{"id":2045,"date":"2018-07-11T12:47:17","date_gmt":"2018-07-11T16:47:17","guid":{"rendered":"http:\/\/imagesdanslapierre.mcq.org\/?page_id=2045"},"modified":"2019-01-17T15:28:24","modified_gmt":"2019-01-17T20:28:24","slug":"qajartalik","status":"publish","type":"page","link":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/qajartalik\/","title":{"rendered":"Qajartalik"},"content":{"rendered":"
Qajartalik is a rock art site located on the Ungava Peninsula in the Nunavik region (Northern Quebec). The site features more than 180 carvings of human-like faces, some of which are endowed with animal attributes. These petroglyphs are found mainly on two large outcrops of steatite commonly called “soapstone.” The images at this ancient place were carved by the Dorset people who inhabited the Arctic before the Thule-Inuit. However, after its discovery, Qajartalik became of great cultural interest to the Inuit of the Kangiqsujuaq village who now consider themselves the caretakers of this place.<\/div>\n
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Environment & History
\nA Bedrock in the Hudson Strait
\nThe Qajartalik site is situated in the Hudson Strait on Qikertaaluk Island, off Whitley Bay. The petroglyphs are located in a long granitic depression interspersed with veins of steatite that forms a basin stretching over 130 metres. The landscape of herbaceous tundra in northern Nunavik unfolds into vast expanses of moss, lichen, grass and flowering plants. Rocky outcrops interspersed with countless lakes and rivers that meander through vast plains and valleys and down mountains. Although this region is often seen as a lunar desert under a constant blanket of snow, it is far from reality! Despite a lack of trees, the flora is abundant with lichens, mosses, small creeping shrubs and Arctic flowers. During the summer season, vegetation transforms the landscape into a lush carpet of kaleidoscopic colours not unlike the spectacular aurora borealis of the long Arctic nights. Although the vegetation is very hardy, the species are in a smaller diversity than in southern Canada. They include Arctic poppy, Arctic willow, Cassiope tetragona and small fruits such as cloudberry or blueberry. Polar bear, walrus, seal, caribou, snowy owl and Arctic char are iconic animals of the Arctic wildlife. Long, very cold and dry winters are typical of the polar climate in this Low Arctic region. Precipitation of about 200 mm per year occurs mostly in the form of snow, particularly during blizzards. The long winters, with an average temperature of -25\u00baC, give way to short summers, during which the average temperature stays at around 9\u00baC.<\/p>\n

Despite a lack of trees, the flora is abundant with lichens, mosses, small creeping shrubs and Arctic flowers. During the summer season, vegetation transforms the landscape into a lush carpet of kaleidoscopic colours not unlike the spectacular aurora borealis of the long Arctic nights. Although the vegetation is very hardy, the species are in a smaller diversity than in southern Canada. They include Arctic poppy, Arctic willow, Cassiope tetragona and small fruits such as cloudberry or blueberry. Polar bear, walrus, seal, caribou, snowy owl and Arctic char are iconic animals of the Arctic wildlife.<\/p>\n

Long, very cold and dry winters are typical of the polar climate in this Low Arctic region. Precipitation of about 200 mm per year occurs mostly in the form of snow, particularly during blizzards. The long winters, with an average temperature of -25\u00baC, give way to short summers, during which the average temperature stays at around 9\u00baC.<\/p>\n

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v
\nFull ScreenToile pr\u00e9c\u00e9dente, Galerie 1Toile suivante, Galerie 1
\nPlace Name
\nQAJARTALIK
\nQajartalik is a term in the Inuktitut language that means “the place where there is a kayak.” Although this watercraft is not depicted on the rocks, the oval and hollow geological formation where the site is located may have inspired the name of this place.
\nDors\u00e9tien, Thul\u00e9ens, Inuit
\nQajartalik is an old quarry where various peoples went to find steatite which they used to make everyday objects, such as oil lamps and cooking pots. The site was also used for the creation of images carved in stone called “petroglyphs.” The Dorset culture (550 Before Common Era – 950 Common Era) was widespread in the Canadian Arctic. These nomadic hunter-fisher-gatherers subsisted mainly on marine mammals, namely seal and walrus. Dorset people are known for their portable art: small animal sculptures, amulets or angakkuq (shaman) ritual objects, such as miniature masks and figurines carved in ivory or driftwood. Around 1150 CE, the Dorset culture died out. Although opinions are divided on the disappearance of this culture, the Dorset people may have vanished after a period of climate warming likely to have disrupted their livelihood. It was around that time when Thule-Inuit migrated from the west to the Eastern Arctic. In the oral tradition, the Inuit refer to the Dorset as “Tuniit.”<\/p>\n

