Are these ancient Kimberley rock paintings the work of a lost, non-Indigenous civilization?

Art · Published 3 October 2026 Swipe more like this →

In short: The Gwion Gwion figures of Western Australia are among the most debated images in archaeology. While some early researchers proposed they were created by an exotic, vanished race, modern consensus and Indigenous knowledge strongly suggest they are a sophisticated, indigenous tradition depicting spirits, dances, and ancient shamanistic rituals.

First recorded by pastoralist Joseph Bradshaw in 1891, the Gwion Gwion rock paintings—also known as Bradshaw figures—are a distinctive tradition in the Kimberley region. These anthropomorphic images are characterized by fine detail, including tassels, headdresses, and bags, often painted in deep red or mulberry hues. Unlike the later, more localized Wandjina art, Gwion Gwion paintings are found across a wider distribution, typically on vertical rock surfaces in shallow shelters.

The dating and origin of these works have sparked intense controversy. Amateur archaeologist Grahame Walsh famously argued that the art was too sophisticated to be Aboriginal, proposing an 'Erudite Epoch' where a non-Indigenous group arrived from Indonesia before being displaced. This theory, which undermined native title claims, has been widely rejected by the archaeological community. Statistical analysis shows no stylistic links to overseas prehistoric art, and researchers emphasize that the paintings share clear cultural continuity with other Australian traditions, such as those in Arnhem Land.

Recent scientific efforts have attempted to pin down a timeline, though results vary. While some studies of wasp nests overlaying the art suggest ages around 12,000 to 17,500 years, other carbon dating of paint accretions points to much younger dates, potentially making them contemporaneous with Wandjina art. Some researchers have even speculated about shamanistic influences or connections to megafauna, though these remain fringe or contested. Ultimately, the paintings are increasingly understood through the lens of local Aboriginal knowledge, which identifies them as depictions of spirits and creation stories that continue to resonate in contemporary Kimberley culture.

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