetto 1960, Fig. 6).

C Complex faces. This subtype has more ornaments of greater complexity, but without a body. For example, at Salto Arriba (Frassetto 1960, Fig. 5, left). Bullen (1960:97) suggests that this subtype blends into his Type 7.

Type IV Sun symbols, i.e. circular figures with rays that might represent the sun.

Type V. Swaddled figures. This type is represented by figures with a face and a rectangular body with crossing, diagonal, curved or horizontal lines. For example at Caonillas (Frassetto 1960, Fig. 7, right).

Type VI Utuado type figures. With this type Bullen (1973:101) identified two subtypes:

A. Squatting female figures. This subtype is represented by squatting anthropomorphic figures with a circle on their bending legs. According to Olsen (1973:34-39), these motifs could represent the deity Atabeira, the Arawak goddess of fertility, in the act of childbirth . For example at Utuado, in Bullen (1974, Fig. 5A).

B. Yocahu male figures. This subtype consists of an oval face with large eye sockets, slit eyes with a triangle between the nose and the mouth. The face has thick lips in which the central groove is well marked. For example at Capa, in Frassetto (1960, Fig. 13).

Type VII.Stylized representations. The upper part of these motifs has a concave line or semicircular ornamentations. Bullen (1960:105) points out that this type is rare to find in the Antilles, and some could be Yocahu faces (Bullen's Vl-B subtype.). Dubelaar (1986:135,137,145-146) presents a comprehensive study of these radiated heads in South America.

Frassetto visited the island in 1957, and studied ten different rock art sites (1960:381-390). In general, she grouped the local rock drawings in four categories:

Type I. Abstract and geometric forms, such as concentric circles, spirals, double spirals, two triangles (Frassetto 1960:386).

Type II. Descriptive nature forms, such as multirayed solar emblems, frogs, lizards, birds, animistic heads with rays emanating from the neck (Frassetto 1960:386).

Type III Swaddled infant type, characterized by a rounded limbless body and a sack-like bottom. The ears are exaggeratedly large and of varying shapes (Frassetto 1960:386 and Fig. 7).

626 A CLASSIFICATION SCHEM

Type IV Capa type figures. She applied this term to some petroglyphs at the Icacos, Salto Arriba and Utuado sites (Frassetto 1960:387). AtCanonillas, she describes an anthropomorphii "dancing" figure with a turban-like headdress (Frassetto 1960, Fig. 12). At Salto Arrib; the term is applied to two heads at the top of a boulder (Frassetto 1960 Fig. 6), at thi Icacos rock shelter to a large curvilinear design (Frassetto 1960, Fig. 9), and at Utuad< to two faces on the pillar stones at a dance plaza (Frassetto 1960, Figs.13 and 14).

The classificatory schemes mentioned above are based on the different types of artistic design However, Fewkes (1907:148-159) based his typology on the nature of the sites rather than on the motifs. He classifies the different petroglyphs as follows:

Type I River pictographs. The petroglyphs of this category are circular heads with ova bodies that have a median line with horizontal lines crossing it. Under this type are alsc found circles with enclosed pits, spirals, faces with horns, etc. This category is basée on his visit to the Rio Grande de Arecibo (Fewkes 1907: 154-155).

Type II Cave pictographs. The petroglyphs of this type range from faces to motifs of a face or a rectangular body that has been marked off into squares (Fewkes 1907:155-159). Ii is important to point out that he uses the word pictograph instead of petroglyph, in this way creating confusion for the modern reader who calls rock paintings pictographs.

Discussion and conclusion

Based on the typology provided by Bullen (1973), Frassetto (1960), and Fewkes (1907), it is possible to compare the three different classificatory schemes with our own data.

Fewkes based his typology on the nature of the sites: caves, rock shelters and water streams. Bui there are no distinctive motifs for such specific sites. We have found the same designs both in caves and along steams. Frassetto presents a typology based on the artistic pattern of the petroglyphs. In her classification she applies the same term to different patterns, such as Capa for long curvilinear lines and anthropomorphic faces (Frassetto 1960, Figs. 9 and 14). In addition, not all petroglyphs with rectangular bodies and crossing lines can be classified as swaddled infants (anthropomorphs). We suggest that an important distinction has to be made between swaddled anthropomorphs (Fig. 1.6), and other non-swaddled anthropomorphic figures (Fig. 1.11).

Bullen tried to group the rock art of the Antilles, including Puerto Rico, into seven major groups. His typology is incomplete for Puerto Rico, because he lacked a complete survey of the local rock art. His typology does not include several types, such as handholding anthropomorphs, head on rectangular body + feet, non-anthropomorphic swaddled figures.

In our opinion, the local rock art can be grouped into four main groups, and nine subgroups. These are:

1. Anthropomorphs. Seven subgroups are recognized:

A. Simple faces. These figures consist of a circle surrounding three dots, or a small circle in which one dot has been elongated, indicating a mouth (Fig.1.1).

ALVAREZ 627

B. Developed faces. Similar to subgroup A, but with a nose, ears, hair or rays. (Fig. 1.2).

C. Complex faces. These figures are more elaborated. The upper part of the head shows ornaments or radiated decorative parts (Fig 1.3)

D. Head on rectilinear body + feet. This subtype is represented by a simple face (subgroup A) on a rectilinear body (Fig.1.4).

E. Handholding anthropomorphs. This subtype is represented by two or more anthropomorphic figures holding hands (Fig. 1.5).

F. Swaddled anthropomorphs. The motifs of this category have a face and a rectangular body. This body can have diagonal, curved or horizontal lines (Fig.1.6).

