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Prehistory Of Africa: Manifestations Artistic
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Prehistory Of Africa: Manifestations Artistic
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The most archaic rock manifestations: PICTORIAL and
African RELIEFS are dated between the 6000 years 8000 to BP. The
paintings and engravings of walls and rock shelters, are of
variadísimos styles and subjects. The figures abound with
humans, with masks, and others with body sometimes smeared of target
or painted with drawings of lines, and also abound different species
from animals, or in joint scenes or single, many seem " pasturing or
hunting scenes ". The paintings of style of " round heads " older are
considered were made by towns of hunters who lived on the hunting and
the harvesting from 8000 year BP. Other paintings of " style of
shepherds ", think would be made by towns that domesticated the
animals until year 4000 BP. Other paintings would be made by nomadic
towns: the ceremonious scenes, those of style of " flying cars " or "
galope flying " until year 2300. And those of style of the " camel "
they would be made until the 300 AP (After Present), etc.
OUR HYPOTHESIS
Although these paintings of hunters, shepherds and
recolectores could reflect to the woman and man in their archaic real
existence, our hypothesis is that the scenes do not reflect the daily
life of the hunting, but that would be made by towns that lived on
agriculture and the domestic animals and would have a
mythical-metafórico meaning in relation to the attainment of
vegetal foods. With ritual paintings of scenes and metafórico
sense, they would try to obtain of magical form abundance nourishing
vegetable, so that the herbívoros humans and animals, they
were fed. The attributes and figures of complex paintings of symbolic
scenes: they are mythical symbols and astronomical to which they
allude metafóricamente, with that one would be to cause the
shipment of the different phenomena of which the vegetation
throughout the year depends and that was believed was function of the
Goddess Mother Nature.
The SAHARA
They emphasize cave paintings bequeathed by the old
inhabitants of the mountainous bulks of Hoggar, the Tassili, the
Tibesti, the Fezzán...
 Drawing 4. Painting of " Lady White " of
Auanrhet, with Moon like hat, surrounded by stars of the
Milky Channel, belly with seeds metaphor of the Earth...
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It represents the Rescuing Goddess:
The WATER IS the MOTHER OF the LIFE, protagonist of the history of
the agriculture that produces the germination (Resurrection) of the
seed in vegetation, assimilated to the Great Goddesses that crown the
pantheons of all agricultural mythologies at the beginning of the
historical time, Goddesses Mothers of Cosechas of the agricultural
Mistéricas religions: Isis, Demeter / Ceres / the Seine /
Cibeles / Aphrodite / Venus / Freia / Latona / Ishtar / Inanna... and
that in this case, is a Great African Goddess of the Fertility of
Cosechas and the Water. And simultaneously it is model so that the
Priestess, who represents the Earth Goddess, makes a ceremony of
Fertility, to cause the germination of seed after seedtime: painted
or tattooed the body with escarificaciones symbol of seeds, clothes
of flecos propiciador magical rain symbol, with hairdo of horns
symbol of the Moon, etc...
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The horn is decorated with parallel
lines (symbol of wrought field) and remembers to the horn that
maintains the Woman Chamán de Laussel, dated in the year 19000
BP, more than twelve thousand years before! and horn used like plow.
[ Existe still demonstrates of the use of horns of goat like plow, in
the Canary Islands in century XV, according to they gather chronicles
of the Spaniards when they conquered the island, in where stayed
cults and customs, that according to Martín de Guzmán
(1984, 515), they were similar to those of the neolithic one of the
Mediterranean, which stops he it supposes: "... an exceptional
phenomenon of survival." And it adds in pg. 156, the reference of
Bernáldez of the Guanches that: " "... they seeded the wheat
and barley with measured horns of twig goat, specially in Great the
Canary Islands, and instead of plows, and thus they bolbían
(sic) the Earth and they covered the grain, and they took
multiplications of a measurement fifty, and not babía bread
except for gofio enbuelto (sic) the grain majado with milk and the
butter (136)." ] Making the ceremony of Fertility with horn, with the
covered eyes, remembers the Greek Damiatrix Priestesses, who
participated with the closed eyes, in Mysteries " Damias ", honor of
the Goddess Damia " Domadora ", in 1er millenium BP, more than 5,000
years after the represented one in Tassili-N'Ajjer. Perhaps it
carries out a rite of Purification of stables, moved by the scent.
