Academia.eduAcademia.edu

Figure 3 – uploaded by Andras Zboray

See full PDFdownloadDownload figure
While identifying the curved objects as throwing knives appears plausible given the depic-

Figure 3 While identifying the curved objects as throwing knives appears plausible given the depic-

Related Figures (13)

This locality is the first to be encountered if ascending the Tagelahin plateau from ITherir, lying about three kilometers to the west of the pass, and one kilometer and a half to the south of the Tahilahi shelter already known since 1950 (Breuil, 1954). It was first reported by Jean-Dominique Lajoux (1962), who published several photographs of scenes from two different shelters he visited in 1960 or 1961 (Lajoux 2012). One of these photos depicts striking human figures with zebra-striped body decoration. The image caption mentions an elephant in outline in the same shelter (Lajoux 1962: 171), but gives no further information on The scene is on the ceiling of a medium-sized shelter, quite far removed from other faint and damaged paintings depicting cattle and humans on the rear wall. On the spot, the human figures are quite hard to make out in the unfavorable light conditions, and only some incoherent traces of red paint may be discerned to the right of them (Fig. 1). * e-mail: andras@fjexpeditions.com
This locality is the first to be encountered if ascending the Tagelahin plateau from ITherir, lying about three kilometers to the west of the pass, and one kilometer and a half to the south of the Tahilahi shelter already known since 1950 (Breuil, 1954). It was first reported by Jean-Dominique Lajoux (1962), who published several photographs of scenes from two different shelters he visited in 1960 or 1961 (Lajoux 2012). One of these photos depicts striking human figures with zebra-striped body decoration. The image caption mentions an elephant in outline in the same shelter (Lajoux 1962: 171), but gives no further information on The scene is on the ceiling of a medium-sized shelter, quite far removed from other faint and damaged paintings depicting cattle and humans on the rear wall. On the spot, the human figures are quite hard to make out in the unfavorable light conditions, and only some incoherent traces of red paint may be discerned to the right of them (Fig. 1). * e-mail: andras@fjexpeditions.com
After processing with DStretch, it becomes evident that the incoherent blobs are actually an elephant, with a thin red body contour and a black infill that by now has almost completely disappeared (Fig. 2). ted scene, it also raises a number of questions. Such a weapon, made of wood with knapped stone blades fitted for the point and cutting edge (eg. Caton- Thompson & Gardner, 1934: plate XXVIII) would only be effective against smaller game. It is hard to conceive how without sufficient mass and momen- tum, it could penetrate the hide of an elephant, even on the softer trunk. A massive, sharp and pointed metal object thrown with a powerful force could achieve this, and such throwing knives made of iron were in general use among Saharan people in historic times, however there is no archaeological evidence to suggest that the Iheren people used any metals.
After processing with DStretch, it becomes evident that the incoherent blobs are actually an elephant, with a thin red body contour and a black infill that by now has almost completely disappeared (Fig. 2). ted scene, it also raises a number of questions. Such a weapon, made of wood with knapped stone blades fitted for the point and cutting edge (eg. Caton- Thompson & Gardner, 1934: plate XXVIII) would only be effective against smaller game. It is hard to conceive how without sufficient mass and momen- tum, it could penetrate the hide of an elephant, even on the softer trunk. A massive, sharp and pointed metal object thrown with a powerful force could achieve this, and such throwing knives made of iron were in general use among Saharan people in historic times, however there is no archaeological evidence to suggest that the Iheren people used any metals.
This large shelter is located about five kilo- metres south west of where the Djanet-Illizi
This large shelter is located about five kilo- metres south west of where the Djanet-Illizi
The Theren archer and the other figure published by Malika Hachid were located near to each other on the ceiling of the shelter, free from any recent Fig. 8. Elephant hunt scene at Tn_-FRtwami
The Theren archer and the other figure published by Malika Hachid were located near to each other on the ceiling of the shelter, free from any recent Fig. 8. Elephant hunt scene at Tn_-FRtwami