G. Squatting anthropomorphs. This subgroup is represented by a human figure with bending legs (Fig.1.7).

II. Zoomorphs, i.e. representations of birds, mammals, reptiles, and arthropods (Fig. 1.8).

III. Abstract geometric designs. Two subgroups can be discerned:

A. Simple geometric designs. This subgroup is characterized by spirals, dots, framed crosses, triangles, etc. (Fig. 1.9).

B. Complex geometric designs: long zig-zag or curvilinear lines (Fig.1.10).

IV. Non-anthropomorphic and non-zoomorphic swaddled figures. This group is represented by non-anthropomorphic or non-zoomorphic figures, the bodies of which showing straight or crossing lines connecting the opposite sides (Fig.1.11).

The typology, presented here allows for a more comprehensive classification of the local rock art, because it is based on the artistic motifs rather than on the nature of the sites (the same design can be found on a rock shelter wall, on a boulder, or along water streams). In addition, the sample used for our typology is based on a broader survey than that used by previous researchers.

ACKNOWLEDGEMENTS

The present paper was made possible in part by a grant from the Turabo University, Gurabo, Puerto Rico. The author thanks Dr. C.N. Dubelaar, Haren, The Netherlands, for his suggestions and guidance over all these years; his students for their companionship and friendship during the field work; his wife, Olga, who was a great help at measuring and photographing the petroglyphs.

628 A CLASSIFICATION SCHEMI

REFERENCES CITED

Alegría, Ricardo 1941 Petroglifos Indígenas. Revista La Torre 2 (55), p.6. University of Puerto Rico, Ri<

Piedras. Anati, Emanuel

1977 Methods of Recording and Analyzing Rock Engravings. StudiCamuni Vol 7. Centre Camuno di Studi Preistorici, Capo di Ponte, Brescia, Italia. (Ediciones del Centro)

Bullen, Ripley P. 1973 Certain Petroglyphs of the Antilles. Proceedings of the 5th Congress for the Study

of the Precolumbian Cultures of the Lesser Antilles, pp. 94-109. The Antigua Archaeological Society, Antigua, W.I.

Dávila, Ovidio 1976 Apuntes sobre el Arte Rupestre Prehispánico de Puerto Rico. Cuadernos Prehispánicos

4, pp. 62-68. Valladolid, Spain. Dubelaar, C.N.

1986 South American and Caribbean Petroglyphs. Foris Publications, Dordrecht, The Netherlands, and Riverton, U.S.A.

Dumont, D.Enrique 1876 Investigaciones acerca de las Antigüedades de la Isla de Puerto Rico (Borinquen). In:

Ensayo de una Historia Medico-Ouirúrgica de la Isla de Puerto Rico, pp. 7-11. Impresora de N.Cacho Negrete, La Habana, Cuba.

Fewkes, Walter J. 1907 The Aborigines of Porto Rico and Neighboring Islands. Annual Report of the Bureau

of American Ethnology to the Secretary of the Smithsonian Institution 25.

Frassetto, Monica F. 1960 A Preliminary Report on Petroglyphs in Puerto Rico. American Antiquity 25 (3). pp.

381-391.

Galinanes de B., Teresa María (Ed.) 1977 Geovisión de Puerto Rico. Editorial Universitaria. Universidad de Puerto Rico. San

Juan, Puerto Rico.

Krug, L. 1878 Indianische Alterhümer in Porto Rico. Zeltschrift fur Ethnologie 8, pp. 428-436.

Louch,John C. 1973 Rock Art Recording: A Comparison of Techniques. Mankind 9, pp. 32-38.

Martinez, Torrez, Roberto 1981 Pinturas Indígenas de Borinquen. El Mapa 4. Morovis, Puerto Rico.

ALVAREZ 629

Olsen, Fred 1971 Petroglyphs of the Caribbean Islands and Arawak Deities. Proceedings of the 4th

International Congress for the Study of the Pre-Columbian Cultures of the Lesser Antilles, pp. 35-46. Saint Lucia Archaeological and Historical Society, Castries, Saint Lucia, W.I.

Pico, Rafael 1975 Nueva Geografía de Puerto Rico. Editorial Universitaria. Universidad de Puerto

Rico. San Juan, Puerto Rico.

Pinart, Alphonse Louis 1890 Notas sobre los Petroglyfos y Antigüidades de las Antillas Mayores y Menores

(translated from the French). Revista del Museo de Antropología, Historia y Arte de la Universidad de Puerto Rico, July-December 1970, pp. 71-88. San Juan, Puerto Rico.

Rouse, Irving 1949 Petroglyphs. In: Handbookof South American Indians, Vol5pp. 493-501. Washington,

U.S.A. Reprint New York 1963.

1952 Porto Rican Prehistory. In: Scientific Survey of Porto Rico and the Virgin Islands 18 (4). Academy of Science. New York, U.S.A.

Stahl, Agustin (n.d.) Pictografías Indo-Borincanas del Litoral. Tipografía Boletín Mercantil. San Juan, Puerto Rico.

Swartz, K.B. 1981 Standard of Recording of Petroglyphs and Pictographs. Current Anthropology 22,94.

630 A CLASSIFICATION SCHEME

Figure 1.1

Figure 1.2

ALVAREZ

"**Â

_« ^ i ^ . í

fe •

I *

*,

s*~r

«r

M

m 'S ,' , p¡ V>.

Figure 1.4

632 A CLASSIFICATION SCHEME

Figure 1.5

1.5

Figure 1.6a

ALVAREZ

633

K ^r,

s

0

3 Oí

. ff J

• ' * * * • „ . ' . *

634 A CLASSIFICATION SCHEME

00

ALVAREZ 635

wÊÊ • * • * • %

5 %?

fewi

Figure 1.10

.«¡_W

636 A CLASSIFICATION SCHEME

Figure 1.11a

1 «A f 1.11b % ,

Figure 1.11b