Also it is of Tassili-N'Ajjer, the painting of inclined
agriculturists seeding (drawing 3)
Of a near place used cane is the painting of African
agriculturists with excavating wood / to seed or perhaps used in
sacred ritual, Drawing 4.
On rocks of the Ennedi mounts of Chad, they are recorded
naked feminine figures that also maintain in the hands the excavating
wood, instrument of the woman cultivator, used to seed or in sacred
rites Drawing 5. They have great adiposities completely and the naked
body place setting of drawings, like tattoo of parallel lines. Lines
in body (body Earth image, the body of the Goddess), symbolizing the
plowed ground / plowed Earth and fallow ground, hoping seed to
germinate.
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(Nowadays it is left reminiscencia of masculine rituals
that paint the body with seemed drawings, and whose origin would be
based on these images. But it would be possible to be deduced that
the corporal drawing would in principle adopt the priestesses who
would assume protagonism in the ceremonies of Fertility of
astronomical agricultural character and, like Earth representatives
of the Goddess. Possibly they participated in ritual fights with
woods. Later it was inherited by men after the patriarcal evolution,
and from then those were they that painted the body with clay and
water in ritual battles / in fights of initiation with others aims,
lost already the drawings its old astronomical meaning and
agriculturist). So that with the images of feminine figures with wood
(or used to fight ritually or to seed) and with the body with
allusive drawings to worked field, they would deal to cause to the
Mother Nature, since the field was plowed ( Earth, that is the body
of the Goddess) until it was seeded, thus like the coincident
phenomenon: rains, so that the seed it germinated.
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The design of both remembers the painting of Lady Blanca
de Auanrhet. The analogy would explain the commentary of Campbell
(1991, 434-5): "... with the drying of the Sahara and the game of
numerosísima it hunts, during the fourth millenium a.D., the
capsienses and their pictorial art was transferred towards the south,
where its influence can be found in the different styles from
Rhodesia of the South: now famous and still more mysterious " Lady
Blanca " of Damaraland... " In both cases the central figure is a
hunting of great force dynamic, dressed in leotardo white or smeared
legs of target and carrying arc, arrows and a flower. In the first
case it appears in a scene surrounded by another woman and animals.
In the second she is accompanied of a courtship of 28 personages,
including animals antelopes and mare. The women who accompany the
hunting take in the hands excavating woods, instruments of the
recolectora woman and are adorned with bracelets, embroidered
tobilleras and strips / decorated that tighten the breasts to them as
a sujetador. In both cases, although the different figures seem to
represent a hunting scene, our hypothesis is that they represent
symbolic a ritual scene and and would have magical function: they are
antecedent of the mythical figures that carry out the history of the
agriculture of the agricultural Mistéricas religions and with
complex metaphor they reflect that the seed that die and revive in
vegetation thanks to rains, like the constellations in certain
astronomical situation, from the day of sowing of the seed, as well
as the coincident phenomenon of rain personify so much, until the day
in which revives the vegetation and the full Nature of flowers.
Similar complex message would carry the painting of
Adjefou, Tassili, Algeria in which appear Dancing feminine with high
hairdos, a central itifálico man and flocks of different
species Drawing 9. Although it is considered a scene of pasturing
with shepherds and flocks, we thought that it is reflecting a
ceremony of Fertility and astronomical purpose. The similarity with
the painting of the Cave of the Moors of Cogull, Lleida, dated in the
V millenium BP, is manifest Drawing 10. In both Dancers with animals
are represented (goats and cows in African and ciervas and bisons in
the Spanish). In both they appear clearly a itifálica figure.
In both scenes a ceremony of Fertility with dances, predominantly
feminine is exemplified, to cause rains. And our hypothesis is that
simultaneously the different mythical protagonists personify
constellations and narrate the history of the agriculture of an
agricultural time.
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The Dancers would be incarnation of stars of the
Pléyadas (dancers), the itifálica figure = cons.
