The rock art sites in the region of Igherm/Anti-Atlas (S-Morocco)

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Inhaltsverzeichnis
(der kompletten Print-Version)
Alain Rodrigue:
Les chars gravés du Jbel Aoufilal (Taouz, Maroc) .......................................... 7
Robert G. Bednarik:
Die Kranichberger Petroglyphen bei Gloggnitz, Niederösterreich ................... 19
Yves & Christine Gauthier:
À propos des Monuments À Alignements du Sahara .................................... 27
Franz Trost:
Bemerkungen zum Papyrus Louvre I. 3079, Kol. 111, Zeile 82-86 ................ 89
Joaquín Caridad Arias:
El título canario Mencey "rey",
un derivado del teónymo púnico Melkart................................................... 105
Werner Pichler:
Bericht über den aktuellen Stand der Erforschung und Erhaltung der
libysch-berberischen Felsinschriften auf den Kanarischen Inseln .................. 117
Andoni Sáenz de Buruaga:
Nota sobre un panel con grabados de équidos en el abrigo rupestre
de Galabt El Jeil 2 (Tiris, Sahara Occidental) ............................................ 137
Julio Cuenca Sanabría et alii:
El culto a las cuevas entre los aborigenes canarios:
el almogaren de Risco Caído (Gran Canaria) ................................................... 153
Werner Pichler:
The rock art sites in the region of Igherm/Anti-Atlas (S-Morocco) ................. 191
Dolores García Padrón:
Agustín Millares Cubas y los inicios de la lexicografía canaria .............. 239
Hartwig􀀍􀵅E. Steiner:
Die Jungfrauen-Höhle auf der Osterinsel "Ana O Keke"
auf Poike / Rapa Nui, Polynesien ............................................................... 253
Hartwig􀀍􀵅E. Steiner:
Das Areal der "weißen Steinhügel" auf Selvagem Grande.
Ilhas Selvagens, Portugal ........................................................................... 321
 
190 ALMOGAREN XXXIX/2008
Pichler, Werner (2008): The rock art sites in the region of Igherm/Anti-Atlas (S-Morocco).-
Almogaren XXXIX (Institutum Canarium), Wien, 191-238
Zitieren Sie bitte diesen Aufsatz folgendermaßen / Please cite this article as follows:
ALMOGAREN XXXIX/2008MM191
Almogaren XXXIX / 2008 Wien 2008 191 - 238
Werner Pichler
The rock art sites in the region of
Igherm/Anti-Atlas (S-Morocco)
Key words: Morocco, Anti-Atlas, rock art, documentation
Zusammenfassung:
Im einleitenden Kapitel wird der Versuch unternommen, die Verwirrung durch unter-schiedliche
Fundort-Benennungen aufzulösen. Der Hauptteil besteht aus einer Analyse
der Felsbildmotive mit dem Schwerpunkt "komplexe Strukturen". Die Felsbild-Doku-mentation
umfasst mehr als 70 Paneele.
Abstract:
The introduction of this paper is the attempt of clearing up the confusion concerning the
denomination of different sites. The main chapter consists of an analysis of rock art motifs
with special concern on "complex structures". The documentation itself contains more
than 70 rock art panels.
Resumen:
En el capítulo introductorio tratamos de deshacer la confusión por diferentes denomina-ciones
del sitio. La parte principal consiste en un análisis de los motivos de los grabados
rupestres con el tema central "estructuras complejas". La documentación de los grabados
supera los 70 paneles.
The differentiation of sites and differing denominations of the same site
have caused a considerable confusion among some papers published so far.
Therefore, it seems to be necessary to clear up these questions by following
the course of investigation.
In the early thirties of the 20th century Armand Ruhlmann was informed
about the existence of rock engravings near Igherm by Capitain de Fleurieu,
chief of the "Bureau des Affaires Indigènes". In 1934 he published a short article
about two sites: OUARAMDAZ (1) and DJEBEL BOU KIOUD (2), illustrated
by two photos each.
1: Ruhlman described the site OUARAMDAZ 12 km south of Igherm as
"une vallée étroite et tortueuse, sillonnée par le lit de l'Assif n'Ouamsarda" (a
narrow and meandering valley ploughing through the bed of the Assif
n'Ouamsarda).
192MMALMOGAREN XXXIX/2008
IGHERM
OUAREMDAZ
IMI N‘IRFI
123
4
5: IMAREDN
6: HAD WALKADI
7: IGHERM S
?
8: BOU KIOUD
ROCK ART SITES
IN THE REGION
OF IGHERM
2: The second site is to be found 12 km apart from Igherm on the road to Ida
Ou Zekri, 500 m east of DJEBEL BOU KIOUD.
