Essai d'interprétation des gravures rupestres du Haut Atlas marocain

Souville, Georges

doi:10.3406/crai.1991.15047

Cited by 3 publications

(2 citation statements)

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“…The varan is an animal associated with a strong symbolic universe amongst Saharan and Sahelian populations, who represented it in rock art 29,30 Whereas other shelters of the region mostly display scenes of everyday life (pastoralism, hunting), Wadi Sūra II is host to numerous paintings whose content is more obviously symbolic, such as composite beasts. The presence of animal stencils in this particular shelter suggests that they could have been done in the context of paintings expressing beliefs related to nature.…”

Section: Discussionmentioning

confidence: 99%

First identification of non-human stencil hands at Wadi Sūra II (Egypt): A morphometric study for new insights into rock art symbolism

Honoré

Rakza

Sénut

et al. 2016

Journal of Archaeological Science: Reports

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In the Libyan Desert, Wadi Sūra II shelter hosts numerous stencil paintings believed to date to the Early and Mid-Holocene. Tiny hands have previously been considered to belong to human babies. We challenge this identification, having conducted a morphometric study to compare the archaeological material with samples of hands of babies born at term and preterm at the neonatal unit of the CHRU Jeanne de Flandre (Lille, France). The results show that the rock art small hands differ significantly in size, proportions and morphology from human hands. Potential biases between the different samples were quantified, but their average range cannot explain the observed differences. Evidence suggest that the hand stencils belong to an animal, most probably a reptile. The identification of non-human pentadactyl hand stencils is unique in the field of rock art and raises new perspectives for understanding the rock art at Wadi Sūra, and the behaviour and symbolic universe of the populations who made it.

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Section: Discussionmentioning

confidence: 99%

First identification of non-human stencil hands at Wadi Sūra II (Egypt): A morphometric study for new insights into rock art symbolism

Honoré

Rakza

Sénut

et al. 2016

Journal of Archaeological Science: Reports

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“…Seasonal mobility of cattle thus spares the valley/lowland pastures and resources of hay (Ehlers -Kreutzmann 2000;Akasbi − Oldeland − Dengler et al 2012). Engravings in the Oukaïmeden Valley are linked to the social connection between transhumance anD rock art in the oukaïmeDen Valley and economic role of using mountain pastures with surface area around 800 ha (Malhomme 1950;Jodin 1966;Simoneau 1967;Souville 1991;Salih -Oujaa -Heckendorf et al 1998;Bourbouze 2000;Searight 2004;Bravin 2014). 4 Engravings situated near land depressions and water-soaked pastures and springs mark transhumance routes (Ezziani 2004).…”

Section: B Půtovámentioning

confidence: 99%

New Findings on Rock Engravings in the Oukaïmeden Valley (High Atlas, Morocco) and Their Implications to the Local Transhumance

Půtová¹

2016

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New Findings on Rock Engravings in the OukaïmedenABSTRACT Th is paper deals with rock art in the Oukaïmeden Valley situated in the central part of the High Atlas in Morocco. Th e paper focuses on specifi c archaeological sites, the art techniques used, distinguishing features of the style and other specifi c features of the local rock art. Special attention is paid to the motifs, development changes and dating of rock art in the Oukaïmeden Valley. Rock art fi rst appeared in the Oukaïmeden Valley in the Late Neolithic, It developed during the Late Bronze Age and continued until the Libyan-Berber period. Th e second part of the paper presents an interpretation of rock art motifs including the analysis of their function and meaning in the landscape. Th e paper describes the close relation between rock art and transhumance, in the High Atlas until these days. Th e paper describes and interprets rock art in the Oukaïmeden Valley emphasizing the seasonal use of mountain pastures by Berber shepherds.KEY WORDS Oukaïmeden Valley; High Atlas; rock art; landscape; transhumance ABSTRAKT Předmětem studie je skalní umění v údolí Oukaïmeden, které se nachází v centrální části Vysokého Atlasu na území Maroka. Studie se zaměřuje na konkrétní archeologické lokality, užité výtvarné techniky, stylové charakteristiky a další specifi ka místního skalního umění. Zvláštní pozornost je věnována motivům, vývojovým proměnám a datování skalního umění v údolí Oukaïmeden. Skalní umění se zde poprvé objevuje v pozdním neolitu, poté je rozvíjeno v pozdní době bronzové a přetrvává až do libyjsko-berberského období. V další části studie je představena interpretace motivů skalního umění včetně analýzy funkce a smyslu jejich umístění v krajině. V této souvislosti je popsán blízký vztah skalního umění k transhumanci, která přetrvává v oblasti Vysokého Atlasu až do současnosti. Cílem studie je popis a interpretace skalního umění v údolí Oukaïmeden s důrazem na sezónní užití vysokohorských pastvin berberskými pastevci.KLÍČOVÁ SLOVA údolí Oukaïmeden; Vysoký Atlas; skalní umění; krajina, transhumance Ústav etnologie Filozo cké fakulty Univerzity Karlovy, nám. Jana Palacha 2, 116 38 Praha 1

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Contacts et échanges entre la péninsule Ibérique et le Nord-Ouest de l'Afrique durant les temps préhistoriques et protohistoriques

Souville¹

1998

crai

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Essai d'interprétation des gravures rupestres du Haut Atlas marocain

Cited by 3 publications

References 4 publications

First identification of non-human stencil hands at Wadi Sūra II (Egypt): A morphometric study for new insights into rock art symbolism

First identification of non-human stencil hands at Wadi Sūra II (Egypt): A morphometric study for new insights into rock art symbolism

New Findings on Rock Engravings in the Oukaïmeden Valley (High Atlas, Morocco) and Their Implications to the Local Transhumance

Contacts et échanges entre la péninsule Ibérique et le Nord-Ouest de l'Afrique durant les temps préhistoriques et protohistoriques

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