Detailed photogrammetry and 3D laser scanning of rock art, geophysics research and sondage excavations conducted at the Painted Hand Petroglyph Panel, a large rock art site in south-western Colorado, USA, has revealed new information about the cultural situation in the pre-Columbian and historic North American Southwest.

Images of the human form can be analysed for what they reveal about social roles, hierarchy, and other identities, as well as culturally determined perceptions about humanity's relationships to the natural environment and supernatural realm. It is proposed that the portrayal of the multitudinous human subjects related to religious ideology and practice in Rio Grande Tradition and Navajo rock art focuses on the interconnectedness of all things, deflecting meaning away from human beings as prime subjects as seen in Western religious art. Rather, informed by ethnographic data, the Native American abstracted, costumed forms, along with conflated human/animal subjects, define humanity's intimate link to the cosmos, and their added attributes evoke the supernatural strengths of other living beings, along with animated entities such as rain-clouds and the sun. These images themselves are perceived as active agents, attracting the pictured forces, sanctifying place and facilitating communication with resident spirits. What is pictured on stone extends to the performative dimensions of ethnographic contexts, thereby blurring the boundaries between the ceremonial participants, the representations and the animistic cosmos.

The elaborate symbolism painted around wall niches in Rio Grande Pueblo IV kivas ca. A.D. 1370-1600 at Pottery Mound and Kuaua describe a cosmological paradigm of layered worlds accessed by supernatural passageways. This paper examines the niche iconography at these sites and the associated metaphors represented in the surrounding murals. Equivalent to the sípàapuni and symbolic of the landscape cave, the niche as a portal to the watery and fecund underworld is often the organizing principle for west wall murals or entire kiva scenes. In addition to the prevalent stepped cloud and rainbow, these scenes frequently feature female figures and composite supernatural beings symbolic of abundance. This analysis provides insight into the focus of prehistoric kiva rituals conducted at Kuaua and Pottery Mound and the worldview with which they engaged. Finally, it is proposed that the synthesizing powers of both the simple stepped cloud and the niche itself raise these elements to the status of "nuclear ritual symbols" (Turner 1967) fundamental to Pueblo cosmology.

Rock art studies have indicated that the katchina cult and associated religious sodalities arrived in the Pueblo Southwest in the early 14th century from the Jornada region of the Mogollon. Recent studies of prehistoric Pueblo social organization suggest that population aggregation after A.D. 1150 led to the need for means of intravillage social integration. It is proposed that the arrival of the katchina cult and its widespread acceptance occurred in response to this need for intravillage integrative mechanisms.