Who Wrote the Rock Art of the Sahara Berbers

National park in the Sahara Desert in Algeria

Tassili n'Ajjer

UNESCO World Heritage Site
Aeriform photograph of Tassili n'Ajjer
Location	Algeria
Includes	Tassili National Park, La Vallée d'Iherir Ramsar Wetland
Criteria	Cultural and Natural: (i), (iii), (vii), (viii)
Reference	179
Inscription	1982 (6th Session)
Surface area	seven,200,000 ha (28,000 sq mi)
Coordinates	25°30′N ix°0′E  /  25.500°Northward nine.000°Due east  / 25.500; ix.000 Coordinates: 25°thirty′N 9°0′E  /  25.500°Northward 9.000°E  / 25.500; 9.000
IUCN category II (national park)
Location	Tamanrasset Province, Algeria
Established	1972
Ramsar Wetland
Official name	La Vallée d'Iherir
Designated	ii Feb 2001
Reference no.	1057[1]
Location of Tassili n'Ajjer in Algeria

Tassili northward'Ajjer (Berber: Tassili n Ajjer, Arabic: طاسيلي ناجر; "Plateau of rivers") is a national park in the Sahara desert, located on a vast plateau in southeastern Algeria. Having 1 of the virtually important groupings of prehistoric cave art in the world,^{[2] [3]} and roofing an area of more than 72,000 km² (28,000 sq mi),^[four] Tassili n'Ajjer was inducted into the UNESCO World Heritage Site list in 1982 past Gonde Hontigifa.

Geography [edit]

Tassili northward'Ajjer is a vast plateau in southeastern Algeria at the borders of Libya, Niger, and Mali, roofing an area of 72,000 kmⁱⁱ.^[two] Information technology ranges from 26°xx′N 5°00′Due east  /  26.333°Due north 5.000°E  / 26.333; five.000 east-southward-east to 24°00′N x°00′E  /  24.000°Northward 10.000°E  / 24.000; 10.000 . Its highest signal is the Adrar Afao that peaks at 2,158 grand (7,080 ft), located at 25°10′Due north 8°eleven′E  /  25.167°N 8.183°E  / 25.167; viii.183 . The nearest town is Djanet, situated approximately ten km (6.2 mi) southwest of Tassili n'Ajjer.

The archaeological site has been designated a national park, a Biosphere Reserve (cypresses) and was inducted into the UNESCO World Heritage Site list as Tassili northward'Ajjer National Park.^[5]

The plateau is of great geological and aesthetic involvement. Its panorama of geological formations of rock forests, equanimous of eroded sandstone, resembles a lunar landscape and hosts a range of rock art styles.^{[6] [7]}

Geology [edit]

Landsat multilayer image of Tassili n'Ajjer

The range is composed largely of sandstone.^[8] The sandstone is stained by a thin outer layer of deposited metallic oxides that colour the rock formations variously from about-black to slow red.^[8] Erosion in the expanse has resulted in nearly 300 natural stone arches being formed in the south eastward, along with deep gorges and permanent water pools in the north.

Ecology [edit]

Considering of the altitude and the water-holding backdrop of the sandstone, the vegetation here is somewhat richer than in the surrounding desert. It includes a very scattered woodland of the endangered endemic species of Saharan cypress and Saharan myrtle in the higher eastern half of the range.^[8] The Tassili Cypress is ane of the oldest copse in the world after the bristlecone pines of the western U.s..^[three]

The environmental of the Tassili due north'Ajjer is more fully described in the article West Saharan montane xeric woodlands, the ecoregion to which this area belongs. The literal English language translation of Tassili n'Ajjer is 'plateau of rivers'.^[9]

Relict populations of the Westward African crocodile persisted in the Tassili due north'Ajjer until the twentieth century.^[10] Various other fauna yet reside on the plateau, including Barbary sheep, the only surviving type of the larger mammals depicted in the rock paintings of the surface area.^[8]

Archaeology [edit]

Background [edit]

