RAD 102 – Esikolweni VII

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Signed & Numbered Limited Print Collection on Canvas.

The accompanying scene exists above head height, on the south end of the expansive Ezikolweni Shelter.  The shelter spans approximately 117 meters in width and contains hundreds of painted images.  Some faded, some very clear.  The seven smaller antelope images in this painting have been panted in an uncommon style.  All in leaping or running posture and the flank of the animal blocked in, in a solid dark red while the legs, neck, head and underparts are all in the same bright orange colour.

The two larger animals below are clearly eland.  The horns and dewlap on the larger animal attests to this.  Note how clearly the hoofs and fetlocks of the animals have been painted.  Three male figures approach the antelope from a natural fold in the rock on the right hand side of this painting.  They were intentionally placed there by the original San artist.

It must be remembered that the nature of the relationship between the San and the natural world was intimate, liminal and ambiguous.  Their relationship with the animal world was both real and fluid.  Shamans could take on the form and power of certain animals and become them in the spiritual realm.  Hunting an animal was a very direct and powerful way to connect with the animal’s essence.

While this scene can be viewed as an actual hunt, it is noteworthy that the human figures in this frieze are not armed with bows and arrows.  Instead they appear to be carrying long sticks or spears.  The scene can be viewed from a metaphysical perspective.  These hunters seek to “capture” one of the animals to harness its supernatural potency for use in a later ritual or ceremony.

Eland are the most painted antelope in San rock art and possessed multiple meanings for the San.