Oued in the region of Mathendous - Fezzan - Libya

Traces of cars in the sand - Edeyen (Desert of dunes) at Mourzouk – Libya

Young girl from Ghadames - Libya

When the Sahara was still green, it was inhabited by numerous representatives of the African fauna, many of which can still be found in the more fertile areas today. As proof, this 2.65 meter-long engraving of an elephant is to be seen in one of the most beautiful and significant rock-art sites from the so-called Bubaline period (Wadi Mathendous, Fezzan, Libya).

Public transport
No, it's not a photographic montage, but a tribute to public transport. On top of the 15 tons of cargo, 53 passengers crowded as best they could to travel the hundreds of kilometers separating Sebha, Libya, from Bilma, Niger.
Libya - Fezzan - 1964

Traces of camel
Saharan nomads are recognized and excellent trackers. The trail of a camel is a true message, and every self-respecting Saharan can provide accurate information about the freshness of the trail, age, gender, load and state of tiredness of the animal.
Libya - Erg Mourzouq - Wadi Berjouj -1969

In a country where the sand is 75 degrees Celsius in summer, the main architectural problem is to create shady and cool zones. The oasis dwellers are masters in this difficult art, whether in the Bordj of Chinguetti in Mauritania or in the narrow alleys of Ghadames (picture) in Libya. - 1969

To pass the time, the Arabs like to play a game of a kind of checkers. Taken in Ghadames in Libya. - 1964

Young Tuareg in Ghadames in Libya. - 1969

A young girl from Ghadames in Libya. - 1969

Stone and sand desert between Ghat and Serdeles, today's Al Awaynat - Libya - 1964

Ghat Oasis in Libya with the fortress. The caravan routes that lead to the Fezzan, the Algerian Sahara and the southern Sahara converge in Ghat. The houses, made of dried mud or clay, have courtyards where family life takes place. - Libya - 1964

Ghat, oasis in Libya, seen from Kukemen, the former Turkish fortress. The caravan routes that lead to the Fezzan, the Algerian Sahara and the southern Sahara converge in Ghat. The houses, made of dried mud or clay, have courtyards where family life takes place. - Libya - 1964

The Tadrart Acacous Mountains are a desert landscape in Libya. The desert itself is characterised by mountains, rocks, sand and dunes. Rock monuments can be found, comparable to those in Arches National Park in the United States. In caves there are early historical engravings of elephants and water buffaloes dating from around 4000 BC. They are similar to those in the Algerian Tassili Mountains. The paintings document periods when the region was much wetter and thus offered a much more fertile landscape. - Libya - 1969

The finger - Mont Equilibre - in the Wadi Atoulla in the Tadrart Acacus in Libya. The desert itself is characterised by mountains, rocks, sand and dunes. Rock monuments can be found, comparable to those in Arches National Park in the United States. In caves there are early historical engravings of elephants and water buffaloes dating from around 4000 BC. They are similar to those in the Algerian Tassili Mountains. The paintings document periods when the region was much wetter and thus offered a much more fertile landscape. - Libya - 1969

In the Acacous Mountains, on the way to Teshouinat. In caves there are early historical engravings of elephants and water buffaloes from around 4000 BC. They are similar to those in the Algerian Tassili Mountains. The paintings document periods when the region was much wetter and thus offered a much more fertile landscape. - Libya - 1969

This landscape in the area of Teshuinat, in the Tadrart Acacous (Libya), shows us, a little to the left of centre, the entrance to the Uan Amil I cave. No more water, no more life, a heavy silence. And yet people lived and thought here. Game was abundant, the spring was near, herbs crowded the shores of the lakes ... And then nothing: the all too thorough victory of the desert. - Libya - 1969

View from a cave in Wadi Kessan in Tadrart Acacous. - Libya - 1969

Large sand dunes of Iguidi oua-n-Kasa in the east of Acacous. - Libya - 1969

A lonely tree in a small oued near Wadi Mathendous ... and in between, the empty desert of Fezzan in southern Libya. - 1969

The Wadi Mathendous has carved its bed into the rugged landscape of the Messak noir, in the Fezzan in southern Libya. Following the dead course of the former river, now blocked by boulders, one reaches the famous site of the elephant of In Galjeïen: It is located on the rock that closes off the farthest part of the horizon. - Libya - 1969

Wadi Mathendous. Habeter II - Bubalinic Era. This bovine with monumental horns was contemporary with the Neolithic and disappeared with it. This specimen is equipped with two tails. The scale of the pictured Bubalus is derived from the distance between the tips of its horns: 72 centimetres. Note the small, older (?) ostrich between the horns. - Libya - 1969

Wadi Mathendous. In Habeter III - On the edge of the Mathendous river valley, you will find this cliff with very beautiful naturalistic engravings from the Bubalin period depicting giraffes and an elephant. The fractures in the rock are sometimes recent. They then damage the figures. Sometimes they are old and the artist has taken them into account. Height of the giraffe from the hooves to the end of the horn: 2.25 m. - Libya - 1969

