the mid-fifties, based on reports received by the Tuareg guide Jebrin, Henri Lhote prepared a great expedition to the Tassili Massif n ' Ajjer, in south-east of Algeria, and there was accompanied by a group of enthusiastic young painters, including the Milanese Gianni Frassati.
In two years of hard work, those rocks out of the world under a blue sky, lit by the sun still burning, they copy it meticulously studied and cataloged a large amount of graffiti and cave paintings. It found thousands scattered in the labyrinth of stone from the place names SEFAR, Awanrhet, Jabbaren. At the last resort, Jabbaren driving Jebrin had shown for the first time in the cave paintings Lhote in 1938. Right here are the most beautiful paintings: five images of thousands of lives lost, perhaps recalling the symbiosis of two peoples, the ancestors of the Peulh herders and the nobility of Atlantis, the ancestors of the Berbers of today. The current desert
was fertile, between twelve thousand and two thousand years ago, until there came a season of major climatic changes, possibly caused by celestial events (passing near Earth's orbit or impact of large meteorites). Those date back to prehistoric cave paintings depict animals and almost disappeared in the Sahara, hunting scenes and sex, a population of pastors of black leather with another light-colored, bird-headed gods such as Egyptians, chariots hunting and battle mythical Garamantes: the largest, beautiful and mysterious art gallery to open in the world. In
Tassili massif, and to SEFAR Jabbaren, are enigmatic figures who seem to swim or float in a vacuum and the other round heads, which seem to wear helmets and overalls or divers - as someone has come to assume - spacesuits. I'm so flowery stories that show the origins of ancient Atlantis in the Sahara, and other myths imagine a descent of aliens on Earth.
"In the language of the Tuareg - recalls Henri Lhote (1) - Jabbaren means 'giants', because there are prehistoric paintings with giant images of men: one is taller than six feet. It is without doubt one of the prehistoric paintings larger among those known. We must get away to see the whole picture in a glance, the simple contour, round head, with one particular obvious: a double oval at the center of the figure, which makes it look like that character in our image, but if the Martians Martians never put foot in the Sahara, had to be many centuries ago, because those characters are round-headed, as far as I know, among the earliest paintings of the Tassili.
Above n'Ajjer various views of the Tassili (Sahara desert)
The oldest paintings are the work of a people living in hunting of large animals. That period, the first Saharan art, has been classified as "Bubalo, and works of art are only graffiti, which represent i grandi animali africani che popolavano allora il Sahara, fertile e ricco di zone umide: elefanti, leoni, ippopotami, rinoceronti, giraffe e l'estinto Bubalus Antiquus, una specie di bufalo dalle corna tanto lunghe da costringerlo a brucare a marcia indietro. Tutti questi animali erano disegnati su grandi rocce piane all'aperto, senza nessun riparo dalle intemperie e senza alcun ordine, mescolando diversi motivi e soggetti sulla stessa superficie. L'estensione geografica di queste espressioni artistiche è enorme e ricopre tutta la fascia dell'Africa settentrionale, segno della grande estensione del Sahara "verde". Il periodo del Bubalus antico si estende dal 10000 al 6000 a.C. e i corpi umani appaiono rappresentati con teste vuote, prive di features.
The second period, known as the "round heads" goes from 6000 to 5000 BC During this period, the figures are enriched with natural earth colors taken from, and sometimes human figures are represented with animal masks.
The third period is that Bovids, from 5000 to 1800 BC in the representation, rather elegant, painted in vivid colors, animals appear, including domestic sheep, cattle and scenes of everyday life. Without exception the prehistoric paintings, the figures are first cut into the rock, with flint tools, and then colored. The shepherds of cattle that appear in these paintings was, according to the great historic Hampi Bâ African, the ancestors of the Peulh (Fulani) nomad herdsmen who later swarmed southwards, to colonize large parts of Sudan and the Sahel. Men in white or reddish, often seen in 'symbiosis' with the former, richly dressed, with habits similar to those present, would instead remain on the site and were the ancestors of the Amazigh (known by the name of the Berbers, given them by the ancient Greeks and Romans): the people of Atlantis, which fell to the north by the Saharan Ahaggar massif, as reported by Herodotus. (2) He wrote, quote: "The Atlas will live in a mountain called Atlas, which take the name" and indicates that mountain to the south, a venti giornate di marcia (circa 800 km) dall'oasi dei Garamanti, l'attuale Djerma, e a dieci giornate di marcia (circa 400 km) dal massiccio dei Tassili, ove abitavano gli Ataranti: non può trattarsi d'altro che del massiccio dell'Ahaggar, montagna sacra della stirpe dei Tuareg. Le catene che oggi noi chiamiamo col nome 'Atlante', disposte da ovest verso est su tre fasce parallele alle coste mediterranee, si chiamano invece 'Deren', secondo il loro nome locale, dato dai Berberi.
Nell'ultima parte del periodo Bovidiano, a partire dal 2000 a.C., la mutazione climatica fece asciugare ampie zone umide. Scomparvero dall'arte rupestre le figure d'ippopotami e d'elefanti e si presume che i pastori di bovini, dark, migrated southwards across the Sahara to the valley of the River Niger, to spread later to the Gulf of Guinea and the western coast of Africa.
The fourth period is the Horse, from 1800 to 400 BC The name comes from the presence of two wagons, and sometimes four-wheeled carts for hunting, racing and battle, depicted with a vivid expression that seems almost to anticipate the dynamics of modern futurism. Indeed, the horses were introduced at that time and the people of Garamantes, which had the capital or the current Djerma Garama in western Libya, was famous for his ability to lead the battle. The style is naturalistic and the shapes are more schematic.