Orión/Paredro (seed) ], the animals would correspond
respectively to the Híadas and the Hespéridas (rains).
The meaning of the assembly would be to assure that the reflected
constellations, appeared at certain moment of the year and with them
the coincident, beneficial atmospheric phenomena for the agricultural
process, indeed the illustrated one in Map 1.
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Another dancing figure, and in this masked case, appears
in Ianouanrhat/Aouanrhet/Auanrhet/Inawanghat/Avanrhet, Tassili, next
to a naked feminine figure of round head Drawing 11. The mask wears
to suit and totally stuffed cap of crossed lines, image of plowed
field hoping seed to germinate/Underground World (that are the body
of the Mother Earth, in whose Sine the seed lodges and thanks to the
Fecundante Water that She sends, germinates) (hermafrodita,
therefore). And it would be reflecting a ceremony of Fertility to
cause the nourishing abundance of the seeded fields. Although it has
been described as dancing man, we thought that in principle the mask
would be danced by a feminine figure and with the evolution it was
replaced by a masculine figure.
(With respect to interested manipulations and
interpretations, we sent to our article SOME FALSE IDEAS ON the
SEXUAL PAPERS IN PREHISTORIA, http://es.geocities.com/culturaarcaica/congreso.arqueologia.html in which we spoke of a
antropozoomorfa figure of the Cave of Them Trois Frères of
16,000 years of antiquity: http://es.geocities.com/culturaarcaica/congreso.arqueologia.html). They excel in addition
other animalísticas pictorial representations, in unstable
positions, that remember paintings of bisons of Altamira.
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 Drawing 12 Painting of giraffe with body decorated with concentric circles water symbol (instead of spots information) and falling of Slugilla |
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The painting of giraffes of Rekeyeiz Drawing 13. On
rocks of Libya, they appear recorded, a procession of giraffes with
the body decorated with crossed lines, Drawing 14, of about 7,000
years of antiquity. Peculiarly the bodies are decorated with crossed
lines, symbols of plowed field (after sowing), instead of the spots
that have the giraffes in fact. Many have five appendices in the
head, that correspond to the horns and the ears, whose form remembers
a hand with extended fingers (= Escorpio). Hand that appears drawn
well next to the giraffes of Rekayeiz. Being the reason for hands of
extended fingers, a distribution that would reflect cons
metafóricamente. Escorpio from the Paleolítico in
Spain. Our hypothesis is that the animals would be associated to
stars of cons. Híadas going away to the decline, because of
Escorpio, moment at which agreed the arrival of rains. Reason why the
symbolic representations of animals falling and with different
symbolic attributes of rain or worked field, would have magical
character, so that rain made formal appearance and made germinate the
seed buried in the worked fields, and with it was abundant harvest.
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SCULPTURES
Well-known older manifestations ANTHROPOMORPHOUS
ESCULTÓRICAS, of the AFRICAN PREHISTORIC cultures, are
neolithic of II the millenium BP. And they are exclusively feminine
like in the rest of the universe, representation of the GREAT GODDESS
MOTHER. (With respect to the masculine representations in free
sculptures, they are absent, like in all the prehistoric periods of
all the continents).
Found stone and terra-cotta and in tombs have been made
in Accompanying the feminine sculpture to the deceased, corroborates
the idea that it represents the Great Goddess in the hope of which
with its power will grant the Resurrection to them. Of archaic time
in Africa few escultóricos rest have survived (aside from the
Egyptians), to cause by a side of the carried out destruction by the
defenders of the Islam and the catholic missionaries and protestant
and on the other hand, because many pieces made in wood, have been
deteriorated by the passage of time. Some creations bequeathed by
AFRICAN PREHISTORIC cultures.