Algerian rock art has been subject to European study since 1863, with surveys conducted by "A. Pomel (1893-1898), Stéphane Gsell (1901-1927), G. B. M. Flamand (1892-1921), Leo Frobenius and Hugo Obermaier (1925), Henri Breuil (1931-1957), L. Joleaud (1918-1938), and Raymond Vaufrey (1935-1955)."^[11]

Tassili was already well known by the early 20th century, simply Westerners were broadly introduced to it through a series of sketches fabricated by French legionnaires, particularly Lieutenant Charles Brenans in the 1930s.^[11] He brought with him French archaeologist Henri Lhote, who would later render during 1956 - 1957, 1959, 1962, and 1970.^[12] Lhote's expeditions take been heavily criticized, with his squad defendant of faking images and of damaging paintings in brightening them for tracing and photography, which resulted in reducing the original colors beyond repair.^{[13] [14]}

Electric current archaeological estimation [edit]

The site of Tassili was primarily occupied during the Neolithic period past transhumant pastoralist groups whose lifestyle benefited both humans and livestock. The local geography, elevation, and natural resources were optimal weather condition for dry-flavour camping of small groups. The wadis within the mountain range functioned as corridors between the rocky highlands and the sandy lowlands. The highlands have archaeological evidence of occupation dating from 5500 to 1500 BCE, while the lowlands have stone tumuli and hearths dating between 6000 to 4000 BCE. The lowland locations appear to have been used every bit living sites, specifically during the rainy season.^[15] There are numerous rock shelters inside the sandstone forests, strewn with Neolithic artifacts including ceramic pots and potsherds, lithic arrowheads, bowls and grinders, beads, and jewelry.^[3]

The transition to pastoralism post-obit the African Humid menstruum during the early on Holocene is reflected in Tassili n'Ajjer's archaeological material record, rock art, and zooarchaeology. Further, the occupation of Tassili is function of a larger movement and climate shift inside the Fundamental Sahara. Paleoclimatic and paleoenvironment studies started in the Central Sahara around 14,000 BP, and then proceeded by an barren period that resulted in narrow ecological niches.^[16] However, the climate was non consistent and the Sahara was split between the arid lowlands and the boiling highlands. Archaeological excavations confirm that human occupation, in the grade of hunter-gather groups, occurred between 10,000 and 7,500 BP; following vii,500 BP, humans began to organize into pastoral groups in response to the increasingly unpredictable climate.^[17] There was a dry out flow from 7900 and 7200 BP in Tassili^[18] that preceded the appearance of the first pastoral groups, which is consistent with other parts of the Saharan-Sahelian belt.^[19] The pre-Pastoral pottery excavated from Tassili dates around 9,000 - 8,500 BP, while the Pastoral pottery is from vii,100 - 6000 BP.^[20]

The rock art at Tassili is used in conjunction with other sites, including Dhar Tichitt in Mauritania,^[21] to study the development of animate being husbandry and trans-Saharan travel in Due north Africa. Cattle were herded across vast areas every bit early as 3000 - 2000 BCE, reflecting the origins and spread of Pastoralism in the area. This was followed by horses (before 1000 BCE) and then the camel in the side by side millennium.^[22] The arrival of camels reflects the increased evolution of trans-Saharan trade, as camels were primarily used as ship in trade caravans.

Prehistoric art [edit]

The stone germination is an archaeological site, noted for its numerous prehistoric parietal works of rock art, beginning reported in 1910,^[iv] that appointment to the early Neolithic era at the end of the concluding glacial period during which the Sahara was a habitable savanna rather than the electric current desert. Although sources vary considerably, the earliest pieces of art are presumed to exist 12,000 years old.^{[23] [24]} The vast majority appointment to the 9th and tenth millennia BP or younger, according to OSL dating of associated sediments.^[25] The fine art was dated by gathering modest fragments of the painted panels that had stale out and flaked off before being buried.^[26] Among the 15,000 engravings then far identified, the subjects depicted are big wild animals including antelopes and crocodiles, cattle herds, and humans who engage in activities such equally hunting and dancing.^[viii] These paintings are some of the earliest Central Saharan paintings, and occur in the largest concentration at Tassili.^[16] Although Algeria is relatively close to the Iberian Peninsula, the rock art of Tassili northward'Ajjer evolved separately from that of the European tradition.^[27] According to UNESCO, "The exceptional density of paintings and engravings...accept made Tassili world famous."^[28]