superimpositions. With the benefit of having already identified the previously described scenes, a faint dark elephant was noted immediately to the right of the archer and under the reclining figure. After a slight image enhancement, the scene becomes clear, with the elephant executed with the customary black paint. The archer at left is aiming his arrow at the charging elephant while other less distinct figures appear to attack the animal with spears among its legs (Fig.7). highway crosses the oued Tasset. It was also loca- ted during the 1970/71 winter Franco-Algerian expedition (Lhote, 1972), but only a very brief des- cription was given, probably on account of the fact that the majority of the older paintings on the rear wall of the shelter are obscured by recent superim- positions of camels and tifinagh inscriptions. Some better preserved scenes were published by Jiirgen Kunz (1978), Malika Hachid (2000) and Brigitte C. Hallier (2010), including an Theren style lion hunt. Malika Hachid also published a fine Iheren style archer and another reclining figure adjacent to a sheep (2000: Fig. 70, 101), but nothing is provided of their context.
superimpositions. With the benefit of having already identified the previously described scenes, a faint dark elephant was noted immediately to the right of the archer and under the reclining figure. After a slight image enhancement, the scene becomes clear, with the elephant executed with the customary black paint. The archer at left is aiming his arrow at the charging elephant while other less distinct figures appear to attack the animal with spears among its legs (Fig.7). highway crosses the oued Tasset. It was also loca- ted during the 1970/71 winter Franco-Algerian expedition (Lhote, 1972), but only a very brief des- cription was given, probably on account of the fact that the majority of the older paintings on the rear wall of the shelter are obscured by recent superim- positions of camels and tifinagh inscriptions. Some better preserved scenes were published by Jiirgen Kunz (1978), Malika Hachid (2000) and Brigitte C. Hallier (2010), including an Theren style lion hunt. Malika Hachid also published a fine Iheren style archer and another reclining figure adjacent to a sheep (2000: Fig. 70, 101), but nothing is provided of their context.
At the Thetsen shelter, about twenty five kilom- eters to the east of Iherir, there is a further remark- able Iheren style elephant hunt scene (Fig. 15), with two elephants being surrounded by more than forty hunters, wielding throwing knives and bows (Gianelli & Maestrucci, 2010). Here too, the elephants are executed in a dark grey/black colour with red outline, while the human figures are in the usual red outline with polychrome body decorations. Fig.9. Idem Fig.8, processed with DStretch_LDS. nating from the trunk of the animal at the impact points of the arrows (which are not visible), very similar to the already presented scene at Issalamen.
At the Thetsen shelter, about twenty five kilom- eters to the east of Iherir, there is a further remark- able Iheren style elephant hunt scene (Fig. 15), with two elephants being surrounded by more than forty hunters, wielding throwing knives and bows (Gianelli & Maestrucci, 2010). Here too, the elephants are executed in a dark grey/black colour with red outline, while the human figures are in the usual red outline with polychrome body decorations. Fig.9. Idem Fig.8, processed with DStretch_LDS. nating from the trunk of the animal at the impact points of the arrows (which are not visible), very similar to the already presented scene at Issalamen.
At the mostly unpublished Baidakoré shelter located at the foot of the Fadnun plateau just off the Djanet — Ilizi road (Lhote 1972, Kunz 1979), there is also a very fine pair of Iheren style elephants executed in red outline only, though here the hunt- ing element appears to be absent (Fig. 16). There is a second very damaged scene in the same shelter Fig. 10. Detail of Fig. 8, running archers turning backwards to fire arrows (note streaks of blood emanating from the trunk of the elephant at lower right (DStretch_CRGB).
At the mostly unpublished Baidakoré shelter located at the foot of the Fadnun plateau just off the Djanet — Ilizi road (Lhote 1972, Kunz 1979), there is also a very fine pair of Iheren style elephants executed in red outline only, though here the hunt- ing element appears to be absent (Fig. 16). There is a second very damaged scene in the same shelter Fig. 10. Detail of Fig. 8, running archers turning backwards to fire arrows (note streaks of blood emanating from the trunk of the elephant at lower right (DStretch_CRGB).
