Archive for the ‘Rock Art’ Category

Journal: Sahara, July 2010

July 13, 2010

Sahara

Contents of volume 21 (published July 2010), 240 pages, 459 black and white illustrations, 46 colour plates. Abstracts are available for the Papers.

Papers

Steven E. Sidebotham and Iwona Zych
Berenike: Archaeological fieldwork at a Ptolemaic-Roman port on the Red Sea coast of Egypt 2008-2010

Malika Hachid, Jean-Loïc Le Quellec, Safia Agsous, Ali Amara, Lucile Beck, Frédérique Duquesnoy, Michel Grenet, Abdelkader Heddouche, Evelyne Kaltnecker, Norbert Mercier, Souhila Merzoug, Anita Quiles, Hocine Sahnoun, Hélène Valladas, Daniel Vigears, avec la collaboration de C. Gauthier et Frank Bassinot
Premiers résultats du projet algéro-français de datation directe et indirecte des images rupestres dans la Tasili-n-Ajjer

Savino di Lernia, Marina Gallinaro and Andrea Zerboni
UNESCO World Heritage Site vandalised. Report on damages to Acacus rock art (SW Libya)

Mohssine El Graoui, Youssef Bokbot, Högne Jungner et Susan Searight-Martinet
Datation radiocarbone sur des ossements mis au jour dans un tumulus à l’Adrar n’Zerzem, Oued Eç-çayad, région de Taghjijt (Sud marocain)

Alec Campbell and David Coulson
Big Hippo Site, Oued Afar, Algeria

Victoria Waldock
The Taleschout Hippos: An enigmatic site in the Messak Settafet, southwest Libya

Giancarlo Negro and Massimo Cammelli
The flint quarries of Wadi El Sheikh (Eastern Desert of Egypt)

Azhari Mustafa Sadig
Neolithic Settlement Patterns and Cultural Sequence of Nubia (Northern Sudan)

Alain Rodrigue
Le domaine rupestre de Taghjijt (Maroc)

Sections

Documenti rupestri / Documents of rock art / Documents rupestres

Aldo Boccazzi, Donatella Calati e Adriana Scarpa Falce
Tcherughé, un sito rappresentativo dell’arte rupestre pastorale del Tibesti orientale

Gianna Giannelli e Fabio Maestrucci
Cacciatori di elefanti: il riparo di Ihetsen (Tassili-n-Ajjer settentrionale, Algeria)

Bernard Fouilleux, Moussa Machar et Sarmi Machar
Quelques images inédites de la Tassili-n-Ajjer. Traits culturels de la population “Tête Ronde” : défenses de phacochères et bovidés masqués.

Bernard Fouilleux
Un animal énigmatique chez les «Têtes Rondes» (Tassili-n-Ajjer,Algérie)

Flavio Cambieri and Maria Emilia Peroschi
Report on new rock art sites in the area of Jebel Uweinat, Eastern Sahara

Victoria Waldock, Mohamed Ali Suliman and Pier Paolo Rossi
Horse, Hartebeest or Hybrid? A puzzling engraving in the Acacus

András Zboray and Mark Borda
Some recent results of the survey of Jebel Uweinat

Mark Borda
Observations concerning new rock art sites at Gebel Arkenu and comparisons with Uweinat

Documenti preistorici /Prehistoric documents /Documents préhistoriques

Jean-Pierre Duhard et Tamara Glazyrina
Statuette humaine en pierre dure provenant d’El Khatt (Mauritanie)

Alessandro Menardi Noguera, Paolo Carmignoto, Nicoletta Contavalli and Ettore Grugni
The stone lines of Upper Wadi Mashi (Gilf Kebir, Egypt)

Monumenti preislamici / Pre-Islamic Monuments / Monuments préislamiques

Maria Emilia Peroschi and Flavio Cambieri
Noteworthy stone structures and monoliths recently found in Wadi Abd el-Malik (Gilf Kebir, Egypt)

Mark Milburn
Three sojourns in the West Sahara

Scritture / Writings / Écritures

Werner Pichler
The Latino-Canarian rock inscriptions – a short review of the latest history of research and interpretation

Dibattiti / Debates / Débats

Tony Judd
“Lancer” petroglyphs at Egyptian temples and in the Eastern Desert

Jean-Loïc Le Quellec
Fac quod dico, non quod facio

Ahmed Achrati
Womanhood without the Bull: Venus of Laussel, Inanna, and the Lady of Tin Tilizaghen

Friedrich Berger
A Paradise off Rules? – A different view

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Colloquium Notes: The Signs of Which Times?

June 9, 2010

Colloquium notes: The Signs of Which Times?



The Signs of Which Times? Chronological and Palaeoenvironmental Issues in the Rock Art of Northern Africa
Palais des Academies, Rue Ducale, Brussels
3rd, 4th and 5th June 2010
Colloquium introduction by Dirk Huyge and Francis Van Noten
Colloquium programme
Colloquium abstracts

Apologies that these notes haven’t been posted sooner but I wanted to add some links for those who weren’t familiar with the speakers or subjects. Unfortunately I haven’t added as many links as I would have liked but I wanted to post these notes in a timely manner.

Introduction

The Signs of Which Times was organized by Dirk Huyge and Francis Van Noten under the auspices of the Royal Academy of Overseas Sciences. Its scope, the rock art of the entire Saharan region, attracted a mixture of some of the most illustrious names in rock art research together with those who have just completed or are just completing their research at post-graduate level.

As its name implies, the colloquium was intended to address the issues of chronology and environment in rock art studies. It is perhaps worth stating my own reasons for attending the colloquium. Although rock art is not one of my primary interests I would very much like to use it as a dataset integrated with other archaeological datasets because rock art is present in several of my research regions, an ambition which is fairly impossible at the moment (due to lack of absolute dates with which it can be tied into other archaeological data). I am also seriously interested in how research into localized manifestations of climate change, in the form of geographically discrete environmental conditions, would open up an understanding of when and how people would have been able to move through and use the Saharan landscape.

Around one third of the papers were in French, as were the following discussions. As speakers were allocated 15 minutes rather than the usual 20 minutes many decided to ensure delivery of all the information by speaking very quickly – I was fine when this was done in English but struggled hopelessly with machine-gun French, because my French is terribly rusty. Fortunately most of the other delegates were either bi-lingual or impressively multi-lingual so I was in a small and somewhat irrelevant minority. Moral of the story: if you want to engage in North African rock art studies either as a serious research topic or as a serious hobby you really need to speak French, which is probably the lingua franca of rock art in North Africa. This is absolutely not a complaint. It is, however, very important to take note of the obvious caveat that my following review is a somewhat lopsided one. I am making generalizations about a colloquium in which there were some lectures where I only had a superficial understanding of the main points of the presentation.

If anyone who attended wants to make any corrections please feel free!

Much of the research presented was preliminary, and as a formal Proceedings of the colloquium is planned I have not given any detailed summaries of the papers presented. The following is an overview of some of the themes and trends revealed by the colloquium. I will give details of the Proceedings and when its publication is planned when I know more myself.