Robert Letan is by far the best authority concerning this region. In 1966 he
published a first article mentioning two sites: again the one south of
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OUAREMDAZ in the territory of the Ait Ilemguerte (one photo) and a second
one next to a copper mine called OUED CHEIK IMINIRFI (five photos).
In his "Catalogue des sites rupestres du Sud-Marocain" Simoneau (1977)
listed up four sites (no photo):
150111: CHEIK IMI N'IRLI
150112: WARAMDAZ
150113: N. WARAMDAZ
150114: S. WARAMDAZ
In 1990 Uwe Topper presented the following inventory of sites south of
Igherm:
1. IMAREDN: a farm house with a large threshing floor next to the street.
Some boulders of the border present pecked circles and groups of ovals.
2. North of the Souk HAD WALKADI: a similar threshing floor including
one rock slab with a pecking.
3. S-IGHERM: Leaving Igherm on the road 7085 to Issäfn, beneath the last
houses in a dry valley six groups of engravings in a distance of three km
(two drawings).
4. WEREMDAZ: six groups of engravings (three drawings).
5. SCHEIX IMI-N-IRLI (no description).
In a second article 1993 Topper added one drawing from the site Weremdaz.
In 2002 Salih/Heckendorf included Waramdaz into their collection of
Libyco-Berber rock art sites (one photo) and called the three locations
(Simoneau 150112-114):
WARAMDAZ-SE
WARAMDAZ-CENTRE
WARAMDAZ-NW
In 2003 Letan published – as a sort of résumé of his lifework – in his book
"Protohistoire de la Vallée du Draa" a collection of about 150 photos and 120
8 Bou Kioud Boukioud
7 Igherm S
6 Had Walkadi
5 Imaredn
Scheix Imi-n-
Irli
Cheik Cheik Imi n’Irli
Iminirfi
4
3 Waramdaz S Waramdaz SE Waramdaz S
2 Waramdaz N Waramdaz Centre Waramdaz N
1 Ouaramdaz Ouaremdaz Waramdaz Weremdaz Waramdaz NW Waramdaz
Ruhlmann Letan Simoneau Topper Salih/H. Searight
Tab. 1. Concordance of sites:
194MMALMOGAREN XXXIX/2008
drawings of the site Waremdaz. Unfortunately the photos only show Letan's
chalk-drawings and the drawings itself are a little cursory concerning details,
so that they can be used for scientific purposes only with great caution.
Site Ouaremdaz (1-3)
The author visited the region of Igherm three times (1999, 2004, 2007),
each new visit was burdened with the painful question: which panels have
disappeared since the last time? And the really painful answer is: Yes, even
since the construction of the asphalt road there disappear panels and panels,
and a considerable part of the rest is covered by recent graffiti.
Nobody knows how many panels have existed originally. The only thing we
can do is to reconstruct from old photos.
By the way: it is impossible to insist on a consequent definition of the term
panel at this site. Large rock slabs are broken into several pieces, one slab
joins the other: where are the borders? Therefore, it is more realistic to use the
neutral term "rock surfaces" or "panels" (within quotation marks).
Letan's collection includes 140 photos and 112 drawings. Due to a lot of
inconsequence, overlapping and double occurrences we must reduce this
amount of "panels" to about 220. Quite astonishing is the fact that about 80
Fig. 1. The site Ouaremdaz 3
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"panels", which still existed in 2007, cannot be found in Letan's collection.
Thus it seems to be realistic to assume an amount of approximately 300 "pan-els".
As a consequence of all these uncertainties the counting of motifs is far
away from being exact. The cited amounts can give only an impression if a
motif is unique, rare, frequent or very frequent.
Rock art motifs
1. Cupules (cup marks)
Being "hemispherical percussion petroglyphs" (Bednarik 2000:149) the
cupules, strictly speaking, do not belong to the geometric motifs. Their domi-nant
occurrence at Ouaremdaz is quite astonishing. Of course, cupules are
distributed among the rock art all over the world. They can be presumed to be
the most numerous of all petroglyph motifs. They originate from nearly all
periods of history, very frequent in Bronze Age and Iron Age, in some cases
extending back to the Lower Palaeolithic.
However, in the rock art of Morocco cupules are very seldom. Rodrigue
(2006: 210f) counts 21 occurrences at Oukaimeden and 5 at Yagour, predo-minantly
lines of 3 x 6, 8, 9, 11 and 13 cups, once 2 x 14 cups. It is obvious that
these groups are representations of a game which is called Awali, Mancala or
Keradet in Subsaharian Africa. Interestingly enough, this game is well known
to the Touareg people but totally unknown to the Berber people. We do not
know any other example of this rock art motif outside of the High Atlas so far.
The only further example of cup marks in Morocco is a line of 16 cups at the
site Foum Chenna.
