Archaeologists Identify Previously Unknown Style of Ancient Aboriginal Rock Art
A New Chapter in Australian Rock Art: Discovering the Linear Naturalistic Figures (LNF) Style
In a groundbreaking discovery that reshapes our understanding of ancient Australian Aboriginal art, archaeologists have identified a previously unrecognized rock art style in the Kimberley region of Western Australia. The newly proposed style, dubbed Linear Naturalistic Figures (LNF), sheds light on a sophisticated form of animal depiction that dates back at least 5,000 to 7,000 years, during the mid-to-late Holocene period.
Rewriting the Timeline of Rock Art
The research, published in the journal Australian Archaeology, was led by Ana Paula Motta, a postdoctoral researcher at the University of Western Australia, in close collaboration with the Balanggarra Aboriginal Corporation. The Balanggarra People are the traditional custodians of the northeast Kimberley region, and their involvement was central to the ethical and cultural integrity of the study.
Archaeologists examined 151 rock shelters across the Kimberley’s Drysdale and King George River catchments, identifying over 4,200 motifs. Of these, 98 had previously been misclassified as part of the Irregular Infill Animal Period (IIAP), a much older art style dating back around 17,500 years. Further analysis revealed these motifs exhibited distinctive features aligning with neither IIAP nor any existing category—prompting researchers to classify them into a new style: Linear Naturalistic Figures.
Defining the Linear Naturalistic Figures
LNF artwork consists predominantly of zoomorphic (animal-shaped) motifs, particularly macropods such as kangaroos and wallabies, along with fish, reptiles, and birds. While these subjects also appear in IIAP artworks, the execution of LNF figures differs significantly.
Key characteristics of LNF include:
– Outline Form: Animals are painted with bold linear outlines, usually with little or no internal detailing or infill, contrary to the infilled and solidly colored figures of IIAP.
– Size and Style: Many figures are large, often exceeding 80 cm in length.
– Color Palette: Artists used dark and light red pigments predominantly, distinct from the mulberry hue typical of IIAP.
– Simplicity and Elegance: Unlike the elaborately adorned human depictions found in Gwion Gwion art (10,000+ years old), LNF artworks focus on animal figures without ornamental features.
Chronological Significance
The LNF style fills a critical chronological gap between the more ancient Gwion Gwion (ornate human figure) art and the spiritually significant Wandjina artwork, which surfaced roughly 4,000 years ago. This intermediate period had remained somewhat ambiguous in the Kimberley’s vibrant rock art timeline.
By positioning the LNF between these two major styles, scholars suggest a thematic shift took place—from human-centric art back to depictions of animals. According to Motta, this pivot likely holds deep cultural and symbolic meaning, potentially indicating a resurgence of kinship values emphasizing human-animal relationships.
Cultural and Social Interpretations
LNF art may not merely be about aesthetic representation. Researchers propose that these artworks reflect Aboriginal Australians’ evolving perception of themselves and the world around them. In this context, the LNF motifs could act as visual expressions of kinship and connection with the natural environment—concepts central to Aboriginal spirituality and cosmology.
“Rock art is special in that it allows us to explore how people perceived themselves — and the world — while also examining social relationships, symbolism, and kinship,” said Motta in an interview with Hyperallergic.
The perspective underscores how Aboriginal rock art is more than a historical artifact; it’s a living archive of spiritual, ecological, and social values woven into the Australian landscape over tens of thousands of years.
A Collaborative Model for Indigenous Research
The study also stands out for its collaborative approach, engaging the Balanggarra People in the research process to ensure culturally respectful methodologies. This form of partnership sets a standard for future archaeological work in Australia, emphasizing the importance of Indigenous voices in interpreting and preserving their cultural heritage.
Conclusion
The identification of Linear Naturalistic Figures marks a pivotal moment in the ongoing exploration of Australian Aboriginal rock art. Not only does this discovery expand the known diversity of artistic styles within the Kimberley region, but it also enriches our understanding of the complex and dynamic cultural expressions of Australia’s First Peoples.
As new technologies enhance archaeological dating and motif analysis, researchers anticipate that even more nuanced forms of ancient expression may come to light—continuing to fill in the incredible artistic and cultural mosaic left by some of the world’s oldest continuing civilizations.
For those interested in supporting continued research and the preservation of Indigenous art forms, partnerships between scholars, Indigenous communities, and the public remain essential to protecting and honoring these invaluable cultural legacies.