\u00c1\u00eds\u00ednai\u2019pi is a word in the Niitsipussin (or Blackfoot) language meaning \u201cit is pictured, it is written.\u201d Writing-on-Stone is an English adaptation of this Indigenous place name. eds-Noirs).<\/p>\n
Environment & History
\nIn the Land of the Hoodoos or \u201cFairy Chimneys\u201d
\nThe rock art sites are located in the valley of the Milk River that meanders through the grasslands of the Great Plains. The \u00c1\u00eds\u00ednai’pi area features high cliffs along the winding river and mystifying hoodoos. Hoodoos are fantastically shaped brittle rocks eroded by weather conditions and topped by erosion-resistant rocks. The Sweet Grass Hills rising approximately 10 km south, in the State of Montana, complete this spectacular landscape.<\/p>\n
There is an abundant diversity of animal and plant life in the \u00c1\u00eds\u00ednai’pi area, including riparian cottonwood forests, two species of cacti (Pincushion cactus, or Escobaria vivipara, and prickly pear cactus), silver buffaloberry shrubs and Arctic rosebushes. More than 160 species of birds have been identified in the Park, including the Canada goose, golden eagle, prairie falcon, Great horned owl, mountain bluebird and sage thrasher. Mammals like the beaver, yellow-bellied marmot, white-tailed deer, mule deer, pronghorn antelope and mountain cottontail share the land with reptiles such as the rattlesnake, Western terrestrial garter snake and Plains garter snake.<\/p>\n
In the semi-arid climate of southern Alberta, there is only intermittent precipitation. Temperatures vary greatly by \u00b150\u00b0C between winter and summer and \u00b1 20\u00b0C between night and day.<\/p>\n
Series of 13 images showcasing the environment of the site: high cliffs, hoodoos (or fairy chimneys), Sweet Grass Hills and diverse vegetation.
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\nPlace Name
\n\u00c1\u00cdS\u00cdNAI’PI
\n\u00c1\u00eds\u00ednai’pi is a word in the Niitsipussin (or Blackfoot) language meaning \u201cit is pictured, it is written.\u201d Writing-on-Stone is an English adaptation of this Indigenous place name.
\nCultural Affiliation and Historical Timeframe
\nThe rock art sites are mainly linked to the Niits\u00edtapi (Blackfoot) and their ancestors, who are members of three distinct nations: the Kainai, Piik\u00e1ni and Siksika. The Niits\u00edtapi are members of the Algonquian family of languages. Traditionally nomadic buffalo hunters, they were also formidable warriors. However, other groups of nomadic hunters like the Cree, Gros Ventre, Assiniboine and Shoshonee may also be at the origin of this rock art. The oldest rock art at this site was created as early as 2000 to 3000 years ago. Many of these images date back to the late prehistoric period (between the 3rd and 18th centuries of the Common Era) and several others, to the historic period of the 18th and 19th centuries, as evidenced by depictions of horses and European weapons. The most recent images at \u00c1\u00eds\u00ednai\u2019pi date back to 1924.<\/p>\n
Illustration of a man riding a horse dressed in traditional garments. He is holding a rifle in his right hand. There is another man on horseback in the background.<\/p>\n
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Full Screen Mode Toile pr\u00e9c\u00e9dente, Galerie 2 Toile suivante, Galerie 2
\nAlong Sandstone Cliffs
\nMore than 90 rock art sites are scattered over a 10 km stretch of sandstone cliffs along the Milk River and the gorges of its tributaries. These are mostly open-air sites, but there are a few isolated sites in caves and rock shelters.<\/p>\n
undefined Area with carvings
\nundefined Milk River
\nundefined Fairy Chimneys
\nPicture of the cliffs and the Milk River
\nRock Art in the Heart of a Sacred Landscape
\n\u00c1\u00eds\u00ednai\u2019pi has always been a sacred place for the Niits\u00edtapi. Their elders attribute the creation of this rock art to the Spirits. The characteristics of the surrounding landscape help to enhance the sacredness of the site. There are two distinct types of rock art at \u00c1\u00eds\u00ednai\u2019pi: biographic and ceremonial. Biographic art tells stories of battles, hunting exploits and horse raids. These images depict action scenes. Ceremonial art is spiritual in nature. It is a form of communication between rock art creators and the Spirit World. Most of these images are static, frontal and isolated. They represent spirits, sacred visions, mythical figures and ritual objects.<\/p>\n