Conference Overview

Each paper was allocated 15 minutes, and at the end of each session there was a half hour discussion period which was well used.

The colloquium was opened by Paul Bahn who discussed the history of rock art studies in north Africa, and raised the problem of modern vandalism to rock art sites. Although there are some big names in north African rock art they tend to be known mainly amongst other north African archaeologists. Paul Bahn is something of a poster boy for rock art so his opening address was a good way of reinforcing the profile of Saharan rock art research.

If I could go back in time and add a wish list item to the introductory lectures, I think that I would have found it of considerable use to have had a summary of the current state of rock art research in North Africa, as a logical follow-on to Paul Bahn’s lecture. There have been many suggested and detailed chronologies for rock art sequences in the Sahara and it would have been good to have had these in the back of the mind for contextual purposes. It has to be said, of course, that everyone else at the colloquium was probably already fully aware of these!

There were, as at all conferences, strong papers, weaker papers and four no-shows including Savino di Lernia, Selima Ikram, Ahmed Skounti and John Darnell (Darnell’s and Skounti ‘s PowerPoint’s were presented by others who were also presenting their own research). I was particularly sad that Di Lernia was absent because his paper had the potential of uniting some of the more disparate data, and I have read so many of his papers that it would have been good to hear him in person.

The main approaches in the papers presented focused on the creation of relative chronological sequences of rock art, of which there were six methods discussed: superimposition, animal types, (e.g. savanna or domesticated), human activities (e.g. hunting or herding), patination/varnish, stylistic composition and weathering. Nearby archaeological remains were also referenced. The value of micro-erosion techniques was discussed but was largely rejected as a valid method. In other words, many of the presentations were concerned with identifying reliable ways of putting different rock art scenes in relative sequences using one or more techniques. The resulting sequences are relative, meaning that they suggest which styles are older than others but cannot fit them into a calendrical (absolute) sequence. It is the inability of rock art research to date rock art which isolates it so thoroughly from other datasets and keeps it at a stage which is almost equivalent to the culture-history approach of the 1950s and 1960s where, in the absence of scientific dating methods, archaeology was dedicated to the building and, where possible, the cross-referencing of relative sequences. When radiocarbon dating was invented, and calibrated using tree ring data, it became clear many sequences were too short or too long, and were often placed in the wrong periods as a result for the belief that ideas diffused from more advanced cultures. It may well be found that rock art chronologies will experience similar revisions in the future. Unfortunately, most of the rock art regions being discussed at the colloquium were too far apart from each other for conversations about cross-referencing of sequences to be possible.

Susan Searight’s short presentation highlighted many of the problems with relative dating techniques, but there were many promising approaches presented over the three days. Examples of presentations looking at local relative sequences include Maria Guagnin’s use of patination and palaeolake data in Libya, Andras Zboray‘s use of superimposition and weathering in the southwest Western Desert of Egypt, Joachim Soler i Subils’s presentation about new work in the western Sahara (click here for an earlier paper), Per Storemyr‘s use of varnish to assess geometric rock art in the region of the First Nile Cataract, Lauren Lippiello and Maria Gatto’s use of style, patination, palaeoclimate and superimposition at Khor Abu Subeira South (Aswan) and Francis Lankester’s use of stylistic comparisons with Nile iconography to develop a chronolgy of boat engravings in the Eastern Desert of Egypt. As a result of many of these presentations it seems clear that the value of varnish/patina as a way of dating rock art is highly variable and completely dependent upon localized conditions. Where used it is clear that a very sound research design is required. Dirk Huyge, Heiko Riemer and Karin Kindermann all made use of surrounding archaeological data (pottery and lithics) to attempt to refine dates for nearby rock art. The strongest proposals were those where a number of different types of method were available to the researcher.

As well as relative sequences the potential value of scientific applications to the dating problem were discussed. Dirk Huyge presented the results of luminescence (OSL) and radiocarbon dating on rock art at Qurta. Qurta has lovely naturalistic rock art sometimes picked out in bas relief – you can read about it and see some of the images here and here. The main technique used, luminescence dating, measures the time when light last reached a deposit. The technique was used on the sediments sealing engraved rock art which had been concealed by hill-slope deposits. The dates from the layers beneath the upper deposits span a period which gives a terminus ante quem (time before which) for the rock art. Although the dates span a wide period for each of the sealed layers tested they area all squarely located in the Pleistocene (late Palaeolithic) and possibly at least 15,000 years old. The results seem to be confirmed by radiocarbon dates taken on microfaunal remains from another engraving at the same levels from which the OSL (Optically Stimulated Luminescence) dates were taken. They confirm again the Pleistocene age of the rock art. The circumstantial arguments that the team advanced in their Antiquity article are therefore now supplemented with real proof. These dates are also consistent with the surrounding archaeology which has produced no artefacts more recent than the Palaeolithic, and the art itself which shows animals which were more consistent with Pleistocene rather than Holocene conditions. There were no challenges to either the techniques employed or the dates themselves, in spite of the presence of the team’s OSL specialist who was on hand to answer any questions. Susan Searight says that scientific dating is soon to be tested on a rock art panel in Morocco. Sadly, Joachim Soler i Subils reported that radiocarbon tests in the western Sahara were unsuccessful.

One of the key strengths of the colloquium, which was the sheer vastness of its geographical scope, was also a minor difficulty common to most gatherings of this type. The work being carried out across the Sahara has very different histories. Some areas have been studied for many decades, whilst others are in the very earliest stages of exploration. Some areas have, as Susan Searight put it, good archaeological data with no rock art whilst others have good rock art data with very little archaeological excavation in the vicinity. Some sites were in the western Sahara, some in Libya, others in Egypt, all of which have very different climatic, geological and geomorphological influences at play. An excellent summary of eastern Saharan climatic and environmental conditions by Stefan Kroepelin was unmatched by anything equivalent for central and western regions. There were only two lectures which attempted to define similarities and differences over broad areas of the Sahara to address the idea of possible linkages amongst groups who could have moved over 100s of kilometres. Most of the research presented was, as you would expect, very localized. This was inevitable but it also highlighted how fragmented the state of knowledge about the use of the Sahara by the rock art painters actually is.

Much of the colloquium was devoted to presenting new field work findings, and these papers were truly fascinating. I was particularly struck by the uphill struggle facing the Universitat de Girona team in the western Sahara. Not only is their rock art quite unlike that of any other project’s, but the lithic assemblages retrieved in the vicinity don’t fit into any existing scheme. This really is life on the starting blocks. At the other end of the scale the work in the Gilf Kebir has been going on for decades but new discoveries have now been made by the ACACIA group in the vicinity of the Wadi Sura, and by Andras Zboray throughout that area and are being slotted into the bigger existing framework of knowledge about the region.

