Neolithic Pastoral Arts of Ethiopia PDF

Bahir Dar University EiTEX By Ashenafi T. (Lec.) Ethiopian Art History I Lecture 2  Neolithic pastoral arts of Ethiopia; themes and their features. Sites of rock art in different parts of Ethiopia. Lecture 2. Neolithic pastoral arts of Et...

Bahir Dar University EiTEX By Ashenafi T. (Lec.) Ethiopian Art History I Lecture 2  Neolithic pastoral arts of Ethiopia; themes and their features. Sites of rock art in different parts of Ethiopia. Lecture 2. Neolithic pastoral arts of Ethiopia; During the Neolithic period human beings transformed from mobile to sedentary way of life. This was a radical shift involving changes from hunting and gathering to the domestication of plants and animals. Climatic change and increased hunter-gatherers’ population resulted in the declining number of animals and availability of plants. Cont. … As food gatherers were already aware of growing cycle of most grass types, they began to grow those, which were most common and yielded seeds that are more edible. The big animals, which depended on dense bushes for sustenance, were reduced by hunting while smaller animals that were easy to domesticate were easily domesticated. Cont. … According to our present state of knowledge, rock arts are widely distributed in; # > Northern Ethiopia # > Southern Ethiopia # > Southeastern Ethiopia Where there are favorable geographical and geological factors suitable for executing paintings and petroglyphs in shelters, caves and boulders.  Cont. … Furthermore, unpublished sources and oral informants suggest the presence of rock arts in; # > The island of Lake Ziway in south central Ethiopia # > In Afar National Regional State in eastern Ethiopia Both paintings and engravings have been documented in Ethiopia. Cont. … According to the researches already carried out, pictographs dominate than petroglyphs. The rock paintings are found widely distributed in southeastern and northern while rock engravings are dominantly found in southern part of the country. Petroglyphs: a carving or inscription on a rock. Pictographs: an ancient or prehistoric drawing or painting on a rock wall. Themes and their features. The rock arts of Ethiopia are of two types. #> The first groups are naturalistic (real) paintings that clearly show the artistic mastery of the artists and are easy to understand and interpret the figures they depicted. Cont. … The second groups which show less artistic mastery on the objects drawn in the panels by the artists are; #> Schematic (symbolic representation of objects). #> Abstract paintings (geometric) That exhibit arts mixed with unknown figures such as signs like dots, circles and lines which are very difficult to understand their meanings. Furthermore, as already indicated some of the sites seem to have been painted for ideological purposes. # The paintings of an ibex in the Ethiopian rock arts represent ideological meanings. # The ibex was also depicted on the sculpture of the Temple of Yeha dating to the middle of the first millennium BC. # The sacred throne of Hawelti-Melazo dating to about 300 BC is also decorated with ibex showing its religious importance in the first millennium BC. Cont.… Cont. … The lion is also represented in the Ethiopian rock arts for ideological purposes. #> was depicted in the Pre-Aksumite and Aksumite architectures and archaeological contexts of both cultures At present, it appears that the Ethiopian rock arts portray fighting, cultivation and hunting scenes in limited sites. However, the depiction of domestic cattle is the dominant theme of the Ethiopian rock arts. # The earliest drawings are naturalistic representations of numerous cattle with a small number of humans that appear to be herdsmen than hunters. # The majority of the cattle displayed on the Ethiopian rock arts seem to have been the Hamitic originated long-horned cattle (Bos africanus). # Such animals are characterized by the absence of hump and by great stature and long-horns. Cont.