Institut für Ur- und Frühgeschichte der Universität zu Köln
Forschungsstelle Afrika
26 A F R I C A P R A E H I S T O R I C A
Monographien zur Archäologie und Umwelt Afrikas
Monographs on African Archaeology and Environment
Monographies sur l’Archéologie et l’Environnement d’Afrique
Edited by Rudolph Kuper
K Ö L N 2 0 1 3 Rudolph Kuper
Wadi Sura – The Cave of Beasts
A rock art site in the Gilf Kebir (SW-Egypt)
In collaboration with Franziska Bartz, Erik Büttner, Frank Darius, Frank Förster, Lutz Hermsdorf-Knauth, Sabine Krause, Hans Leisen, Heiko Riemer, Jürgen Seidel and András Zboray
H E I N R I C H - B A R T H - I N S T I T U T © HEINRICH-BARTH-INSTITUT e. V., Köln 2013 Jennerstraße 8, D–50823 Köln http:// www.hbi-ev.uni-koeln.de
This book is in copyright. No reproduction of any part may take place without the written permission of the publisher
Bibliographic information published by Die Deutsche Bibliothek
The Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the Internet at http:// dnb.ddb.de
Photo documentation: Jürgen Seidel
3D laserscanning: Erik Büttner
Data processing: Reinhold Goss
Image rectification: Sabine Krause Marie-Helen Scheid
Printed in Germany by Hans Kock GmbH, Bielefeld Typeset and layout: Lutz Hermsdorf-Knauth, Heiko Riemer
ISSN 0947-2673 ISBN 978-3-927688-40-7 Contents
Foreword ...... 8
Part I Rudolph Kuper From nowhere to Hollywood – The story of Wadi Sura ...... 12
András Zboray Wadi Sura in the context of regional rock art ...... 18
Frank Förster & Rudolph Kuper Catching the Beasts – Myths and messages in rock art ...... 24
Rudolph Kuper The Cologne Wadi Sura Project ...... 28
Heiko Riemer & Franziska Bartz The archaeological survey: Landscape and context of Wadi Sura’s rock art ...... 32
Heiko Riemer Dating the rock art of Wadi Sura ...... 38
Hans Leisen, Sabine Krause, Heiko Riemer, Jürgen Seidel & Erik Büttner New and integral approaches to rock art recording as means of analysis and preservation ...... 42
Frank Förster Figuring out: Computer-aided rock art recording and analysis ...... 50
Heiko Riemer Rock shelters: Locations of rock art ...... 54
Sabine Krause, Heiko Riemer & Hans Leisen Paints and pigments in the rock art of Wadi Sura ...... 58
Hans Leisen & Sabine Krause Conservation of rock art ‒ A holistic approach ...... 62
Rudolph Kuper Visitors and vandals – The impact of desert tourism ...... 66
Frank Darius Wadi Sura in its environmental setting ...... 70
Part II User’s guide ...... 82
Grid system of Panels A ‒ E ...... 83
Ortho view of the shelter ...... 84
Panel A ...... 86 Panel B ...... 130 Panel C ...... 170 Panel D ...... 254 Panel E ...... 376
Selected scenes and figures ...... 488
Engravings ...... 512
References and photo credits ...... 538 András Zboray Wadi Sura in the context of regional rock art
At the time of their discovery in 1933, the paintings of Wadi Sura were an oddity, not fitting in with the naturalistic style of cattle pastoralist paintings found throughout the region. In the last ten years systematic surveys revealed hundreds of new sites, including some that may be attributed to a number of pre-pastoralist cultures, demonstrating a clear cultural succession across the entire central Libyan Desert. The Wadi Sura paintings, now much better un - derstood from the ‘Cave of Beasts’, are clearly a part of this succession, with possible relationships and contempo - rarity with other rock art producing cultures of the region.
