Tassili n'Ajjer (Berber:Tassili n Ajjer,Arabic:طاسيلي ناجر,romanized: ṭāssīlī naʾjir; "Plateau of rivers") is a mountain range in theSahara desert, located in south-easternAlgeria. It holds one of the most important groupings ofprehistoric cave art in the world,[2][3] and covers an area of more than 72,000 km2 (28,000 sq mi),[4]
The plateau is of great geological and aesthetic interest. Its panorama of geological formations of rock forests, composed of eroded sandstone, resembles a lunar landscape and hosts a range of rock art styles.[7][8]
The range is composed largely ofsandstone.[9] The sandstone is stained by a thin outer layer of depositedmetallic oxides that colour the rock formations variously from near-black to dull red.[9] Erosion in the area has resulted in nearly 300natural rock arches being formed in the south east, along with deep gorges and permanent water pools in the north.
An isolated population of theWest African crocodile survived in Tassili n'Ajjer until the twentieth century; today, the species is primarily found in more tropical and sub-Saharan regions ofWestern andCentral Africa, fromSenegal toChad.[10] The aoudad, orBarbary sheep, is the only extant species of animal depicted in the area's ancient rock artwork.[9]
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 andHugo Obermaier (1925),Henri Breuil (1931–1957), L. Joleaud (1918–1938), and Raymond Vaufrey (1935–1955)."[12]
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, particularly Lieutenant Charles Brenans in the 1930s.[12] He brought with him French archaeologistHenri Lhote, who would later return during 1956–1957, 1959, 1962, and 1970.[13] Lhote's expeditions have been heavily criticized, with his team accused of faking images and of damaging paintings in brightening them for tracing and photography, which resulted in reducing the original colors beyond repair.[14][15]
The site of Tassili was primarily occupied during theNeolithic period bytranshumant pastoralist groups whose lifestyle benefited both humans and livestock. The local geography, elevation, and natural resources were optimal conditions for dry-season camping of small groups. Thewadis 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 stonetumuli and hearths dating between 6000 and 4000 BCE. The lowland locations appear to have been used as living sites, specifically during the rainy season.[16] There are numerous rock shelters within 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 following theAfrican Humid period during the earlyHolocene is reflected in Tassili n'Ajjer's archaeological material record, rock art, and zooarchaeology. Further, the occupation of Tassili is part of a larger movement and climate shift within the Central Sahara. Paleoclimatic and paleoenvironment studies started in the Central Sahara around 14,000 BP and then proceeded by an arid period that resulted in narrow ecological niches.[17] However, the climate was not consistent and the Sahara was split between the arid lowlands and the humid highlands. Archaeological excavations confirm that human occupation, in the form of hunter-gather groups, occurred between 10,000 and 7500 BP; following 7500 BP, humans began to organize into pastoral groups in response to the increasingly unpredictable climate.[18] There was a dry period from 7900 and 7200 BP in Tassili[19] that preceded the appearance of the first pastoral groups, which is consistent with other parts of the Saharan-Sahelian belt.[20] The pre-Pastoral pottery excavated from Tassili dates around 9,000–8,500 BP, while the Pastoral pottery is from 7100–6000 BP.[21]
The rock art at Tassili is used in conjunction with other sites, includingDhar Tichitt in Mauritania,[22] to study the development ofanimal husbandry and trans-Saharan travel in North Africa. Cattle were herded across vast areas as early as 3000–2000 BCE, reflecting the origins and spread ofpastoralism in the area. This was followed by horses (before 1000 BCE) and then the camel in the next millennium.[23] The arrival of camels reflects the increased development of trans-Saharan trade, as camels were primarily used as transport in trade caravans.
The rock formation is anarchaeological site, noted for its numerousprehistoricparietal works ofrock art, first reported in 1910,[4] that date to the earlyNeolithic era at the end of thelast glacial period during which the Sahara was a habitablesavanna rather than the current desert. Although sources vary considerably, the earliest pieces of art are presumed to be 12,000 years old.[24][25] The vast majority date to the ninth and tenthmillenniaBP or younger, according toOSL dating of associated sediments.[26] The art was dated by gathering small fragments of the painted panels that had dried out and flaked off before being buried.[27] Among the 15,000 engravings so far identified, the subjects depicted are large wild animals including antelopes and crocodiles, cattle herds, and humans who engage in activities such as hunting and dancing.[9] These paintings are some of the earliest by Central Saharan artists, and occur in the largest concentration at Tassili.[17] Although Algeria is relatively close to the Iberian Peninsula, the rock art of Tassili n'Ajjer evolved separately from that of the European tradition.[28] According toUNESCO, "The exceptional density ofpaintings andengravings...have madeTassili world famous."[29]
Similar to other Saharan sites with rock art, Tassili can be separated into five distinct traditions: Archaic (10,000 to 7500 BCE), Round Head (7550 to 5050 BCE), Bovidian or Pastoral (4500 to 4000 BCE), Horse (from 2000 BCE and 50 CE), and Camel (1000 BCE and onward).
The Archaic period consists primarily of wild animals that lived in the Sahara during the Early Holocene. These works are attributed to hunter-gather peoples, consisting of only etchings. Images are primarily of larger animals, depicted in a naturalistic manner, with the occasional geometric pattern and the human figure. Usually, the humans and animals are depicted within the context of a hunting scene.