Finally, the fifth period, the style Camelina, extending from 400 BC to the present. Along this time, the African wildlife disappears in the North-African and the horse takes over the dromedary (originally from the East), along with other animals. Strabo, in sec. The BC, still speaks of a wide spread of the horse, but the desertification have forced the caravans carrying large reserves of water. Pliny the Elder, in the next century, reports that elephants, giraffes and other wild beasts "African" still existed in Libya, but that's wed Garamantian in the country (rivers) had become dry for long periods. The Sahara desert it was. In those years dromedary, which had been bred and used for two millennia in the Arabian Peninsula, arrived in Africa, from the east, with caravans of nomads.
The art of this period is schematic and crude. The period of great art Saharan Africa has been finally set, and there remains only the occasional expression of nomadic shepherds of the desert areas.
The beginning of the artistic period "round heads" is therefore placed around 6000 years before our era. The name given to the term derives from the characteristic way of representing human figures, with the head consists of a round blank. In this period the animals are always portrayed that today are typical of Black Africa, but reduced size, and appear human figures, single or in groups, in different attitudes, as well as monsters and giants. The composition becomes increasingly complex and expresses intent certainly magical and religious. During this time the artistic production is expressed both works painted with graffiti either, and is geographically restricted to the Tassili n'Ajjer (Algeria) and all'Akakus (Libya).
According to the proponents of theories of alien influences, the period of round heads would be the time of the landings of visitors from other worlds would have round heads and primitive representations of space helmets.
As we said, and to SEFAR Jabbaren Tassili mountains, some pictures in particular, dated Experts from around the year 5000 BC, seem to wear a helmet globular, similar to that of the divers, so that the discoverer of the paintings, the French archaeologist Henri Lhote, named the greatest "the great god Mars" or "l ' astronaut. " But why should an astronaut wearing a helmet and prepared for the rest to be completely naked? It is far more likely - Lhote argued - whether of indigenous rituals with masks. Other commentators, however, attracted by curiosity always difficult to explain, perpetuate the myth dell'extraterrestre. Proponents also note the presence of different alien figures that appear to float in space, as in the absence of gravity. Figures that the shamanistic culture scholars tend to attribute derived from the use of ecstasy and hallucinogenic substances that easily, from a purely artistic point of view, we might regard as "dancers" of Matisse or a framework for the Chagall.
might suffice, in this as in other cases, a small documentation effort to resolve the issue correctly and well founded. Nell'interessantissima photographic collection entitled "1900. L'Afrique découvrir l'Europe", Eric Baschet shows the sequence of a funeral, photographed in the region of Lake Chad, in the years around 1920 (p. 64-65). The caption is as follows:
"A man is dead. The corpse is wrapped with strips of cotton, bound with strips of bovine leather coated with a tunic. It is then slid into a narrow grave and is then buried in a sitting position, his head covered by a large earthenware jar. "
see the first picture of the sequence and not We can help but note that the ritual treatment (see two images above), reserved for the dead by the heirs of the ancient inhabitants of Jabbaren migrated thousands of miles to the south, decorate the dead just like the picture that eight thousand years ago had been painted in the mountains of the Sahara, to give up the appearance of a "space diving suit, with a helmet on his head round. This is not the preparation for space travel, but for a journey into a world far more remote quell'aldilà that both fascinated and still fascinates the anxiety of ancient and modern mystery of man, long before ancient Egypt to this day. The protections necessary to quell'antenato must therefore be much more robust and substantial than those of a man who is about to fly in space.
In the region of the Tassili mountains, west of the ancient Saharan freshwater sea, once populated by hippos and crocodiles, the Ancients (Egyptians and Greeks) located on the extreme west, the garden of the Hesperides e il mondo dell'Oltretomba, dal quale un comune mortale non poteva fare ritorno. Solo alcuni eroi, come Erakles, Giasone e gli Argonauti, potevano riuscire nell'impresa.
Perché mai dovremmo stupirci che su quelle montagne, insieme alle scene di caccia, di vita quotidiana, alle danze e alle scene di riproduzione rituale, siano raffigurate scene di sepoltura rituale, come essa era praticata da popolazioni che poi migrarono verso sud, verso il cuore dell'Africa umida?
Le loro orme, secondo Henri Lhote, furono seguite anche da una legione romana, quella del legato Cornelio Balbo, che nel 19 a.C. si spinse nel profondo Sud del Sahara, poi riuscì a ritornare a Roma ed ottenne il trionfo. Secondo Plinio, the Legio III Augusta, commanded by Cornelius Balbus, went down south, via Alas and Balsa, until they touch several rivers, including the Dasibari. According Lhote, the legacy he could follow the ancient Roman "wagon road", the ancient caravan route that ran along the eastern bank of the Bahr Attla, the "Ocean of Atlantis," cited in a book of the Bible. Along that road are often depictions of chariots Garamantian. Alas Saharan Africa would be the town that now bears the name of Ilezy Balsa and could be Abalessa, the legendary stronghold at the foot of the Ahaggar Tuareg. Dasibari could be one of the names by which local people call the great river Niger: Isa-Bari, speaking Sonrhai means own 'big river' and still designates the Niger, and 'Da' is the name that people give to those legendary old 'water lords', for which the Niger in ancient times could be just called 'Da-Isa-Bari' , a term very similar to that passed by Pliny.
NOTES 1. H. Lhote, A la découverte du Tassili des Fresques, Ed Arthaud, Paris, 1973.
2. A. Arecchi, Atlantis. A vanished world, a hypothesis to find him, Ed Liutprand-Mimesis, Milano-Pavia, 2001.
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