Similar to other Saharan sites with rock art, Tassili tin can be separated into five singled-out traditions: Primitive (10,000 to 7,500 BCE), Round Caput (7550 to 5050 BCE), Bovidian or Pastoral (iv,500 to four,000 BCE), Horse (from two,000 BCE and 50 CE), and Camel (m BCE and onward).

The Primitive menses consists primarily of wild animals that lived in the Sahara during the Early Holocene. These works are attributed to hunter-gather peoples, consisting of simply etchings. Images are primarily of larger animals, depicted in a naturalistic manner, with the occasional geometric blueprint and human effigy. Usually the humans and animals are depicted within the context of a hunting scene.

The Circular Head Menstruum is associated with specific stylistic choices depicting humanoid forms, and are well separated from the Archaic tradition even though hunter-gatherers were the artists for both.^[29] The art consists mainly of paintings, with some of the oldest and largest exposed stone paintings in Africa; one human effigy stands over five meters and another at three and a half meters. The unique depiction of floating figures with round, characterless heads and formless bodies appear to exist floating on the stone surface, hence the "Round Head" label. The occurrence of these paintings and motifs are concentrated in specific locations on the plateau, implying that these sites were the center for ritual, rites, and ceremonies.^[11] Most animals shown are mouflon and antelope, normally in static positions that do not appear to be office of a hunting scene.

The Bovidian/Pastoral flow correlates with the inflow of domesticated cattle into the Sahara, and the gradual shift to mobile pastoralism. There is a notable and visual departure betwixt the Pastoral catamenia and the earlier two periods, congruent with the aridification of the Sahara. There is increased stylistic variation, implying the movement of different cultural groups within the expanse. Domesticated animals such as cattle, sheep, goat, and dogs are depicted, paralleling the zooarchaeological tape of the area. The scenes reference diversified communities of herders, hunters with bows, every bit well equally women and children, and imply a growing stratification of society based on property.

The following Horse traditions corresponds with the complete desertification of the Sahara and requirement of new travel methods. The arrival of horses, horse-drawn chariots, and riders are depicted, often in mid-gallop, and is associated more with hunting than warfare.^[11] Inscriptions of Libyan-Berber script, used by ancestral Berber peoples, appear adjacent to the images, withal the text is completely indecipherable.

The last period is defined by the appearance of camels, which replaced donkeys and cattle as the master mode of transportation beyond the Sahara.^[30] The arrival of camels coincides with the development of long distance trade routes used by caravans to send common salt, goods, and enslaved people beyond the Sahara. Men, both mounted and unmounted, with shields, spears, and swords are present. Animals including cows and goats are included, only wild fauna were crudely rendered.

Although these periods are successive the timeframes are flexible and are consistently being reconstructed past archaeologists as technology and interpretation develop. The art had been dated by archaeologists who gathered fallen fragments and debris from the rock face.^[31]

A notable piece common in academic writing is the "Running Horned Woman," likewise known as the "Horned Goddess," from the round head period.^[32] The image depicts a female effigy with horns in midstride; dots adorn her torso and limbs, and she is dressed in fringed armbands, a skirt, leg bands, and anklets. According to Arisika Razak, Tassili's Horned Goddess is an early example of the "African Sacred Feminine."^[32] Her femininity, fertility, and connection to nature are emphasized while the Neolithic artist superimposes the figure onto smaller, older figures. The use of bull horns is a mutual theme in later round caput paintings, which reflects the steady integration of domesticated cattle into Saharan daily life. Cattle imagery, specifically that of bulls,^[33] became a primal theme in non just at Tassili, but at other nearby sites in Libya.^[34]