… Cont. … # Short-horned humpless cattle (Bosbrachycerous) # Fat-tailed sheep with their lambs # Goats, Donkeys, Horses, Dogs and Camels # Ostriches, Giraffes, Oryx, Hyenas, Monkeys, Apes, and elephants Were also depicted in some of the Ethiopian rock arts. Humpless: a painting that don’t show reproductive organs of the animal Humped: a painting that show reproductive organs of the animal Cont. … The humped cattle (zebu) characterized by the presence of thoracic hump (fatty hump) which are only represented in the latest highly conventionalized schematic paintings and engravings of the Ethiopian rock arts. This suggests that humped cattle were introduced into Ethiopia at about the 1stmillennium AD at Aksumite times. Cont. … The emphasis given to the Ethiopian rock arts to the horns shape of the cattle with twisted or deformed or in abnormal positioning both downward and forward curving and high arching of the horns seems to be a sign of hybridization and domestication. This evidence seems to indicate that the artists had already domesticated and used them for economic and ideological purposes. Style and Techniques. The term ‘style’ and ‘techniques’ have been used by scholars to distinguish specific ways of drawings of artists in different places in particular time in history. Style. The word style is derived from the Latin stylus (writing implement) initially referring to different types of handwritings. According to Renfrew and Bahn style is defined as a manner in which an act is carried. It is a manner how an artist depicts animals, humans, cultural activities and the landscape. Cont. … It indicates how an artist conceives the space and events in different times in history. For art historians, style is the sum total of those qualities of means of expression which are characteristic of given artists or school of artists in executing paintings, sculptures or engravings. Cont. … For Mori (1998), style is greater than the total of its parts. It is the product of an age, gestural and manual which bears witness to mental achievement reached a group level. Such gestural and manual skills are an integral to the cultural make up of that particular moment in history. Thus, style, therefore, is the man and the touch of his hands guided by a mind aware of the world, which historically surrounds it.  Cont. … Style is influenced by; #> The arrangement of the figures, dimensions, patina. #> The manner in which an engraving is executed: the thickness of the pigment of the painting, #> It’s broad application of the paint either in outline or flat wash techniques. Technique. Whereas, technique is closely linked to style and helps to create it. In most cases, technique is more related to incised drawings on rocks. Hence, the style of petroglyphs can be assessed by techniques of drawings.  Incised (relief) and polished techniques at Galma (Sidama) Relief sculpture is a complex art form that combines many features of the two-dimensional pictorial arts and the three-dimensional sculptural arts. On the one hand, a relief, like a picture, is dependent on a supporting surface, and its composition must be extended in a plane in order to be visible. On the other hand, its three-dimensional properties are not merely represented pictorially but are in some degree actual, like those of fully developed sculpture. Cont.…  Cont.… There are many ways of executing petroglyphs (a carving or inscription on a rock). Dunbar discussed the most important techniques of drawings on rocks as follows. Feline at Uros-flat washes technique Feline: relating to, or affecting cats or the cat family; resembling a cat as sleekly & graceful. Uros: representing body parts with a long unsegmented bone. Flat washes technique: representing object with 2d thin pigments. Cont. … #> The most common way of rock drawings is the use of sharp stone tools (burins) on the surface of rocks. #> Backward and forward motion with the help of stone as sawing or filling can be employed. #> The result of this activity could be a line scratched or grooved or rubbed depending on the sharpness of the tool. Cont. … An application of the same tool in upward and downward motion as in; #> Hammering including pecking, pocking, bruising and battering could result in a dotted outline. #> Furthermore, petroglyphs could be executed by scraping / grattage technique. Cont. … The “dashes” techniques as some of the Southern African petroglyphs where the tool is used obliquely would also enable to execute incised figures. In addition, boring / drilling series of holes as used in Australia is another method of drawing figures on rocks. Cont. … The grinding / polishing technique that is confined to the granite rocks in Scandinavian is also one-way of making rock drawings. A modeling sunken incised or shallow relief like those of ancient Egyptians mural (wall painting) decorations is an additional method of executing figures on hard rock surfaces. Cont. … The use of metallic tools with varying techniques mentioned above would also enable to draw pictures on rock surfaces. The resulting lines would be very deep and in cross section looks “V” rather than “U”. The sketching technique or painted bas-relief is also another method of drawing arts on hard materials.  