The colloquium was less useful on the subject of delivering new information about the past environment. Most of the speakers were using palaeoenvironment as a way to assist with dating. There were few examples where the environment was the main subject against which the rock art was set. As mentioned above, Stefan Kroepelin’s excellent presentation on eastern Saharan climate and environment was an exception, providing a good overview of the environmental conditions based partly on a palaeolake sequence from Wadi Bakht in the Gilf Kebir (south west Egypt), and promising new and very detailed results from lake cores from Ounianga (Chad) in the future. I was hoping that the colloquium would attract other climate specialists working with archaeologists so that the latest palaeoenvironmental research from other areas of the Sahara could be discussed, but these were lacking which was a real shame. Di Lernia has done a considerable amount of work trying to tie in archaeology with environmental change so it was a particular regret that he failed to attend. Andrea Zerboni’s presentation of research taking place in the Tadrat Acacus and Messak Settafet (Libyan central Sahara) explained how geological and environmental data are being used together to improve an understanding of Holocene climate change and how these are being used for dating. I would have been interested to hear much more about the lake data. Hopefully more information about this piece of work will be revealed in the Proceedings.

Apart from Tilman Lenssen-Erz‘s paper looking at art production as epistemic regulation in a sociological system in Ennedi using costly signalling theory, Stan Hendrickx’s discussion of Early Dynastic iconography and John Darnell’s suggested sequence of development from art through iconography to hieroglyphs there was little attempt to interpret any of the rock art discussed. This is completely in keeping with the scope of the colloquium which did not have interpretation in its brief.

One of the horror stories revealed by a number of presentations at the colloquium, highlighted by Paul Bahn in the opening lecture and later reinforced dramatically by other members of the colloquium, was the amount of deliberate damage to rock art sites that has been inflicted. This raised the important issue of the conflicting interests of conservation and risk management whilst allowing the public to have access to the sites. The examples presented by Paul Bahn of rock art which has been painted out by someone as revenge for being fired by a tour company, and by Stan Hendrickx of the deliberate destruction of the Naq el Hamdulab royal scene made people gasp out loud. Fortunately photographs taken by Egyptian archaeologist Labib Habachi (whose biography I am currently reading) and stored in Chicago House in Luxor have recorded the Naq el Hamdula scenes. This highlights how important it is to record rock art before either accidental or deliberate damage occurs.

In the light of this it was particularly good that several presentations looked at ways in which rock art is being recorded for posterity using a number of different techniques. For example, Frank Forster’s presentation of the work being carried out at the Mestekawi-Foggini cave (which the ACACIA team refer to as Wadi Sura II) uses 3D laser scanning, digital photogrammetry, and non-destructive investigation of pigments as part of a series of techniques used to record the cave. At Hierakonpolis the threat of quarrying, graffiti and vandalism has made recording existing rock art important, and Fred Hardtke presented his work in this field, using a portable set up involving a camera on an extendable pole linked to a laptop to enable out -of-reach rock art to be photographed.

I was immensely impressed with the way in which different teams are willing to work together. This was particularly highlighted when discussions on the south-western area of the Western Desert of Egypt came up (four of the papers). Heiko Riemer and Andras Zboray referred to each other’s work, and Andras Zboray and Stefan Kroepelin operated an accomplished double-act when answering questions about the environmental context of Zboray’s proposed chronology. The enthusiasm, mutual respect and humour which came over during these discussions made the bad old days of academic one-upmanship seem offensively sterile by comparison. It was also good to get a sense of team members working together. In Algerian rock art research three members of the CNRPAH team delivered a paper together and two Dirk Huyge’s Qurta team were on hand to ask questions about luminescence dating and fauna. Although the cost of traveling to foreign venues is naturally prohibitive these two cases illustrated the value of having multiple team members on hand to contribute to papers and discussions. The half hour coffee breaks and the hour and a half lunch breaks gave everyone the opportunity to mingle and to discuss both their own research interests and those of others. British politicians could learn so much from this 🙂

Conclusion

Every researcher, in contributing localized sequences right across the Sahara, provided more pieces of a vast puzzle.

Only when the chronological and environmental sequences are aligned will researchers begin to see trends across the Sahara in chronological terms. And only when more detailed palaeoenvironmental studies are carried out will the prehistoric occupation of the Sahara be understood in terms of its natural context. It probably remains for innovations in scientific dating techniques to develop reliable methods for tying in rock art with the much greater corpus of archaeological data which can be tied into a calendrical rather than relative sequence.

The colloquium was a great opportunity for multiple research teams and individual researchers to come together and discuss both specific problems and general ideas and issues. The formal discussion periods and the informal breaks offered great opportunities for these discussions to flourish, and my impression was that this was of immense value to those attending.

I learned an enormous amount and look forward to the publication of the Proceedings. Speedy publication will depend on the ability of contributors to submit their papers in a timely manner, but hopefully there will be an update about a planned publication date before too long.

My thanks

My thanks to Dirk Huyge, Francis Van Noten and the Royal Academy of Overseas Sciences for the colloquium as a whole.

The moderators of each session should be congratulated for keeping everyone to their allotted 15 minute slots (a nightmare job done with subtlety, skill and humour).

Particular thanks to all of the contributors for keeping the audience so thoroughly engaged with each topic, and for having worked so hard to present their research so concisely.

Gilf Kebir

This is slightly off topic, but it was mentioned at the colloquium that Karin Kinderman (she of Djara cave for those of you who follow prehistoric archaeology in Egypt) is now heading up a Gilf Kebir National Park project. It was the first official news I had heard that the Gilf was going to become a national park and I have absolutely no other information on the subject. I will try to find out more, so watch this space.

For those of you have visited the Mestekawi-Foggini cave and wondered how far the paintings go beneath the level of the sand (as I have done many times!) the answer, following excavations, is 1.2m below the surface. Unfortunately a small trial excavation and a core sunk into the sand down to 3.5m revealed no archaeological remains.

Venue

The venue was ideal in many ways. The Palais des Academies itself was being renovated but signs directed delegates to the building next door where a room had been filled with chairs and where a large projector screen and a podium had been set up. The weather in Brussels was seethingly hot, and although the room became rather sticky towards the end of the final sessions, it never became unbearable and it easily fitted the number of delegates available – around 100 of us, I would guess. A vast and airy hall was used to serve hot and cold drinks and wonderful lunches. The entire event went without either technical or organizational hitches. As the weather was stunningly good and the building was next to the pretty Parc de Bruxelles complete with wooded areas, open grass and fountains, it was great to be able to stretch the legs and soak up the sun on breaks.

Travel Notes

It was a distinct bonus that the colloquium was on the route of the Eurostar. The Eurostar lacks frills and, during school Half Term in the UK, was full of families changing at Lille to go to Disneyland and Paris. But it knocked the socks off chewing one’s fingernails over volcanoes and strikes and messing around with getting to an airport, hanging around prior to and following check in, and removing half one’s clothing at the security checks – all for a ridiculously short flight. The train from St Pancras (easily accessible by tube and bus from anywhere in London) took 2 hours and whilst seriously lacking anything remotely resembling finesse it was completely fuss-free. NB – if you travel by Eurostar from St Pancras get your money before you go through passport control because there is no Bureau de Change in the departure lounge. We took a taxi when we arrived in Bruxelles Midi but with hindsight we could have taken the tube because it was only four stops from our hotel, the inexpensive but excellent Hotel Chambord at Porte De Namur, which was a five minute walk from the colloquium venue.