Maximilien Bruggmann and his team during the Blaka mission (1969) in Wadi Mathendous (Libya). From 1961 to 2003, Maximilien Bruggmann undertook 18 expeditions to the Sahara. He created two films, took several thousand photos and illustrated four large books. The Equipe Mission Blaka in front of the famous tail crocodile with a length of 2.25 m in the Wadi Mathendous: Philippe Roulet, Jean-Claude Bourgeon, Eva Bruggmann, Zoumri, Jean Garzoni, Maximilien Bruggmann - Libya - 1969

Our journey has taken us to the sandy deserts and to Djebel, through the gorges of Tassili and into the tall grass of the steppe. Everywhere we met people who were able to build their lives and even laugh and sing. But it is to the sand that our minds and, why not, our hearts are drawn. This single man leading his camel across the hot, soft sand represents the triumph of the will over the most hostile matter. Sure, at the end of the journey, palm trees await him again, similar to those here in the valley of Adjahl; but even these exist only thanks to the will of other people, if the sand is not ultimately to win the day. - Libya - 1964

Full moon over the fertile Adjal Valley interspersed with rich oases - Libya - 1969

The Edeyen or dune massif of Oubari with Lake Gabr' Aoun in the foreground, one of the seven lakes around which live the Daouda, people of dark complexion whose existence is one of the most miserable in the whole Sahara. Eight ridges of high, hard-to-walk dunes, some 50 kilometres, separate them from the fertile Adjal valley, which is dotted with rich oases. - Libya - 1964

In Fezzan, in the Edeyen of Oubari, a strange people lives near the lakes surrounded by high dunes. They are the Daouda. The word Daouda comes from "doud", which means worm in Arabic. In fact, the Daouda eat "worms", which they fish in the lakes fed by underground springs. Only the women are authorised to devote themselves to this task. Their net resembles the plankton net used by biologists. The worms - in reality crustaceans - are dried and then buried for several months before being eaten. - Libya - 1964

In Fezzan, in the Edeyen of Oubari, a strange people lives near the lakes surrounded by high dunes. They are the Daouda. The word Daouda comes from "doud", which means worm in Arabic. In fact, the Daouda eat "worms", which they fish in the lakes fed by underground springs. Occasionally, however, a goat is slaughtered and the meat hung out to dry. - Libya - 1964

A Daouda boy weaving a ribbon. - Edeyen of Oubari - Libya - 1964

Drinking water is fetched from the well by lever arm. - Gabr Aoun - Edeyen of Oubari - Libya - 1964

At the well of Oumm al-Aranib in Fezzan, a winch is used to lift the drinking water. - Libya - 1964

The Daouda of Gabr Aoun need their donkeys for food supplies, which they have to transport from far away over several dunes. - Libya - 1964

Tombs at Maqbara as Sahaba near Zawila in south-western Libya, about 150 km east of Murzouq, in the heart of the Fezzan region in the Libyan Sahara. Zawila was an important trading centre in the Middle Ages, its main business being the slave trade. It was also the capital of the Fezzan region during this period. In ancient times, the region around Zawila was part of the land of the Garamantes. - Libya - 1964

The inhabitants of the Zawila (Zouïla) oasis see themselves as descendants of the Prophet Muhammad. The place is said to have been founded in 918 and soon became the administrative centre of the whole of Fezzan. - Libya - 1964

Mosque of Murzuk in the centre of Fezzan. Murzuk is 120 kilometres south of Sabha, and is an important transport hub towards the southern Sahara. Murzuk replaced Zawila as the centre of the Fezzan in the 12th century and was the most important place in this Saharan region until the 20th century. This importance was based on its function as a hub for trans-Saharan trade on the "Bornu Road" between Lake Chad and Tripoli. Thus, a large slave market was located here. - Libya - 1964

A basket trader at the Murzuk market sells her wares. - Libya - 1964

A girl at the Murzuk market. Its elegant posture comes from learning to carry heavy loads on its head at a very early age. - Libya - 1964

This little girl comes from Traghan near Murzuk. In the picture you can count 12 flies. - Libya - 1964

Date harvest in Murzuk in the Fezzan of Libya. Dates are rich in sugar and have a correspondingly high calorie content. This earned them the name "bread of the desert". Fibre, minerals such as potassium, calcium and magnesium, and B vitamins make them a healthy snack. The content of the amino acid tryptophan is particularly interesting. - Libya - 1964

A herd of dromedaries at Al-Qatrun, an oasis in southern Libya, on the main route to Niger and Tchad. - Libya - 1969

The Edeyen of Murzuk is a Saharan sand desert (erg) in the southern Libyan province of Murzuk and has an almost circular shape with a diameter of about 250 km. For a long time, the dromedary was the most suitable means of crossing this barren region. - Libya - 1969

If the American Indians were renowned trackers, the Saharan nomads are not inferior to them in this difficult art. The track of a camel is almost like news, and any self-respecting Saharan can tell with unfailing accuracy the freshness of the track, the age, sex, load and degree of fatigue of the animal. - Libya - 1969