Cont. … Based on the descriptions and definitions of styles and techniques mentioned above four traditions or styles of making rock arts are distinguished in Africa. These are; #> The arts of the Sahara. #> The Nile Valley. #> Southern Africa. #> The Horn of Africa. Cont. … The Ethiopian rock art style belongs to that of the Horn. The style in the Horn of Africa is called The Ethiopian- Arabian Style. This is because the same art style is commonly found both in Ethiopia and Arabia.  The Ethiopian-Arabian Style. There have been different views among scholars on the types of styles that have been recognizable in the Ethiopian rock arts since the 1930s. Clark suggested the presence of three art styles. These are; #> Naturalistic & conventional paintings (earliest) #> The engravings (Middle age). #> The highly schematized paintings (latest). Cont. … In the 1960s, the French scholar, Bailloud, recognized two styles of paintings in the Horn in general and in Ethiopia in particular, which he called; #> The “Urso Style” for the earliest. #> The “Laga-Oda Style” for the latest. Cont. … In the 1970s, Cervicek distinguished two main stages in the development of rock art style in Ethiopia in particular. #>The earliest style as Surre-Hanakiya, named after two sites found in Ethiopia (Surre) and Arabia (Hanakiya). #>The second stage (latest) in the development of the same style is called the Dahthami named after a rock art site found in Arabia. Cont. … This phase is divided into two: the earliest and the later. Schematic paintings and engravings are the basic feature of the earliest stage of the Dahthami While the later phase of it is recognizable by geometric figures and Christian motifs such as crosses. It is also characterized by the depiction of humped zebu, horses and camels. Cont. … In 2001, Quellec and Gizachew suggested that the engravings in southern Ethiopia are different from the Ethiopian Arabian Style and belongs to what they called Shabe-Galma Style. They argue that the engravings at Godana Kinjo, Ejersa Gara Hallo, Laga Harro belongs to the Shabe – Galma Style. Cont. … However, at present, a First stage consensus has been reached Early phase Second among modern scholars that stage the rock arts in Ethiopia fall to the two basic styles First stage Later that have been identified phase Second by Cerviceck. stage Early phase; First stage. The style is generally distinguished with the dominant theme of herding of long-horned humpless cattle with the body rendered in a profile with fore- limbs and hind-limbs each merged Dotted techniques of drawing of cattle into one thick-line. in an Ethiopian ArabianStyle. Cont. … #> Sometimes, the grooves have pincer like impressions. #> In most cases, the legs have rounded ends without hooves. #> Often, only each pair of legs is shown in the arts. #> In other cases, four legs are displayed. #> Two segments sometimes represent the ears. Cont. … #> The horns of the cattle are very thin and long. #> The paintings in the Ethiopian-Arabian style display the backs of the heads, necks and horns of A domesticated cow with its udders at the cattle. Wyber exhibiting in the Ethiopian- Arabian Style. Cont. … In short, domestic cattle are displayed in a full body profile in the first stage of the early phase of Ethiopian-Arabian style. This phase, however, has very limited geographical distribution in this country. Naturalistic paintings at Genda-Biftu (Surre-Hanakiya Style)  Early phase; Second stage. Wide ranges of drawing styles, trends towards schematic representation. These are; #>Large size body drawings of animals, bending of the horns of cattle, cattle bucrania (skull with extended & exaggerated horns), #>Missing of ears of animals in the drawings. #>Heads of animals that are not distinguished from the body. Are features of the early phase of the second stage of the Ethiopian-Arabian Style. Cont. … More schematic paintings and engravings as well as abstract geometric symbols characterize the second stage of the Ethiopian- Arabian Style. Schenmatic paintings at Goda-Ondji (Dahthami Style) Later phase. Humans, humped cattle, camels, fat-tailed and horses could be depicted in the arts of the later phase of the Ethiopian- Arabian style. Paintings of humped cattle at Laga-Oda (Dahthami later Style) Cont. … Furthermore, humans are