Fungoid rock fine art [edit]

In 1989, the psychedelics researcher Giorgio Samorini proposed the theory that the fungoid-like paintings in the caves of Tassili are proof of the relationship between humans and psychedelics in the ancient populations of the Sahara, when it was still a verdant country:^[35]

Ane of the about of import scenes is to be plant in the Tin-Tazarift rock art site, at Tassili, in which we notice a series of masked figures in line and hieratically dressed or dressed every bit dancers surrounded by long and lively festoons of geometrical designs of different kinds... Each dancer holds a mushroom-like object in the correct hand and, even more surprising, two parallel lines come up out of this object to reach the central part of the head of the dancer, the expanse of the roots of the two horns. This double line could signify an indirect association or non-fabric fluid passing from the object held in the right hand and the mind. This interpretation would coincide with the mushroom interpretation if we bear in listen the universal mental value induced by hallucinogenic mushrooms and vegetals, which is frequently of a mystical and spiritual nature (Dobkin de Rios, 1984:194). It would seem that these lines – in themselves an ideogram which represents something non-material in ancient art – stand for the effect that the mushroom has on the human mind... In a shelter in Tin – Abouteka, in Tassili, in that location is a motif actualization at least twice which associates mushrooms and fish; a unique association of symbols amongst ethno-mycological cultures... Two mushrooms are depicted opposite each other, in a perpendicular position with regard to the fish motif and near the tail. Not far from here, to a higher place, nosotros find other fish which are similar to the same, only without the side-mushrooms.

This theory was reused by Terence McKenna in his 1992 book Food of the Gods, hypothesizing that the Neolithic culture that inhabited the site used psilocybin mushrooms equally role of its religious ritual life, citing rock paintings showing persons holding mushroom-similar objects in their hands, besides as mushrooms growing from their bodies.^[36] For Henri Lohte, who discovered the Tassili caves in the late 1950s, these were evidently secret sanctuaries.^[35]

The painting that best supports the mushroom hypothesis is the Tassili mushroom figure Matalem-Amazar where the torso of the represented shaman is covered with mushrooms. According to Earl Lee in his book From the Bodies of the Gods: Psychoactive Plants and the Cults of the Dead (2012), this imagery refers to an aboriginal episode where a "mushroom shaman" was buried while fully-clothed and when unearthed some fourth dimension later, tiny mushrooms would exist growing on the clothes. Earl Lee considered the mushroom paintings at Tassili adequately realistic.^[37]

Co-ordinate to Brian Akers, author for the Mushroom journal, the fungoid rock art in Tassili does not resemble the representations of the Psilocybe hispanica in the Selva Pascuala caves (2015), and he doesn't consider it realistic.^[38]

In popular civilisation [edit]

• Tassili is the recording location and the championship of a 2011 anthology by the Tuareg band Tinariwen.
• Tassili Plain is a track on the 1994 album Natural Wonders of the Globe in Dub past dub group Zion Train.

Gallery [edit]

• Stone-Art, Saharan Cypress and Landscapes of the Tassili

• 

  Very high rock columns
  photograph taken from 30 000 ft

• 

  Depiction of a dancing or seated human

• 

  Dunes at Tassili northward'Ajjer

• 

  Surrounding desert

• 

  Local cypresses

• 

  Sandstone rocks and cliffs

• 

  Ritual figure or shaman

• 

  Human figures

• 

  Human being figures

• 

  Homo figures

• 

  Homo figures with bows

The rock engravings of Tin-Taghirt [edit]

The Tin-Taghirt site is located in the Tassili due north'Ajjer between the cities of Dider and Iherir.