Dunes in the Edeyen of Murzuk, a Saharan sand desert (erg) in the southern Libyan province of Murzuk and has an almost circular shape with a diameter of about 250 km. - Libya - 1969

Dunes in the Eyden of Murzuk, a Saharan sand desert (erg) in the southern Libyan province of Murzuk and has an almost circular shape with a diameter of about 250 km. - Libya - 1969

There is no need for roads on the vast plains of the Edeyen of Murzuk. Every truck, every off-road vehicle leaves its own track in the sand. - Libya - 1969

This strange photograph is not a montage. It is a "public transport" in honour of the truck's manufacturer. On top of 15 tonnes of cargo, 53 passengers crammed themselves as best they could to make the hundreds of kilometres from Sebha, Libya, to Bilma, Niger. - Libya - 1964

Chapter 3: FEZZAN - Libya

The Fezzan is located in south-west Libya. Important archaeological sites can be found in Wadi Mathendous on the edge of Erg Murzurk and in the Tadrart Acacous Mountains. The picture shows a typical desert landscape from this region. The desert itself is characterised by mountains, rocks, sand and dunes. There are rock monuments comparable to those in the Arches National Park in the United States.

In the Tadrart Acacous Mountains there are caves in which you can find prehistoric engravings of elephants and water buffaloes from around 4000 BC. They are similar to those in the Algerian Tassili Mountains. The paintings document periods in which the region was considerably wetter and therefore offered a much more fertile landscape. In the Messak Plateau in south-west Libya, close to the borders with Algeria and Niger, some of the oldest rock paintings in the world can be found in the Wadi Mathendous. A veritable prehistoric menagerie is carved into the rock faces of the dried-up riverbed, including life-size elephants, giraffes and crocodiles. Some figures are depicted alone, others in intricate compositions fighting with other animals or humans. One of the more famous scenes from the Wadi Mathendous petroglyphs are the fighting cats.

138 - Oued Mathendous. In Habeter III. - As at Enneri Blaka, there are cliffs along the edges of river valleys. Very beautiful naturalistic engravings from the Bubaline period depicting giraffes and an elephant. The cracks in the rock are sometimes recent, which damages the depictions. Sometimes they are old, and the artist took this into account. Height of the giraffe, from the hooves to the tips of the horns: 2.25 m.

139 - Oued Mathendous. In Habeter III. - Enlarged detail of the previous engraving.

140 - Oued Mathendous. In Habeter III. - Giraffes engraved with continuous, regular, and deep lines. Bubaline period. A smaller, unfinished giraffe precedes them on the right. At the top left: recently etched bovine.

141 - Oued Mathendous. In Habeter III. - Bubaline period. The antelope in the center has a polished inner surface. A head appears below its neck. The antelope on the left, turned to the right, aligns with another animal turned to the left by the middle of its belly. This "monster" had already been seen by Frobenius. The ungulate in the center is 0.45 m in length.

142 - Oued Mathendous. In Habeter III. - Bubaline period. As Frobenius described and published it in 1937, this scene is discussed in the chapter "The History of a False Idea: Sex and the Desert." Note the very modern appearance of the costumes.

142 - Oued Mathendous. In Habeter III. - (original photo) Bubaline period. As Frobenius described and published it in 1937, this scene is discussed in the chapter "The History of a False Idea: Sex and the Desert." Note the very modern appearance of the costumes.

143 - Oued Mathendous. In Habeter III. - Bubaline period. The original engraving used as the model for L. Frobenius' drawing. Width of the panel shown in Maximilien Bruggmann's photo: 1.90 m.

144 - Oued Mathendous. In Habeter III. - Bubaline period. This depiction is discussed in the chapter "When Elephants Slept under Saharan Trees." From the legs to the ears: 0.95 m. (See: SAR-007B)

145 - Oued Mathendous. In Habeter III. - The famous scene of the monkeys, here all visible. Bubaline period. The three animals in the upper part have their inner body polished. The one depicted below is simply etched with lines. From the bottom of the lower animal's legs to the ears of the right animal: 1.90 m.

146 - Oued Mathendous. In Habeter III. - Period of the "bubale". Enlargement of the monkey: at the top right, a fine engraving appears within its body, but it is not from the same period. The ends of the legs resemble fingers more than claws, which is typical of the monkey.

147 - Oued Mathendous. In Habeter III. - Period of the "bubale". A large elephant faces an undefinable being, called "Meerkatze" by some. Below the elephant’s trunk, a hare or rabbit is clearly identifiable. The width of the depicted rock is 1.80 m.

148 - Oued Mathendous. In Habeter II. - An ensemble in which it would be tempting to see Garamantian graffiti accompanied by Tifinar inscriptions. The most interesting part is the figure on the right, despite it certainly being a more recent addition: on a massive rectangular "body" with scales facing upwards, there appears a hemispherical structure whose lower part is inserted into the body. The body itself rests on two medium-sized balls placed on two larger balls. Finally, the scaled structure seems to rest on a narrow band with larger scales. No explanation can be given for this engraving of undetermined age. Height of the figure: 2 m. Width of the body: 1.20 m.

