The Rock Art of Tassili Nã¢ââ¢ajjer Can Be Said to Depict Which of the Following?

National park in the Sahara Desert in Algeria

Tassili north'Ajjer

UNESCO World Heritage Site
Aerial photograph of Tassili north'Ajjer
Location	Algeria
Includes	Tassili National Park, La Vallée d'Iherir Ramsar Wetland
Criteria	Cultural and Natural: (i), (iii), (7), (8)
Reference	179
Inscription	1982 (sixth Session)
Area	seven,200,000 ha (28,000 sq mi)
Coordinates	25°30′N 9°0′E  /  25.500°North nine.000°Eastward  / 25.500; 9.000 Coordinates: 25°thirty′N 9°0′E  /  25.500°N ix.000°E  / 25.500; 9.000
IUCN category Two (national park)
Location	Tamanrasset Province, Algeria
Established	1972
Ramsar Wetland
Official name	La Vallée d'Iherir
Designated	2 February 2001
Reference no.	1057[1]
Location of Tassili northward'Ajjer in Algeria

Tassili northward'Ajjer (Berber: Tassili northward Ajjer, Standard 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 most important groupings of prehistoric cave art in the globe,^{[two] [3]} and roofing an expanse of more than 72,000 km² (28,000 sq mi),^[4] Tassili due north'Ajjer was inducted into the UNESCO World Heritage Site listing in 1982 past Gonde Hontigifa.

Geography [edit]

Tassili n'Ajjer is a vast plateau in southeastern Algeria at the borders of Libya, Niger, and Mali, covering an area of 72,000 km².^[2] It ranges from 26°20′N 5°00′East  /  26.333°N 5.000°Eastward  / 26.333; five.000 due east-south-east to 24°00′N 10°00′E  /  24.000°Northward x.000°E  / 24.000; 10.000 . Its highest point is the Adrar Afao that peaks at 2,158 m (vii,080 ft), located at 25°10′North 8°11′E  /  25.167°North 8.183°Due east  / 25.167; 8.183 . The nearest boondocks is Djanet, situated approximately 10 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 Globe Heritage Site listing as Tassili northward'Ajjer National Park.^[5]

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

Geology [edit]

Landsat multilayer prototype of Tassili n'Ajjer

The range is composed largely of sandstone.^[viii] The sandstone is stained by a thin outer layer of deposited metallic oxides that color the rock formations variously from virtually-black to wearisome red.^[8] Erosion in the expanse has resulted in about 300 natural rock arches existence formed in the s east, along with deep gorges and permanent water pools in the north.

Ecology [edit]

Because of the distance and the h2o-belongings properties 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 one-half of the range.^[8] The Tassili Cypress is one of the oldest copse in the world after the bristlecone pines of the western US.^[three]

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

Relict populations of the W African crocodile persisted in the Tassili north'Ajjer until the twentieth century.^[10] Various other fauna still reside on the plateau, including Barbary sheep, the only surviving blazon of the larger mammals depicted in the rock paintings of the expanse.^[viii]

Archaeology [edit]

Background [edit]

Algerian stone art has been subject to European written report since 1863, with surveys conducted by "A. Pomel (1893-1898), Stéphane Gsell (1901-1927), G. B. K. Flamand (1892-1921), Leo Frobenius and Hugo Obermaier (1925), Henri Breuil (1931-1957), 50. Joleaud (1918-1938), and Raymond Vaufrey (1935-1955)."^[11]

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

Current archaeological interpretation [edit]

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

The transition to pastoralism following the African Boiling period during the early on Holocene is reflected in Tassili n'Ajjer'due south archaeological material record, rock art, and zooarchaeology. Further, the occupation of Tassili is office of a larger movement and climate shift within the Central Sahara. Paleoclimatic and paleoenvironment studies started in the Central Sahara around fourteen,000 BP, and so proceeded by an barren catamenia that resulted in narrow ecological niches.^[16] All the same, the climate was non consistent and the Sahara was separate betwixt the arid lowlands and the humid highlands. Archaeological excavations confirm that human being occupation, in the form of hunter-assemble groups, occurred between 10,000 and 7,500 BP; following 7,500 BP, humans began to organize into pastoral groups in response to the increasingly unpredictable climate.^[17] There was a dry period from 7900 and 7200 BP in Tassili^[xviii] that preceded the appearance of the first pastoral groups, which is consequent with other parts of the Saharan-Sahelian chugalug.^[19] The pre-Pastoral pottery excavated from Tassili dates around 9,000 - 8,500 BP, while the Pastoral pottery is from 7,100 - 6000 BP.^[xx]

