It apparently has no head—although the pigment may have worn away—and a short skin-cloak, known as a .To the right, in an orange pigment, is another human figure with an arm behind its back.This hypothesis regards rock art as repositories of the supernatural vigour that shamans needed for their spiritual journeys – by touching the paintings, they drew on their spiritual power…
The paintings were made using brushes made from animal hair and dyes and pigments extracted from indigenous plants and mineral-rich rocks.
The colour and attention to detail of the paintings are remarkable, and even depict the typically steatopygic buttocks characteristic of the San bushmen who nowadays mostly occupy the arid regions of Botswana and Namibia.
Once this metaphor was identified at this site, a new vista opened up for scholars, and many other religious metaphors and symbols were identified in San art.
It is for this reason that the site is often referred to as the Rosetta Stone of southern African rock art.
This figure too, like the one clutching the eland’s tail, has antelope hooves instead of feet and its hairs are erect like those on the eland itself.
The arms-back posture—adopted by contemporary San at dances in the Kalahari Desert of Namibia and Botswana when they ask God to infuse them with supernatural energy—is frequently depicted in San art.
They stumble about, their heads sway loosely from side to side, they sweat profusely and even bleed from the mouth and nose, and the hair along their neck and back stands erect.
This image, then, is of an eland in its final death throes.
This site, however, is most famous for a cluster of images tucked away on one side of the shelter.