Two examples of ostrich with head, neck, legs and tail but no body,
something which was discussed at the colloquium. One of the
suggestions was that the body had been defined with
material other than paint – for example with feathers
fixed into the space. There’s no way of testing this at
the moment but it is a fascinating thought. Click to see
the bigger image (Mestekawi-Foggini / Wadi Sura II cave).

More useful links

ACACIA Arid Climate Adaptation and Cultural Innovation in Africa
Bradshaw Foundation
Carlo Bergmann’s Discoveries
Climate Research Unit
Fezzan Rock Art Project
IFRAO Rock Art Glossary
International Federation of Rock Art Organizations (IFRAO)
International Newsletter on Rock Art
Libyan Desert Rock Art
Nekhen News (Hierakonpolis)
Rock inscriptions at El Hosh, Egypt
Sahara Journal
Stonewatch World-Wide Rock Art
Tassili n’Ajjer
Theban Desert Road Project
UNE -Dating Rock Art

[The photographs used in this post are mine,
apart from the satellite photograph.
All rock art photos are from western Gilf Kebir]

New rock art research at Gilf Kebir

May 26, 2010

Reuters

Archaeologists are studying prehistoric rock drawings discovered in a remote cave in 2002, including dancing figures and strange headless beasts, as they seek new clues about the rise of Egyptian civilisation.

Amateur explorers stumbled across the cave, which includes 5,000 images painted or engraved into stone, in the vast, empty desert near Egypt’s southwest border with Libya and Sudan.

Rudolph Kuper, a German archaeologist, said the detail depicted in the “Cave of the Beasts” indicate the site is at least 8,000 years old, likely the work of hunter-gatherers whose descendants may have been among the early settlers of the then-swampy and inhospitable Nile Valley.

The cave is 10 km (6 miles) from the “Cave of the Swimmers” romanticised in the film the “English Patient”, but with far more, and better preserved, images.

By studying the sandstone cave and other nearby sites, the archaeologists are trying to build a timeline to compare the culture and technologies of the peoples who inhabited the area.

Heritage Key (Sean Williams)

Prehistoric cave painters in the Sahara Desert gave rise to ancient Egyptian civilisation, according to a German archaeological team. The paintings in a caves in Gilf Kebir, a vast sandstone plateau near the Egyptian-Libyan border, may be over 400 miles from the River Nile. But the team claims it was once a thriving community which later spread east to create Egypt’s famous cities and landmarks.

The plateau, a Martian landscape the size of Switzerland, is home to two famous caves, the ‘Cave of the Swimmers’ and the ‘Cave of the Beasts’ – Watch our amazing video of the caves and their paintings here. The former was discovered by Hungarian explorer László Almásy and immortalised in the novel and Academy Award-winning movie The English Patient. But it is the latter which the team believe could unlock the secrets of how ancient Egypt began.

Rudolf Kuper, of Köln’s Heinrich Barth Institute, believes the Cave of the Beasts’ detail dates it back around 8,000 years. He claims its artists’ descendents would eventually emigrate to the Nile Valley to create pharaonic Egypt. “It is the most amazing cave … in North Africa and Egypt,” German expert Karin Kindermann tells AP. “You take a piece of the puzzle and see where it could fit. This is an important piece.”

Photographs of Wadi Hammamat by Su Bayfield

April 24, 2010

Su Bayfield has posted a number of photographs of inscriptions and views of the Wadi Hammamat on Flickr.

The Wadi Hammamat is a fabulous canvas of inscriptions from the prehistoric period onwards. From the prehistoric period there are images of hunting and herding. Later images, thought from similar ties to Naqada pottery to be Predynastic, include elaborate boats and figures. Pharaonic inscriptions include commemorative texts by the overseers of quarrying work and by those traveling along the route from the Nile to the Red Sea. In modern times Bedouin still leave tribal marks. The engravings stand out so well because a dark patina overlies a much lighter rock. When the patina is pierced the lighter rock stands out clearly against the dark brown surface.

Su’s photos capture a bit of everything – as well as the rock carvings (including one of my favourites, showing Thoth in his baboon form) and demotic and Greek inscriptions, she has shown the abandoned sarcophagus which had been carved in situ. Anyone who has been bored to the point of madness by my Western Desert photos, all golds and oranges, will be struck by the steely grey of the high desert of the Red Sea Hills.

There are two modern survey works dealing with the Eastern Desert petroglyphs, both out of print, and a very recent publication by Tony Judd – Rock Art of the Eastern Desert of Egypt Content, Comparisons, Dating and Significance (British Archaeological Reports International Series – BARI S2008). The book is based on Tony’s PhD.

Su’s Egyptian Monuments site is a great resource it is always good to see her adding more photographs of Egypt, wherever she stores them.

New Book: Swimmers in the Sand

April 22, 2010

From Miroslav Bárta

Swimmers in the Sand. On the Neolithic Origins of Ancient Egyptian Mythology and Symbolism

ISBN 978-80-87025-26-0, 112 pages
Publisher: Dryada: Prague
Publication date: April 2010
Author: Miroslav Bárta, photographs Martin Frouz

I couldn’t find this on any of the usual online retailers but perhaps it is not available just yet. I for one am interested in getting hold of this title so if anyone finds it available online please let me know.

The origins of ancient Egyptian civilisation have been attracting the attention of archaeologist ever since the beginnings of Egyptology more than 200 years ago. This book presents a new and original interpretation of the rock art in Egyptian Western Desert which is of a key importance for our understanding of the roots of ancient Egyptian civilisation. Indeed, her very origins can be most likely dated to the 6th millennium B.C. In this time and the centuries to follow the paintings in the Cave of the Swimmers known from a blockbuster English Patient and in the Cave of Beasts discovered only few years ago were created. These caves are located in a distant and hardly accessible part of Egypt, on the border of Egypt, Libya and Sudan.

The rock-art preserved in these caves features several unique motifs that will become cornerstone of ancient Egyptian iconography and mythology. Among them may be named the motif of the sky goddess and the earth god, prototypic representation of an ancient chieftain in the much later pharaonic guise or the concept of cave creatures protecting the entrance to the Netherworld.

During the Fifth and Fourth millennia B.C. the vast areas of Western Desert suffered from a major depredation of climate that most likely caused a gradual evacuation of the region and instigated appearance of permanent settlements in the Nile valley which led to genesis of ancient Egyptian culture. The present study aims to present a theory according to which at least some parts of the discussed rock art in the Western Desert was created by an ancient mind that later on contributed to the intellectual emergence of ancient Egyptian civilisation in the Nile valley.