La culture thul\u00e9enne s\u2019est d\u00e9velopp\u00e9e dans le Nord-Ouest de l\u2019Alaska il y a \u00e0 peu pr\u00e8s 1 000 ans pour ensuite migrer vers l\u2019Arctique canadien. C\u2019est au cours du 12e si\u00e8cle de notre \u00e8re que des groupes Thul\u00e9ens-Inuit arrivent au Nunavik. Ils sont les anc\u00eatres directs des Inuits d\u2019aujourd\u2019hui.<\/p>\n

The Thule people were hunters of large marine mammals, such as the bowhead whale. Depending on the availability of resources, they moved constantly across the land by setting up camps for shorter or longer periods. They maintained a high degree of mobility thanks to the kayak, the umiaq (large boat covered with seal skins) and the dogsled.<\/p>\n

Inuit, who speak the Inuktitut language, were traditionally semi-nomadic hunter-gatherers. Despite current upheavals due to contact with Euro-Canadians, the Inuit preserve their cultural identity through language, access to their ancestral territories, traditional practices and laws and their art.<\/p>\n

The Qajartalik petroglyphs have not been dated precisely, but they are associated with the Dorset people, especially because the patterns of the carved images are similar to their portable art. Thus, these images could be more or less a thousand years old.<\/p>\n

Visual testaments of another time
\nThe history of the peoples of Nunavik is transmitted through speech, but also through images. Be it archeological and ethnographic objects, or old photographs, they make it possible to see, and thus better comprehend, the particularities of the various cultural universes that have existed on this vast territory. Let us discover these visual testaments of another time.<\/p>\n

Photograph of a Dorset walrus ivory miniature mask<\/p>\n

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Full Screen Toile pr\u00e9c\u00e9dente, Galerie 1 Toile suivante, Galerie 1
\nQajartalik and the Kangiqsujuaq Inuit
\nLukassie Nappaaluk’s Memories
\nQajartalik and the Kangiqsujuaq Inuit<\/p>\n

Discovery of places
\nQajartalik and the Scientific Community
\nQajartalik was known to the Inuit, but it was only in the early 1960s that its existence was reported to the scientific community by anthropologist Bernard Saladin d’Anglure. As part of his ethnographic research in the Inuit community of Kangiqsujuaq, he met an Oblate missionary who informed him of the presence of “devils” on Qikertaaluk Island. The Inuit people use the expression Tuurngait, or “spirits” evil by nature to designate these carvings.<\/p>\n

Photographie de l’empreinte d’un index laiss\u00e9 par sur l’affleurement rocheux de Pepeshapissinikan
\nIn this video, Louis Gagnon of the Avataq Cultural Institute discusses the scientific community\u2019s discovery of Qajartalik. He describes the various research activities carried out over the decades to better understand and protect the rock carvings.
\nThe Site\u2019s Dual Function
\nQajartalik is known not only for its rock carvings, but also for its easy-to-work stone – steatite, or soapstone – which was needed to make oil lamps and containers, and, since the second half of the 20th century, sculptures. Although it is not known when this soapstone quarry was first exploited, its use dates back to the Dorset times, as confirmed by about 150 extraction zones. In a few cases, this type of activity damaged some petroglyphs carved on these steatite rocks. The damage suggests that these petroglyphs were created prior to extraction, but not necessarily all of them.<\/p>\n

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180 Faces of Qajartalik
\nSome 180 carvings of faces were identified at Qajartalik. Always front-facing, they usually measure between 10 cm and 30 cm, although some are approximately 3 cm long and a few are 60 cm in size. The width and depth of the carved lines vary from about 1 cm to a few millimetres. These faces have human features, and sometimes anthropo-zoomorphic traits. Some hybrid images combine human features with elements that look like horns or pointy ears. Some representations were carved with lines on the chin that may evoke tattoos, while others seem to have swollen cheeks and a slightly open mouth, which may represent the act of blowing, singing or speaking. Although some carvings are isolated, most are part of groups of up to ten figures.<\/p>\n