Introduction this artistic tradition appears to have lasted for a signifi - The great massifs of the central Libyan Desert were cant period of time. Parallel to these discoveries near known to harbor numerous prehistoric rock art sites ever Wadi Sura, new finds at the more southerly massifs of since their existence was revealed to the outside world in Jebel Ouenat, Arkenu and the surrounding smaller hills Fig. 1 Gilf Kebir-Jebel the 1920s and 1930s (Kuper, this volume). Early explorers started to change our understanding of the cultural suc - Ouenat region: reported numerous engravings and paintings at Jebel cession in the central Libyan Desert (Eastern Sahara). 1 Wadi Sura (Gilf Kebir) Ouenat (Fig. 1) , and sporadic further expeditions in the Systematic surveying of the Jebel Ouenat region re - 2 Clayton’s Craters 1960s, especially the 1968 Belgian Scientific Expedition sulted in the discovery of nearly a thousand new rock art revealed some further spectacular paintings at Jebel Oue - sites (e.g., BORDA 2010; 2011a; 2011b; MENARDI 3 Jebel Arkenu nat ( VAN NOTEN 1978). NOGUERA & ZBORAY 2011a; 2012; ZBORAY 2009; ZBORAY 4 Karkur Ibrahim A common theme to most of the paintings discovered & BORDA 2010), increasing the number of known sites in (Jebel Ouenat) and published up till twenty years ago were the innumer - the region by a magnitude of five. Many of the new finds 5 Karkur Talh able cattle depictions, suggesting that the principal pre - depicted human figures in a style clearly different from (Jebel Ouenat) historic inhabitants of the area were nomadic cattle the cattle pastoralists. With this corpus of new data, a pastoralists, taking advantage of a humid interval some - number of previously unrecognised early cultural hori - 6 Wadi Wahesh (Jebel Ouenat) time during the early to mid-Holocene. The only paint - zons may be identified in the environs of Jebel Ouenat, ings not fitting into this pattern were those of the great evidently all predating the cattle pastoral period. While shelter of Wadi Sura (the ‘Cave of Swimmers’, WG 52 *). the Wadi Sura paintings remain distinct and well defined The paintings show a high degree of abstraction, very in their narrow geographical niche along the base of the much unlike the naturalistic representations of the cattle cliffs of the western Gilf Kebir, there are a number of sim - pastoralists seen elsewhere in the region (cf. RHOTERT ilarities to depictions of other painting styles in the Jebel 1952). Interpretation was made more difficult by the very Ouenat region, suggesting contemporarity and cultural eroded nature of the shelter, with only a fraction of the links across the region. original painted surface remaining. MUZZOLINI (1995) The known rock art sites of the Gilf Kebir-Jebel Oue - observed a superficial resemblance to the “roundhead nat region are almost evenly balanced in the proportion style“ of the central Sahara, but in the absence of any fur - of engravings to paintings. The last published count ther analogies no meaningful comparisons or detailed (ZBORAY 2009) presents 402 sites with engravings and analyses could be made. 456 sites with paintings. At Jebel Ouenat there is a very This picture started to slowly change in the last noticeable pattern of engravings (with few paintings) ap - twenty years. The exploration of the vicinity of Wadi Sura pearing at lower altitudes around the base of the moun - yielded more paintings with the same style and subject tain and in the lower courses of wadis, while paintings matter as the large shelter discovered by Almásy are concentrated in the upper sections, reaching up to the (GAUTHIER & NEGRO 1999; ZBORAY 2003a). The discov - highest altitudes of the mountain. This pattern of geo - ery of the ‘Cave of Beasts’ (WG 21) in 2002 provided a graphical distribution at present remains unexplained. quantum leap in our understanding of the Wadi Sura Unfortunately, with engravings the technique and paintings, showing the same type of humans and wild medium allows for much cruder execution than the detail fauna, superimposed on a ‘wallpaper’ of negative hand observable in paintings of the area, thus distinctions may prints, in a good state of preservation. One partial dam - be made more on subject matter and overall execution aged figure in the ‘Cave of Swimmers’ proved to be an than any finer stylistic traits. It does appear that at least example of the strange ‘headless beast’, of which dozens in part the numerous engravings depicting cattle (more of examples were depicted in the new site, together with than half of all engravings) are the work of the same peo - some of the characteristic ‘swimming’ figures and thou - ple who made the paintings depicting pastoral themes. sands of other human figures. These beasts and the However, for the wild fauna depictions, of which there ‘swimming’ figures are key diagnostic features of the are probably some pre-dating the cattle period, and some Wadi Sura paintings ( ZBORAY 2012). post-dating, it is very hard to make meaningful and con - The complete ensemble of figures points to a very dis - sistent distinctions. It will require much future effort to tinct, well definable entity with a very narrow geograph - categorise the various engravings into the currently es - ical range, present along a thirty kilometre stretch of land tablished cultural and chronological framework; this below the southern cliffs of the western Gilf Kebir. Con - present study only examines the regional styles and pos - sidering the large number of superimpositions at WG 21, sible interrelationships of the known paintings. Based on the presently known corpus of sites, four * All references to individual sites in this paper use the numbering system distinct styles of hunter-gatherer paintings may be recog - developed and revised by the author ( ZBORAY 2009) unless otherwise noted. nised aside those of Wadi Sura, superseded by the cattle All photographs in this article are by A. Zboray. pastoralist horizon.