The True Story of Desert Explorer Laszlo Almasy

April 4, 2010

Spiegel Online (By Matthias Schulz. Translated from the German by Christopher Sultan)

Thanks Kat! I have a real fascination with the exploration activities of the Zerzura Club and the work of the Long Range Desert Group which followed. Almasy was a member of the informal Zerzura Club, a mainly British group searching, as a rather ambitious pass-time, for the so-called Lost City of Zerzura in the area of the Gilf Kebir. They never found a lost city but they did learn the lie of the land at the borders of Libya, much of which Pat Clayton mapped. During the Second World War the Hungarian Almasy served the Axis forces under Romel, and was responsible for smuggling Axis spies into Egypt using the knowledge of the Gilf area that he had learned in the pre-war period. Similarly, Ralph Bagnold used his own experiences to set up the Long Range Desert Group and patrol the Libyan borders. The film The English Patient used some of Almasy’s experiences (and his name) but the film was fictional. If anyone is interested in reading more about Almasy there’s a good book about him by John Bierman which I reviewed on the blog.

During World War II, desert explorer Laszlo Almasy smuggled Nazi agents through the Sahara on an epic journey behind enemy lines. Now the true story of the man depicted in “The English Patient,” is coming to light.

As a boy, the son of a Hungarian nobleman would often stare off into the distance from his birthplace, a castle in the Burgenland region of present-day Austria. He always longed for the unattainable.

At 14, the boy built himself a glider to fly up to the sky, but it crashed.

Then, in the 1930s, Laszlo Almasy set out to find the lost oasis of Zarzura. The mythical place is mentioned in Arabian treasure books and in the collection of stories known as “One Thousand and One Nights,” where it is referred to as “City of Brass.”

The pioneer explored 2 million square kilometers (772,000 square miles) of the Sahara. He surveyed the land, drew maps and set foot in places in that sea of sand “that no human eye had seen.” In the remote Wadi Sura, he even stumbled upon painted dugouts from the Stone Age — a sensational find.

But he never found Zarzura.

There is no question that Almasy was a man who followed his desires. But who was this adventurer, flight instructor and Nazi agent, who the Bedouins reverently called Abu Ramla, or Father of the Sand?

Travel restrictions in the Western Desert

March 30, 2010

I stumbled onto a thread on the Sahara Safaris discussion forum this morning which makes for interesting reading.  My Google Alerts picked it up under “Gilf Kebir” but it is more concerned with the desert areas around Bahariya and Farafra, most importantly the White Desert.

I have posted both in the past and more recently about the state of tourism in the Bahariya area, and its impacts on both the desert itself and on the local community. This thread is written by those who are making a living out of running desert safaris from Bahariya and Farafra.  Here’s a summary of what they have been saying.

Apparently next season new rules are to be introduced that will confine foreign tourists to traveling through the desert with licensed tour companies.   The license to operate in the desert will be expensive and must be signed off by the Minister for Tourism.   The thread says that a fine of LE400 will be imposed on any drivers carrying foreign travelers into the deserts.  That’s a hefty 72 US dollars or 48 UKP.  That would be a massive fine for a local driver.

The guys at Sahara Safaris are worried that, if implemented, this will put independent tour operators out of business, killing local enterprise and competition and giving all revenue to the already cash-rich national scale tour operator.  This would leave many oasis dwellers who have invested heavily in four-wheel drive vehicles without income and without any obvious way of paying off their loans.

If this is actually the case, and it remains to be confirmed, this seems to me to be a really dreadful shame.  Egypt has for a long time been encouraging people to seek work outside Cairo.  The development of the New Valley (the crescent of oases from Cairo down to Luxor) was to be the foundation of a new semi rural economic model.  And now that the oasis inhabitants have found a way to make tourism work for them and have used their creativity and enterprise to pull it off, they are having the rug pulled from under them.  And it’s crazy. The people who live in the oases and invest in the local economy will put their wealth back into the local economy by spending and developing their businesses and employing local people.

Obviously nothing is clear cut or straight forward.  Some of the inhabitants of Bahariya miss the peaceful pre-tourism rural days when the streets weren’t buzzing with four-by-fours.  But it’s one thing to fear change and quite another to cut it off with an axe.

The conversation on Sahara Safaris asks the obvious question – why?  Why are these licenses being imposed?  Is it for “security” reasons.  I don’t know the answer but I suspect that it has much to do with criticism about how the White Desert is being managed, the amount of litter that is being left there by tourists and the amount of damage that is being done.   I have often thought that the way to manage tourists in these out of the way places is to impose responsibility on the tour companies.  But I never had a vision of the little guys being put out of business.  I never imagined excluding local people from their own landscape or indeed, their own economy.

And it I’m right about the reasons for imposing the new licenses and excluding local people from taking tours, its both an irony and unfair.  Many of the single-person or family run enterprises are the ones who care for the desert and by running very small tours keep the scale of the tourist problem to a level of managing bites of the elephant.  Bigger tours from Cairo are much less easy to control.

Managing the vandalism, theft, careless damage and littering in the Western Desert is a serious problem and so far no-one has come up with a viable solution. Or if they have, nothing has been implemented.  If this is the implementation of a solution to protect the desert by limiting access only to licensed operators who can offer certain guarantees about managing their tour members then I can see the benefits. And if the cost of the licenses are there to fund desert clean-ups that too I understand (but doubt).  But there is no reason why private oases tour organizers should not be able to offer the same guarantees and be offered a more reasonable fee for the licenses as some recompense for the invasion of their villages and recognition of  their local expertise, creativity and the investment they have already made.

I think that if I was a small tour business working in the oases I would look to my fellow operators and  form something of a collective – a trade association of sorts – with a charter of responsible behaviour and a set of agreements for managing both tourists and the use of the desert. That might be something with which to negotiate.   There is no reason why training on heritage and environmental management and care shouldn’t be arranged by the SCA or the Ministry of Tourism for such a group.

There needs to be a more subtle solution that the one being debated, and it needs to include those who live and work in the oases, not exclude them.  I sincerely hope that matters are not really unfolding as they have been described.

Colloquium: Chronological and Palaeo- environmental Issues in the Rock Art of Northern Africa

March 1, 2010

The Royal Academy for Overseas Sciences is pleased to invite you to the International Colloquium

The Signs of Which Times? Chronological and Palaeoenvironmental Issues in the Rock Art of Northern Africa
3rd, 4th and 5th June, 2010
Paleis der Academiën — Palais des Académies
Hertogsstraat 1 — rue Ducale 1
1000 Brussels

No website address at the moment

Thursday, June 3, 2010

Welcome Address
Bettie VANHOUDT, President of the Royal Academy for Overseas
Sciences (10 min.)

Introduction
Francis VAN NOTEN, Member of the Royal Academy for Overseas
Sciences (10 min.)

State-of-The-Art Lectures

Paul G. BAHN (Hull, England) – North Africa’s Place in Rock Art Research (20 min.)

