The Central Sahara is considered the greatest “museum” of rock art in the world, containing several thousand prehistoric and recent images. The oldest paintings, called Round Heads, originated during a humid phase in the 10th millennium before present and they were created by dark-skinned hunter-gatherers living in the Algerian and Libyan mountains. Rock shelters show mainly anthropomorphic figures with body paintings and other embellishments testifying ancient rituals and ceremonies. Only two animal species – antelope and mouflon – appear to be as important as men and women; mixed with them on the same walls, these animals had a fundamental place in the ideology of the period. Since the discovery by Europeans in the 19th century, research in the Sahara has been scarce due to the difficult working conditions and to the problematic politics associated with national permissions. The rock art and the archaeology have always been treated as separated disciplines and only rarely were the paintings associated with a material culture. They have been described and classified but not interpreted because it was considered unachievable. Using interdisciplinary studies, this book approaches the previously neglected fields of the study of Saharan rock art, and it proposes new ways to research the art and the societies that created it.

The Neolithic rock images of Iheren, Algeria are the starting point for Augustin Holl's careful analysis of the iconography of Saharan rock art. Created in the third millennium B.C., the Iheren murals are over 3 meters wide and contain multiple compositions that present an allegorical depiction of the lifeways of Tassilian pastoralists in the Sahara. Holl approaches his task as an archaeologist, examining the various strands of evidence—icons, ideas, motifs, colors, and sizes-and weaving them together into a story that offers a window on the pastoralist worldview through the semiotics of their art. His deconstruction and synthesis of this corpus of material should be of interest to African archaeologists, rock art specialists, art historians, and cultural anthropologists alike.

Contains more than two hundred photographs of Africa's rock art, coupled with historical and interpretive analyses, compiled to raise public awareness of the variety, importance, and frailty of these works.

The Neolithic rock images of Iheren, Algeria are the starting point for Augustin Holl's careful analysis of the iconography of Saharan rock art. Created in the third millennium B.C., the Iheren murals are over 3 meters wide and contain multiple compositions that present an allegorical depiction of the lifeways of Tassilian pastoralists in the Sahara. Holl approaches his task as an archaeologist, examining the various strands of evidence icons, ideas, motifs, colors, and sizes-and weaving them together into a story that offers a window on the pastoralist worldview through the semiotics of their art. His deconstruction and synthesis of this corpus of material should be of interest to African archaeologists, rock art specialists, art historians, and cultural anthropologists alike."

Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.

The only book of its kind to examine cave art throughout Africa. The paintings and engravings discovered in African caves are amazing works of art that hold clues to understanding the history of humankind.

Issued in conjunction with the exhibition Caravans of Gold, Fragments in Time, held January 26, 2019-July 21, 2019, Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Illinois.

Uan Tabu is a rockshelter on the left bank of the central valley of the Wadi Teshuinat, which is a main ancient water course in the Tadrart Acacus mountain range. It is located in the Fezzan region, south-western Libya (Great Jamahirya). The site was discovered by Fabrizio Mori in 1960 and was re-excavated and studied by a multi-disciplinary team at the beginning of the 1990s. It has also remarkable rock art that includes paintings from the Round Head and Pastoral phases. Between 1960 and 1963, a trench was dug into the archaeological deposit at the foot of the rock wall. The results of the 1960s’ excavation have never been published before, apart from some brief notes. They are thoroughly described and discussed in the present volume. Between 1990 and 1993, the excavation was resumed and extended. The 1990s’ excavation has been preliminarily published. Further information and details are now presented and commented. A stratigraphic and cultural correlation between the two excavations is also attempted in this volume. Four main archaeological and paedological units were identified and dated. They spanned from the Late Pleistocene to the Late Holocene. The earliest one, dating to the Pleistocene, included an Aterian techno-complex and was dated to around 61,000 years BP. Later, during the Early Holocene, a ‘pre-pastoral’ occupation occurred since the 10th millennium bp. This period was differentiated in two phases characterised by different socio-cultural systems: 1. during the Early Acacus (around 9800-8800 years bp), the site was used on a seasonal basis, probably during the dry season, for practising hunting activities; 2. during the Late Acacus (around 8800-8600 years bp), a more sedentary lifestyle was hypothesised for the inhabitants of the site. These two cultural facies comprised the upper three units. The fourth phase of occupation of the shelter was only attested to the surface of the site, but it could be still considered as an indication of the use of the site during the Late Holocene, as late as the 4th millennium bp. A dung fill in the wall of the rockshelter dated to the end of this, Late Pastoral, phase and is the only evidence for domesticated animals.

The little-known history of how the Sahara was transformed from a green and fertile land into the largest hot desert in the world The Sahara is the largest hot desert in the world, equal in size to China or the United States. Yet, this arid expanse was once a verdant, pleasant land, fed by rivers and lakes. The Sahara sustained abundant plant and animal life, such as Nile perch, turtles, crocodiles, and hippos, and attracted prehistoric hunters and herders. What transformed this land of lakes into a sea of sands? When the Sahara Was Green describes the remarkable history of Earth’s greatest desert—including why its climate changed, the impact this had on human populations, and how scientists uncovered the evidence for these extraordinary events. From the Sahara’s origins as savanna woodland and grassland to its current arid incarnation, Martin Williams takes us on a vivid journey through time. He describes how the desert’s ancient rocks were first fashioned, how dinosaurs roamed freely across the land, and how it was later covered in tall trees. Along the way, Williams addresses many questions: Why was the Sahara previously much wetter, and will it be so again? Did humans contribute to its desertification? What was the impact of extreme climatic episodes—such as prolonged droughts—upon the Sahara’s geology, ecology, and inhabitants? Williams also shows how plants, animals, and humans have adapted to the Sahara and what lessons we might learn for living in harmony with the harshest, driest conditions in an ever-changing global environment. A valuable look at how an iconic region has changed over millions of years, When the Sahara Was Green reveals the desert’s surprising past to reflect on its present, as well as its possible future.