Schematic faces similar to those at Qajartalik were found carved alone or in groups on pieces of caribou antler, walrus ivory or bone, and on rare wooden masks. These were probably used by shamans during rituals.<\/p>\n

Stylistic comparisons between petroglyphs and portable art objects seem to indicate that these images were carved in the final stages of the Dorset culture. It was a period characterized by great cultural stress. Climate change affected the presence of game, while the Thule settled progressively on the territory of the Dorset people. An increase in shamanic rituals and the production of carvings associated with them may have helped to cope with such changes.<\/p>\n

The carved faces could also refer to the ancestors or represent the desire to mark the presence of the Dorset people in the landscape. In connection with the extraction of raw material, it could also be a symbolic gesture of barter with the spirits: a carving in exchange for the material useful in the production of a lamp or container. Interpreted especially in a shamanic context, these faces could also represent the different stages of transformation of a human into an animal.<\/p>\n

Photograph of a carved horned head and a round-shaped head Voir en d\u00e9tails – T\u00eate cornue et arrondie
\nROUNDED, HORNED HEAD
\nPhotograph of a face whose features are emphasized due to sunlightVoir en d\u00e9tails – Traits prononc\u00e9s sous la lumi\u00e8re du jour
\nSTRONG FEATURES UNDER DAYLIGHT
\nPhotograph of two carved faces in the foreground and the surrounding landscapeVoir en d\u00e9tails – Gravures et paysage environnant
\nENGRAVINGS AND SURROUNDING LANDSCAPE
\nPhotograph of three faces in varying shapes with empasized featuresVoir en d\u00e9tails – Traits vari\u00e9s et prononc\u00e9s
\nDIVERSE, STRONG FEATURES
\nPhotograph of a carved face with well-defined cheekbonesVoir en d\u00e9tails – Des pommettes bien dessin\u00e9es
\nWELL-DEFINED CHEEKBONES
\nPhotograph of several carved faces in varying shapesVoir en d\u00e9tails – Visages aux multiples formes
\nFACES OF VARIOUS SHAPES
\nNowadays, the Qajartalik carvings can be mostly seen in oblique light, as shown in the next video. The carved images appear and disappear under the play of light and shadow during the day.
\nRevelation Through Light
\nA Play of Light and Shadow<\/p>\n

The Art of Dorset Carving
\nAn Art Historian’s Observations<\/p>\n

Photographie de l’empreinte d’un index laiss\u00e9 par sur l’affleurement rocheux de Pepeshapissinikan
\nDonna Morris, guide mi\u2019gmaque, nous am\u00e8ne sur les rochers de la berge de Kejimkujik, o\u00f9 de nombreux p\u00e9troglyphes sont grav\u00e9s. L\u2019interlocutrice, qui passe d\u2019un motif \u00e0 l\u2019autre, s\u2019assure de couvrir les gravures avec de l\u2019eau pour en faire ressortir les contrastes. En plus des moments o\u00f9 elle utilise ses mains pour nous illustrer les d\u00e9tails discut\u00e9s, de gros plans fixes sont faits sur les diff\u00e9rents p\u00e9troglyphes.
\nResearch and Preservation
\nQajartalik under Scientific Examination
\nIn the early 1960s, anthropologist Bernard Saladin d’Anglure identified 95 figures carved at the Qajartalik site. He made casts of some carvings based on which he determined their Dorset origin. The site was later studied sporadically by archaeologists. However, it was only in 1996 that the Avataq Cultural Institute, the Inuit organization committed to the preservation and promotion of Nunavik Inuit culture and language, undertook an elaborate inventory of the site and explored the links with Dorset material culture, its portable art and shamanism. Avataq studied the Qajartalik site at the request of the Inuit community of Kangiqsujuaq and implemented measures for its protection.<\/p>\n

Recordings and excavations were thus conducted to better understand this unique place. A number of conferences and publications have been dedicated to the site for the benefit of local, regional and scientific communities.<\/p>\n

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Pecking and Incision
\nThe petroglyphs were created by pecking and incision. Smaller petroglyphs were made with sharp edge tools, while larger faces were created with a harder hammerstone like basalt or granite.<\/p>\n

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Lithic Tools
\nDuring archaeological excavations, archaeologists have found lithic tools used to create petroglyphs. These include basalt hammerstones, which are large rounded pieces of rock, and chisels made of sharp rocks.<\/p>\n

