The Saint graffiti on the northern-most bluff of Cudtheringa (Castle Hill), Townsville, forms part of a decade-long sequence of paintings on rock by nonIndigenous male groups. The sequence comprises an iterative weathered assemblage on the north-eastern bluff, painted between 1961 and 1967, with The Saint as its adjacent resolution, painted 1969–70. There were two Saint pictographs on Cudtheringa for a period, until the final iteration on the north-eastern bluff faded. The Saint is a reproduction of the sign of The Saint, a pictograph used by author Leslie Charteris to illustrate the alter ego of protagonist Simon Templar from the popular fictional novel series, The Saint. The Saint survived proposed council removal following a Townsville Bulletin readers’ survey to become integrated with the heritage significance of the hill as a natural and cultural landmark. The Townsville City Council has since won legal ownership of The Saint as a trademark. The sequence correlates with a significant history of change to the legal conditions of Queensland and the Australian Commonwealth, which had particular impact on Australia’s First Nations peoples. The graffiti sequence also documents the manifest expression of Australian popular sovereignty in Constitution Alteration (Aboriginals) 1967 (Act No 55 of 1967), resulting from an affirmative referendum. The Saint sequence occurred in the dry tropics region of the North Queensland coast, which features evidence of Aboriginal rock art assemblages dominated by rainforest shield motifs found in the wet tropics, further north. This evidence is believed to reflect agency and a history of significant symbolic exchange between Aboriginal groups that traversed the dry and wet tropics prior to colonisation. Evidence of Aboriginal networks of engagement independent of imposed environmental and legislative boundaries challenge the appropriateness of contemporary jurisdictions and conceptualisations of Aboriginal cultures in the region. As an icon of popular visual tenacity, in the context of continuously intersecting and negotiated Indigenous jurisdictions, The Saint on Cudtheringa is not a sign of settler-sovereignty but a unique symbolic interlocutor of Indigenous and Crown relations. Lisa Ford asserts that subordination of tenacious Indigenous

中文翻译：

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圣序列，Cudtheringa（城堡山）

位于汤斯维尔 Cudtheringa（城堡山）最北端悬崖上的 Saint 涂鸦构成了非土著男性群体长达十年的岩石绘画序列的一部分。该序列包括东北悬崖上的反复风化组合，绘制于 1961 年至 1967 年之间，以《圣徒》作为其相邻分辨率，绘制于 1969-70 年。一段时间内，Cudtheringa 上有两个圣人象形文字，直到东北部悬崖上的最后一次迭代消失。The Saint 是 The Saint 标志的复制品，Leslie Charteris 用象形文字来说明流行小说系列《The Saint》中主角 Simon Templar 的另一个自我。在汤斯维尔公报读者调查之后，圣人幸免于难，因为它与这座山作为自然和文化地标的遗产意义融为一体。汤斯维尔市议会从那时起赢得了作为商标的圣徒的合法所有权。该序列与昆士兰和澳大利亚联邦法律条件的重大变化历史相关，这对澳大利亚的原住民人民产生了特别的影响。涂鸦序列还记录了澳大利亚人民主权在 1967 年宪法修改（原住民）（1967 年第 55 号法案）中的明显表达，这是由一次肯定性公民投票产生的。Saint序列发生在北昆士兰海岸的干燥热带地区，其特征是原住民岩石艺术组合的证据，主要是在更北的潮湿热带地区发现的雨林盾牌图案。这一证据被认为反映了在殖民之前穿越干燥和潮湿热带地区的原住民群体之间的代理和重要象征性交流的历史。独立于强加的环境和立法边界的土著参与网络的证据挑战了当代司法管辖区的适当性和该地区土著文化的概念化。作为流行视觉坚韧的象征，在不断交叉和协商的土著司法管辖区的背景下，库德林加圣徒不是定居者主权的标志，而是土著和王室关系的独特象征性对话者。