Leider gibt es viele Einflüsse, die Petroglyphen gefährden können. Hier ist die neueste Meldung, die ich mit Zustimmung der Autoren hier wiedergeben darf. Beste Grüße
Peter
Most of you have heard about the request to increase drilling activity in the Nine Mile Canyon area. The expectation is that further damage will occur at the Nine Mile Canyon site. If you agree that is a possibility, please make your concerns known to BLM and issue a note to BLM as requested in Jan's letter below. This is an important issue and one which all Coalition members should consider addressing. BLM will need to hear from a large number of interested parties before they consider changing direction.
Please note the before and after photos of the two headed snake.
The Coalition will officially respond when we receive a copy of the URARA response. I am responding to Jan's request as an individual.
Thanks,
Jon Gum
Nine Mile Canyon at Risk -One of the world's largest collections of prehistoric rock art threatened.
From Jan Gorski
http://www.preservationnation.org/take-action/advocacy-center/action-alerts/nine-mile-canyon-at-risk.htmlhttp://www.preservationnation.org/issues/public-lands/bureau-of-land-management/nine-mile-canyon.htmlA massive proposed oil and gas development project would cause irreparable damage to Nine Mile Canyon in Utah, home to one of the most important and extensive collections of prehistoric rock art panels in the world. Nicknamed the "world's longest art gallery" because of its more than 10,000 individual petroglyphs and pictographs made primarily by the Fremont and Ute Indian cultures, the Canyon was included on the National Trust for Historic Preservation's list of America's Eleven Most Endangered Historic Places in 2004.
The National Trust is urging citizens around the world to speak out about the harm that will result from this new development proposal if it is allowed to move forward as planned. The project would increase truck traffic inside the Canyon by 416% – causing enormous amounts of dust, chemical dust suppressants and vehicle exhaust to accumulate on and irreparably harm this international treasure. A recently released study shows a direct link between truck traffic in the Canyon and the deterioration of the rock art panels, due to a build up of dust and harmful chemicals used to control dust on the road. The Bureau of Land Management (BLM), which manages much of the land in and around Nine Mile Canyon, needs to recognize the findings of this study and present plans for a new access road to the exploration site, rather than continuing to rely on the narrow dirt roads that run through Nine Mile Canyon. You Can Help Save the Canyon!
http://www.preservationnation.org/assets/photos-images/issues/public-lands/SnakeBeforeDrilling.jpgNine Mile Canyon rock art panel of a two-headed snake in 2003, before the drilling started.
http://www.preservationnation.org/assets/photos-images/issues/public-lands/Snake2007.jpgNine Mile Canyon rock art panel of a two-headed snake in 2007, after drilling began.
Credit: Earl Ivan White
We urge you to send an email to the Bureau of Land Management today at UT_Pr_Comments@blm.gov and copy the National Trust at crc@nthp.org. The comment deadline connected with the project is May 1, 2008 and these comments will be shared with the public. Let BLM know that it is imperative for them to protect the thousands of prehistoric petroglyphs and pictographs in Nine Mile Canyon. Tell BLM that it is unacceptable to allow these international treasures to be damaged by the dust and chemicals and exhaust generated by current and proposed truck traffic in Nine Mile Canyon. Ask BLM to perform a detailed evaluation of alternative routes that trucks could use to access the project area instead of the existing dirt roads in Nine Mile Canyon and its narrow side canyons. Encourage BLM to fulfill its role as the steward of the world's longest art gallery and save our shared heritage for future generations. More information and to access the Draft Environmental Impact Study are available from the BLM.
http://www.blm.gov/ut/st/en/fo/price/energy/Oil_Gas.html Learn more about Nine Mile Canyon.
http://www.preservationnation.org/issues/public-lands/bureau-of-land-management/nine-mile-canyon.html---------------------------------------------------------------------------------------------------------
From the Salt Lake Tribune, Thursday, 17 Apr,
http://www.sltrib.com/opinion/ci_8949882 Glyphs need study before drilling destroys them
Pictures in Nine Mile Canyon are worth more than a thousand words
By Laurie Rich Article Last Updated: 04/16/2008 07:30:52 PM MDT
The history of the sudden abandonment of dwellings and the vanishing of populations was shared by the Anasazi and the so-called Fremont Indians of the Nine Mile Canyon area in the 1300s.
Ecologists and archaeologists from several universities joined forces in 2003 to study that area in a project called Legacies on the Landscape.