Stefan KRÖPELIN (University of Cologne, Germany) – North-African palaeoclimatology and palaeoenvironment

15.00 COFFEE BREAK

15.30 Joaquim SOLER I SUBILS (Universitat de Girona, Spain) – The Age and the Natural Context of the Western Saharan Rock-Art

Christian DUPUY (Université Tous Ages, France) – Les trois époques de réalisation des gravures rupestres de l’Adrar des Iforas (Mali)

Renate HECKENDORF (Germany) – Dating South-Moroccan Rock Art: Problems and Possibilities

Abdelkhalek LEMJIDI (Institut National des Sciences de l’Archéologie et du Patrimoine, Maroc) & El Mahfoud ASMHRI (Institut Royal de la Culture Amazighe, Maroc) – Les contraintes de classifications chronologiques de l’art rupestre marocain

16.30 Discussion
17.00 End

Friday, June 4, 2010

9.00 Susan SEARIGHT-MARTINET (England) – Holocene Rock Art in Morocco: Hard Facts and Hopeful Hypotheses

Ahmed SKOUNTI (Institut National des Sciences de l’Archéologie et du Patrmoine,Morocco), Daniela ZAMPETTI (Università di Roma “La Sapienza”, Italy); Naïma OULMAKKI (Institut National des Sciences de l’Archéologie et du Patrimoine, Maroc), Rosanna PONTI (CRETA, Italy), Alessandra BRAVIN (CRETA, Italy), Kamal TAJEDINNE, Marrakech University, Morocco), El Mustapha NAMI (Ministry of Culture, Morocco) & Franca PERSIA (National Agency for New Technologies, Energy and Environment, Italy) – Rock Art and Archaeology of Ifran-n-Taska, Eastern Jbel Bani, Morocco: First Results of a Moroccan-Italian Research Programme

Abdeslam MIKDAD (Institut National des Sciences de l’Archéologie et du Patrimoine, Maroc) Quelques aspects de l’art pariétal et mobilier préhistorique de la région du Rif oriental (Maroc)

Barbara BARICH (Università di Roma “La Sapienza”, Italy) – The Perceived Environment: Some Clues from Rock-Art Works

10.00 Discussion
10.30 COFFEE BREAK

Savino DI LERNIA (Italian-Libyan Archaeological Mission in the Acacus and Messak, Università di Roma “La Sapienza”, Italy) – Chronology, Archaeology and Rock Art in the Sahara. An Endless Challenge

Yves GAUTHIER (Centre National de la Recherche Scientifique, France) – L’apport des monuments funéraires à la question des datations et de la chronologie de l’art rupestre du Sahara central

Malika HACHID (Projet franco-algérien de Datations directes de l’Art rupestre saharien, Algérie) & Jean-Loïc LE QUELLEC (Centre National de la Recherche Scientifique, France) – Un projet de datation directe et indirecte des images rupestres du Tassili des Ajjer, de l’Ahaggar et de l’Atlas saharien (Algérie)

Tillman LENSSEN-ERZ (Institute of Prehistoric Archaeology, University of Cologne, Germany) – Adaptation or Aesthetic Alleviation? Pastoralist Responses to Saharan Aridification

12.00 Discussion
12.30 LUNCH

14.00 Jan RAYMAEKERS & Francis VAN NOTEN (Belgium) – A Stone Stela from the Ténéré

Maria GUAGNIN (University of Edinburgh, England) – From Savanna to Desert. Animal Engravings and the Changing Prehistoric Environment of the Wadi al-Hayat, Libyan Sahara

Axel & Anne-Michelle VAN ALBADA (Arzens, France) – Eléments intéressant la chronologie relative des gravures rupestres du Plateau du Messak au Fezzan (Libye)

Daniella ZAMPETTI (Università di Roma “La Sapienza”, Italy) – Chronological and Environmental Data on Some North-African Rock Art Contexts

15.00 Discussion
15.30 COFFEE BREAK

16.00 Andrea ZERBONI (Università degli Studi di Milano and C.N.R.- I.D.P.A. & Italian-Libyan Archaeological Mission in the Acacus and Messak, Italy) – Rock Art from the Tadrart Acacus and Messak Settafet (Central Sahara, Libya): Geoarchaeological, Palaeoenvironmental, and Chronological Issues

Frank FÖRSTER & Rudolph KUPER (University of Cologne, Germany) – Dating the Rock art of the Wadi Sura II Shelter, Gilf Kebir (SWEgypt): Problems and Perspectives

Heiko RIEMER (University of Cologne, Germany) – Rock Art and Habitation Sites in their Landscape. Archaeological Survey at Wadi Sura, Gilf Kebir (SW Egypt)

Andras ZBORAY (Hungary) – A Proposed Absolute Chronology for the Rock Art of the Central Libyan Desert

16.30 Discussion
17.00 End

Saturday, June 5, 2010

9.00 Salima IKRAM (Department of Egyptology, American University in Cairo, Egypt) – Real or Ideal: Rock Art as a Reflection of the Environment of Egypt’s Western Desert

Erich CLAßEN (Bavarian State Department for Monuments and Sites, Germany), Andreas PASTOORS (Neanderthal Museum Foundation, Germany), Karin KINDERMANN (Gilf Kebir National Park, Egyptian Environmental Affairs Agency, Nature Conservation Sector, Egypt) & Heiko RIEMER (University of Cologne, Germany) – Chronological and Palaeoenvironmental Aspects of Djara’s Rock Art (Egypt)

Dirk HUYGE (Royal Museums of Art and History, Belgium) – The Late Pleistocene Rock Art of Qurta in an African Chronological Perspective

Dimitri VANDENBERGHE (Department of Geology and Soil Science, Ghent University, Belgium), Morgan DE DAPPER (Department of Geography, Ghent University, Belgium), Dirk HUYGE (Royal Museums of Art and History, Belgium), Florias MEES (Royal Museum for Central Africa, Belgium), Gilles VELGHE (Department of Geology and Soil Science, Ghent University, Belgium) & Jan KUČERA (Nuclear Physics Institute, Czech Republic) – A Minimum Age for the Qurta Rock Art (Upper Egypt) through Luminescence Dating of its Sediment-Cover

Per STOREMYR (Conservation Science Consulting, Switzerland) – Attempts at Relative Dating of the Geometric Rock Art by the First Nile Cataract

10.15 Discussion
10.45 COFFEE BREAK

11.15 Maria Carmela GATTO & Lauren LIPPIELLO (Yale University, USA) – Intra-Site Chronology and Palaeoenvironmental Reconstruction at Khor Abu Subeira South (Aswan, Egypt)

Stan HENDRICKX (Provinciale Hogeschool Limburg, Belgium), John C. DARNELL, Maria Carmela GATTO & Merel EYCKERMAN (Yale University, USA) – Rock Art and Early Dynastic Iconography at Naq’ el-Hamdulab (Aswan, Egypt)

John C. DARNELL (Yale University, USA) – From Rock Art to Rock Inscriptions in Upper Egypt

Fred HARDTKE (Macquarie University, Australia) – Rock Art around Settlements: the Boats and Fauna at Hierakonpolis, Egypt

Francis LANKESTER (University of Durham, United Kingdom) – Dating the Petroglyphs of the Egyptian Central Eastern Desert

12.30 Discussion
13.00 Conclusion

Dirk HUYGE, Member of the Royal Academy for Overseas Sciences (15 min.)

