The Lesser Gods of the Sahara

Keenan, Jeremy

doi:10.4324/9780203327623

Cited by 16 publications

(9 citation statements)

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“…As in the Tassilli (Keenan, 2000;2002) and the Tadrart-Acacus (Cremaschi et aI., 2000;2002;Le Quellec, 2001), the rock art and the whole archaeological heritage of Morocco have been seriously damaged by anthropic action, both by the local population and by foreigners (tourists, professional looters and, shamefully, in some instances archaeologists).…”

Section: Introductionmentioning

confidence: 97%

Rock art conservation in Morocco

Larocca¹

2003

Public Archaeology

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Section: Introductionmentioning

confidence: 97%

Rock art conservation in Morocco

Larocca¹

2003

Public Archaeology

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“…These years were completely devoted to the first survey of the rock art contexts and to their reproduction by master painters [22]. Even if this research is today highly disputed for the damaging impact that the recording procedures had on the paintings (e.g., [23][24][25][26]) and for its theoretical and methodological implications [22,27], it marked the beginning of rock art study in the area and produced the official documentation of the rock art until recent times. The rock art reproductions were in fact displayed at various exhibitions all around Europe [19,21,28,29] and for a long time were the iconographic support of any publication (e.g., [6,7,19,21,30]).…”

Section: Aims and Methods Of The Rock Art Studymentioning

confidence: 99%

Saharan Rock Art: Local Dynamics and Wider Perspectives

Gallinaro

2013

Arts

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Rock art is the best known evidence of the Saharan fragile heritage. Thousands of engraved and painted artworks dot boulders and cliffs in open-air sites, as well as the rock walls of rockshelters and caves located in the main massifs. Since its pioneering discovery in the late 19th century, rock art captured the imagination of travellers and scholars, representing for a long time the main aim of research in the area. Chronology, meaning and connections between the different recognized artistic provinces are still to be fully understood. The central massifs, and in particular the "cultural province" encompassing Tadrart Acacus and Tassili n'Ajer, played and still play a key role in this scenario. Recent analytical and contextual analyses of rock art contexts seem to open new perspectives. Tadrart Acacus, for the richness and variability of artworks, for the huge archaeological data known, and for its proximity to other important areas with rock art (Tassili n'Ajjer, Algerian Tadrart and Messak massifs) is an ideal context to analyze the artworks in their environmental and social-cultural context, and to define connections between cultural local dynamics and wider regional perspectives.

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“…It makes the figures clearer in the short term, but far less clear in the long term". The reliability of some of Lhote team's recording of tassilian paintings has been questioned by some writers (Keenan 2002). Does this revisionist approach to Lhote's research legacy requires to throw away all the recorded paintings?…”

Section: The Paintings From Uan Derbuaenmentioning

confidence: 99%

“…Henri Lhote research and art recording methods have been harshly criticized during the last few years (Keenan 2002;Bahn 2010). For Keenan (2002), he was a self-aggrandizing and destructive collectors of artifacts.…”

Section: The Paintings From Uan Derbuaenmentioning

confidence: 99%

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Aquí vienen las novias: leyendo las pinturas neolíticas de Uan Derbuaen (Tasili n’Ajer, Argelia)

Holl

2017

Trab. prehist.

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The Tassil rESUMENLa cordillera montañosa del Tasili n'Ajer es bien conocida por su fenomenal riqueza en abrigos y cuevas pintados. Generaciones de investigadores han prospectado, cartografiado, dibujado y discutido diferentes facetas de estas pinturas del Tasili. La diversidad y versatilidad de las tradiciones pictóricas del Tasili hace difícil cualquier intento de generalización directa ya sea estilística o temá-tica. Cada estación pintada parece ser única y expresiva de sugerencias propias que deben ser estudiadas extensa y sistemáticamente. En el enfoque esbozado en este artícu-lo, un enfoque iconográfico, las pinturas son consideradas como series complejas de "artefactos" organizados por las mentes creativas de los artistas reales. ¿Cómo desarrollaban sus habilidades esos artistas? ¿Qué elementos icónicos escogieron para la representación y por qué? ¿Cómo y por qué esos elementos seleccionados se organizaron y combinaron? La nueva lectura de las pinturas de Uan Derbuaen permite sugerir una puesta en escena y una gran representación de los arreglos matrimoniales, el viaje final de las novias.

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The Lesser Gods of the Sahara

Cited by 16 publications

References 0 publications

Rock art conservation in Morocco

Rock art conservation in Morocco

Saharan Rock Art: Local Dynamics and Wider Perspectives

Aquí vienen las novias: leyendo las pinturas neolíticas de Uan Derbuaen (Tasili n’Ajer, Argelia)

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