Among the multitude of cupules at Ouaremdaz, estimated to be about 500,
numerous are isolated or building groups without any recognizable structure
[1], sometimes mixed up with circles and other geometric motifs [2]. In some
cases they form distinct lines [4, 5]. Even as they are executed on nearly hori-zontal
rock surfaces we cannot identify one example of a "game board" simi-lar
to the ones documented by Malhomme and Rodrigue. The purpose of these
hundreds of cupules with diameters of 2-4 cm must have been a different one.
2. Geometric motifs
The repertoire of geometric motifs at the site Ouaremdaz is limited to about
30 different forms. The simple circle and the circle with additional lines and/
or points inside are most frequent (ca. 65 %). In total there are no really exotic
motifs, but very simple ones: lines, crosses, squares, "arch" and "wave" like
signs etc. Signs which can appear in nearly every corpus, e.g. among pottery
marks, tribal marks, camel brands etc.
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Fig. 2. "La grande table", Letan 2003:78
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As the alphabets of the Libyco-Berber
script consist exactly of such "basic" geo-metric
forms, there are good reasons for
the supposition that some of these groups
of signs could be Libyco-Berber lines.
In this paper we will not deal with the
one great panel of Libyco-Berber script
which is known since decades and is
documented several times (Letan 1972,
Pichler 1999, Skounti et al. 2003, Letan
2003). This panel is severely damaged
nowadays by recent peckings (Fig. 3).
A nearly insoluble problem is the
question where we should start to speak
about an inscription. Surely not at single
signs. Of course, each circle could theo-retically
be the written equivalent of
Berber words such as "ar", "ara" or "aru".
Each cross could be the equivalent of
"ata", "iti" etc. However, it would be to-tally
abstruse to define every circle or
cross on a rock art panel as a Libyco-
Berber character.
We can start to think about the possi-bility
of script at an arrangement of at
least two signs in one line. Excepting this
definition we make a strike at least on
nine panels (Fig. 4). This assumption is
affirmed by the fact that one of the lines
[61] can be transliterated as SRN, a per-sonal
name documented at RIL 298, the
Berber equivalent of the Latin name
SERANUS (CIL VIII 7694).
3. Iconic motifs
Among this group zoomorphic depic-tions
dominate with 43 %, a few of them
500
125
14
14
12
10
10
4
28
20
15
6
5
5
4
4
1-2
Tab. 2. Frequency of geometric signs
Fig. 3. Damaged Libyco-Berber inscription
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Fig. 4. Possible Libyco-Berber inscriptions
Fig. 5. Schematization of anthropomorph figures
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Fig. 7. Complex structure: Lalla Mina Hammou/High Atlas (Malhomme 1961/548)
Fig. 6. Motifs from Lalla Mina Hammou/High Atlas (Malhomme 1961/533/618/772)
200MMALMOGAREN XXXIX/2008
presenting quite realistic cattle [45, 46], the majority presenting linear ani-mals
of neutral shape.
26 % of the iconic motifs show horsemen and a few camel-riders. In this
group we can recognize a clear tendency towards reduction and abstraction: a
conceptual change from depicting towards denoting objects (Fig. 5).
4. Compositions
A great part of the rock art panels at Ouaremdaz present not only single/
isolated motifs but groups of them. They do not look like "scenes" (episodes)
such as hunting or pastoral scenes which are very frequent at the site Foum
Chenna, but rather like "compositions": arrangements of signs such as to form
a meaningful whole. The problem is that we are not able to decode the mean-ing
of these compositions [14, 17, 18, 20].
5. Complex structures
Searight describes these structures precisely as "uneven squares or rectan-gles,
divided into a number of sections of different size, sometimes with a dot
in one of the sections" (2004:53) and cites that Malhomme (1959) classified
similar depictions of the High Atlas as "cadastral plans". Searight (1987:10)
calls them "plans cadastraux", Jodin (1964:76) "cadastration primitive" and
Souville (1900:574) "enclose parcellaires".
Züchner (1988:310f.) distinguishes two types of "topographical depictions":
1. cadastral plans consisting of rectangles and ovals divided into smaller parts
from the Copper Age (Fig. 6)
2. complex maps with fields, houses and paths from the Bronze Age (Fig. 7).
This interpretation as maps has been put forward on the basis of a main-tained
similarity to some engravings in Europe (Val Camonica, Mont Bego). If
we take a closer look at the famous "village du Bego" (de Lumley 1995:270/
71) or at the "mappa di Bedolina" (Anati 1976:110), this maintained similarity
is not at all convincing (Fig. 8 and 9).
On the other hand there are depictions of "réticules complexes" or "figures
géométriques composées" (de Lumley 1995) at Mont Bego which look much
more similar to those from the High Atlas and from Ouaremdaz (Fig. 10).
This interpretation is criticised by Bradley (1997:51) on the argument that
"the prehistoric engravers were unlikely to have seen their environment in
this way"(cited at Searight 2004:53).