149 - Oued Mathendous. In Habeter II. - Period of the "bubale". A large figure with an animal head and a tail is in a variation of the "Bès position". This ithyphallic figure is accompanied by a smaller replica placed to the right. The magical character of this scene is likely linked to fertility invocations, at a time when the Sahara was already threatened by drought. Note the beautiful ostrich at the center right. From the right foot to the tip of the ear: 1.08 m.

150 - Oued Mathendous. In Habeter III. - Period of the "bubale". A large giraffe, appearing massive but with precise anatomy. Engraving with deep and regular strokes. Below, a very schematic ostrich, perhaps later. Its presumed head is adjacent to a depiction of a trap. The circle above might be a representation of a jellyfish. The "trap" has a diameter of 0.63 m.

151 - Oued Mathendous. In Habeter III. - Two bovids with forward-facing horns. Above, another trap with a diameter of 0.56 m.

152 - Oued Mathendous. In Habeter III. - Period of the "bubale". The famous crocodile with a tail measuring 2.25 m in length! The depiction of the dermal plates was made with deep lines. Note the Tifinar inscriptions in the top right.

The Equipe Mission Blaka in front of the famous tail crocodile with a length of 2.25 m in the Wadi Mathendous: Philippe Roulet, Jean-Claude Bourgeon, Eva Bruggmann, Zoumri, Jean Garzoni, Maximilien Bruggmann - Libya - 1969

153 - Oued Mathendous. In Habeter III. - Period of the "bubale". A very beautiful engraving of a bovid with hanging horns. Note the depth of the lines and the cracks in the rock formed after the engraving. Length from the tip of the snout to the tip of the tail: 0.72 m.

154 - Detail of the previous one showing the quality of the engraved lines.

155 - Oued Mathendous. ln Habeter II. - Period of the "bubale." Beautiful naturalistic elephant engraved with deep strokes. Below, bovids. From the tail to the tip of the trunk: 1.10 m.

156 - Oued Mathendous. ln Habeter III. - Period of the "bubale." Two naturalistic giraffes. At the back of the left giraffe, a more recent human figure is seen as if mating with the giraffe.

157 - Oued Mathendous. ln Habeter II. - The central figure may have been altered (belt, oversized sex). It is followed by an ostrich. In front of it, various much younger engravings: ostrich, human, antelopes. To the left, birds. Width of the depicted panel: 2.10 m.

158 - Oued Mathendous. ln Habeter III. - Period of the "bubale." A bovine whose head, according to L. Frobenius, is topped by a symbol, which is uncertain. From the tip of the left horn to the hoof: 0.60 m.

159 - Oued Mathendous. ln Habeter III. - Two giraffes and two bovids engraved on a vertical rocky surface at the edge of the Oued. From the lowest legs of the large bovine to the head of the giraffes: 1.32 m.

160 - Oued Mathendous. ln Galgien. - Bovid. Bovid period. Notice the line between the horns, which are represented along the axis of the spine. From the tip of the tail to the muzzle: 0.73 m.

161 - Oued Mathendous. ln Habeter II. - Male bovid (?) with crescent-shaped horns. From the top of the horn to the hooves: 0.35 m.

162 - Oued Mathendous. ln Habeter II. - Decadent bovid with crescent-shaped horns. Tail in motion. The eyes were not engraved. From the top of the high horn to the hoof: 0.50 m.

163 - Oued Mathendous. ln Habeter III. - The "sad cow" (!), anatomically correct, with well-marked nostrils.

164 - Oued Mathendous. ln Habeter II. - Ox with lyre-shaped horns.

165 - Oued Mathendous. ln Habeter III. - Detail of photo 167 showing a small figure at the back of the giraffe holding its tail. Engraving from the same period. Another figure is masked by the giraffe's legs and carries a bow (?).

166 - Oued Mathendous. ln Galgien. - Two giraffes with traces of internal polishing. The second animal is accompanied by a calf.

167 - Oued Mathendous. ln Habeter III. - The giraffes, whose detail is shown in photo 165. Height of the giraffe from the neck to the hoof: 1 m.

168 - Oued Mathendous. In Habeter III. - Giraffe drinking. This representation is very rare. The front legs are spread apart.

169 - Oued Mathendous. In Habeter II. - Period of the "bubale." Large elephant. The nature of the rock has caused significant erosion, making the engraving at the head difficult to read. The decoration of the trunk and ears shows an interesting aesthetic pursuit. From the tip of the tail to the front leg: 1.20 m.

170 - Oued Mathendous. In Habeter III. - Small archer of indeterminate age. He wears "shorts," which is not entirely rare. A piece of leather or fabric (?) hangs between his legs, and the left shoulder's design, dominated by a crook, is difficult to explain. Height: 0.40 m.

170 - Oued Mathendous. In Habeter III. - (original photo) Small archer of indeterminate age. He wears "shorts," which is not entirely rare. A piece of leather or fabric (?) hangs between his legs, and the left shoulder's design, dominated by a crook, is difficult to explain. Height: 0.40 m.