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There are two distinct types of rock art at \u00c1\u00eds\u00ednai\u2019pi: biographic and ceremonial. Biographic art tells stories of battles, hunting exploits and horse raids. These images depict action scenes. Ceremonial art is spiritual in nature. It is a form of communication between rock art creators and the Spirit World. Most of these images are static, frontal and isolated. They represent spirits, sacred visions, mythical figures and ritual objects.<\/p>\n
Picture of guide Camina Weasel Moccasin
\nGuide Camina Weasel Moccasin is walking along a trail and showing rock walls at the \u00c1\u00eds\u00ednai\u2019pi site. In front of a rock wall featuring several chest-height petroglyphs, she explains and highlights the significance of some of them. Close-ups of some petroglyphs clearly show the details described by the guide. Then the camera follows the guide along another trail that leads to a rock wall featuring rock art at the very top of the rock formation that humans cannot reach on foot.
\nOutstanding Images at \u00c1\u00eds\u00ednai\u2019pi
\nPicture of a rock painting featuring a Thunderbird with a large beak, whose body is marked with dots. Zigzag lines are emerging from a wing.View in details – The Thunderbird
\nThe Thunderbird
\nThe Thunderbird is a very powerful mythical figure of the celestial world. It lives in a cave, in the mountains. Each spring, it brings about thunderstorms and rain. The bird sets off thunder with a flutter of wings and its eyes cast lightning bolts. The extraordinary power of the bird is well known. It is often found in Great Plains art. This Thunderbird with a wingspan of over one metre was painted using red ochre on the ceiling of a rock shelter. Here, the zigzag line emerging from the bird\u2019s left wing represents a lightning bolt or its spiritual powers.<\/p>\n
Carving of a human figure with a rectangular body and arms raised. A bow and arrows are next to it.View in details – Warriors
\nWarriors
\nRock art found at \u00c1\u00eds\u00ednai\u2019pi mainly represents human beings. Figures depicted with a V-neck are associated with ceremonial art. These figures are more or less elaborate and some are enhanced with details, such as sexual organs, internal organs (like kidneys) and heart lines. These representations are often associated with objects of material culture. The figures are wearing headdresses or fringed clothing and are holding weapons (bows and arrows) or ceremonial objects. In this image, the figure with arms raised in prayer may be honouring the Spirits and the weapons are symbols of power and strength.<\/p>\n
Scene of battle with warriors on foot. Some are protecting themselves with large round-shaped shields.Voir en d\u00e9tails – Sc\u00e8ne de bataille
\nBattle Scene
\nRepresentations of battles are linked to biographic art, a form of art that proliferated during the historical period. This scene illustrates warriors on foot fighting, five of whom are protecting themselves with large, round shields. The two inverted figures on the left probably represent dead fighters. The absence of horses and European weapons reveals that this scene relates one of the rare tales of the late prehistoric period.<\/p>\n
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Picture of a petroglyph showing three horses, a human figure and a tipiView in details – Horses
\nHorses
\nThe horse is the animal most often represented at \u00c1\u00eds\u00ednai\u2019pi. Horses revolutionized transport as well as hunting and war practices on the Great Plains. Endowed with great spiritual power, this animal was honoured during ceremonies. For a warrior to seize enemy horses was considered a prestigious feat. At \u00c1\u00eds\u00ednai\u2019pi, the three horses, the anthropomorphic figure and the tipi illustrate the tale of a successful raid during which animals were captured.<\/p>\n
Picture of a petroglyph featuring a buffaloView in details – Petroglyph of a Buffalo
\nPetroglyph of a Buffalo
\nThe buffalo, or bison, was an vital animal to the Great Plains peoples, both as a spiritual entity and an essential source of subsistence. Indigenous peoples used all the parts of the animal\u2019s body for food, clothing and tools. The best-known hunting technique that they used was the buffalo jump. Hunters chased after buffalo herds, driving them towards the top of a cliff where they fell to their deaths below. At the end of the 19th century, intensive hunting by non-Indigenous peoples almost wiped out the buffalo.<\/p>\n
Archaeologist Jack Brink is talking about the \u00c1\u00eds\u00ednai\u2019pi site and hunting techniques at Buffalo Jump. Behind him is a landscape with abundant vegetation and a river running across the plain. The images of Jack Brink speaking alternate with aerial views of the area showing the vegetation, rock walls and cliffs.
