The Ayers Rock pictographs, or Bob Rabbit pictographs, as they are also known after the Kawaiisu shaman purported to have created them, consists of three panels painted on different sides of an enormous monolith at the southern foot of a boulder-strewn hill.
The pictograph boulder, seen from the north. There is a single pictograph in the alcove on the right, and a panel in the center recess.
Bob Rabbit was well-known as a “weather shaman”, or ̉uupuhagadi – which may be more accurately translated as “weather manipulator”.
If he was indeed the creator of these pictographs, no record exists of the link between his profession and the creation of these pictographs. The methods of Kawaiisu weather manipulation does not describe any relation to pictographs, which were believed to be the work of the “water baby”.
The panel viewed from the extreme east.
These pictographs are considered historic, created within the last ~120 years or so. As such, they are still well-preserved, though the eastern panel does suffer some water damage from rain run-off.
Surrounding the site, there is extensive lithic scatter on the ground, suggesting usage as a settlement. I did not observe any mortars or grinding slicks in the vicinity.
Approaching from the south, a smooth, slightly slanted overhang on the eastern side of the monolith displays a large pictograph panel consisting of anthropomorhic and zoomorphic figures, as well as some abstract elements.
This panel is on the lower part of the overhang. The shallow alcove containing handprints is at roughly head height on this panel, and can be seen as the bright white spot in the overview picture of the rock face.
Overview of pictograph panel on the eastern side of the boulder, including the two notches of orange pigment, much higher than a person can reach.
These pictographs are done in red ochre of differing shades, as well as in black. Most distinctive are a grouping of anthropomorphs on the left side, a long-tailed zoomorph to their right, and two painted handprints ( roughly life size ) in a shallow recess towards the upper right of the panel.
To the right of the larger anthropomorphs is a jumble of overlaid designs, showing that this site may have seen use over time, and been re-used and had more elements added over time.
A closer look at the elements on the left.
On the left of the panel is a grouping of anthropomorphic figures. The leftmost of these has distinctive digimorph toes, a faint halo around its head, and fletch-like lines coming from the body.
DStretch clearly shows the blocks of color on the chests of both large anthropomorphs.
To its right is a faded figure, drawn in the pelt-like form typical of Kawaiisu shamanism, with the shaman dress fringes visible between its legs.
The figure to its right, the most prominent of the anthropomorphs, may have been depicted at the same time as its faded companion, being of the same size and having the same, faded headdress design, and traced over later with a redder pigment. This figure also has the distinctive pelt-like shape.
A cleary visible, long-tailed zoomorph approaches this assembly from the right.
Further intensifying the false color with DStretch shows the delicate lower figure.
There is a faint, light orange zoomorph ( judging by its short tail cutting straight down ) visible above the first zoomorph’s tail. Additionally, a faint zig-zag marking above its back may be reminiscent of a rider, or may just be coincidentally present.
A DStretch enhancement of the medley of abstract elements shows some interesting detail, including a figure similar to the leftmost anthropomorph.
As the non-enhanced pictures show, these figures also have black lines surrounding them, appearing to be underdrawings or accompanying elements.
This portion of the panel is rounded out by numerous abstract elements drawn in the same lighter orange hue as the impressions of the two large anthropomorphs. Some of these accompanying figures bear a resemblance to the larger figures on the far right of this panel.
Jumping to the far right portion of this panel, there are two more anthropomorphs. The one on the left is somewhat faded, but a DStretch enhancement shows more details.
The rightmost anthropomorphs.
DStretch enhancement.
The figure on the left of this ensemble has a large, almost surfboard-shaped body, with small but clearly detailed feet and hands, all with three digits.
To our modern eyes its head looks like it is wearing a cowboy hat. If Bob Rabbit is responsible for these figures, this might be the intent.
A vertical line runs up the middle of the figure, and a delicate, spiral-like motif is present at its waist.
This figure is encroached on by the large digits of the figure to its right. There is a flake of rock missing between the figure and its digits. This figure is of the same general shape, with a long, ovoid body and a three-pointed hat, but its hands are much larger and has five digits apiece, and its bowed legs are also longer, though ending in the same three digits as its companion figure.
Grouping on the lower right.
Details teased out with DStretch.
Below these figures there is another faint grouping of figures, partially visible in the lower left of the pictures above, and shown in detail here.
These figures are more rudimentary than any others on the panel, perhaps suggesting a greater age to them.
A DStretch enhancement shows a possible elongated anthropomorph, as well as two somewhat symmetrical figures to the sides of it, the leftmost one much larger than the right, both consisting of a circle at the upper end, a rudimentary appendage stretching towards each other, and a terminating lower circle.
There is also a couple of bold lines to the left of this ensemble with a much fainter third line, and a small element at the rightmost edge. Finally, a faint grid-like element, reminiscent of those found in petroglyphs in the Owens valley rounds out the panel.
Of most immediate interest to a modern viewer may be the two roughly life-sized handprints painted in a shallow recess on this boulder face, located in the upper middle portion of the panel.
Two handprints painted in a shallow alcove
The just described eastern panel is the largest, boldest panel of the three.
On the northern side of the boulder there are some large alcoves, one of which contains a detailed panel just as, or more, interesting than the panel to the east.