171 - Oued Mathendous. In Habeter III. - Period of the "bubale." Elephant lifting (?) a man with its trunk. Block width: 1.40 m.

172 - Oued Mathendous. In Habeter III. - Small horse with a polished interior. From the tip of the ear to the hind hoof: 0.57 m.

173 - Oued Mathendous. In Habeter II. - Engraved bovine with geometric tendencies, featuring a jugular appendage. The horns resemble the shape of a lyre. From the snout to the base of the tail: 0.65 m.

174 - Oued Mathendous. In Habeter II. - Very beautiful ox, whose contours are engraved with a double line. As is often seen, the abdomen is marked by a vertical line. The lyre-shaped horns are above a clear eye. It is preceded by an antelope with very fine, long horns in the same style. From the left horn of the ox to the base of the tail: 0.65 m. Decadent graffiti between the horns of the ungulate.

175 - Oued Mathendous. In Habeter II. - Enigmatic figure with no rational explanation. Total height: 0.51 m.

176 - Oued Mathendous. In Habeter III. - Extraordinary engraving already seen by L. Frobenius. However, in his time, the hole between the legs did not exist. The photo by Maximilien Bruggmann corrects the representation given by L. Frobenius. From head to foot: 0.30 m in height.

177 - Oued Mathendous. In Habeter II. - Period of the "bubale." Mythical scene discussed in the chapter titled "History of a False Idea: Sex and the Desert." Panel width: 1.55 m. (See: SAR-007B)

178 - Oued Mathendous. In Habeter II. - Period of the "bubale." Beautiful elephant measuring 1.55 m from the legs to the skull. A misjudgment places both tusks to the left of the trunk. The elephants suggest a dense vegetation cover. Note the small figures.

179 - Oued Mathendous. In Habeter II. - Bubaline period. In fact, the designation *Bubalus antiquus* Duv. was initially abandoned in favor of *Omoïoceras antiquus* Duv., eventually leading to *Pelorouis antiquus* Duv. This bovine with monumental horns is contemporary with the Neolithic and disappears with it. This specimen has two tails. A large bird is engraved between the horns, which are spread 0.72 m apart at their tips.

180 - Oued Mathendous. In Habeter II. - Three giraffes, including one calf. The coat is depicted with scalariform patterns. The giraffe on the right measures 1.08 m from hoof to the tips of the horns.

181 - Oued Mathendous. In Habeter II. - A magnificent bull engraved with deep, regular lines. The tops of the horns are marked with two lines, themselves topped by a disc, in which some see an Egyptian influence, though this is not certain. From the tip of the snout to the end of the tail: 0.60 m in length.

182 - Oued Mathendous. In Habeter II. - Canids giving the observer the impression of being observed. They are likely fennecs or "sand foxes." Width of the depicted panel: 1.30 m.

183 - Oued Mathendous. In Habeter II. - Confronted goats. From the top of the horns on the right to the bottom of the legs: 0.60 m.

184 - Oued Mathendous. In Habeter II. - Fennec in motion. Life-size.

185 - Oued Mathendous. In Habeter III. - Lionesses with lyrical heads. Total width of the fractured block: 2.57 m.

186 - Oued Mathendous. In Habeter III. - Bubaline period. Ostriches in a circle. Six birds, identifiable by their heads, but only the legs of the first one are visible. The bird at the bottom left is from the same period. A more recent human figure is sketched at the bottom right.

187 - Oued Mathendous. In Habeter II. - Large elephant from the bubaline period. The engraving lines are sharp and well-followed. The weathering of the rock has cut off the legs above the feet, with the detached fragments lying at the base of the engraving. From the tip of the trunk to the end of the tail: 1.40 m in length.

188 - Oued Mathendous. In Galgien. - Bubaline engraving. Fragment of a mythical figure, whose visible arm shows a cuff with a turn-up. Height of the block: 0.70 m.

189 - Oued Mathendous. In Galgien. - Bubaline period. - A thero cephalic being wearing a medieval landsknecht's beret. Width of the depicted block: 0.82 m.

190 - Oued Mathendous. In Habeter III. - Detail of an engraved bovine head, showcasing remarkable artistic mastery. Width of the head at the level of the nostrils: 0.58 m.

191 - Oued Mathendous. In Habeter I. - Two-tone antelope, with one of the shades obtained through hammering. It is a male measuring 0.44 m from the top of the horns to the front hooves.

192 - Oued Mathendous. In Habeter II. - Ostrich engraved by puncturing. From the top of the head to the legs: 0.70 m in height.

193 - Oued Mathendous. In Habeter II. - Two hippopotamuses, with only the upper one being finished. Deep and consistent engraving. Positioned too high on the wall to be measured.

194 - Oued Mathendous. In Habeter III. - Bovine depicted in the grazing position. Below it, a teratological animal artificially composed of two hindquarters joined at the belly. From one tail to the other: 0.62 m in length. To the right of the tail's origin, a late addition of an animal head to correct (?) the lack of rationality of such a monster.