\nBuffalo Jump
\nPropos de Jack Brink along a rock wall
\nArchaeologist and curator at the Royal Alberta Museum Jack Brink describing a few peroglyphs at \u00c1\u00eds\u00ednai\u2019pi<\/p>\n
Picture of a carving showing a man on horseback chasing a buffalo
\nAfter an view with Jack Brink walking towards a rock wall, a succession of images shows the petroglyph described throughout the video. The video ends with a bird\u2019s eye view of the \u00c1\u00eds\u00ednai\u2019pi site and its surroundings, a landscape of plains stretching far into the horizon.
\nPictorial Tradition and Material Culture
\nRock art is part of a pictorial tradition also found on buffalo hides, drums, clothing, tipi covers and warrior shields. Traditionally, these representations were made with mineral and plant pigments. After contact with Europeans, Indigenous peoples continued this tradition by using pencils and ink on new materials like paper, muslin and canvas.<\/p>\n
Picture of a hide shield featuring various motifs, including a buffalo. Several feathers and hair strands are fastened to the object.Niits\u00edtapi (Blackfoot) buffalo hide shield, 1935
\nNiits\u00edtapi (Blackfoot) buffalo hide shield, 1935<\/p>\n
Image of a round drum with a black buffalo illustration and a red circle in the centre. The edge of the drum is decorated with several red circles. Two feathers are fastened to the drum. Voir en d\u00e9tails – Tambour Siksika (Pieds-Noirs), d\u00e9but du 20e si\u00e8cle
\nTambour Siksika (Pieds-Noirs), d\u00e9but du 20e si\u00e8cle<\/p>\n
Image of a hide (probably wapiti) on which horseback and on-foot battle scenes are illustrated.View in details- War exploit robe. Probably Niits\u00edtapi (Blackfoot), circa 1830-1850
\nWar exploit robe. Probably Niits\u00edtapi (Blackfoot), circa 1830-1850<\/p>\n
Image of a horse-shaped amulet, embroidered with blue and red glass beads and decorated with copper jinglesVoir en d\u00e9tails – Horse effigy charm, Niits\u00edtapi (Blackfoot), circa 1890. Alberta, Canada
\nHorse effigy charm, Niits\u00edtapi (Blackfoot), circa 1890. Alberta, Canada<\/p>\n
Image of a ceremonial headdress with two horns and buffalo furView in details – Ceremonial headdress, Siksika (Blackfoot), circa 1875. Siksika Reserve, Alberta, Canada
\nCeremonial headdress, Siksika (Blackfoot), circa 1875. Siksika Reserve, Alberta, Canada<\/p>\n
Image of a stone pipe bowl inlaid with a triangular-shaped human figureView in details- Pipe bowl, Niits\u00edtapi (Blackfoot), c. 1880. High River, Alberta, Canada
\nPipe bowl, Niits\u00edtapi (Blackfoot), c. 1880. High River, Alberta, Canada<\/p>\n
These images feature guide Camina Weasel Moccasin, standing in front of a landscape of plains against an overhanging rock wall. Then, a bird\u2019s eye view of the area shows a peaceful river flowing in the distance. As Camina talks, the camera zooms in on petroglyphs representing vintage cars to illustrate the work created by her ancestor Bird Rattle.