A wide-angle shot of the northern panel showing the recess on the right that also contains pictograph elements.
A straight-on view of the panel.
This panel depicts more of the pelt-like anthropomorphs featured prominently in the east-facing panel, again over to the left of the panel.
These anthropomorphs are much smaller than those on the eastern side of the boulder, and on this panel they are drawn in a single color.
DStretch pops out the figures in this overview picture.
Grouping of anthropomorphs on the north side of the boulder.
The grouping of anthropomorphs consist of a large, partially defined figure to the far left, and two medium-sized figures whose dotted eyes is clearly visible with a DStretch enhancement, flanking a smaller figure.
One of the medium-sized figures might be holding a rod or stick in its right hand, while its companion has two rabbit ear-like appendages on its head, as well as delicate digits on its hands.
DStretch showing some additional details.
The small figure between them has a poorly defined head, and it might also be holding something aloft in its left hand. To the upper right of these figures there are some rudimentary drawings similar to those on the eastern panel.
Infuriatingly, the anthropomorphic figures have been vandalized in the past few years. The vandal drew chalk outlines around the figures, thereby defacing the panel.
These chalk outlines also defaces some of the other figures in this panel. Never touch, trace or alter any pictograph or petroglyph figures. Pictographs can be hard to see, but rather than try to draw directly on them, try taking your pictures, leaving nothing behind, and later trace on or enhance your pictures as desired, leaving the original drawings intact.
Bighorn sheep facing away from the ensemble of anthropomorphs.
Two bighorn sheep, drawn in profile with huge, sweeping horns, gallops away to the right of the anthropomorphs, with a third, smaller sheep facing towards the anthropomorphs.
These sheep all exhibit well-defined tails. The style is representative and the heads are deemphasized.
The central sheep appears to have an anthropomorph, drawn in a brighter red ochre color, superimposed on its neck.
This figure is more readily visible when viewed in DStretch.
A DStretch tweak highlights the small anthropomorphic figure imposed over the neck of the central sheep. With DStretch it appears that the anthropomorphic was drawn afterwards, its pigment overlaying the sheep.
Unfortunately, the white lines visible around these depictions, marring the grace of these drawings, is also chalk applied by a vandal.
Visible in the upper right of the preceding pictures is the hindquarters of another animal. This zoomorph forms part of a complimentary arrangement of three deer, shown below.
Panel containing deer, three white anthropomorphs, and other less distinctive elements.
Again, there are two larger and one smaller figures. This time, the animals are deer. The larger two figures face towards each other, and are drawn with the distinctive boat-shaped body style typical of the Cosos representative style, though their bodies are more elongated than the typical depiction in that style. Each deer also has a small tail.
The curved nature of the legs suggest movement. The legs terminate in small, forked appendages. The two larger deer have delicately drawn antlers. The smaller deer has either small ears or very small horns – most likely ears since the larger deer also have small ears. This suggests a depiction of two adults and a juvenile.
With DStretch, the detail of both the deer and the other elements are enhanced. Notice the delicate horns on the two large deer. The faint red ochre figure below and between the dear is reminiscent of some of the older figures on the eastern panel.
Turning away from the deer, note that there are also two, possibly three, white anthropomorphs, clearly visible with DStretch: one below the smallest deer, one at the tail of the leftmost deer, and the third further down, below the indistinct red element, aligned with the center of the leftmost deer.
This lower left figure is a simple rendering, and the possible figure behind the leftmost deer is likewise elongated, but the one to the right, below the smaller deer, has a notable shape. Similar shapes, also in white, appear in other locations in the general region and the Southwest in general, and are associated with the Ghost Dance movement of the late 18th century.
A light orange pictograph below the smallest deer.
Further supporting that thought of the Ghost Dance movement being involved here, there is one more notable element in this area.
To the right of the white figure, underneath the small deer, is a small pictograph that has been interpreted as depicting a horse with a rider.
Criticism of this interpretation points out that, if this is true, the figure on horseback is not human, since it appears to have two torsos.
An interesting rebuttal to this considers this pictograph to indeed depict a horse – but with two riders. This theory folds in well with considering this site as a Ghost Dance movement site: the Ghost Dance messengers, who were Native Americans, were said to arrive on horseback, and often rode two to a horse.
The suspected horseback riders element with DStretch applied.
Under this interpretation, then, the pictograph does not depict a European rider, but two Native American ones.
Element in alcove.
Enhanced with DStretch.
Just past the possible horse and riders figure, the alcove these elements are in dips back into the boulder, forming a small, deep recess at the far right of the panel, as can be seen in the overview picture.
In the crook of this indentation, there is a single, complex element.
This element is quite large, and made up of dense geometric designs that are reminiscent of some designs found in Tübatulabal territory, some distance west of this site.
Finally, the northwest face of the monolith contains another alcove, which is decorated with a single zoomorph and some abstract elements, painted in black. The zoomorph could depict a lizard or gecko.
The zoomorph, cozy in its alcove.
Ayers Rock has already suffered damage from a previous visitor or visitors. If you visit, please keep in mind that you can damage the pictographs easily, so do not touch them, attempt to remove the chalk tracings, or in any way jeopardize them.