18 András Zboray Fig. 2 Typical Ouenat cattle pastoralist scene, showing a herd of cattle Fig. 3 Male figure holding a bow and wearing a characteristic ‘tailed’ Fig. 4 Typical Ouenat with human figures (site KT 85/A), Karkur Talh, Jebel Ouenat. quiver cum utility bag not observed elsewhere among Saharan catte pasto - cattle pastoralist pain - ralist paintings – a key defining element of the Ouenat cattle pastoralist tings superimposed over paintings (site KTW 26/B), upper Karkur Talh, Jebel Ouenat. Wadi Sura type giraffes (site WG 35), near Wadi Sura, Gilf Kebir. The Ouenat cattle pastoralists mans; however, body posture and proportions of cattle, The vast majority of the paintings at Jebel Ouenat depict as well as the standardised iconography of some personal cattle and associated humans. Of 414 sites with paintings, accessories clearly present a homogenous artistic tradi - 337 contain figures which may be assigned to the cattle tion (“Uweinat cattle pastoralists“, MENARDI NOGUERA pastoralists. The predominant theme of the paintings is & ZBORAY 2011b) (Fig. 3 ). cattle, with some panels showing hundreds of them in a While cattle pastoralist paintings dominate the rock great variety of form and colour (Fig. 2) . Some paintings art of Jebel Ouenat and the surrounding massifs, a num - show goats, with or without cattle, but depicted in the ber of scattered rock art sites attributable to the same tra - same characteristic body proportions, posture, and style. dition may be found throughout the Gilf Kebir, Many of the paintings contain human figures, commonly providing conclusive evidence that the cattle pastoralist with accessories like body decoration, waist pouches or people roamed across the entire region encompassing loincloths, shoulder bags, footwear, bow and arrows. Jebel Ouenat, the surrounding smaller massifs, and the There are some variations in the style of depicting hu - Gilf Kebir Plateau (Fig. 4) .
Fig. 5 Typical ‘Ouenat roundhead’ figure (site KTW 31), upper Karkur Talh, Jebel Ouenat.
Fig. 6 ‘Ouenat round - head’ figure with excep - tional body decoration (site KTW 54), upper Karkur Talh, Jebel Ouenat (photo enhanced with DStretch #).
Fig. 7 ‘Ouenat round - head’ figure with body de - coration and loincloth, holding bow and arrows (site KTW 11/D), upper Karkur Talh, Jebel Ouenat (photo enhanced with The ‘Ouenat roundhead’ style features (Figs. 5 –7) . The rest of the body is of normal pro - DStretch #). The first known ‘round head’ site (BH 4, Karkur Idriss) portions, with a triangular torso and narrow hips; the was instantly recognised as being distinctly different arms and legs are robust and proportionate; hands and from other known Jebel Ouenat paintings ( VAN NOTEN feet are drawn without digits (Fig. 5) . Sometimes a sec - 1978), however being an isolated example and lacking ondary white circle or oval is seen attached to, and par - any superpositions, its true significance was not recog - tially overlapping the head. The figures are shown in nised. In the past ten years more than fifty further sites contorted body positions which are being repeated across # DStretch is a soft - have been found with these characteristic paintings, pro - the range of sites. The figures are mostly plain mono - ware tool for the digital enhancement of picto - viding a sufficiently large sample to define the style chrome, but in some cases body decoration can be ob - graphs developed by (“Uweinat roundhead style“, ZBORAY 2012): served (Fig. 6) . In rare examples some kind of dress is Jon Harman (cf. p. 57): The exclusive subjects of the paintings are human fig - discernible, and some figures may be seen holding bow www.dstretch.com. ures. Sometimes only one is being depicted, but they are and arrows (Fig. 7) . Despite the complete lack of any an - Photographs in this generally found in groups. The main defining feature is imals associated with the human figures, depicting bows paper manipulated by DStretch are shown in the circular round head, exaggerated in size compared to and arrows suggests hunting to be the primary means of greyscale. normal body proportions, and is completely void of facial subsistence.