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

Prehistoric art [edit]

The rock germination is an archaeological site, noted for its numerous prehistoric parietal works of rock art, showtime reported in 1910,^[4] that date to the early on Neolithic era at the end of the last glacial catamenia during which the Sahara was a habitable savanna rather than the current desert. Although sources vary considerably, the earliest pieces of art are presumed to be 12,000 years old.^{[23] [24]} The vast majority date to the ninth and 10th millennia BP or younger, according to OSL dating of associated sediments.^[25] The art was dated by gathering minor fragments of the painted panels that had dried out and flaked off earlier existence buried.^[26] Amongst the 15,000 engravings and so far identified, the subjects depicted are large wild animals including antelopes and crocodiles, cattle herds, and humans who appoint in activities such as hunting and dancing.^[eight] These paintings are some of the earliest Central Saharan paintings, and occur in the largest concentration at Tassili.^[xvi] Although Algeria is relatively close to the Iberian Peninsula, the rock art of Tassili n'Ajjer evolved separately from that of the European tradition.^[27] According to UNESCO, "The exceptional density of paintings and engravings...have made Tassili world famous."^[28]

Similar to other Saharan sites with rock art, Tassili tin can be separated into five distinct traditions: Archaic (ten,000 to 7,500 BCE), Circular Head (7550 to 5050 BCE), Bovidian or Pastoral (4,500 to 4,000 BCE), Horse (from 2,000 BCE and fifty CE), and Camel (1000 BCE and onward).

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

The Round Head Menses 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 rock paintings in Africa; i human effigy stands over five meters and another at three and a half meters. The unique depiction of floating figures with round, featureless heads and formless bodies appear to be floating on the rock 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 eye for ritual, rites, and ceremonies.^[11] Near animals shown are mouflon and antelope, usually in static positions that do non announced to be role of a hunting scene.

The Bovidian/Pastoral menstruation correlates with the arrival of domesticated cattle into the Sahara, and the gradual shift to mobile pastoralism. There is a notable and visual deviation between the Pastoral period and the before ii periods, congruent with the aridification of the Sahara. There is increased stylistic variation, implying the movement of unlike cultural groups within the area. Domesticated animals such as cattle, sheep, caprine animal, and dogs are depicted, paralleling the zooarchaeological record of the area. The scenes reference diversified communities of herders, hunters with bows, equally well as women and children, and imply a growing stratification of social club 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 than with hunting than warfare.^[11] Inscriptions of Libyan-Berber script, used past ancestral Berber peoples, appear side by side to the images, however the text is completely indecipherable.

The last period is defined by the advent of camels, which replaced donkeys and cattle equally the primary mode of transportation beyond the Sahara.^[xxx] The arrival of camels coincides with the development of long distance merchandise routes used by caravans to transport table salt, goods, and enslaved people across the Sahara. Men, both mounted and unmounted, with shields, spears, and swords are present. Animals including cows and goats are included, merely wildlife were crudely rendered.

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

A notable piece mutual in bookish writing is the "Running Horned Woman," besides known equally the "Horned Goddess," from the round head period.^[32] The image depicts a female figure with horns in midstride; dots adorn her torso and limbs, and she is dressed in fringed armbands, a brim, leg bands, and anklets. Co-ordinate to Arisika Razak, Tassili's Horned Goddess is an early example of the "African Sacred Feminine."^[32] Her femininity, fertility, and connexion to nature are emphasized while the Neolithic artist superimposes the figure onto smaller, older figures. The use of bull horns is a common theme in later circular head 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 not only at Tassili, but at other nearby sites in Libya.^[34]

Fungoid stone fine art [edit]

In 1989, the psychedelics researcher Giorgio Samorini proposed the theory that the fungoid-similar 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 land:^[35]

One of the almost important scenes is to be institute in the Tin-Tazarift rock art site, at Tassili, in which nosotros discover a series of masked figures in line and hieratically dressed or dressed equally dancers surrounded by long and lively festoons of geometrical designs of unlike kinds... Each dancer holds a mushroom-similar object in the right manus and, even more surprising, two parallel lines come up out of this object to reach the fundamental part of the head of the dancer, the area of the roots of the ii horns. This double line could signify an indirect association or non-material fluid passing from the object held in the correct paw and the mind. This interpretation would coincide with the mushroom estimation if nosotros carry in mind 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 – represent the event that the mushroom has on the human mind... In a shelter in Tin – Abouteka, in Tassili, there is a motif appearing at least twice which associates mushrooms and fish; a unique association of symbols among ethno-mycological cultures... Two mushrooms are depicted reverse each other, in a perpendicular position with regard to the fish motif and near the tail. Non far from hither, in a higher place, nosotros find other fish which are similar to the aforementioned, just without the side-mushrooms.

