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

View towards the east on a mountain on the high plateau of the Tassili. On the horizon you can see the Acacus Mountains in Libya. Algeria - Tassili n'Ajjer - 1993

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.

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