Bradley's argument is not totally convincing. The prehistoric people might
have seen their fields and settlements like a ground plan looking down from
the top of hills or mountains in a similar way as they looked down on small
animals like lizards [33]. They might not have seen the structure/ground plan
of their houses except in the case of old houses broken down to their founda-
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Fig. 8. "Village du Bego"
Fig. 9. "Mappa di Bedolina"
Fig. 10. Motifs from Mont Bego
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tion walls. Anyway, this is not the central point of discussion. The fact is that
the manner of depiction is determined by the manner in which perceptual
mechanisms operate (for detailed information about this complex matter see
the paper of Deregowski in RAR 12, No.1/1995 and the intensive discussion
about this paper).
To tell it in short: there is a clear tendency to prefer "typical views" of an
object: outlines with a high concentration of information to make it easy for
the recipient to recognize the object. Thus the extraordinary frequency of lat-eral
views in rock art is no surprise (in Pager's Ndedema 1971: 98 % of all
humans and 99 % of all animals). This mechanism of preferring typical views
leads sometimes to distortions in pictures such as chariots: the chariot itself
seen from above, the wheels seen from the side [53].
It is totally evident that a "cadastral plan"of fields and settlements can be
depicted only as a ground plan seen from straight above. Actually, there are
some complex depictions on rock surfaces in the Alps which look very similar
to fields and houses connected with paths. The question is if we can identify
similar depictions among the rock art of Morocco. At Ouaremdaz there could
be examples of houses connected with paths (or walls?) on some panels [63,
66, 67].
At last, let us have a look on the topic of depicting houses. In the case of
modern houses a front view of an individual house may guarantee the same
or even more information than a ground plan, depending on the imaginative-ness
of the architect. It will not be possible to assume the same for prehistoric
settlements. Due to the absence of architectonic competition for building
"beautiful"facades, there was normally no differentiation in the external shape
of prehistoric houses, but only in the internal structure. If [56] was the ground-plan
of a house, a front view (assuming two different heights of main and side
rooms and omitting doors or windows) would look like Fig. 11b. It is not dif-ficult
to decide which variant provides more information.
A certain group of panels at Ouaremdaz can be imagined quite well as de-pictions
of a group of small rooms, possibly accompanied by some folds/pens
for the livestock. Central points in some of the rooms could be interpreted as
central pillars for supporting the horizontal roof [55, 56, 64, 68].
The question is if we have any archaeological evidence for such complex
buildings in prehistoric times.
At Fuerteventura/Canary Islands (Pichler 1993) I was able to document
buildings of a very similar structure (Fig. 12). Please compare the rock art
motif Ouaremdaz [56] with the ground plan 1 of a building from the Valle de
Mal Nombre on Fuerteventura: they are nearly identical! It is very probable
ALMOGAREN XXXIX/2008MM203
Fig. 11a. Rock art motif Ouaremdaz 56
Fig. 11b. Theoretical ground plan
Fig. 12. Ground plans of Old Canary houses on Fuerteventura
1 2
that the builders of these Old Canary houses originated from Northern Africa.
However, it is totally surprising that we have no evidence of similar struc-tures
of prehistoric buildings in Morocco.
Site 4: Cheik Imi N'Irfi
In his book "Protohistoire de la vallée du Draa" Letan (2003) has collected
some arguments for a close connection between prehistoric copper mining
204MMALMOGAREN XXXIX/2008
and the rock art of the Anti-Atlas. In the case of this site some kilometres east
of Ouaremdaz this connection sounds plausible, because the rock art panels
can be found in the nearest neighbourhood of a copper mine. Unfortunately a
great part of these panels is covered by slag heaps today. The few remaining
panels show a great similarity to the repertoire of signs described at
Ouaremdaz. [70, 71].
As we were not able to find the three sites south of Igherm we must restrict
to the short notices at Topper 1990:241.
Site 5: Imaredn
Some boulders on the border of a threshing floor presenting pecked circles
with lines inside and groups of ovals.
Site 6: Had Walkadi
One slab of a threshing floor showing a pecked motif.
Site 7: Igherm-S
Peckings of daggers, scorpions, circles, crosses and two boats (Fig. 13).
Fig. 13. Topper 1990:251
Site 8: Jebel Bou Kioud
Ruhlmann 1934 describes two panels situated about 500 meters east of the
Jebel with apparently young representations of horsemen, scorpions, spirals
and circles. Even consulting some local shepherds did not help us to find this
site.
What we found was a new site very near to the top of the hill including a
handful of panels with representations of predominantly daggers, camel rid-ers
and Arabic inscriptions (Fig. 14).
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67
ALMOGAREN XXXIX/2008MM237
68
69
238MMALMOGAREN XXXIX/2008
70
71