New discoveries in the rock art of Arnhem Land, Northern Territory, are rewriting our understanding of the thylacine, commonly known as the Tasmanian tiger (Thylacinus cynocephalus). A team from Griffith University, working closely with local Aboriginal Traditional Owners, has documented 14 previously unidentified paintings of this iconic marsupial predator, along with two depictions of the Tasmanian devil (Sarcophilus harrisii). These findings, published in the journal Archaeology in Oceania, highlight not only the artistic prowess of ancient Indigenous Australians but also raise intriguing questions about the survival timeline of these species on the Australian mainland.

The thylacine, characterized by its distinctive striped back, dog-like head, and stiff tail, once roamed across mainland Australia before its extinction there around 3,000 to 4,000 years ago. Factors such as the arrival of dingoes, human hunting, and climate shifts are often cited as contributors to its demise. However, the persistence of vivid rock art depictions suggests a deeper cultural connection and possibly a longer presence in isolated northern pockets.

🌿 The Research Journey: Griffith University's Collaborative Effort

Leading the project is Professor Paul S.C. Taçon, Griffith University's Chair in Rock Art Research and Director of the Griffith Centre for Social and Cultural Research. Joined by Dr. Andrea Jalandoni, a rock art specialist, the team partnered with Djalama Traditional Owner Joey Nganjmirra, who co-authored the study and provided invaluable cultural insights. Nganjmirra's expertise in identifying thylacine features—such as the striped pattern and jaw structure—was crucial in confirming the animals in the paintings.

This collaboration exemplifies best practices in Australian higher education research, where universities like Griffith prioritize Indigenous knowledge systems. Over three years, from 2018 onward, the team used digital image enhancement techniques, including DStretch software, to reveal faded pigments. Traditional Owners like Nganjmirra and Craig Bangarr processed images in their communities, ensuring cultural protocols were followed. Professor Taçon notes, 'The artists who made the more recent paintings may have seen actual living thylacines,' underscoring the potential for living memory in the art.

Key Sites: Awunbarna and Injalak Hill

The discoveries occurred at two significant sites in western Arnhem Land: Awunbarna at Mount Borradaile and Injalak Hill near Gunbalanya. Awunbarna features some of the oldest art in the Maliwawa style, dating back approximately 15,000 years, while Injalak Hill hosts a dynamic art tradition spanning millennia. One standout thylacine painting at Awunbarna measures 1.4 meters long, showcasing intricate stripes and a rigid tail. Another at Injalak shows a thylacine with sharp teeth and cross-hatching details added recently.

Arnhem Land's rock shelters preserve these artworks due to the stable tropical environment, protected by Aboriginal custodianship. The region's art sequence, established through prior studies, provides a timeline from 15,000 years ago to recent centuries, offering context for the thylacine depictions.

• Awunbarna: Oldest thylacine in Maliwawa style (~15,000 years old).
• Injalak Hill: Recent white pigment overlays (<1,000 years).
• Total new finds: 14 thylacines, 2 devils.

Dating Techniques: Styles, Pigments, and Superimposition

Direct dating of rock art pigments remains challenging, but the team employed multiple indirect methods. Stylistic analysis places earliest pieces in the Maliwawa period (15,000–9,500 years ago). Pigment type is key: red and yellow ochres penetrate rock surfaces and endure, while white kaolin (pipe clay) sits atop, flaking within centuries—suggesting two thylacine paintings are less than 1,000 years old. Superimposition, where later art overlaps older, further refines ages; fine white cross-hatching on a red thylacine indicates additions within hundreds of years.

These techniques, refined by Australian universities like Griffith, align with accelerator mass spectrometry (AMS) radiocarbon dating used elsewhere in Arnhem Land. For instance, prior studies dated regional art to 28,000 years. This multi-method approach ensures robust timelines, vital for reconstructing megafauna histories.Read the full study in Archaeology in Oceania.

Thylacine vs. Tasmanian Devil: Why More Tigers?

With over 160 thylacine depictions now known versus just 25 Tasmanian devils, the disparity intrigues. Devils, stockier with scavenging habits, appear less frequently, possibly due to shorter survival or lesser cultural role. Thylacines, agile hunters, feature prominently, often with stripes emphasizing their wolf-like form. This suggests thylacines held greater symbolic value, perhaps as hunting allies per oral histories.

Cultural Legacy: From Rock Art to Contemporary Expression

For Arnhem Land Aboriginal peoples, thylacines (Djankerrk) embody enduring stories. Joey Nganjmirra recalls, 'They used to tell stories about going hunting with thylacines.' Lore portrays them as Rainbow Serpent companions, swimming vast distances—a trait matching fossil evidence of strong swimmers. Today, thylacines appear in bark paintings by artists like Nicodemus Nayilibidj, bridging past and present.

This research underscores rock art's role as dynamic archives, informing Indigenous-led conservation. Griffith's partnerships support UN SDG 17, fostering equitable knowledge production.Griffith University announcement.

Challenging Extinction Timelines

Conventional wisdom pegs mainland thylacine extinction at ~3,000 years ago, coinciding with dingo arrival ~4,000 years ago. Yet recent paintings challenge this, implying refugia in Arnhem Land's rugged terrain. Dr. Jalandoni states, 'Thylacine rock art offers rare insight into how people related to this animal.' Fossils support possible late survival, aligning with Tasmanian sightings into the 1980s.

Links to De-Extinction Efforts

The findings resonate with global de-extinction projects. Colossal Biosciences, partnering with University of Melbourne, sequenced the thylacine genome in 2025, targeting proxy births by 2028. Griffith's cultural data could guide ethical reintroduction, emphasizing Indigenous views. Professor Taçon's work informs debates on reviving 'ghost' species.Colossal Biosciences thylacine project.

Australian Rock Art Research Landscape

Australia boasts the world's longest rock art sequence, with Arnhem Land central. Universities like Griffith, ANU, and UQ lead, employing AI enhancements and plasma oxidation for dating. This discovery boosts funding for Indigenous archaeology, creating jobs in cultural heritage.

Photo by Danny Greenberg on Unsplash

Future Directions and Calls to Action

Ongoing surveys promise more finds. Griffith seeks collaborations for advanced dating like uranium-thorium. For academics, opportunities abound in rock art studies—explore Griffith's programs or Australian research jobs. These revelations affirm rock art's power to reshape history, honoring Australia's First Nations legacies.