• 

  An ostrich

• 

  Sleeping antelope - also found on the reverse of the m Algerian dinar banknote

• 

  Bubalus antiquus

• 

  Footprints

• 

  Human beings

See as well [edit]

• List of Stone Age art
• Listing of cultural assets of Algeria
• Sebiba

References [edit]

1. ^ "La Vallée d'Iherir". Ramsar Sites Information Service . Retrieved 25 April 2018.
2. ^ ^{a b} Centre, UNESCO Globe Heritage (xi October 2017). "Tassili northward'Ajjer". UNESCO World Heritage Heart.
3. ^ ^{a b c} "Rock Fine art of the Tassili north Ajjer, Algeria" (PDF). Africanrockart.org. Retrieved February vii, 2017.
4. ^ ^{a b} "Tassili-n-Ajjer". britannica. Retrieved Feb 7, 2017.
5. ^ "Tassili north'Ajjer National Park, Djanet". Algeria.com. Retrieved Feb 7, 2017.
6. ^ "Tassili National Park, Sahara Algeria". Archmillennium.net. Retrieved 2012-12-16 .
7. ^ Willcox, A. R. (2018-01-29). The Stone Art of Africa. Routledge. ISBN978-1-315-51535-9.
8. ^ ^{a b c d eastward} Scheffel, Richard L.; Wernet, Susan J., eds. (1980). Natural Wonders of the World. United States of America: Reader's Digest Association, Inc. pp. 371–372. ISBN978-0-89577-087-5.
9. ^ Pan-African Congress on Prehistory (in French). Kraus Reprint. 1977. p. 68. Les eaux de pluie ont raviné les crêtes et ont progressivement entaillé les plateaux, creusant des canyons étroits et profonds aux parois à motion-picture show, dont la direction générale est Sud-Nord. C'est d'ailleurs ce qui lui a valu le nom de Tassili-n-Ajjer, nom qui vient des mots touaregs : Tasilé = plateau et gir = rivières, ce qui veut dire : le plateau des rivières. == rainwater gutted the ridges and progressively slashed the plateaus, digging narrow, deep canyons with steep walls, whose general management is South-Due north. This is what earned it the name of Tassili-n-Ajjer, name that comes from the Tuareg words: Tasilé = plateau and gir= rivers, which ways: the plateau of rivers.
10. ^ "Crocodiles in the Sahara Desert: An Update of Distribution, Habitats and Population Status for Conservation Planning in Mauritania". PLOS 1. 25 February 2011.
11. ^ ^{a b c d} "Algeria". africanrockart.britishmuseum.org . Retrieved 2021-04-ten .
12. ^ Henri., Lhote (1973). The search for the Tassili frescoes: the story of the prehistoric stone-paintings of the Sahara. Hutchinson. ISBN0-09-112380-1. OCLC 667687.
13. ^ Jean-Dominique., Lajoux (1962). Merveilles du Tassili N'Ajjer. Ed. du Chêne. OCLC 604199955.
14. ^ Keenan, Jeremy (2004). The lesser gods of the Sahara : social change and contested terrain among the Tuareg of People's democratic republic of algeria. London: Frank Cass. ISBN0-203-32762-four. OCLC 62269179.
15. ^ "Saharan Rock Art: Archaeology of Tassilian Pastoralist Iconography. Augustin F. C. Holl". Journal of Anthropological Research. 61 (4): 541–542. December 2005. doi:x.1086/jar.61.4.3631543. ISSN 0091-7710.
16. ^ ^{a b} Soukopova, Jitka (January 2011). "The Earliest Rock Paintings of the Central Sahara: Approaching Interpretation". Fourth dimension and Mind. 4 (2): 193–216. doi:10.2752/175169711x12961583765333. ISSN 1751-696X. S2CID 143429582.
17. ^ Fagan, Brian M. (1967). "Radiocarbon Dates for Sub-Saharan Africa: V". The Journal of African History. viii (three): 513–527. doi:x.1017/S0021853700007994. ISSN 0021-8537. JSTOR 179834.
18. ^ Messili, Lamia; Saliège, Jean-François; Broutin, Jean; Messager, Erwan; Hatté, Christine; Zazzo, Antoine (2013). "Direct 14C Dating of Early on and Mid-Holocene Saharan Pottery". Radiocarbon. 55 (three): 1391–1402. doi:x.1017/S0033822200048323. ISSN 0033-8222. S2CID 102344276.
19. ^ Garcea, Elena A.A.; Wang, Hong; Chaix, Louis (2016). "High-Precision Radiocarbon Dating Application to Multi-proxy Organic Materials From Late Foraging To Early Pastoral Sites In Upper Nubia, Sudan". Journal of African Archaeology. 14 (1): 83–98. doi:10.3213/2191-5784-10282. ISSN 1612-1651. JSTOR 44296870.
