This publication presents the pictographic historical record of the Oglala Sioux as created by Amos Bad Heart Bull, an Oglala Lakota artist and historian. His visual narrative documents events, ceremonies, conflicts, and daily life within the Lakota world through a traditional pictographic system. Edited and annotated by Helen H. Blish, the material is translated into an academic framework while preserving its Indigenous epistemological structure. The book provides a rare access point to Native American historiography in which visual language functions as a legitimate historical archive rather than an illustrative supplement to written records. The volume is structured around the original pictographic corpus of Amos Bad Heart Bull, presented as sequential visual records of Oglala Lakota history. These pictographs depict key historical events including intertribal conflicts, encounters with U.S. expansion, ceremonial life, social organization, and migration patterns during the nineteenth century. Helen H. Blish provides extensive scholarly annotations that contextualize each pictographic sequence within both Lakota cultural frameworks and anthropological interpretation. The editorial approach emphasizes the autonomy of the visual system while enabling cross-cultural academic analysis without reducing its symbolic structure to Western textual equivalents.The work functions simultaneously as an ethnographic source edition, an art historical archive, and an anthropological study of Indigenous knowledge systems. It foregrounds pictography as a primary historical medium rather than a supplementary visual artifact, positioning Lakota visual narration as an independent historiographical tradition. Helen H. Blish was an American anthropologist specializing in the cultures of the Great Plains Indigenous peoples. Her research focused on visual and narrative traditions as legitimate historical systems within Native American societies. Amos Bad Heart Bull was an Oglala Lakota artist and chronicler whose pictographic work constitutes one of the most significant Indigenous historical visual archives of the nineteenth-century Plains. His drawings encode collective memory, historical events, and cultural knowledge within a structured visual language that operates as a parallel system to written historiography.