Wadi Sura in the context of regional rock art 19 Fig. 8 Group of ‘Elon - gated roundhead’ figures (site AR 42/C), Jebel Arkenu.
Fig. 9 ‘Elongated round - head’ figures with bows and arrows (site KTW 27/G), upper Karkur Talh, Jebel Ouenat (photo en - hanced with DStretch).
The ‘Elongated roundhead’ style In 1998, Le Quellec recorded (but did not publish at that tively thick and short in proportion to the rest of the time) a number of rock art sites to the immediate south body. The arms are very disproportionate, short and of Jebel Ouenat the paintings of which showed distinct stubby, sometimes just shown as a short featureless line. round featureless heads, and bore some resemblance to The figures often bear extensive body decoration, and some human figures at Wadi Sura, and also to some ex - some hold bow and arrows, sometimes in a shooting pos - tent to the ‘Ouenat roundhead’ figures. Initially these ture (Figs. 8; 9) . Despite the complete absence of animal were considered to be a variation of the “Uweinat round - depictions, they seem to have been produced by a hunt - head style“ ( ZBORAY 2005a), or even assigned to the ing society, like the ‘Ouenat roundheads’. The geograph - “Wadi Sura style“ ( LE QUELLEC et al. 2005; LE QUELLEC ical range of this style appears to overlap that of the 2009), greatly expanding the geographical range and the ‘Ouenat roundhead’ style, but the frequency of the sites narrow definition of the style. Fortunately several well is less than half. preserved new sites were recorded recently containing While some elements of the body decoration and the paintings of this peculiar style. The corpus of a total of 22 disproportionate small round head may be compared to sites at Jebel Ouenat, Jebel Arkenu and environs now per - human figures of the Wadi Sura shelters, there are some mits the definition of a distinct style ( ZBORAY 2012). key differences. Most importantly, none of the ‘Wadi The theme of the paintings are exclusively human fig - Sura style’ human figures display the elongated white ures, echoing the classic ‘Ouenat roundhead’ style, how - neck that joins the head to the upper body, while all the ever the depiction of the figures is markedly different. figures attributable to this style do. Wadi Sura figures dis - The head is completely round and mostly featureless, but play a wide range of body proportions, while the ones at here the similarity ends. The head is small in comparison Jebel Ouenat always present the long neck and body with to the rest of the body and is joined to the trunk by an un - disproportionately short arms. With the present body of naturally long neck (usually executed in white paint evidence, the two styles may confidently be considered which in many cases disappeared) which is the main to be distinct and not directly related, though this does defining characteristic of the style (Figs. 8; 9) . The body not rule out possible contemporarity and weaker cultural is unnaturally thin and elongated, with legs being rela - links.
The Miniature style number of known sites to 28, including an excellently The first of these characteristic figures were observed by preserved large shelter (KTN 31, ZBORAY 2003b) which RHOTERT (1952) in a shelter in southern Karkur Talh allows the proper definition of the style. (KTS 15/C), underlying several layers of cattle pastoralist The subject matter is human figures and wild fauna. paintings. He called them “Miniaturstil”, aptly describ - The human figures are depicted on a very small scale, ing their main feature. Rhotert could only work from a adults 8 –15 centimetres, with tiny figures of children as single example, but finds of the past decade brought the small as 2 –3 centimetres. Family scenes are common, with mothers holding children in various but realistically depicted postures. This ‘mother with miniature child’ scene is perhaps the best defining element of the style. Males and females are clearly distinguishable, females having prominent breasts and wear skirts, while males wear loincloths, and frequently carry bow and arrows. Hunting scenes are common, with males shooting arrows at very well drawn and proportioned giraffes. There is no hint of any domestication. Overall, the style has a very high degree of realism (Fig. 10) . The geographical range of the style extends through - out Jebel Ouenat, with the main concentrations in Karkur Talh and Karkur Ibrahim, the style being conspiciously Fig. 10 Group of Minia - ture style figures (site absent from the southern part of the mountain. A recent KTN 31), Karkur Talh, find by Mark BORDA (2010) extended their range to Jebel Jebel Ouenat. Arkenu.
