The Messak plateau in Southwest Libya hosts
in its partly flat rocky deserts, partly deep carved and remote
valleys an abundant number of rock art examples. They belong to
the UNESCO world heritage. These prehistoric works of art are generally
discussed under archeological considerations. Our purpose is to
put them in a greater artistic and esthetic context.
In the Messak
Massif in Libya’s southwest as well as in the Hoggar
Mountains (Tefedest) and Tassili’N’Ajjer (Oued Djerat) in southeast
Algeria there are – next to rock paintings - unique and famous
Rock Art preserved as can hardly be found in this quantity,
quality and extensiveness anywhere else on earth. These are part
of the UNESCO World
Heritage List.
Geographically, the massif is divided into the Messak Settafet
(Black Messak) and Messak Mellet (White Messak). It can be reached
from Germa or Ghat with off-road vehicles and accompanied by Libyan
guides.
Other than rock
paintings where colour is being applied to the
rock’s surface, Rock Art are engraved, sculpted or cut into
it. Rock Art are predominantly to be found in the Messak Massif,
rock paintings in the Akakus Mountains. Our attention is mainly
focused on Rock Art.
It frequently happens that different drawings are resting on the
same material support, on rock, sometimes on top of each other (or
mixed up). This often makes it difficult to tell picture elements
apart and to decide which of them belong to which whole.
Rock Art can be documented through photographs, rubbings-off and
by outlining them.
Unique cultural testimonies
These Rock Art are unique cultural testimonies some of which
are up to 12'000 years old. That would seem to indicate that the
desert has been populated at different periods of time depending
on changing climatic conditions.
It seems that 20'000 BCE the first human beings settled in the
present day Sahara. They were hunter-gatherers which were the first
ones to make animal drawings into rock. Up to 4'500 years from now
there was a damp climate favoring cattle breeding; after that a
dry period seems to have set in which ended pastoral life and led
to people looking around for different, more fertile areas. Only
about 3'000 years ago climatic conditions were suitable again for
settling in these areas.
Thus the Sahara hasn’t been an “empty quarter” in the past as its
present day state seems to suggest. Meanwhile the desert with its
wide outlooks for many people takes up the meaning of a think space
and a source of inspiration. But in reality the Sahara has been
populated time and again, maybe even much more densely than we believe
when considering the frequency of rock art.
According to Joachim Willeitner (Libyen, Ostfildern 2006) Sahara
Rock Art can be divided into the following eras:
12'000 – 6'000 BCE: Bubalus Age, period of early hunters.
7'000 – 6'000 BCE: Round-head Age, presentations of man where the
head is positioned directly onto the trunk as a round form.
5'000 – 2'500 BCE: Cattle Age, damp period setting in, domesticated
animals, hunting.
1'500 up to the beginning of the Common Era: Horse Age. After a
temporary dry period which made people leave that region the settlers
come back again.
Beginning of the Common Era up to the present: Camel Age. Rock pictures
where camels can be seen which have taken the place of horses ever
since then.
The Rock Art also show scenes of everyday practical life and
reproductions of all kinds of tools. Also explicit sexual depictions
occur. In addition there are abstract signs to be found, spirals
for instance.
Matters of interpretation
“The pictures of the wild animal period are often being associated
with religious or magical ideas. Such interpretations are not safeguarded
through corresponding knowledge about this old culture, neither
through the analysis of the rock pictures per se, but meanwhile
have to be viewed as mere speculation” (Karl Heinz Stierle, Der
Brockhaus in Text und Bild [Brockhaus in words and pictures], 2002).
One of the difficulties in motif determination is that people in
the past didn’t view reality as we do now, and that they lived in
geographic spaces where there couldn’t have been much contact among
them. So there couldn’t have been a common artistic idea or anything
like a homogenous conception of art. This makes research into motifs
more difficult.
Yet we’d like to know nothing better than what the creators of
these works have thought. But there are limits to that. “Probably
we’ll never be able to totally decode these pictures”, write David
Coulson and Alec Campbell (Afrikanische Felsenbilder [African Rock
Pictures], Weingarten 2003).
What’s of prime importance to palaeontologists while classifying
motifs and on what they focus their attention doesn’t go, on the
other hand, into the extraordinary visual creative power and the
unbelievable ability to think in abstract terms, even though both
are remarkable from a modern artistic point of view.
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