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

The painting that best supports the mushroom hypothesis is the Tassili mushroom figure Matalem-Amazar where the body 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 ancient episode where a "mushroom shaman" was cached while fully-clothed and when unearthed some time later, tiny mushrooms would be growing on the wearing apparel. Earl Lee considered the mushroom paintings at Tassili fairly realistic.^[37]

According 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 information technology realistic.^[38]

In popular culture [edit]

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

Gallery [edit]

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

• 

  Very high stone columns
  photo taken from xxx 000 ft

• 

  Delineation of a dancing or seated human

• 

  Dunes at Tassili n'Ajjer

• 

  Surrounding desert

• 

  Local cypresses

• 

  Sandstone rocks and cliffs

• 

  Ritual figure or shaman

• 

  Human being figures

• 

  Human figures

• 

  Human figures

• 

  Man figures with bows

The rock engravings of Can-Taghirt [edit]

The Tin-Taghirt site is located in the Tassili n'Ajjer betwixt the cities of Dider and Iherir.

• 

  An ostrich

• 

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

• 

  Bubalus antiquus

• 

  Footprints

• 

  Homo beings

See also [edit]

• Listing of Stone Historic period art
• List of cultural assets of Algeria
• Sebiba

References [edit]

1. ^ "La Vallée d'Iherir". Ramsar Sites Data Service . Retrieved 25 April 2018.
2. ^ ^{a b} Center, UNESCO World Heritage (11 Oct 2017). "Tassili n'Ajjer". UNESCO World Heritage Centre.
3. ^ ^{a b c} "Stone Art of the Tassili northward Ajjer, Algeria" (PDF). Africanrockart.org. Retrieved February 7, 2017.
4. ^ ^{a b} "Tassili-due north-Ajjer". britannica. Retrieved February 7, 2017.
5. ^ "Tassili north'Ajjer National Park, Djanet". People's democratic republic of algeria.com. Retrieved February vii, 2017.
6. ^ "Tassili National Park, Sahara Algeria". Archmillennium.net. Retrieved 2012-12-16 .
7. ^ Willcox, A. R. (2018-01-29). The Rock Art of Africa. Routledge. ISBN978-1-315-51535-9.
8. ^ ^{a b c d due east} Scheffel, Richard 50.; Wernet, Susan J., eds. (1980). Natural Wonders of the World. United states of america 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 pic, dont la direction générale est Sud-Nord. C'est d'ailleurs ce qui lui a valu le nom de Tassili-due north-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 direction is South-North. This is what earned it the proper name of Tassili-n-Ajjer, name that comes from the Tuareg words: Tasilé = plateau and gir= rivers, which means: the plateau of rivers.
10. ^ "Crocodiles in the Sahara Desert: An Update of Distribution, Habitats and Population Status for Conservation Planning in Islamic republic of mauritania". PLOS ONE. 25 Feb 2011.
11. ^ ^{a b c d} "Algeria". africanrockart.britishmuseum.org . Retrieved 2021-04-x .
12. ^ Henri., Lhote (1973). The search for the Tassili frescoes: the story of the prehistoric rock-paintings of the Sahara. Hutchinson. ISBN0-09-112380-i. OCLC 667687.
13. ^ Jean-Dominique., Lajoux (1962). Merveilles du Tassili North'Ajjer. Ed. du Chêne. OCLC 604199955.
14. ^ Keenan, Jeremy (2004). The bottom gods of the Sahara : social change and contested terrain among the Tuareg of People's democratic republic of algeria. London: Frank Cass. ISBN0-203-32762-4. OCLC 62269179.
15. ^ "Saharan Stone Art: Archaeology of Tassilian Pastoralist Iconography. Augustin F. C. Holl". Journal of Anthropological Research. 61 (4): 541–542. December 2005. doi:10.1086/jar.61.4.3631543. ISSN 0091-7710.
16. ^ ^{a b} Soukopova, Jitka (Jan 2011). "The Earliest Rock Paintings of the Central Sahara: Approaching Interpretation". Fourth dimension and Listen. four (2): 193–216. doi:10.2752/175169711x12961583765333. ISSN 1751-696X. S2CID 143429582.
17. ^ Fagan, Brian Chiliad. (1967). "Radiocarbon Dates for Sub-Saharan Africa: V". The Journal of African History. 8 (3): 513–527. doi:10.1017/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 and Mid-Holocene Saharan Pottery". Radiocarbon. 55 (iii): 1391–1402. doi:ten.1017/S0033822200048323. ISSN 0033-8222. S2CID 102344276.