A similar well known lion hunt scene may be seen in the principal Iheren shelter (eg. Muzzolini 1995:Fig.131), and at the Tedar (Kunz 1979: Fig. 18/1) and Ti-n-Aresu shelters (Fig. 19 ; Gouarat, 1993 Pl. O). With the exception of the Tikadiwin shelter (Muzzolini & Boccazzi 1991), where the tar- get of the central hunt scene are giraffes, in all other principal Iheren style sites there is a prominent scene depicting the hunt of either lion or elephant. Neither animals may be considered a primary food source (which was readily available in any case from the cattle and sheep depicted in large numbers), and the hunt of both animals with hand weapons involves considerable personal risk. A likely and plausible explanation is that these scenes represent rites of passage or other «demonstrations of power», their prominent place in all the main Iheren style sites suggests that such hunts were an important part of social activities despite the pastoralist economy. There is a further comparable scene in the Theren II shelter itself. Henri Lhote already men- tioned the presence of a lion among he paintings (1972), it is very faint and seems to have gone unnoticed by other authors. DStretch® reveals that there are in fact two lions, not one, seated in identi- cal postures (Fig. 17). There is a group of elaborate human figures which in part flee from, and in part attack the lions with throwing knives (Fig. 18). The entire scene was copied by Abdelaziz Benzodmi (though he failed to note the second lion) in 1970 (MNHN 70-18), however it remained unpublished until recently (Musée de Louviers, 2014). Other authors only observed the group of human figures, which were either considered to be dancing or engaged in a ritual fight (Muzzolini 1995, Hallier & Hallier 2012), not realizing the full context of the figures, very similar in layout to the other elephant hunting scenes. However, Ulrich W. and Brigitte
A similar well known lion hunt scene may be seen in the principal Iheren shelter (eg. Muzzolini 1995:Fig.131), and at the Tedar (Kunz 1979: Fig. 18/1) and Ti-n-Aresu shelters (Fig. 19 ; Gouarat, 1993 Pl. O). With the exception of the Tikadiwin shelter (Muzzolini & Boccazzi 1991), where the tar- get of the central hunt scene are giraffes, in all other principal Iheren style sites there is a prominent scene depicting the hunt of either lion or elephant. Neither animals may be considered a primary food source (which was readily available in any case from the cattle and sheep depicted in large numbers), and the hunt of both animals with hand weapons involves considerable personal risk. A likely and plausible explanation is that these scenes represent rites of passage or other «demonstrations of power», their prominent place in all the main Iheren style sites suggests that such hunts were an important part of social activities despite the pastoralist economy. There is a further comparable scene in the Theren II shelter itself. Henri Lhote already men- tioned the presence of a lion among he paintings (1972), it is very faint and seems to have gone unnoticed by other authors. DStretch® reveals that there are in fact two lions, not one, seated in identi- cal postures (Fig. 17). There is a group of elaborate human figures which in part flee from, and in part attack the lions with throwing knives (Fig. 18). The entire scene was copied by Abdelaziz Benzodmi (though he failed to note the second lion) in 1970 (MNHN 70-18), however it remained unpublished until recently (Musée de Louviers, 2014). Other authors only observed the group of human figures, which were either considered to be dancing or engaged in a ritual fight (Muzzolini 1995, Hallier & Hallier 2012), not realizing the full context of the figures, very similar in layout to the other elephant hunting scenes. However, Ulrich W. and Brigitte
where only some legs of an elephant may be dis- cerned in association with an Theren style human figure, this too may have been an elephant hunt scene.
where only some legs of an elephant may be dis- cerned in association with an Theren style human figure, this too may have been an elephant hunt scene.
Fig. 16. Pair of Theren style ele- phants at Baidakoré (DStretch_YRE). C. Hallier did observe that the curved objects have pointed ends, and «probably did not serve as throwing sticks, but rather as pointed weapons for stinging purposes».
Fig. 16. Pair of Theren style ele- phants at Baidakoré (DStretch_YRE). C. Hallier did observe that the curved objects have pointed ends, and «probably did not serve as throwing sticks, but rather as pointed weapons for stinging purposes».
Fig.19. Lion hunt scene at Ti-n-Aresu (photo Jean-Loic Le Quellec). Photos from the author unless otherwise specified.
Fig.19. Lion hunt scene at Ti-n-Aresu (photo Jean-Loic Le Quellec). Photos from the author unless otherwise specified.
Related topics:
Rock Art (Archaeology)Rock Art
580 California St., Suite 400
San Francisco, CA, 94104
© 2025 Academia. All rights reserved