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Researchers have identified two small, stencil-like human figures at La Rochelle (also known as Klein Buffelspruit), a rock shelter near Carolina in Mpumalanga, South Africa. A 2026 report calls this the first published account of apparent stencilled rock art in southern Africa. The figures are negative images: red pigment surrounds unpainted forms about 9 centimetres tall, suggesting that paint was blown or splashed around a template. Their age, maker, purpose, cultural affiliation and template material remain unknown.
What was found at La Rochelle?
David G. Pearce of the Rock Art Research Institute at the University of the Witwatersrand and Kiah Johnson of the University of Cambridge describe two apparent human figures in the South African Archaeological Bulletin, volume 81 (224), published in 2026. The shelter is near Carolina in Mpumalanga and is also known as Klein Buffelspruit.
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1Repair Windows errors before they cause bigger problems2Scan for outdated or missing drivers - takes under a minute3Clear out junk files and repair common Windows errorsEach figure is approximately 9 centimetres high. The forms have indistinct heads and simple, stick-like torsos and limbs. The authors consider them probably human, but they do not present them as securely identified portraits, named individuals or members of a known community.
The report is a first published record, not proof that no other stencils exist elsewhere in southern Africa. Faint images may have escaped earlier notice, especially at shelters that have been repeatedly visited or recorded under difficult lighting.
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What is stenciled rock art?
In a stencil image, the maker places an object or template against a surface and applies pigment around it. When the template is removed, the covered area remains unpainted while the surrounding paint forms the image. This is the reverse of a conventional painted figure, in which pigment is applied directly inside the outline.
At La Rochelle, the visible red pigment is dispersed around the bare shapes and does not form the hard, deliberate edge expected from a brush line. Those traits led the researchers to infer that paint was blown or splashed around a template. The inference concerns how the image was made; it does not identify what the template was.
How do archaeologists know the figures may be stencils?
The conclusion rests on image formation rather than on a surviving tool. The figures are unpainted shapes surrounded by pigment, and the paint distribution appears diffuse rather than brushed. Together, these observations are consistent with spraying or blowing pigment around an object.
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The researchers photographed the marks and used D-Stretch software to enhance faint pigment in false-colour images. They report that the figures can be seen with the naked eye and in ordinary photographs, although preservation is poor. Digital enhancement helps reveal weak colour variation; it does not supply a date or prove the identity of the artist.
Because the images do not overlap other paintings, superposition cannot establish whether they are older or newer than nearby art. The paper therefore treats the stencil interpretation as supported by visible characteristics while leaving chronology and meaning unresolved.
How old are the La Rochelle figures?
No established date is available. The approximately 9-centimetre measurement describes the figures’ size, not their age. The authors cannot assign them to a particular period, community or rock-art tradition from the evidence currently documented.
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Possible template materials, including clay or beeswax, are discussed as possibilities rather than findings. There is no recovered template, pigment recipe, associated artefact or secure archaeological deposit that would identify when the images were made.
What does the shelter’s modern history mean for the evidence?
La Rochelle is locally known as a tourist destination and has a complicated recent history. It was used for a Voortrekker centenary commemoration in 1938; a plaque and time capsule were later removed. The shelter floor was levelled and concreted, wooden pews were installed, and church services have periodically taken place there.
The report says intact archaeological deposits are unlikely to survive beneath the concrete. That limits the prospects for recovering datable material from the floor and makes the faint wall images especially important as the primary evidence. Modern use also underlines why identifying an image’s age from appearance alone would be unsafe.
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Why is this discovery significant?
Rock art in the region includes multiple traditions and techniques, but the authors say this is the first published report of stencilled rock art in southern Africa. A negative image made around a template differs materially from a figure drawn with a brush, finger or other direct application: the crucial evidence is the unpainted form and surrounding pigment.
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That distinction is significant without requiring a dramatic claim about the artists. The figures may eventually help researchers understand how widely image-making techniques circulated, but the current report does not establish a cultural affiliation, ritual function or connection to San or any other named tradition. The authors’ abstract states that “The meaning or affiliations of the image is unknown.”
Pearce recalled that recognition was gradual: “I wasn’t entirely sure what I was looking at for a while,” he said, adding, “Then they popped into focus, a bit like optical illusions do.” The comment captures both the discovery’s appeal and its evidential caution: the marks were visible, yet subtle enough to remain overlooked.
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What can be concluded—and what cannot?
- Supported: two faint, red-surrounded figures occur at La Rochelle; each is about 9 centimetres tall; they are probably human; their formation is consistent with stencilling.
- Not established: an age, maker, cultural affiliation, purpose, template material or relationship to a specific regional rock-art tradition.
- Important qualification: “first” means first published report identified by the authors, not proof that the technique never appeared elsewhere.
Further interpretation will require careful documentation, conservation assessment and, if suitable material can be found without damaging the images, independent chronological or compositional evidence. Until then, the La Rochelle figures are best understood as a rare and technically distinctive discovery whose central historical questions remain open.
Frequently Asked Questions
Where exactly were the stenciled figures found?
They were documented at La Rochelle, also called Klein Buffelspruit, a rock shelter near Carolina in South Africa’s Mpumalanga province. The shelter is a known local tourist destination and has also been used for commemorations and church services.
Are the figures definitely human hand stencils?
No. The researchers describe them as probably human and likely made around a template, but no template survives. Their small size, indistinct heads and stick-like limbs support the cautious identification rather than a definitive one.
Could the figures be modern additions?
The published report does not establish a date, so it cannot rule out any period solely from the images. Their poor preservation and the shelter’s modern history make chronology an open question; no secure archaeological deposit or superposition sequence dates them.
What is D-Stretch used for in rock-art research?
D-Stretch is image-enhancement software that makes subtle pigment differences easier to see by producing false-colour views. It can improve documentation of faint marks, but enhancement itself does not determine an image’s age or meaning.