20 András Zboray The Wadi Wahesh style The Wadi Wahesh style, named after the locality where most of the principal examples are located, was the last distinct style of paintings to be recognised at Jebel Oue - nat. Already in 1998, Le Quellec found some figures of wild animals at southern Ouenat which did not appear to fit any of the known categories, but bore resemblance to some of the paintings at Wadi Sura. In the absence of any further analogies, these were assigned to the “Wadi Sura style“ ( LE QUELLEC et al. 2005; LE QUELLEC 2009) together with the figures now recognised to be ‘Ouenat elongated roundheads’. In March 2005, a group of large and well preserved sites were found in shelters located in the upper reaches Fig. 11 Group of Wadi Wahesh style figures (site WW 52), Wadi Wahesh, Fig. 12 Wadi Wahesh of Wadi Wahesh ( ZBORAY 2005b) which placed these iso - Jebel Ouenat. style figure with exagger - lated and mostly damaged earlier examples into context. ated digits on the hand A very distinct style was revealed, centered on the south - (site WW 52), Wadi Wa - ern part of Jebel Ouenat, with a few isolated (and some - hesh, Jebel Ouenat. times doubtful) examples elsewhere. There are about twenty sites that may confidently be assigned to this style, the majority of them in the very narrow geograph - desiccation progressed from the arid western Gif Kebir ical confines of the upper Wadi Wahesh. to the relatively more favourable southern Ouenat envi - The style is not easy to define. If individual human ronment. figures are observed, many features are common to both One further clue supporting a possible link between the Miniature style and to some of the Wadi Sura paint - Wadi Sura and Wadi Wahesh was the recent finding of a ings. Perhaps the biggest set of commonalities are with shelter (CC12, BORDA 2009) at Clayton’s Craters, at about Wadi Sura, including similarities in body decoration, all one third of the roughly 200 km distance between Jebel digits shown on the hands, and negative handprints un - Ouenat and Wadi Sura. The shelter contains very weath - derlying some of the paintings. Should some Wadi Sura ered paintings, but it is possible to recognise several neg - figures be transplanted into Wadi Wahesh scenes (and ative handprints and small scale human figures, which vice versa) they would comfortably blend in with the rest are identical to the more crudely executed ones at the of the scene (Fig. 11) . principal Wadi Wahesh sites in every detail. The most conspicuous feature of the style is the fre - quent depiction of individual digits on the hands of Fig. 13 Wadi Wahesh human figures, sometimes in an exaggerated manner style figures associated (Fig. 12) . However, these are intermingled in apparently with negative handprints the same or related compositions with figures lacking the executed in yellow paint (site WW 52), Wadi Wa - depiction of digits. The scale, posture and appearance of hesh, Jebel Ouenat. some of the depicted humans echo the Miniature style, suggesting some possible contact or relationship. How - ever, the key feature of the Miniature style, the family scene of mother and child, is absent. There is the presence of two conspicuous non-human elements also present at Wadi Sura, but completely lacking from other Jebel Oue - nat painting styles: negative handprints and ostriches without body (Figs. 13; 14) . In addition, a variety of wild fauna is shown (giraffes, various gazelles and antelopes), and there are numerous depictions of domesticated dogs, all features common with Wadi Sura. The depicted wild fauna (including a giraffe held by a tether tied to its neck) Fig. 14 Ostrich with only suggests a hunter-gatherer society. head, neck and legs shown (beneath cattle pastoralist The separate definition of the Wadi Wahesh style does paintings, site WW 52), not preclude a connection with the Wadi Sura people. Wadi Wahesh, Jebel Oue - The key defining features of Wadi Sura, the ‘headless nat. beast’ and the ‘swimmers’ (and many other motifs) are missing, however the large number of superimpositions observable in the ‘Cave of Beasts’ (WG 21) suggest that the Wadi Sura paintings may, with further study, be sub - divided into internal periods (cf. Förster, this volume). It is not inconceivable that the Wadi Wahesh style will be found to correspond to one such subdivision, which lacks the ‘headless beast’ and associated figures, but retains other common elements. An alternate hypothesis could be the possible movement of the Wadi Sura people as