195 - Oued Mathendous. In Habeter II. - Lioness with marked claws, her tail bent upwards towards her back. It’s possible this tail actually belongs to a previous engraving. Note the 3 cup-shaped depressions behind the left front paw. From the top of the arch to the lioness’s hind paw: 0.75 m in height.

196 - Oued Mathendous. In Habeter II. - Giraffe drawn after L. Frobénius. Note the circle enclosing the origin of the neck. The drawing of the legs is awkward.

197 - Oued Mathendous. In Habeter II. - Detail of the head from the previous drawing.

198 - Oued Mathendous. In Habeter III. - Giraffe engraved with a deep line and a highly stylized head, reminiscent of the style of the painter Chirico. Height of the animal: 1.30 m.

199 - Oued Mathendous. In Habeter I. - Beautiful engraved ox with lyre-shaped horns. The coat is depicted by alternating reserved and polished areas. Below, another animal is sketched, partially overlapping the first. From the left tip of the horn to the end of the tail: 0.83 m in length.

200 - Oued Mathendous. In Habeter I. - Engraving of a bovid. The rendering of the scapula of the right front leg creates an impression of an added limb. The eyes are not shown. From the top of the horn to the end of the tail: 0.83 m.

201 - Oued Mathendous. In Galgien. - Pastoral fresco depicting four bovids: three on the left, one on the right. The coat is represented by alternating polished and unpolished areas. Width of the depicted panel: 1.30 m.

202 - Oued Mathendous. In Habeter III. - Physical destruction of a beautiful rock document. Several fragments have disappeared, and the remaining ones show a shift from the original depiction. The three upper blocks are 1.33 m wide.

203 - Oued Mathendous. In Galgien. - Exceptional engraved elephant from the Bubaline period. This beautiful document is one of the peaks of Saharan rock art and one of the finest line engravings. It highlights the artists' familiarity with their biotope. Note that the length of the tusks was limited by the dimensions of the rock. From the tail to the end of the trunk: 2.65 m long.

Maximilien Bruggmann et Jean Garzoni lors de l'inventaire de l'éléphant sur la photo précédente.

204 - Tadrart Acacous. Ouan Amil. - We enter a different world: that of the bovids, dominated by livestock farming. Rock art leads us to the idea that we are looking at a true visual imagery of the period. Many beautiful ochre paintings, sometimes highlighted with white, are found in shelters, as two fine examples at the edge of the Oued Amil on the next page’s photo. The naturalness of the characters and the accuracy of their postures stand out. The life of this time is represented realistically. The panel measures 1.43 m in height.

205 - Tadrart Acacous. Ouan Amil. - Typical landscape of Acacous with two large, deep shelters. One must imagine the flowing water, grass, trees, people, and their cattle to bring this place to life. We will travel through this impressive landscape over the next few photos.

206 - Ouan Amil (detail from photograph 204). - The central figure, slightly shifted upwards, measures 0.18 m in height and gives the scale. Not all details are identifiable, but they all demonstrate how much the artists emphasized realism. The figure mentioned above has a hairstyle identical to that of the others. It seems to be wearing a loincloth, while other figures are dressed in tunics finished with fringes. We are facing a true "reportage."

207 - Tadrart Acacous. Ouan Amil. – Another detail from photo 204: An archer walks behind another person going in the same direction. Both are slender. The archer wears a kind of transparent skirt (?) and measures 0.15 m in height.

208 - Tadrart Acacous. Ouan Amil. – A figure, whose importance is emphasized by their attire, is being assisted by two servants. Note the hairstyles, which, more than the Phrygian cap, evoke those of the women of Martinique. The fabrics feature interesting patterns.

209 - Tadrart Acacous. Ouan Amil. – Not only is the life of the bovids simple, but the artists who depict it also capture its intimacy. A figure, at the top left, is again assisted in their grooming by several others. To the right, a group is sitting and performing unclear actions. In the center at the bottom, although classically coiffed, a figure appears to be naked ... A scalariform structure is also visible on the left. Panel height: 0.46 m.

210 - Tadrart Acacous. Ouan Amil. – The two people shown here have a clear Europoid profile. They are exchanging undefined objects. The person on the left holds a sort of boomerang (?). Each holds a hook (?) in their hand. They appear to have no headgear. The figure on the right wears dark clothing, while the one opposite is entirely transparent and ends with a patterned band. Width of the displayed panel: 0.44 m.

211 - Tadrart Acacous. Ouan Amil. – The woman in the center is handing over a baby. This is remarkable because such acts are rare. At the top center, a figure with a tail – unless it's part of their loincloth hanging out – is gesticulating in an unnatural way.

212 - Tadrart Acacous. Ouan Amil. – Our bovids were also hunters. Here, an archer stands behind a giraffe, the bow drawn. Note the transparency of the “skirt.”

213 - Tadrart Acacous. Ouan Amil. – A deep familiarity of our bovids with their cattle leads to highly precise painted representations, such as this moving cow with a bicolored coat. Horns on the back leg: 0.33 m.