20. ^ Messili, Lamia; Saliège, Jean-François; Broutin, Jean; Messager, Erwan; Hatté, Christine; Zazzo, Antoine (2013). "Directly 14 C Dating of Early on and Mid-Holocene Saharan Pottery". Radiocarbon. 55 (3): 1391–1402. doi:10.1017/S0033822200048323. S2CID 102344276.
21. ^ Holl, Augustin F. C. (2002). "Time, Space, and Epitome Making: Rock Art from the Dhar Tichitt (Mauritania)". The African Archaeological Review. 19 (2): 75–118. doi:10.1023/A:1015479826570. hdl:2027.42/43991. ISSN 0263-0338. JSTOR 25130740. S2CID 54741966.
22. ^ LAMP, FREDERICK JOHN (2011). "Ancient Terracotta Figures from Northern Nigeria". Yale University Fine art Gallery Bulletin: 48–57. ISSN 0084-3539. JSTOR 41421509.
23. ^ "Tassili Northward'Ajjer (Algeria)". Africanworldheritagesites.org. Retrieved February vii, 2017.
24. ^ David Coulson and Alec Campbell. "Stone Art of the Tassili north Ajjer, Algeria" (PDF). Africanrockart.org. {{cite web}}: CS1 maint: uses authors parameter (link)
25. ^ Mercier, Norbert; Le Quellec, Jean-Loïc; Hachid, Malika; Agsous, Safia; Grenet, Michel (July 2012). "OSL dating of 4th deposits associated with the parietal art of the Tassili-n-Ajjer plateau (Central Sahara)". Quaternary Geochronology. x: 367–373. doi:10.1016/j.quageo.2011.eleven.010.
26. ^ Smith, Andrew B. (1992). "Origins and Spread of Pastoralism in Africa". Annual Review of Anthropology. 21: 125–141. doi:10.1146/annurev.an.21.100192.001013. ISSN 0084-6570. JSTOR 2155983.
27. ^ "African Rock Fine art: Tassili-due north-Ajjer (?8000 B.C.-?)". www.metmuseum.org. October 2000. Retrieved 2021-03-05 . {{cite web}}: CS1 maint: url-condition (link)
28. ^ "Tassili n'Ajer". UNESCO World Heritage Centre. Retrieved 7 March 2013.
29. ^ Muzzolini, Alfred (2001). Whitley, David (ed.). ""Saharan Africa"". Handbook of Rock Art Research. Altamira Press: 605–636.
30. ^ "African Rock Art: Tassili-n-Ajjer (?8000 B.C.–?)". www.metmuseum.org. October 2000. Retrieved 2021-03-12.
31. ^ Smith, Andrew B. (1992). "Origins and Spread of Pastoralism in Africa". Annual Review of Anthropology. 21: 130. ISSN 0084-6570.
32. ^ ^{a b} Razak, Arisika (2016-01-01). "Sacred Women of Africa and the African Diaspora: A Womanist Vision of Black Women 's Bodies and the African Sacred Feminine". International Periodical of Transpersonal Studies. 35 (i): 129–147. doi:x.24972/ijts.2016.35.ane.129. ISSN 1321-0122.
33. ^ JELÍNEK, Jan (1982). "Afarrh and the Origin of the Saharan Cattle Domestication". Anthropologie (1962-). 20 (1): 71–75. ISSN 0323-1119. JSTOR 26293061.
34. ^ di Lernia, Savino; Gallinaro, Marina (2011). "Working in a UNESCO WH Site. Problems and Practices on the Rock Art of Tadrart Akakus (SW Great socialist people's libyan arab jamahiriya, Cardinal Sahara)". Journal of African Archaeology. 9 (2): 159–175. doi:x.3213/2191-5784-10198. ISSN 1612-1651. JSTOR 43135548.
35. ^ ^{a b} Giorgio Samorini, The oldest representations of hallucinogenic mushrooms in the globe, Artepreistorica.com, December 2009 (beginning published in 1992)
36. ^ McKenna, Terence (1992). Food of the Gods. Us and Canada: Bantam Books. pp. 72, 73. ISBN978-0-553-07868-8.
37. ^ Earl Lee, From the Bodies of the Gods: Psychoactive Plants and the Cults of the Dead, Simon and Schuster, 16 May 2012 (ISBN 9781594777011)
38. ^ Brian Akers, A Cave In Spain Contains the Earliest Known Depictions of Mushrooms, Mushroomthejournal.com, 6 Jan 2015
39. ^ Guzmán, Gastón (July 2012). "New taxonomical and ethnomycological observations on Psilocybe southward.southward. (Fungi, Basidiomycota, Agaricomycetidae, Agaricales, Strophariaceae) from Mexico, Africa and Espana". Acta Botánica Mexicana (100): 79–106. doi:10.21829/abm100.2012.32.