\nSymbolism of the Place
\n\u00c1\u00eds\u00ednai\u2019pi is where the Spirits dwell, and rock art serves mainly as a means to communicate with them. Some rock formations like the hoodoos and buttes echo their presence. The nearby Sweet Grass Hills, the focal point on the Niits\u00edtapi sacred territory, highlight the spiritual significance of \u00c1\u00eds\u00ednai\u2019pi. This site remains very important for today\u2019s Indigenous peoples.<\/p>\n
Techniques and conservation
\nSite Threats and Preservation
\nThe rock was incised and pecked to create the petroglyphs, while the pictographs were painted using mainly red ochre applied with fingers or brushes made with feathers or porous bone fragments. Rock art at \u00c1\u00eds\u00ednai\u2019pi is sensitive to rock erosion, weathering and vandalism. Since the 1990s, the site has benefited from an ongoing surveillance program. Various options to ensure the preservation and documentation of the site have been implemented.<\/p>\n
Picture of Jack Brink against a background of sandstone cliffs
\nSeated, Jack Brink comments on the condition of the \u00c1\u00eds\u00ednai\u2019pi petroglyphs and the means to preserve them. He is at the very site where many rock formations rise behind him.
\nThe Importance of Scientific Work
\nPictures of a pictograph. It is almost invisible to the naked eye on the rock wall. However, the image enhanced with DStretch reveals the presence of a human figure with a rectangular body, arms open, legs bent and a line trailing behind. This line might represent part of a ceremonial garment worn during dances. To the right of the figure is a petroglyph of a bear\u2019s paw.View in details – Documentation
\nDocumentation
\nDocumenting rock art at \u00c1\u00eds\u00ednai\u2019pi was made possible with the specialized DStretch software. This tool enhances fainted pictographs and reveals those invisible to the naked eye. Such was the case with this figure, which appears to be dancing. Its existence was unknown until it was revealed using the DStretch software.<\/p>\n
Two pictures of a horse petroglyph: one unenhanced, the other enhanced with DStretch. The second petroglyph clearly shows the presence of red ochre in the carved lines.View in details – Production
\nProduction
\nSome petroglyphs at \u00c1\u00eds\u00ednai\u2019pi were enhanced with red ochre. This is a rare practice in Canadian rock art. Through a detailed examination and by using DStretch, researchers revealed the red ochre used to colour the carved lines of this horse.<\/p>\n
Picture of a man laser scanning two sandstone panels carved with identical human figuresView in details – Conservation
\nConservation
\nConservation efforts to preserve the \u00c1\u00eds\u00ednai\u2019pi site are many and various. This picture features two reproductions of a petroglyph created on sandstone. One of the two panels was treated with Conservare, a chemical product used to solidify rock. The two panels were scanned at regular intervals over several years to produce accurate 3D scans. Thanks to this process, changes in the images and rock erosion were noted and compared to measure the effectiveness of applying this chemical product to preserve rock art.<\/p>\n
Bird Rattle, Bearer of Traditions
\nBird Rattle (ca. 1861-1937) and Split Ears, two Piik\u00e1ni elders, journeyed to \u00c1\u00eds\u00ednai\u2019pi in September 1924 with American travel companions. During their stay, Bird Rattle explained that the rock art images at the site conveyed messages from the Spirit World to warn humans about some danger, show the location of buffalo and predict future events. To commemorate their significant visit to this sacred site, Bird Rattle carved two cars with passengers on a road. This gesture clearly shows continuity of the biographic rock art tradition and the ongoing importance of this place for the Niits\u00edtapi.<\/p>\n
BIRD RATTLE CURTIS EDWARD S., CIRCA 1909-1910
\nPhoto: \u00a9Library of Congress, Collection of Curtis Edward, LC-USZ62-101251<\/p>\n","protected":false},"excerpt":{"rendered":"