19. ^ Garcea, Elena A.A.; Wang, Hong; Chaix, Louis (2016). "High-Precision Radiocarbon Dating Awarding to Multi-proxy Organic Materials From Tardily Foraging To Early on Pastoral Sites In Upper Nubia, Sudan". Journal of African Archæology. 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). "Direct 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 Prototype Making: Stone Art from the Dhar Tichitt (Islamic republic of mauritania)". The African Archaeological Review. nineteen (2): 75–118. doi:x.1023/A:1015479826570. hdl:2027.42/43991. ISSN 0263-0338. JSTOR 25130740. S2CID 54741966.
22. ^ LAMP, FREDERICK JOHN (2011). "Aboriginal Terracotta Figures from Northern Nigeria". Yale University Art Gallery Bulletin: 48–57. ISSN 0084-3539. JSTOR 41421509.
23. ^ "Tassili N'Ajjer (Algeria)". Africanworldheritagesites.org. Retrieved February 7, 2017.
24. ^ David Coulson and Alec Campbell. "Rock Art of the Tassili northward 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 quaternary deposits associated with the parietal art of the Tassili-n-Ajjer plateau (Central Sahara)". Quaternary Geochronology. x: 367–373. doi:10.1016/j.quageo.2011.11.010.
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 Art: Tassili-north-Ajjer (?8000 B.C.-?)". www.metmuseum.org. October 2000. Retrieved 2021-03-05 . {{cite web}}: CS1 maint: url-status (link)
28. ^ "Tassili n'Ajer". UNESCO World Heritage Centre. Retrieved seven March 2013.
29. ^ Muzzolini, Alfred (2001). Whitley, David (ed.). ""Saharan Africa"". Handbook of Rock Fine art Research. Altamira Printing: 605–636.
30. ^ "African Stone Art: Tassili-north-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 'due south Bodies and the African Sacred Feminine". International Journal of Transpersonal Studies. 35 (i): 129–147. doi:10.24972/ijts.2016.35.ane.129. ISSN 1321-0122.
33. ^ JELÍNEK, Jan (1982). "Afarrh and the Origin of the Saharan Cattle Domestication". Anthropologie (1962-). twenty (i): 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 Stone Art of Tadrart Akakus (SW Libya, Central Sahara)". Journal of African Archaeology. 9 (2): 159–175. doi:10.3213/2191-5784-10198. ISSN 1612-1651. JSTOR 43135548.
35. ^ ^{a b} Giorgio Samorini, The oldest representations of hallucinogenic mushrooms in the world, Artepreistorica.com, December 2009 (get-go published in 1992)
36. ^ McKenna, Terence (1992). Food of the Gods. United States 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 Cavern In Spain Contains the Earliest Known Depictions of Mushrooms, Mushroomthejournal.com, 6 January 2015
39. ^ Guzmán, Gastón (July 2012). "New taxonomical and ethnomycological observations on Psilocybe south.s. (Fungi, Basidiomycota, Agaricomycetidae, Agaricales, Strophariaceae) from Mexico, Africa and Spain". 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 Academy Printing.
• Bradley, R (2000) An archaeology of natural places London, Routledge.
• Bruce-Lockhart, J and Wright, J (2000) Difficult and Dangerous Roads: Hugh Clapperton's Travels in the Sahara and Fezzan 1822-1825
• Chippindale, Chris and Tacon, S-C (eds) (1998) The Archeology of Rock Art Cambridge, Cambridge University Printing.
• Clottes, J. (2002): World Rock Art. Los Angeles: Getty Publications.
• Coulson, D and Campbell, Alec (2001) African Rock Art: Paintings and Engravings on Rock New York, Harry N Abrams.
• Frison-Roche, Roger (1965) Carnets Sahariens Paris, Flammarion
• Holl, Augustin F.C. (2004) Saharan Rock Art, Archaeology of Tassilian Pastoralist Icongraphy
• Lajoux, Jean-Dominique (1977) Tassili north'Ajjer: Art Rupestre du Sahara Préhistorique Paris, Le Chêne.
• Lajoux, Jean-Dominique (1962), Merveilles du Tassili n'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 Rock Art Research New York: Altamira Press.

External links [edit]

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

bearuther1997.blogspot.com

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

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