Rock art of the Sahara Essay

Explain how archeologists have tried to understand the stone art of the Sahara over the old ages.

Through stone art we see how different people in assorted times of the yesteryear, represented the environment of the clip, the animate beings environing them ( wild or domesticated ) and even representations of themselves demoing the development of human species. For at least 40,000 old ages or even more human existences marked landscapes with these symbolic images go forthing us with the lone record on their mundane activities, rites and so on. The most of import thing is non the images in peculiar but instead the widespread of this phenomenon to different states and parts. These visually dramatic images survive to this twenty-four hours, some in a instead good status other to a bad phase, non merely because of clip and conditions conditions but besides due to vandalism [ 1 ] .

The Saharan stone art is peculiarly an of import part of involvement. There was an increasing figure of bookmans during the beginning of the 20th century, involved in the recording and survey of the Saharan stone art. Heinrich Barth was the first bookman to advert Saharan sway art sites in his book ‘Travels and Discoveries in North and Central Africa ‘ . [ 2 ] On 6th July 1850, Barth wrote: “No savage could hold graven the lines with such amazing soundness, and given to all the figures the visible radiation, natural form which they exhibit.” [ 3 ]

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The Sahara screens immense parts of Algeria, Tunisia, Libya, Egypt, Morocco, Chad, Sudan, Mauritania, Mali, Niger and Western Sahara. The cardinal portion of Sahara is hyper-arid while the northern and southern parts have countries of thin grass and trees. The clime of the Sahara has gone into a batch of alterations in the last 100 1000s of old ages, from moisture to dry.

Saharan stone art is divided into four chief periods:

1. The Bubalus Antiquus Period

2. The Round Head Period

3. The Pastoral/ Bovidian Period

4. The Post-Neolithic Period / Horse Period

The existent chronology of the Bubalus period has been problematic between bookmans for many old ages. Most bookmans agree that these early representations/engravings are the consequence of Early Holocene, hunter-gatherer communities, around 10,000 old ages ago. Other bookmans argue that all the Saharan stone art is the consequence of Neolithic idylls from around 7,000 old ages ago. At the beginning of the Holocene these parts were richer in flora and there were populated by animate beings that are now extinct. The art of this period is largely characterized by the representation of big animate beings, such as the now nonextant American bison Homoiceras antiquus, elephants, rhinoceros, river horse, camelopard, ostriches and big antelopes. The countries that this period is largely concentrated in are the Wadi In Elobu, Wadi Tilizagen and Wadi Alamasse.

The Round Head manner was given its name by Henri Lhote and it ‘s found every bit early as 8500 old ages ago. As its name implies, the period is characterized by anthropomorphous figures with rounded caputs, wholly missing any facial characteristics. This manner is chiefly found at Tassili-n- Ajjer, Acacus and Ennedi. There representations of animate beings such as antelopes and the now nonextant Barbary sheep every bit good as ritual scenes and some puzzling elements with are hard to give a specific significance to.

The Pastoral stage besides known as the Bovidian period ( 7000 old ages ago ) is characterized by scenes from mundane life such as milking of animate beings, edifice of caps and exchanges of objects. This art is really realistic and animate beings are represented with great truth. During this period bodily types and ‘racial ‘ featured Begin to be depicted. Ritual scenes and forfeits of animate beings are besides present. [ 4 ]

The so called Horse period has taken its name by the increased figure of Equus caballus and chariot representations which was introduced from the E. The art of this period shows a high grade of stylisation particularly in the human organic structures represented in ‘bitriangular ‘ manner and in the representation of chariots. The Gallic bookman Henri Lhote was the first to propose that these chariots might be linked to the trade routes traversing Sahara. Recent research by Mario Liverani showed that the Garamantian civilisation was a complex 1 with political and military power and besides controlled trade paths between the Mediterranean seashore and sub-Saharan Africa. This art provides the right grounds for these train paths, demoing the trade of goods and animate beings. [ 5 ]

Most bookmans and archeologist were led to lodge with the recording of the Saharan stone art instead than trying to construe it because of its complexness. On the other manus some decisions and readings have been made. The earliest known stone art, was done by eatages in the cardinal Sahara and it dates back 12,000 old ages ago. It involves big animate beings with really simple lines which shows the topic instead than its formal form. This early art was more symbolic instead than obvious. It reflects alterations in human attitudes toward the natural environment and with the base on balls of clip art became more realistic [ 6 ] .

Tassili N ‘ Ajjer is a mountain scope in the Saharan desert in southeast Algeria. It ‘s one of the most celebrated North African sites of stone picture. In an country called Jabbaren, Lhote identified 12 back-to-back civilisations. Harmonizing to Lhode the Bovidians at Jabbaren, engraved their images before they painted them. There are rather a figure of alien-like figures which Lhote called Martians. The Swiss writer Erich von Daniken named a figure ( which measures 6 metres by 3 metres ) ‘The Great Martian God ‘ . This figure is the largest individual figure at Tassili and it occupies the ceiling of a big shelter. The elephantine figure painted on the walls, harmonizing to Berber Tuareg mythology, might hold inhabited the Earth before the human race [ 7 ] .

At Tassili n ‘ Ajjer, in a site called Sefar, there is a really celebrated pulling which Lhote called ‘The Great God of Sefar ‘ . The figure stands over 3.25 m high and it ‘s surrounded by figures and animate beings. Lhote ascribed the drawing to the unit of ammunition caput period, linking it with a birthrate cult.

[ 1 ] Chippendale C. and Tacon S. , The archeology of stone art, pg.1

[ 2 ] Augustin Holl, Saharan Rock Art: Archeology of Tassilian pastoralist iconography, pg. 1

[ 3 ] Anthony Ham, Libya, pg. 235

[ 4 ] hypertext transfer protocol: //

[ 5 ] hypertext transfer protocol: //

[ 6 ] Coulson, D. and A. Cambell, African stone art: pictures and engravings on rock

[ 7 ] hypertext transfer protocol: //


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