Photograph of a round hammerstone
\nVoir en d\u00e9tails – Percuteur de pierre arrondi
\nROUND HAMMERSTONE
\nPhotograph of an elongated hammerstone made of granite
\nVoir en d\u00e9tails – Percuteur allong\u00e9 fait de granite
\nELONGATED HAMMERSTONE MADE OF GRANITE
\nPhotograph of a roughly outlined steatite lamp
\nVoir en d\u00e9tails – \u00c9bauche de lampe \u00e0 huile en st\u00e9atite
\nROUGH OUTLINE OF A STEATITE LAMP
\nConservation Issues at Qajartalik
\nThe Qajartalik site is threatened by natural and anthropogenic factors. These include abrasion caused by the wind lifting sand off the ground, deterioration of the rock due to recurring cycles of freezing and thawing (gelifraction), weathering, desquamation and other effects of atmospheric or climatic deterioration. The trampling of carved surfaces, animal droppings, such as caribou and Canada geese excrements and the invasion of rock surfaces by lichens are other threats. However, anthropogenic factors (human origin) like acid rain are the most destructive.<\/p>\n

For instance, inconspicuous images were trampled due to unauthorized visits by cruise ship passengers despite the remote location of the site. Many of them left with copies of images made with rubbings, undoubtedly without considering the negative impact of their actions on the rock art heritage of the site, which was also defiled by graffiti. In addition, the ongoing search for carving stones by regional artists is a cause of concern for the integrity of the site. Research, education and raising awareness about the importance of preserving this site will hopefully promote its conservation and a better understanding of this place.<\/p>\n

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Photograph of a steatite collection area
\nVoir en d\u00e9tails – Zone de pr\u00e9l\u00e8vements de la st\u00e9atite
\nSTEATITE COLLECTION AREA
\nPhotograph of a rock surface and carved motifs invaded by lichens
\nVoir en d\u00e9tails – Envahissement de la surface rocheuse et de ses gravures par les lichens
\nROCK SURFACE AND CARVINGS INVADED BY LICHENS
\nPhotograph of an extraction area and carvings damaged by natural and anthropogenic factors
\nVoir en d\u00e9tails – Zone d’extraction \u00e0 proximit\u00e9 de gravures endommag\u00e9es des facteurs naturels et anthropiques
\nEXTRACTION AREA NEAR CARVINGS DAMAGED BY NATURAL AND ANTHROPOGENIC FACTORS<\/p>\n

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Heritage Value and Qajartalik Site Protection
\nAt the request of the Nunavik Inuit, the Avataq Cultural Institute has been working for several years to obtain recognition of the unique heritage value of Qajartalik. In 2017, this site was added to the list proposed by Canada as a UNESCO World Heritage Site. The United Nations Educational, Scientific and Cultural Organization is an organization dedicated to safeguarding the world’s cultural and natural heritage. By adding Qajartalik to this tentative list, measures such as responsible public access will hopefully be developed to ensure its protection.<\/p>\n

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A Few Faces of Contemporary Inuit Art …
\nAlthough the Dorset and Inuit belong to distinct eras and cultures, there are many similarities between these peoples. Both occupied the same territory and harvested the same animal and plant resources, but to various degrees; both used steatite to make everyday objects; their craftspeople carved small ivory and bone objects. By observing the Dorset carvings at Qajartalik and comparing them to Inuit contemporary art, another fascinating similarity emerges: the predominant role of the face in both artistic expressions. Could not this exposed body part embodying the centre of emotions be the main symbol of humanity, in contrast to the rest of the body covered in animal skins? From this half-human, half-animal form emerges a human-faced hybrid. This figure is intriguing, since the Thule people, the direct ancestors of the Inuit, created figurines and other human representations with flat faces yet devoid of anatomical details.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Qajartalik is a rock art site located on the Ungava Peninsula in the Nunavik region (Northern Quebec). The site features more than 180 carvings of human-like faces, some of which are endowed with animal attributes. These petroglyphs are found mainly on two large outcrops of steatite commonly called “soapstone.” The images at this ancient place … Continue reading Qajartalik<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"parent":431,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-Qajartalik.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-2045","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nQajartalik - Images on Stone<\/title>\n<meta name=\"description\" content=\"Faces carved in stone in Nunavik\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/qajartalik\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Qajartalik |\u00a0Images on Stone\" \/>\n<meta property=\"og:description\" content=\"Qajartalik is a rock art site located on the Ungava Peninsula in the Nunavik region (Northern Quebec). 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