TheRound Head Period is associated with specific stylistic choices depicting humanoid forms and is well separated from the Archaic tradition even though hunter-gatherers were the artists for both.[30] The art consists mainly of paintings, with some of the oldest and largest exposed rock paintings in Africa; one human figure 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 center of ritual, rites, and ceremonies.[12] Most animals shown aremouflon andantelope, usually in static positions that do not appear to be part of a hunting scene.
The Bovidian/Pastoral period correlates with the arrival of domesticated cattle into the Sahara and the gradual shift to mobile pastoralism. There is a notable and visual difference between the Pastoral period and the earlier two periods, coinciding with the aridification of the Sahara. There is increased stylistic variation, implying the movement of different cultural groups within the area. Domesticated animals such as cattle, sheep, goats, and dogs are depicted, paralleling the zooarchaeological record of the area. The scenes reference diversified communities of herders, hunters with bows, as well as women and children, and imply a growing stratification of society based on property.
The following Horse traditions correspond with the complete desertification of the Sahara and the requirement for 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.[12] Inscriptions of Libyan-Berber script, used by ancestral Berber peoples, appear next to the images, however, the text is completely indecipherable.
The last period is defined by the appearance of camels, which replaced donkeys and cattle as the main mode of transportation across the Sahara.[31] The arrival of camels coincides with the development of long-distance trade routes used by caravans to transport 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, but wild animals were crudely rendered.
Although these periods are successive the timeframes are flexible and are consistently being reconstructed by archaeologists as technology and interpretation develop. The art had been dated by archaeologists who gathered fallen fragments and debris from the rock face.[32]
A notable piece common in academic writing is the "Running Horned Woman," also known as the "Horned Goddess," from the round head period.[33] The image depicts a female figure 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."[33] 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 common theme in later round head paintings, which reflects the steady integration of domesticated cattle into Saharan daily life. Cattle imagery, specifically that of bulls,[34] became a central theme in not only at Tassili, but at other nearby sites in Libya.[35]
In 1989, the psychedelics researcherGiorgio 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 land:[36]
One of the most important scenes is to be found in the Tin-Tazarift rock art site, at Tassili, in which we find a series of masked figures in line and hieratically dressed or dressed as dancers surrounded by long and lively festoons of geometrical designs of different kinds... Each dancer holds a mushroom-like object in the right hand and, even more surprising, two parallel lines come out of this object to reach the central part of the head of the dancer, the area of the roots of the two horns. This double line could signify an indirect association or non-material 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 mind the universal mental value induced by hallucinogenic mushrooms and vegetals, which is often of a mystical and spiritual nature (Dobkin de Rios, 1984:194). It would seem that these lines – in themselves an ideogram that represents something non-material in ancient art – represent the effect that the mushroom has on the human mind... In a shelter in Tin – Abouteka, in Tassili, there is a motif appearing at least twice that associates mushrooms and fish; a unique association of symbols among ethno-mycological cultures... Two mushrooms are depicted opposite each other, in a perpendicular position about the fish motif and near the tail. Not far from here, above, we find other fish which are similar to the aforementioned, but without the side-mushrooms.
This theory was reused byTerence McKenna in his 1992 bookFood of the Gods, hypothesizing that theNeolithic culture that inhabited the site used psilocybin mushrooms as part of its religious ritual life, citing rock paintings showing persons holding mushroom-like objects in their hands, as well as mushrooms growing from their bodies.[37] ForHenri Lhote, who discovered the Tassili caves in the late 1950s, these were obviously secret sanctuaries.[36]
The painting that best supports the mushroom hypothesis is theTassili mushroom figure Matalem-Amazar where the body of the represented shaman is covered with mushrooms. According to Earl Lee in his bookFrom 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 buried while fully clothed and when unearthed sometime later, tiny mushrooms would be growing on the clothes. Earl Lee considered the mushroom paintings at Tassili fairly realistic.[38]
According to Brian Akers, writer for theMushroom journal, the fungoid rock art in Tassili does not resemble the representations of thePsilocybe hispanica in theSelva Pascuala caves (2015), and he doesn't consider it realistic.[39]
Tassili is the recording location and the title of a 2011 album by theTuareg bandTinariwen.
Tassili Plain is a track on the 1994 albumNatural Wonders of the World in Dub bydub groupZion Train.
InFate/Extella: The Umbral Star, the character Altera is actually a shattered form of the deity known as Sefar, which is based on one of the drawings made in the cave group and is known in the story also as The White Titan of Tassili n'Ajjer
^abCentre, UNESCO World Heritage (11 Oct 2017)."Tassili n'Ajjer".UNESCO World Heritage Centre.Archived from the original on 4 April 2022. Retrieved26 December 2019.
^Pan-African Congress on Prehistory (in French). Kraus Reprint. 1977. p. 68.Archived from the original on 2024-05-21. Retrieved2019-08-01.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-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 direction is South-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 means: the plateau of rivers.
^abcdeScheffel, 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.
^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.10:367–373.Bibcode:2012QuGeo..10..367M.doi:10.1016/j.quageo.2011.11.010.
![Anonymous reproduction of the Tassili Mushroom Figure Matalem-Amazar found in Tassili.[40]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aTassili_mushroom_man_Matalem-Amazar.png)