214 - Tadrart Acacous. Ouan Amil. – In the same style as the previous cow, a standing cow in front of another lying one. Above, a third with a “pack” on its back. The coat’s colors are rendered in red and white areas. From the muzzle of the lying cow to the muzzle of the standing cow: 0.47 m.

215 - Tadrart Acacous. Ouan Amil. – Two figures. One is white, on the right, with narrow thighs; the other is black, with wide thighs and a typically negroid morphology. They are depicted in the same posture. The "black" man holds a stick or a spear in his left hand. The "white" man holds a bow, also in his left hand. Height of the white man: 0.23 m.

216 - Tadrart Acacous. Ou an Amil. – Elongated figure, an archer of the bovidian type, holding the bow in the left hand. No arrow is visible. The hairstyle is familiar to us. A skirt, made of a net or mesh structure, seems to be worn over a kind of underwear. The bow measures 0.14 m from end to end.

217 - Tadrart Acacous. Oued Kessan. – Paintings of "diabolo" figures, whose shape is likely due to a belt pulling the tunic against the waist. The head is schematized by a line, generally surrounded by a pale ochre stain that is not always preserved. We are in the horse era here. The width of the tunic varies and either reaches the ankles or stops above the knees. The scenes depicted are much less lively than those from the bovidian era. Width of the panel: 0.55 m.

218 - Tadrart Acacous. Oued Kessan. – Another scene in the same style as the previous one. On the right side, women with children are depicted. Width of the panel: 0.84 m.

219 - Tadrart Acacous. Oued Kessan. – Three well-observed giraffes engraved by puncturing and fine lines. Width of the panel: 1.33 m.

220 - Tadrart Acacous. Tin-Achigh. – Equid era. Interesting painting showing that, like in Ouan Amil (photo 215), the figure of the white character wears a kind of black stole with white patterns on the right shoulder. He appears to have a hairstyle topped with a feather. He is long and narrow in the thighs. The figure with a short tunic behind him holds a spear in one hand and a tool (?) in the other, in contact with a curious segment of a circle. Bottom right, a small figure painted in red ochre. Height of the white figure: 0.21 m.

221 - Tadrart Acacous. Tin-Achigh. – Pastoral scene. A herd of bovids is followed by a shepherd in the style of Ouan Amil, holding a long staff in one hand, while the other rests on the waist. A difference in style can be noted between the animals depicted, indicating they are not from the same era. Width of the panel: 0.65 m.

222 - Tadrart Acacous. Tin-Achigh. – Very rare representation of a hand engraved in relief. Diagonally along the rock fracture, a crude Tifinagh inscription. Life-size.

223 - Tadrart Acacous. Tin-Achigh. – Beautiful giraffe finely engraved. At the bottom left, possibly a monkey and a figure difficult to identify. The whole is overloaded with horse epoch graffiti. Width of the depicted panel: 0.71 m.

224 - Tadrart Acacous. Tin-Achigh. – Two giraffes in a decadent style, completely dotted on the inside. To the left, the head and horn of a rhinoceros. To the right of the giraffe, a schematic and poorly engraved “diabolo” figure. Tifinar characters. Informal graffiti. Width of the depicted panel: 1.60 m.

225 - Tadrart Acacous. Tin-Achigh. – Seven red ochre painted figures sitting, six in a semicircle, one inside. The hairstyle is marked by a white spot. The figure at the top faces right, surrounded by unidentifiable figures. Below him, three seated people also face right, the last three face them. Width of the depicted panel: 0.57 m.

226 - Tadrart Acacous. Tin-Achigh. – Two seated people, wearing long tunics and bare feet, talking to each other. The figure on the left is 0.16 m tall.

227 - Tadrart Acacous. Tin-Achigh. – Three figures in tight white tunics, emphasizing the waist. The middle figure has black arms, but the rest of the body is white. He holds a stick in his left hand. The middle figure is 0.20 m tall. Note the white stick on the left.

228 - Tadrart Acacous. Teshouinat-Tagzelt. – A curious sight of two figures whose white tunics flare out at the bottom, possibly due to a rotating movement (?). A strange representation appears in the center, above the larger subject, who has suspended a round object from his left arm, which could be a shield. Noticeable ankle rings are visible here. The width from the right to the left tunic is 1.10 m.

229 - Tadrart Acacous. Teshouinat-Tagzelt. – Chariot period. Two horses in the posture of the “flying gallop.” A “diabolo” man runs behind them. Through a curious effect of false perspective, the painter depicted the platform chariot with its driver above it, but the reins are visible. At the bottom right, a goat is running. From the front hooves to the back hooves of the horses: 0.37 m in length.

230 - Tadrart Acacous. Teshouinat-Tagzelt. – Two-wheeled chariot with six spokes each, galloping. The same perspective error as in the previous picture: the chariot seems to fly above the horses. It appears that two people are seated on the platform. The red ochre painting is clumsy. Width of the depicted panel: 0.44 m.

231 - Tadrart Acacous. Teshouinat-Tagzelt. – Giraffe painted in white and overloaded with spots to represent the animal’s coat. Height of the animal: 0.36 m.