Wadi Sura in the context of regional rock art 21 Relative chronologies and possible interrelations also observable in one of the adjacent shelters. Moreover, The key to the establishment of a relative rock art there are a couple of ‘Elongated roundhead’ figures in chronology in the area is the existence of superimposi - the same shelter, fortunately with a small overlap with tions, suggesting a temporal succession of identifiable one of the overlying Wadi Wahesh style figures. Thus the styles in a given geographical location. Different degrees ‘Elongated roundhead’ style predates the Wadi Wahesh of weathering of paintings of distinct styles at the same style, which in turn predates the Ouenat cattle pastoral - locality may provide further evidence to confirm that ists. styles were separated in time. A fortuitous observation made recently at site EH 33 In the Wadi Sura area, four sites contain characteristic provides the long sought link between the two sequences Wadi Sura figures that are overpainted by Cattle Pastoral - (ZBORAY 2012). Using image enhancement software, it is ist figures (Fig. 15) . While none of the sites have a figure possible to ascertain that a ‘Ouenat roundhead’ figure of the ‘headless beast’ in a superimposition, the earlier partially overlaps several small ‘Elongated roundhead’ paintings are clearly of the Wadi Sura type, based on figures, suggesting that the ‘Elongated roundhead’ style analogies with the large key sites. Thus demonstrably the is the earliest of the Ouenat cultural sequence. Fig. 15 ‘Bird headed’ Wadi Sura paintings predate those of the cattle pastoral - The ‘Ouenat roundhead’ sites are consistently among archer of the cattle pas - ists in the western Gilf Kebir. In all four mentioned ex - toralists superimposed on the faintest and most weathered sites in the Jebel Ouenat faint Wadi Sura type fig - amples, the Wadi Sura type paintings are much more area, and essentially the same may be said of the ‘Elon - ures and giraffe (site WG weathered than the overlying cattle, and in general all of gated roundhead’ paintings. In contrast, the Wadi Wa - 72), Wadi Sura environs, the Wadi Sura paintings in the area show much more in - hesh and Miniature style paintings show a moderate Gilf Kebir. tense weathering than the cattle pastoralist paintings degree of additional weathering in comparison to the cat - (which in some cases appear extremely fresh). Appar - tle pastoralist paintings, and some well protected shelters ently a considerable time period, perhaps thousands of show very good preservation (comparable or better than years, elapsed between the Wadi Sura paintings and that exhibited by the Wadi Sura paintings in more those made by the cattle pastoralists. favoured locations). Overall the relative weathering pat - At Jebel Ouenat there are several sites where cattle terns support the conclusions derived from the superim - pastoralist paintings are found superimposed over older positions, and point towards a substantially greater age scenes. The key site is KTW 21/A, where small red cattle for the ‘Ouenat roundheads’ and the ‘Elongated round - pastoralist figures overlie a giraffe hunting scene attrib - heads’ than for the cattle pastoralists. The Miniature and utable to the Miniature style, which is yet over larger Wadi Wahesh styles occupy a period in-between with ‘Ouenat roundhead’ figures (Fig. 16) . There are several their relative positions at present not clearly established. other examples where the Miniature style and ‘Ouenat There is no direct evidence linking the relative roundhead’ paintings are clearly under cattle pastoralist chronological position of the Wadi Sura paintings with ones. The combined evidence suggests that the ‘Ouenat any of the pre-pastoralist styles at Jebel Ouenat. How - roundhead’ style predates the Miniature style, which in ever, the circumstantial evidence suggests that the Wadi turn predates the Ouenat cattle pastoralist paintings. Sura paintings may temporally overlap or immediately In the key site of the Wadi Wahesh style (WW 52), pre-date the Wadi Wahesh style, with the earlier phases there are a number of superimpositions involving cattle of Wadi Sura possibly extending back in time to the ‘Oue - Fig. 16 The key to the chronology of the Jebel pastoralist scenes over earlier Wadi Wahesh type figures, nat roundhead’ and ‘Elongated roundhead’ styles (Fig. Ouenat paintings, a 17) . unique superimposition sequence of the ‘Ouenat roundhead’, Miniature and Cattle pastoralist J E B E L O U E N A T G I L F K E B I R (small red figures) styles (site KTN 21/A), Karkur Talh, Jebel Ouenat.
