Drawing the line : the rock paintings of Cania Gorge, south Central Queensland

Abstract

In this thesis I present a qualitative analysis of a rock art assemblage located in Cania Gorge, south-central Queensland. In particular, I test the proposition that the location of Cania close to the historically-documented western border of the Gooreng Gooreng language is reflected in rock art conventions. Five of the seven rockshelters that contain art lie within a cluster of archaeological sites situated near the entry to the gorge. Cultural remains in this area date from the late Pleistocene through to recent historical times. The faded paintings feature simple figurative and non-figurative motifs, in particular goannas and tridents. As such, they contrast with the abundant stencilled art described elsewhere in central Queensland east of the Great Dividing Range, suggesting that the art in Cania Gorge might represent a boundary marker in an area occupied by people with different linguistic or totemic affiliations. Apart from the long-known Bundaberg Engraving site (KE:A01), the areas towards the coast to the east of Cania appear devoid of art. The seven sites at Cania were compared with 34 art sites known to be closest to the gorge, most of which he in the Auburn Ranges to the west and southwest. The results confirmed that there were distinctive artistic styles in the two areas. This lends support to theories of territorial demarcation, as expressed in rock art, both within the study area and as discussed elsewhere in the literature.