Petrogravure is one of the manifestations of the so-called rock art, that is, those vestiges of human activity that were painted or engraved on rock shelters. The studies of Rubén Manzanilla and Arturo Talavera conclude that in the petroglyphs and in the rock paintings, mythical, calendrical, propitiatory and astronomical events are related. The authors also suppose that the places where they are located were used as sacralized spaces to carry out ceremonies, leave offerings and for certain types of measurements or calendrical or astronomical readings.

The archaeologist Martha Cabrera, who reported in 1982 the discovery of the petroglyphs located in Guerrero, elaborated a detailed catalog of them, thanks to which she concluded that the designs engraved in these rocks were made through the technique of chiseling, predominating the geometric figures (circle, square, rectangle, wavy and straight lines), as well as the schematic representation of the human figure, especially the facial. Zoomorphic designs and some identified as representations of plants were also distinguished.

Based on the above, the analysis of the petroglyphs from Palma Sola suggests that they relate mythical rituals, conducted by one or more officiants, shamans or priests.

Reference:

Manzanilla López, Rubén and Arturo Talavera González, 2008, Las manifestaciones gráficos rupestres en los sitios arqueológicos de Acapulco, Mexico, INAH.

It is located on the rocky shelter that covers Element 1. It has several petroglyphs of geometric style and possible astral motifs, as well as a rectangular hollow that was probably used in propitiatory rites and rain petition.

Popularly called “La Mona”, it describes an ancestral creation myth, in which the original couple (man and woman, whose genitals can be seen) was created by a divinity in a cave with a stream of water. From the cave and the first couple, the first human beings emerge, represented by faces joined with lines, representing the various groups or social segments into which their society was divided.

Characters participating in a ritual celebration. They are reproduced full-length and with arms raised, suggesting that the celebration included dance and prayer.

Schematization of a human body. The face is reduced to a square with eyes and mouth, and an ornament on the forehead. From there, two lines are drawn that correspond to the legs. Above this motif, two other designs of synthesized faces can be seen.

Three sets representing schematic human figures with different headdresses. The design of a ritual mask stands out.

Several schematic faces, with rectangular outline and well-defined round eyes.

Circle in whose interior four figures similar to stepped pyramids were engraved. Each of them has three levels connected to a central circle by lines. This small circle connects upwards with the celestial plane, where the deities live and the astral bodies are found, and downwards with the underworld, the place where the deities of death reside and where the deceased come to rest. It may be, therefore, a representation of the universe according to the Mesoamerican cosmovision.

Ritual mask with a more elaborate and realistic design than the rest.

Set divided by three long lines through which water could have flowed to carry out propitiatory rites and rain petition. This idea is reinforced by the presence of spirals (related to water) and human faces (possible participants in the rite), along with a character whose cheeks run with tears, which leads us to think of the rain god of later times. There is also a dotted trapezoidal motif, possibly associated with a calendrical marker, for astronomical measurements.

On the surface of the rock there is a group of characters in ritual attitude (praying or dancing). The lines that link them may indicate kinship relationships.