Cattle pastoralists
e
t
a l
Miniature Wadi Wahesh style style
‘Ouenat roundhead’
style Wadi Sura
y
l
r a e ‘Elongated roundhead’ style
Fig. 17 Chronology chart showing the relative sequence of rock art styles in the Jebel Ouenat –Gilf Kebir region. The solid lines indicate superimpositions; the dashed line refers to indications provided by relative weathering patterns.
22 András Zboray Fig. 19 Lion hunt (site KT 86/B), Karkur Talh, Jebel Ouenat.
Fig. 18 ‘Headless beast’ with a feline-like body over a negative handprint (note missing digit; site WG 45/A), near Wadi Sura, Gilf Kebir. Fig. 20 Animal with pos - sible feline attributes touched by human figures (site HP 21/B), Hassanein Plateau, Jebel Ouenat.
Felines in the regional rock art repertoire One of the key diagnostic elements of the Wadi Sura paintings is the strange, apparently composite ‘headless beast’, practically all examples of which show an upward curving tail with a tuft at the end, characteristic of large felines. In many examples the entire body of the animal appears distinctly feline (Fig. 18) . Their prominent posi - tion in the Wadi Sura iconography (cf. Förster & Kuper, this volume) warrants an examination of other feline rep - resentations in the Gilf Kebir –Jebel Ouenat region for possible analogies. The four described pre-pastoral painting styles in the Fig. 21 ‘Headless beast’ Jebel Ouenat region, possibly contemporary with the surrounded and touched Wadi Sura paintings, have no comparable depictions. The by human figures (site only paintings clearly depicting large felines are seen in WG 21, ‘Cave of Beasts’), later cattle pastoralist paintings. In two shelters opposite Wadi Sura, Gilf Kebir. each other in the upper main valley of Karkur Talh, two scenes appear to represent a lion hunt (KT 86/B & KT 88/E). In both cases the hunted animals are very indis - tinct, but the curved tails are clearly indicative of large felines, probably lions. In the first case the animal is densely covered with arrows and surrounded by archers (Fig. 19) . There is a third scene (KTW 27/A) with possible similar interpretation; in this case the animal lacking a head is in some way echoing the Wadi Sura beasts. A unique scene at site HP 21/B on the top of the Has - sanein Plateau, one of the highest regions of Jebel Ouenat, requires special mention. It shows a difficult to identify animal with possible feline attributes, being surounded The origins of ancient Egyptian religion ? and touched by small human figures (Fig. 20) . There is a smaller less distinct adjacent scene with similar content. It must be mentioned that certain authors (e.g., LE QUELLEC 2008, D’HUY & LE The cattle pastoralist nature of these depictons is con - QUELLEC 2009; BÁRTA 2010) compared some elements of the Wadi Sura paint - firmed by a nearby panel with similar human figures ac - ings with elements of the dynastic Egyptian iconography, and professed to see the companied by goats. There are no analogies of any sort origins of ancient Egyptian religion in the Wadi Sura paintings (cf. Förster & among the hundreds of other known cattle pastoralist Kuper, this volume). However, the basis of such conclusions was the process of sites, however, this scene is eerily reminescent of the taking isolated elements out of context from both cultures, and only treating the many scenes in the ‘Cave of Beasts’, where a number of similarities, while ignoring the differences and the lack of any systemic relation - small figures surround and touch a headless beast (Fig. ship within the remaining corpus of evidence. To confirm such cultural link would 21) . Naturally, a single example is insufficient to draw require evidence for a systemic evolution of a number of cultural elements across any meaningful conclusions, however, it is not inconceiv - the whole chronological sequence, not just from one isolated and temporally far able that some elements of the beliefs surrounding the displaced sample. It is the firm opinion of the author that there is no demonstrable abstract Wadi Sura iconography passed on to the suc - link between Wadi Sura (or any of the discussed other prehistoric cultures of the ceeding cattle pastoralist society. central Libyan Desert) and the Nile Valley. This is not to say that such a link is entirely inconceivable; however, at present there is no evidence to support it.
Wadi Sura in the context of regional rock art 23 References
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