The SAHARA - ALGERIA And LIBYA
The first escultóricos testimonies are the feminine little figures pertaining to the matriarcal paleo-African civilization, found in deposits of the Sahara. Among them: The eight found neolithic heads of the Great Mother in Tabelbalet, Algeria, two acquire knowledge in Tab 31 (Áfr. 1.2). Wakes are small stone statures// posts/menhires/betilos monoliths/pyramids// cones, in which she appears recorded and confused with the same one, the image of the Goddess Mother, very similar to the neolithic French; The feminine statuette of gypsita with groove by which a thread went to hang it, indicative of its function to serve as amulet. It has púbico triangle, breasts, arms like wings symbol of registered Resurrection and in a rhombus, similar to the European paleolíticas. A rich one was along with found to ajuar in the tomb of queen Tin-Hinan, in uad Tifirt in the Oasis of Abaleska, Ahaggar, the Sahara, Algeria 31 (Áfr. 3) of century III AP. The relief of the bulk of Tassili-N'Ajjer, Jabbaren, Arab Popular Republic of Libya 31 (Áfr. 4). It has the arms in form of "W", symbol of the Goddess distributing its gifts, elbows supported in knees and the legs in form of "M" showing vulva, Divine place of where arises everything. The position is similar to which present/display prehistoric others figurillas found in Mesopotamia, China, the Australian Continent, in America, etc., representative of the Goddess of the Nature, source of everything (Serpentaria, Virgo, the Earth...). In Saint-Donat, in the region of Constantina, Algeria, also have been vulvas recorded on rocks, Divine symbols of Fertility. And funeral constructions kerkús bereberes, in conical form of túmulo, representation of the Goddess of the Death, that welcomes in their Sine in their children to give the Resurrection them.
SENEGAL
Senegal has bequeathed us Ídolos hermafroditas,
similar to the appeared ones in Europe, Asia, America and the
Australian Continent like: The found one near the
Thiaroye-south-Mer/Thia Roye, Dakar 31 (Áfr. 5) carved in a
gresita pebble, with parabolic torso and engravings of points and
outlines and púbico triangle.
SUDÁN
Also have been extraordinary feminine sculptures in
deposits of Nubia, to the dated north of Sudan between years 1900 to
the 1550 BP. Among them: The beautiful and modern embarrassed torso
symbol of symbolic invocation to assure the Fertility and with
drawings parallel lines, symbol of worked field, Kadada 31
(Áfr. 6); The figure with zoomorfa face, arms like wings
symbol of Renaissance, found in the tomb of a young person of the
strength of Aniba 31 (Áfr. 7); Another sitting with arms like
wings, great adiposities in thighs and escarificaciones in belly and
legs in geometric forms of waved lines and originating zigzag of
Aniba 31 (Áfr. 8). All are attributes of the Goddess of the
Fertility that assures the Renaissance the seeds and the Resurrection
of the deceaseds, like life seeds; Other more simplified pregnant
woman, with necklace symbol of status and head of ewe, that
identifies with the Goddess Land of Askut 31 (Áfr. 9).
CHAD
In the Chad lake have been archaeological rest made by
the Sao. town abound the feminine statuettes and the spirals that
decorate mud objects, with feminine meaning There with the Earth
belly. Example: The pink terra-cotta of a woman with enormous mouth,
necklace status symbol, escarificaciones of ears in vane or reason
for "X" between the breasts, found in the Sanctuary of the Great
Goddess Mother of Tago 31 (Áfr. 10). In addition it has a
round central reason like metaphor for being the navel of the world,
that identifies it like the Ancestral Mother. The vane/X "X" would be
symbol of cons. Cross of the North or the South and the ears is a
universal symbol to induce by likeable magic the nourishing abundance
of harvest.
NIGERIA
Of the civilization of Nok, developed in the North
region of Nigeria, between year 600 BP to the 500 AP, has been
anthropomorphous terra-cottas of negroides characteristics, found in
tin mines (found for the first time in 1928 by the orerators of the
English mines), characterized by hairdos of the great sophistication
and wigs Example: The feminine figure with triangular eyes, drilled
pupil and nose, mouth with elevated superior lip with breasts in the
head like hat of Jema 31 (Áfr. 11) dated in 250 year BP. The
breasts in the head would allude to to the Nutricia function of the
Great Goddess Mother, located in the stop and associated to Milky
Channel, which they would leave milk rivers, with that would feed
humanity. With the symbolic representation the Divine intervention,
so that it fed and it took care of of the human beings, like a would
call to each other its babies. (We spoke of the precolonial artistic
manifestations in: http://es.geocities.com/contraandrocentrismo/afric.precolon.html ).
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