RECEPTION

Updated publication: Rock Art of the Libyan Desert

February 27, 2010
FJ Expeditions
Andras Zboray

The Second Expanded Edition of the DVD “Rock Art of the Libyan Desert” is now available. The new edition contains over nearly 300 new rock art sites, all new discoveries in the 2005-2009 period, with approximately 12000 photos (about 4000 newly added ones).

The Second Edition had been substantially expanded with the discoveries made by the author, Andras Zboray, and others in the period 2005 to 2009. several new sites were added, and many sites have been updated with new photographs. Some of the new finds added considerably to our knowledge of the various styles and cultures, requiring some reworking of the corresponding sections.

New Book: Rock Art of the Eastern Desert of Egypt

January 13, 2010

BAR International Series, Archaeopress

I am delighted to report that Tony Judd’s book “Rock Art of the Eastern Desert of Egypt” has been released by BAR. Based on work completed for PhD this is a comprehensive overview of the Eastern Desert’s engravings. Please note that the summary from the Archaeopress website seems to confuse this book with one focused on North America (I have informed Tony of the confusion). Instead, here’s a short extract from the Abstract from the book itself:

Data that have recently become available on the petroglyhs of the Eastern Desert of Egypt are collated and analysed in detail. Images of wild animals, domestic animals, anthropoids and boats, together with geometric pattersns, are classified and assessed by statistical means to rech conclusions about the preferences of the artsits in terms of subject matter, style, context and geographical distribution.

Prehistoric Masterpieces: The Swimmers and The Beast

November 19, 2009

In this article on The Independent Malcolm Jack looks at the rock art of the Gilf Kebir at the Cave of Swimmers (Wadi Sura) and the Mestekawi-Foggini cave. There is an accompanying video.

I have to say that I object to the archaeology being interpreted as  “a long forgotten Egyptian civilization”.  For one thing it isn’t forgotten – work has been carried out there for the last few decades (and was recognized in the inter-war period by Bagnold, Almasy and others). Second, there was no concept of Egypt at that time – the area occupied by mobile groups was a vast expanse of sahelian-type landscape that included no sense of the Egypt-Libyan border.  Finally, it was not a civilization in any proper definition of the term.

The written description gives some idea of what the Mestekawi-Foggini cave is like, although the descriptions of both caves make assumptions about what the cave art depicts:  “tiny people swimming elegantly across the walls” and “what looks a bit like people taking dancing lessons”).  It is also a huge leap to suggest that the “beasts” represent some concept of the transition from life to death.  The accompanying video has a completely different interpretation which, whilst also speculative in the extreme, sounds rather more plausible.

The accompanying video is well worth a look.  It is also available on YouTube.  The commentary is good and the photos and video footage are superb.  It has subtitles so you can follow the video without the sound turned on, if required. The reference to “Cooper” I assume is actually to Kuper, as in Rudolph Kuper, and is just an error in the transcription on the subtitles.

Sahara Journal volume 20

June 27, 2009

Sahara Journal

Volume 20 (published in June 2009) has some papers about Egyptian archaeology, as follows, but see the above page for the full Table of Contents.

Papers

Rudolph Kuper: A Paradise off Rules?

Azhari Mustafa Sadig: Preliminary Observation on the Neolithic Settlement Patterns in Central Sudan (abstract)

Heiko Riemer: A potsherd from northwest of Abu Minqar and the dispersal of Sheikh Muftah pottery in the Western Desert of Egypt (abstract)

Maria Carmela Gatto, Morgan De Dapper, Merel Eyckerman, Rainer Gerisch, Hannah Joris, Claire Newton and Stan Hendrickx: Landscape reconstruction of the Predynastic site at Nag el-Qarmila (Upper Egypt)
(abstract)

Sections

Jean Daniel Degreef: The Jebel Uweinat relief of Mentuhotep II: a jubilee scene?

Julien d’Huy: New evidence for a closeness between the Abu Râ’s shelter (Eastern Sahara) and Egyptian beliefs

Giancarlo Negro: Segnalazione di nuovi siti d’arte rupestre nel Great Sand Sea egiziano – Seconda parte

Lorenzo De Cola, Maria Emilia Peroschi e Flavio Cambieri: Osservazioni su un dipinto in ocra rossa nel Deserto Occidentale egiziano

Marta Guzzafame, Francesco Marino and Nicola Pugno: The Libyan Desert Silica Glass as a product of meteoritic impact: A new chemical-mechanical characterization


Documents of rock art

Stan Hendrickx and Maria Carmela Gatto
A Rediscovered Late Predynastic-Early Dynastic royal scene from Gharb Aswan (Upper Egypt)

Maarten van Hoek
Egyptian temple petroglyphs

Mark Borda
Survey of an unnamed plain in Egypt’s Western Desert

Prehistoric documents

Friedrich Berger
An area with aligned stones in the Western Desert of Egypt

Tracing rock art – shoot first, ask later

November 28, 2007

Regular visitors to my Egyptology News blog will know of my ongoing love affair with the Gilf Kebir area, so finding a video of the place on You Tube was a briefly happy moment – but I nearly had heart failure at the shots of somewhat tracing over an image from the Mestekawi-Foggini Cave (the image on the right is a screen grab from the video, which has since been deleted). Tracing over an image is an intensively invasive procedure which can very easily harm the underlying original. In fact, watching this video it is difficult to see how the small figure beneath was not harmed, and it should be a wake up call to anyone lucky enough to visit these remote and and unsecured rock art sites – don’t do it!

Desert art in danger at Egypt’s new tourism frontier

November 22, 2007

Charles Onians is to be congratulated for this piece on the Middle East Online website.   It really horrifies, and that’s the way it should be.  The deserts are incredibly vulnerable.  No-one lives there, no-one is interested in policing the desert (even if the logistics of doing so were remotely imaginable) and within Egyptian heritage management organizations there seems to be precious little concern for the remarkable archaeology that is slowly being eroded from desert floors and desert walls.  Charles Onians addresses some of those issues in this article, looking in particular at the damage that tourism is inflicting on the stunning rock art of Egypt and Libya.  Tourism in the Western Desert is on the up – perhaps 800 people visited in 2006, but Rudolf Kuper, one of the top desert archaeologists working in Egypt, says that over a 1000 are now visiting annually.

Kuper  highlights some of the harm inflicted on paintings.  Tourists “paint” them in oil or water so that the colours stand out better for photographs.  At Ain Dua bored soldiers shot at some.  One painted cave has been used as a rubbish tip.  Others have had graffiti scrawled on them.  He says that many tourists, and in particular he mentions Cairo-based ex-pats, still have a colonial mentality.  There’s no respect.