232 - Tadrart Acacous. Teshouinat-Tagzelt. - Figure with a "stick head", topped with two feathers. A double necklace around the neck and a double bracelet on the left arm. A piece of fabric or leather is also visible on the left side. Around the waist, two unexplained handles. Height of the represented surface: 0.25 m.

233 - Tadrart Acacous. Teshouinat-Tagzelt. - Engraved elephant, a depiction that is rare in the Acacous. From the front foot to the back foot: 1.23 m in length. (Photos 232, 234, and 237 come from the same shelter.)

233 - Tadrart Acacous. Teshouinat-Tagzelt. - (original photo) Engraved elephant, a depiction that is rare in the Acacous. From the front foot to the back foot: 1.23 m in length. (Photos 232, 234, and 237 come from the same shelter.)

234 - Tadrart Acacous. Teshouinat-Tagzelt. - Giraffe facing two barking dogs, which could be Sloughis. Width of the represented panel: 0.43 m. The painting technique is the same as the one used for the giraffe in photo 231.

235 - Tadrart Acacous. Teshouinat. - Complex series of figures, of which it is unclear whether they are dressed or not. Eight are painted in white, one in red. The figure at the bottom seems to wear a transparent cloak. The heads are topped with one or more feathers. A small bovine carries a symbol (?) above its head. Height of the represented panel: 0.72 m.

236 - Tadrart Acacous. Teshouinat. - "The man in the poncho" refers to the series of hairstyles from Ouan Amil. The poncho, if it is a poncho, is decorated with V-shaped patterns. The head has distinctly Europoid features. The hairstyle rounds off the shape of the object. Height of the figure, from the bottom of the front foot to the top of the hairstyle: 0.25 m.

237 - Tadrart Acacous. Teshouinat. - "Mouflon hunt". A pack of dogs converges towards its prey. Five dogs are painted in white and four in red, like the mouflon. In the top left, an archer runs toward the beast. The scene suggests that the author was very familiar with this type of scene. The large dog seems to attest to the existence of two breeds used by the hunters. Width of the represented panel: 0.64 m. (Photos 232, 234, and 237 - come from the same shelter.)

238 - Tadrart Acacous. Teshouinat. - Age of chariots. A vehicle drawn by four horses in "flying gallop". This time, one can clearly observe a "carrycot ", giving the driver an acceptable place. The four-spoked wheel raises questions, as it is the only one that could support the creation of wheels made from wood and leather. Width of the represented panel: 0.41 m.

239 - Tadrart Acacous. Tin-Anneouin. – Composite fresco featuring "diabolo" figures, palm trees, bovids, "flying gallop" chariots, etc. Several layers are superimposed here. Painted Tifinagh characters. Only red ochre was used.

240 - Tadrart Acacous. Tin-Anneouin. – A palm tree and an animal seemingly eating its leaves. It is the camels that allow the dating of the painting.

241 - Tadrart Acacous. Tin-Anneouin. – A man armed with a spear, attacking another figure wearing a long tunic tightly bound at the waist. Tifinagh characters.

242 - Tadrart Acacous. Tin-Anneouin. – Galloping chariot with two wheels, each with six spokes. A well-visible rectangular platform. The man holds either a javelin or a stick to urge the team (?) of three horses. In front on the right, a man in a long tunic holds a lance and a round shield. This figure is 0.15 m tall, and the chariot is 0.30 m.

243 - Tadrart Acacous. Tin-Anneouin. – Lying cows painted with red ochre. Bovidian period.

244 - Tadrart Acacous. Tin-Lalan. – Ritual intercourse scene between an exaggeratedly ithyphallic figure and a woman with Europoid features. This is a scene with a propitiatory character. See chapter "The History of a False Idea: Sex and the Desert". Height of the depicted panel: 1.50 m.

245 - Tadrart Acacous. Tin-Lalan. – Another ritual intercourse scene. This scene has become complex due to overpainting and is difficult to restore. The Europoid figure on the right is a false ithyphallic, the oversized genitals having been added later. The original scene seems to depict the right figure, the ithyphallic genitals at the top center, and the therocéphale facing a woman whose vulva corresponds to a rock defect.

246 - Tadrart Acacous. Tin-Lalan. – A woman in a gynological position, of decadent style. Due to clumsiness, the vulva seems to have been placed beneath the body. Above, a beautiful ostrich. This scene has no propitiatory character and can be attributed to the modern sexuality of the nomads.

247 - Tadrart Acacous. Tin-Lalan. – The nature of the scene, originally part of invoking the supernatural powers of fertility, has greatly degraded over time. The multiple retouches and difficulty in reconstructing the original work led F. Mori, who saw it, to deny its mythical character. See the chapter "The History of a False Idea: Sex and the Desert". Height of the central figure: 1.22 m.

248 - Tadrart Acacous. Tin-Lalan. – Detail of the female figure from the previous photograph (247). Width of the depicted panel: 0.82 m.

Photo Gallery

Chapter 3: FEZZAN - Libya