Nine Mile Canyon, northeast of Price, with its vast wealth of dwellings and more than 10,000 glyphic writings, deserves a gargantuan research effort to discern who these Fremont Indians really were - before the written evidence is destroyed by Bill Barrett Corp. as it drills for oil and gas and sends thousands of trucks kicking up harmful dust along the canyon road.
The Denver-based energy company wants to drill at least 800 wells on the West Tavaputs Plateau. Its big rigs would make hundreds of trips up and down the narrow canyon road every week for several years.
As a student in the University of Utah anthropology department I had the rare privilege to study the Aztec language and glyphs under the renowned Dr. Charles E. Dibble.
The language, Nahuatl, in the UtoAztecan language family, was written with pictures - glyphs - which combine to form the sounds and syllables of words or phonemes. Glyphs were used to indicate pronunciation, for a written record of names, places, events, ownership, genealogy, inheritance, boundaries of lands, tribute, commerce.
The glyph for an animal, flower or other object, shown above the head of a human, indicates his name. The picto-ideographic writing system is rich in use of metaphor.
Examples are the glyph for atl, water, which was combined with another glyph as a couplet, in atl, in tlachinolli, literally meaning "the water, the conflagration," which occurs frequently in ritual texts to mean war, pestilence, devastation. Or the often-seen couplet in petlatl, in icpalli - "the mat, the chair" - to express authority, rulership, government. Other Nahuatl pre-conquest glyphs, with their meanings:
* Footprints: travel, or dispersement, (footprints going up, iau; footprints going down, temoc; footprints going in a circle, nenemi; footprints heading west, uallauia)
* Digging stick: coa
* Eye: ixtli
* Bundled cadaver, or mummy bundle: death
* Macamatlauitinemi: catching deer in nets
* Ahauilia: great joy; literally, to play in an irrigation ditch, indicated by body in an irrigation ditch
Between studies with Dr. Dibble and getting my bachelor's degree at the U., I took odd jobs as a ski instructor, ranch hand, photojournalist, editor of the Utah Environment News and photographer for the U. art department, documenting 80 percent of known Utah rock art.
Then for 10 years I herded sheep. Between herding jobs one year I got a job as a ranch hand feeding the bulls on the Nutter Ranch in Nine Mile Canyon.
I wanted to pursue a photodocumentary of Nine Mile Canyon I had been working on solo for many years. I knew I had seen, literally, some of the same glyphs for words I had seen in ancient Nahuatl codices.
On the Nutter Ranch, the cowboys told me to check out a fantastic panel of rock art, off the main canyon behind the bull pasture where I worked. They said the Peabody Museum had been there to record it.
I photographed a scene there that I believe to be one of the most important historical documents in Utah. It depicts a battle between two warring camps. One group has two horns on each head. The other group has a single "horn," or what looks like the tlatoa, the speech or word scroll glyph on the head. This rock art panel covers the entire south-facing side of the canyon wall.
The battle is fought with spear and shield, bow and arrow and clubs, with deer prancing off, and coatl, the snake. A single man in the center has the one horn, or tlatoa, on his head, and holds a digging stick, coa.
A giant boulder blocks entry to the canyon just before the panel, and on this boulder is inscribed a bold message, like a prologue to the battle panel behind it: a single member of the one-horned, or tlatoa clan, with a giant coiled glyph above him. This might be a sign for the word "cultic," or "twisted," often used to indicate members of the Aculhua.
Hua meant "off in the distance, far away." Could this suggest the clan was from the Aculhua? The Aculhua writing system, as researched by scholars, was thought to have made an important transition from "ideo-pictographic" writing into a phonetic writing system.
The Chichimeca and the Aculhua were known to have been at war for many years. And the UtoAztecan language families were known to embrace a vast expanse of territories both north and south of the Valley of Mexico.
A recent study has found that the swirling dust clouds from increased heavy truck traffic in Nine Mile Canyon has already settled on the rock art glyphs, causing tremendous damage.
We all need to act now before this priceless resource is ruined. In a hurry, because moilhuitimoteca in quiauitl - "the cloudburst grows in intensity."
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* LAURIE RICH is a microbiologist and author of Herding Sheep in Northern Utah and Apologia for VietNam.
Thema: Petroglpyhen / Pictographs - prähistorische Felszeichnungen / Felsritzungen (Gelesen 9500 mal)