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| Images Carved in Stone |
| The Friends of the St. Victor Petroglyphs
Present a
50 minute Video
Filmed & Edited by Wes Bloom
Voice Track by Wes Bloom and David Munro
Music by: D. Tycholis & D. Schmid "Rebekah's Mourning"
The opinions, and concerns are those of
Wes Bloom and David Munro Members of The Friends of the St. Victor Petroglyphs Coop. Ltd. |
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Order $30 CAD + $7 CAD |
Order $30 CAD + $7 CAD |
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$50 CAD + $10 CAD |
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Images Carved
in Stone |
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The Park is located on the northern slope of the Wood Mountain Plateau just 2km. south of St. Victor, Saskatchewan, Canada. From Regina, travel west on the Trans Canada Highway to Moose Jaw, turn south on #2 and travel 115 km south to the junction of #2 and the St. Victor access, turn east and drive to St. Victor, turn right at the log interpretive center and drive 2km. south, climbing to the top of the plateau approximately 150 meters above the valley bottom. Here is the St. Victor Petroglyph Provincial Historic Park. Enjoy the cool shade in the picnic area where you will find a wide variety of trees and plants. You will find Ash, Elm, Maple, Trembling Aspen, Birch and Junipers, all within Park. Walk to the end of the trail and look up at the massive rock outcropping of Ravenscrag Sandstone. The deep water channel in which you are standing was left by the last ice age as water flowed out beneath the ice sheet and headed east through the Big Muddy Valley and into the Missouri River. The upper plateau is very unique for it was not disturbed by the last Ice Age, and some of the plant life of preglacial time remains here in an almost Tundra like environment. In early spring, visitors to the upper plateau may see the Arctic Moth and the Old Growth Birch Moth, both which arrive in early April and help in the propagation of the preglacial plant life that still exist in this immensely varied landscape. The dramatic changes in elevation of 100 meters within 250 meters of walking distance, include changes in the vegetation from Tundra to mini swamp like conditions, where temperatures can vary by 10º C, and more. Over 125 flowering plants can be recorded in one afternoon, from the valley floor to the highest levels. Butterflies and Moths of many species visit the Park from spring to late fall, some wintering over and flourishing in -1º C temperatures. Cloven hoofed animals like the White Tailed Deer, Mule Deer, Antelope, Elk, and in recent years the return of Moose, all inhabit the vast expanses of the Wood Mountain Plateau and surrounding areas. Spring is greeted with the arrival of the birds to the wooded coulees, and the spring fed water channels. The greatest enjoyment is watching the arrival of the Golden Eagle and the occasional Bald Eagle, and over the past few years the return of Turkey Vultures that have raised their young here in the rock outcroppings. The Petroglyph carvings that you see in the video are a sampling of the 320+ carvings found at St. Victor Petroglyph Park. A large number of the carvings represent man's hands and feet, and also a large collection of Plains Grizzly Bear paws. There are also a large number of Cloven hoof prints as well as a wide selection of symbols & designs. Three complete outlines of Man, two turtles, one large human face / skull, and one bird track ( Eagle) adds a special touch to the site. The carvers of the Petroglyphs may have been, Sioux, Plains Cree, Blackfoot, Mandan, Assiniboine, or an older group of plains people. Could there be a chance the carvings were carved by one tribe documenting events in their history? This may account for many symbols belonging to other tribes. The Petroglyphs may be approximately 1000 years old. This coincides with the time period when the face / skull drawings was used in the eastern part of Minnesota by the Woodland People. The variety of carvings and the association of carvings with different peoples leaves the questions as to who, when, and what this site really was about? It may have been a neutral area for worshipers, each present at a different time over many years, each having limited contact with the previous carvers. That is puzzling, for in recorded historic evidence, boundary lines and respect of sacred grounds are noted. Why then do we find this collection of carvings representing different culture groups? Was there a period in time when these images were carved where the artist was very well versed in many cultures and tried to unite their people through the stories hidden in the carvings? There appears to be three styles of carving recorded at this site. Were there three talented carvers over many years who worked together to accomplish a common idea of union? Three images of man are very clear, each image carved in its own distinctive style. One of the images of man is very different from the other two. The single curved lines do not match the more ridged and personal drawings of the other two. One image has the feet pointing towards each other , the next image has the feet pointing in the same direction. The complete drawings of man look like the man effigy designs found throughout the Central Plains of North America. There appears to be three techniques in carving . The first method is the drilling of a series of holes and then by routing out the material between the holes to complete the line. The second method is scraping and scrubbing away all the material within the design leaving a deep impression of the image. The third method is a series of pecking, pounding and chipping away the stone creating a coarse and rough design. Every image speaks of knowledge, power, and the respect each carver felt about the designs they were carving. This is clearly shown in the Plains Grizzly Bear Paw where the curvature of the foot and the long sharp claws are drawn to show a powerful swiping motion. When the Human face is viewed in the early morning light it looks like a full face fleshed out with teeth, but by night fall the face turns into a skull of grotesque features with no teeth, vertebra showing, and tears streaming down its face, a deep gash into the forehead showing the sinus cavity. This indeed is a powerful form of Art. The ability to create two distinctive pictures from one carving by locating the face in this position on the rock surface, is powerful. The power of this image, when first seen, leaves an impression on one's mind that is as good as any story that could be told about it. Stop! Look at the surface of the rock and watch as the images appear on the rock surface. Move from the west side of the platform to the east side of the site and see the carvings appear where moments ago there was no sign of carvings. Feel the magic of the site as the images speak to you from 1000+ years ago. The tracks have not changed, the images of man still look like man, The stories may have changed but still speak of man and animals living side by side. The Images were a form of written history long before European People ever set foot on this Continent. Each bear paw has a distinctive curve and twist to the design. Was this an unique way of telling a special story linked to each bear paw? The larger the paw the stronger the bear, the greater the curve, the greater the power of the story. Each image of man is different and tells a specific story, and the elements of the drawing add to the story, the style of clothing, the direction of the feet, the placement of hands, all may have had a bearing on the stories importance. The numerous cloven hooves each seem slightly different, telling of different animals, size and importance. Depending on placement, each group of images may tell a far different story than the single image told. The Plains People recorded their history on hides in picture form that started from a central point and spiral around that point, as they recorded years of events and happenings within their culture. This site when looked at closely has a similar pattern to it. The story starts with the two Turtles and spirals out and around to the right (clockwise), passes by the human skull / face. There is empty space, then the line starts again and swings out past the bird foot and off the edge of the cliff. The recent rock fall may very well shed light on the missing images that would connect the vacant space, enabling the completion of the story with the images on the easterly most rock surface. Could the huge boulders that fell to the bottom long ago have carvings on them? Could it be possible that the people who lived here were recording history, stories, and their encounters with other plains people? Who were the carvers of this site, will we ever know, does it matter? Thanks to the following Contributors to the book and video Friends of the St. Victor Petroglyphs Coop Ltd. TD Canada Trust Saskatchewan Archaeological Society Sask. Lottery
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