Further reading [edit]

• Bahn, Paul G. (1998) The Cambridge Illustrated History of Prehistoric Art Cambridge, Cambridge University Press.
• Bradley, R (2000) An archæology of natural places London, Routledge.
• Bruce-Lockhart, J and Wright, J (2000) Hard and Unsafe Roads: Hugh Clapperton's Travels in the Sahara and Fezzan 1822-1825
• Chippindale, Chris and Tacon, Southward-C (eds) (1998) The Archaeology of Rock Art Cambridge, Cambridge Academy Press.
• Clottes, J. (2002): World Rock Fine art. Los Angeles: Getty Publications.
• Coulson, D and Campbell, Alec (2001) African Rock Art: Paintings and Engravings on Rock New York, Harry Due north Abrams.
• Frison-Roche, Roger (1965) Carnets Sahariens Paris, Flammarion
• Holl, Augustin F.C. (2004) Saharan Stone Art, Archeology of Tassilian Pastoralist Icongraphy
• Lajoux, Jean-Dominique (1977) Tassili northward'Ajjer: Art Rupestre du Sahara Préhistorique Paris, Le Chêne.
• Lajoux, Jean-Dominique (1962), Merveilles du Tassili due north'Ajjer (The rock paintings of Tassili in translation), Le Chêne, Paris.
• Le Quellec, J-L (1998) Art Rupestre et Prehistoire du Sahara. Le Messak Libyen Paris: Editions Payot et Rivages, Bibliothèque Scientifique Payot.
• Lhote, Henri (1959, reprinted 1973) The Search for the Tassili Frescoes: The story of the prehistoric rock-paintings of the Sahara London.
• Lhote, Henri (1958, 1973, 1992, 2006) À la découverte des fresques du Tassili, Arthaud, Paris.
• Mattingly, D (ed) (forthcoming) The archaeology of the Fezzan.
• Muzzolini, A (1997) "Saharan Rock Art", in Vogel, J O (ed) Encyclopedia of Precolonial Africa Walnut Creek: 347-353.
• Van Albada, A. and Van Albada, A.-M. (2000): La Montagne des Hommes-Chiens: Art Rupestre du Messak Lybien Paris, Seuil.
• Whitley, D S (ed) (2001) Handbook of Stone Art Inquiry New York: Altamira Press.

External links [edit]

• Video
• The natural arches of the Tassili n'Ajjer

mullawirraburkaheact1966.blogspot.com

Source: https://en.wikipedia.org/wiki/Tassili_n%27Ajjer

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