So what’s the solution?  Kuper and others, including a Farafra tour operator, believe that education is at the heart of the matter.  A museum in Dakhleh might help, and the declaration of the area under discussion as a UNESCO World Heritage Site would enable measures to be put in place.  But that would require the agreement of Egypt, Libya and Sudan because the area under discussion crosses the borders of all three,  and that seems like a large leap.

I lead tours into the Egyptian desert.  But my god we do our best to make sure that our little gang of tour members not only understand the risks (to the landscape and the past) but why the archaeology matters.  Most of my tours are composed mainly of mature people (in all senses of the word) who love the desert and want to learn more about it.  They listen to my Health and Safety chat (the health and safety of the archaeology and the rock art) and they ask questions, but it’s all common sense and they know that.  And even when I trust my tour members completely, I stay with them at the most sensitive venues in case of harm committed in innocent error.  It’s a responsibility.  What astonishes me is that there are people who pay a lot of money to travel into these areas and then desecrate what they find when they get there.

I am not sure what the value of designating the area as a UNESCO World Heritate Site would really be.  Many countries have celebrated the designation of their sites by UNESCO only to find that that the very designation that sought to protect those sites attracts more attention and a higher volume of tourists.  Protection then becomes even more complicated.

The protection of the archaeology of the desert borders has a long way to come.

Studies of rock art in Dakhleh Oasis

October 3, 2007

Nauka w Polsce

“The creators of rock drawings in Dakhla were shepherds. They lived about 8 – 5,000 years ago” – said Prof. Michał Kobusiewicz from the Institute of Archaeology and Ethnology at the Polish Academy of Sciences, who is studying the relicts of human presence in Dakhla Oasis in Egypt. The oasis is located in the middle of the Western Desert. It is known among others due to numerous rock engravings – depicting women, giraffes and elephants. Full of life in ancient times, today the dry valleys of the river (“wadi” in Arabic) are a witness of the past, and are the subject of interest to researchers.

What do we know about the authors of these ancient engravings? Archaeologists have located numerous settlements from the Stone Age located in the area of water sources, which were numerous at the time. “These are concentrations of stone and flint articles, fragments of pottery, quern stones used to grind plant food, bones from farm or hunted animals. Sometimes there are also traces of primitive dwellings in the shape of stone circles, which are the basis of huts or tents covered with skins” – the professor explains.

Prof. Kobusiewicz, besides research on the settlements is also taking part in recording the rock art. One of the wadi, named by archaeologists “Coloured Wadi” is studied by the professor. “The Wadi is over a dozen kilometres long. Rock engravings, largely in groups, though sometimes alone, are located on its sandy slopes. Last season, the picture and photographic documentation was continued and previously found engravings were copied onto foils” – the archaeologist explained.

See the above page for more details and a photograph of one of the rock art scenes. Click on the thumbnail image to see a slightly larger photograph, which shows the painted details with greater clarity.

An oasis of art in the Egyptian Desert

September 30, 2006

This article on the University of Illinois website describes how Douglas Brewer visited the Egyptian Desert and found not 100s but 1000s of rock art sites.  In fact, Winkler in the 1800s had already done the research by camel that confirmed that fact – and if he hadn’t then the Mike and Maggie Morrow’s Desert RATS (Rock Art Topographical Survey) and David Rohl’s ISIS certainly did.  The presence of boat engravings has been known since Winkler’s days and probably before but these are raised in this article as if the puzzle of boats in the desert is something new.

Brewer was struck by the similarity between the rock art of the Eastern Desert and images which appear in the Nile on pottery and in tombs and in this piece he questions whether there were two separate groups operating in the two environments or whether there were closer ties.

On a complete aside, there’s a lovely story about the excavation of an annoying “speed bump” at the end of the article.

Sahara Journal, June 2006

June 12, 2006

The contents page of Sahara Journal, Volume 17 (published June 2006) includes a number of articles relevant to Northeast African rock art studies. The abstracts are available on the site, but the full articles are available only in print.  Have a look at the above page for all the articles, but I’ve isolated the Egyptian ones here.

John A. Seeger, Steven E. Sidebotham, James A. Harrell and Michel Pons
A brief Archaeological Survey of the Aqiq region (Red Sea Coast), Sudan

Ashten R. Warfe
Reconsidering the argument for an early Holocene pottery tradition in Dakhleh Oasis, central Western Desert, Egypt

James A. Harrell and Mohamed I. Madbouly
An ancient quarry for siliceous sandstone at Wadi Abu Aggag (Egypt)

Tony Judd
Problem petroglyphs of the Eastern Desert of Egypt: Are they wild asses?

András Zboray
A shelter with paintings of the «Uweinat roundhead» style in upper Karkur Talh (Jebel Uweinat)

Rock art discoveries in Dakhleh Oasis

September 21, 2005

There is a report on the emol.com website (in Spanish) that describes ho investigtations in Dakhleh Oasis have discovered a set of prehistoric images in the rocks in the Al Akhbar style. The scenes apparently show women in long skirts and men holding staffs/poles which are guiding a group of giraffes. What is more, the scientists found the remains of a shark. It is belived that in the Dakhleh oasis, 400km to the west of Luxor, there was a vast lake. The images found from the Neolithic indicate that elephant, buffalo and ostrichs may have lived around the lake.

This is by no means that first discovery of rock art in Dakhleh.  Kharga, Dakhleh and Farafra oases are all well endowed with rock art.  Research in Bahariya is in its early stages at the moment but I haven’t heard of any discoveries coming from there to date.

Twigger in the footsteps of Almasy

May 28, 2005

Count Laszlo Almasy was a remarkable character who wrote a number of books about his experiences, and about whom a number of books have been written (of which my favourite is the one by John Bierman).  Almasy has inspired a lot of people in different ways.  Having formed one of the pre WWII Zerzura club adventurers before fighting opposite his former friends during the war, he finished his life as the head of the Desert Institute in Cairo, a worthy position for a man who truly understood the desert.  He is best known as t

In this article on The Independent  entitled “In the footsteps of Count Laszlo”, Robert Twigger, a very different kind of explorer, has described his own search for the world that Almasy once knew so well.  Twigger focuses on the peculiarities of desert travel, the attractions of the desert scenery and talks about the rock art.  He describes the discovery of the remarkable Mestekawi-Foggini cave with its vast canvas of glorious paintings, and touches on the prehistoric occupation of this now arid land.  Sadly he makes little mention of the encounter between the recent past and the distant past, a time when the Libyan borders of the Western Desert were explored, mapped and obsessed over by Almaszy, Bagnold, Clayton and their colleagues.

Book Review: Rock Art Topographical Survey

March 24, 2004

The book Desert Rats: The Rock Art Topographical Survey in Egypt’s Eastern Desert is a catalogue of rock art engravings found in Egypt’s central part of the Eastern Desert edited by Mike and Maggie Morrow with a Foreward by Toby Wilkinson.

Ancient Egypt Magazine posted a short review of the book in March 2004.   The review thinks positively of the book, drawing particular attention to the individual comments made by the surveyors about particular sites.