Rock Paintings in the Libyan Desert

Antiquity ◽  
1936 ◽  
Vol 10 (38) ◽  
pp. 175-178 ◽  
Author(s):  
W. B. Kennedy Shaw

‘Time’, wrote Sir Thomas Browne, ‘which antiquates antiquities, and hath an art to make dust of all things, hath yet spared these minor monuments’. The Nile Valley is full of major monuments—pyramids, tombs and temples; each expedition which goes into the Libyan Desert learns that it is well-filled with minor ones and remarkable among these are paintings and gravings on rocks.

Antiquity ◽  
1939 ◽  
Vol 13 (52) ◽  
pp. 389-402 ◽  
Author(s):  
R. F. Peel

The two volumes of rock-drawings from southern Upper Egypt collected by Dr H. A. Winkler, and published by the Egypt Exploration Society, together form a work of the utmost interest and importance to all interested in the archaeology and ethnology of North Africa. In the first volume, published in 1938, Dr Winkler included a selection of the material collected from the deserts east of the Nile and from the Nile valley itself. In the second volume, just published, the drawings and paintings are all from the deserts west of the Nile and cover three main regions : first the edges of the Nile valley itself from Qena to Aswan ; secondly the regions between the Nile and Kharga; and thirdly certain parts of the central Libyan Desert towards the extreme south-western frontiers of Egypt, in particular the mountain ‘ desert oasis ’ of Gebel ’Uweinat.


1944 ◽  
Vol 64 ◽  
pp. 21-36 ◽  
Author(s):  
H. I. Bell

If you should ever attempt to motor from Assiût southwards to Baliana and Luxor—an enterprise I do not recommend, for the roads are vile—and, after some twenty-five miles of bumping and shaking, should decide, as my companion decided, to try your luck on the opposite side of the Nile Valley, you will come, after a few miles of a straight but evil road leading west, to another which runs southward again beside a canal separated by about a hundred yards of sandy plain from the great cliffs which form the escarpment of the Libyan Desert. The road which you have reached is no better than the one you have left, the dogs of the district are of a ferocity I found nowhere else in Egypt, and the human inhabitants are surly and hostile; but the natural amenities are considerable. The ordinary Egyptian canal, and so, by consequence, the road which normally runs along it, stretches without a bend for miles, but this particular canal at this point, conforming to the line of the cliffs, which here swing out eastwards, curves round in a great arc, and the road follows. The bank is shaded by a long line of palm-trees, and the view westwards, the reddish-brown trunks and feathery green fronds of the palms seen against a background of yellow sand and red cliffs, is delightful. Turning to the east one sees, stretched out in long perspective, the utter flatness of the Nile valley, clothed in the exquisite green of the young crops, out of which villages rise here and there like islands in a great lake. One such village, seen not far from the road shortly after we have turned to the south, makes a particularly charming effect.


1901 ◽  
Vol 8 (12) ◽  
pp. 540-546 ◽  
Author(s):  
Hugh J. L. Beadnell

The Fayûm, one of the largest depressions of the Libyan Desert, is situated some 50 miles south-west of Cairo. It is cut out in rocks of Eocene and Oligocene age, while still younger deposits of Pliocene and Post-Pliocene date are found within the hollow. The depression owes its origin to the action of the ordinary subærial denuding agents, which I have shown in previous papers were capable of producing the oases-depressions of Baharia, Farafra, Dakhla, etc. Faulting, which has played so important a part in the formation of the Nile Valley, appears to have had little or nothing to do with the production of the Fayûm and other depressions of the Libyan Desert.


Author(s):  
Maksim Lebedev ◽  

The Middle Holocene epoch in northeastern Africa was marked by a steady trend towards aridization. However, the transformation of ecosystems and natural landscapes was gradual and had a complex nature. This change directly affected the development of the first ancient Egyptian centralized state as well as the development of its resource base beyond the Nile Valley. This study addresses the problem of using ancient Egyptian epigraphic sources (expeditionary inscriptions) for the study of both paleolandscapes and ecosystems of the Western (Libyan) Desert and the possible socio-economic impact of their change. The author studies several graffiti, which are believed to have preserved information on natural conditions near the Dakhla oasis and in the region of Wadi Toshka during the time of construction of the great pyramids (Fourth Dynasty). The author concludes that it is quite easy to make misleading assumptions when interpreting expeditionary artefacts. At the same time, as an example with an unusual toponym from the quarries near Wadi Toshka demonstrates, even the shortest graffiti can provide researchers with important additional information on possible changes in the ancient climate and landscape.


2008 ◽  
Vol 35 (2) ◽  
pp. 243-251 ◽  
Author(s):  
RAGNAR K. KINZELBACH

The secretarybird, the only species of the family Sagittariidae (Falconiformes), inhabits all of sub-Saharan Africa except the rain forests. Secretarybird, its vernacular name in many languages, may be derived from the Arabic “saqr at-tair”, “falcon of the hunt”, which found its way into French during the crusades. From the same period are two drawings of a “bistarda deserti” in a codex by the Holy Roman Emperor Frederick II (1194–1250). The original sketch obviously, together with other information on birds, came from the court of Sultan al-Kâmil (1180–1238) in Cairo. Careful examination led to an interpretation as Sagittarius serpentarius. Two archaeological sources and one nineteenth century observation strengthened the idea of a former occurrence of the secretarybird in the Egyptian Nile valley. André Thevet (1502–1590), a French cleric and reliable research traveller, described and depicted in 1558 a strange bird, named “Pa” in Persian language, from what he called Madagascar. The woodcut is identified as Sagittarius serpentarius. The text reveals East Africa as the real home of this bird, associated there among others with elephants. From there raises a connection to the tales of the fabulous roc, which feeds its offspring with elephants, ending up in the vernacular name of the extinct Madagascar ostrich as elephantbird.


2017 ◽  
Vol 26 (1) ◽  
pp. 53-68
Author(s):  
Mark Byron

Scholarly research over the last twenty years has marked a profound shift in the understanding of Beckett's sources, his methods of composition, and his attitudes towards citation and allusion in manuscript documents and published texts. Such landmark studies as James Knowlson's biography, Damned to Fame (1996), and John Pilling's edition of the Dream Notebook (1999), and the availability of primary documents such as Beckett's reading notes at Reading and Trinity libraries, opened the way for a generation of work rethinking Beckett's textual habitus. Given this profound reappraisal of Beckett's material processes of composition, this paper seeks to show that Beckett's late prose work, Worstward Ho, represents a profound mediation on writing, self-citation, and habits of allusion to the literary canon. In its epic gestures, it reorients the heavenly aspiration of Dante's Commedia earthwards, invoking instead the language of agriculture, geology and masonry in the process of creating and decreating its imaginative space. Beckett's earthy epic invokes and erodes the first principles of narrative by way of philology as well as by means of deft reference to literary texts and images preoccupied with land, farming, and geological formations. This process is described in the word corrasion, a geological term referring to the erosion of rock by various forms of water, ice, snow and moraine. Textual excursions into philology in Worstward Ho also unearth the strata comprising Beckett's corpus (in particular Imagination Dead Imagine, The Lost Ones, and Ill Seen Ill Said), as well as the rock or canon upon which his own literary production is built. A close reading of Worstward Ho turns up a number of shrewd allusions to the King James Bible and Thomas Browne, as one might expect, but also perhaps surprisingly sustained affinities with the literary sensibilities of Alexander Pope and the poetry of S. T. Coleridge. The more one digs, the more Beckett's ‘little epic’ seems to become one of earthworks, bits of pipe, and masonry, a site and record of literary sedimentation.


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