drawn in mere dashes and often in the shape a letter of H. Such a style has more geographical coverage in Ethiopia than the style of the first stage. Flash wash techniques of drawing of cattle in Ethiopian- Arabian Style. Sites of rock art in different parts of Ethiopia Both published and unpublished sources show that a large number of rock painting sites are found being widely distributed around parts of Ethiopia. These are ; #> Rock Arts in Southeastern Ethiopia #> Rock Arts in Southern Ethiopia. #> Rock Arts in Northern Ethiopia Rock Arts in Southeastern Ethiopia There are large amount of rock arts in eastern Ethiopia. In what are now Dire Dawa Administrative Council and Eastern Harerghe in Oromiya Regional National State. #> Kulubi #> Towns of Harar, #> Kombolcha #> Dire Dawa, #> Chelenko #> Grawa, 14 painted caves and shelters are documented around the towns of Harar and Dire Dawa.  Cont. … Map showing the location of rock art sites in south eastern Ethiopia (after Cervicek and Braunkamper 1975). Serkama (OUrso). This cave painting site is found near the town of Dire Dawa at Ourso, near an army camp in Dire Dawa Administrative Council. The paintings are located deep inside the dark cave. #> The paintings at Serkama show long-horned humpless cattle, oxen, cows, fat-tailed sheep, lamb and humans. #> The humans that appear to be herdsmen are small in number than the cattle. Serkama (OUrso). The art style at Serkama belongs to the earliest and later stages of the already established Ethiopian-Arabian styles known as Surre-Hanakiya and the Dahthami. Fat-tailed sheep at Urso Goda-Keteba (Laga- Oda). Goda Keteba is a limestone cave shelter located 25 km away to the southwest of Dire Dawa in Dire Dawa Administrative Council, 10 km away to the north of the town of Kulibi. #> It exhibits paintings on the upper and lower shelters. #> The paintings are depicted on the wall and ceiling of the same cave. #> Azais and Oncieu De Chappardon discovered this cave in 1933. Cont. … #> At present, two themes dominate in the same paintings. These are the long-horned humpless cattle, humans (depicted in “H” shape) and symbols. #> The symbols include sun like figures. Sheep, goats, dogs, camels, giraffe and ibex are rarely represented. #> They are categorized to the already established Surre- Hanakiya and Dahthami stages of the Ethiopian Arabian Styles Cont. … Paintings at Laga-Oda  Genda-Biftu (Surre). This cave is located at a distance of 60 km away to the west of Dire Dawa in the Eastern Highland. #> The earliest naturalistic paintings at the rock shelter of Genda-Biftu depict domestic animals and humans in a full body profile executed in yellow. #> These paintings, which show superimposition of figures, are categorized to the Surre-Hanakiya stages of the Ethiopian Arabian style.  Cont. … #> Long and short-horned humpless domestic cattle including oxen, cows and sheep are displayed in the paintings at Genda-Biftu. #> The importance of milking is indicated in these paintings with careful execution of udders of cows and sheep. #> A woman is depicted, Her hair is similar in fashion with the present Oromo women who reside in the same region. #> The male organ of one of the men is not proportionally represented in the art, which is a possible indication of fertility or ritualistic purpose. Cont. … Some of the animals are displayed in outline while others have dotted decorations similar to those of Laga-Oda. Domestication scene at Genda-Biftu (Surre) Laga-Ondji. Laga-Ondji rock art site is located around the town of Harar. #> The paintings of this site were studied by Jussuamme. #> The paintings at the cave of Laga-Ondji exhibit long- horned humpless cattle. #> Udders of cows are carefully depicted. #> The head of some of the cattle is absent in the paintings of this site. Cont. … The Semi-naturalistic paintings at Laga-Ondji is similar to the engravings at Galma and Chabe. These paintings seem to belong to the earlier Dahthami phase. Schematic paintings at Laga Ondji Rock Arts in Southern Ethiopia. A French archaeologist, Francis Anfray, surveyed the areas around the town of Dilla and the Welayta and discovered many engraving sites in southern Ethiopia. #> The subject matters of the rock engravings of southern Ethiopia are generally featured by their exhibition of long-horned humpless cattle. #> They have, also, depiction with unique abstract drawings, which are difficult to codify their meanings at present. Cont. … #> Outline engravings characterize the drawn figures that are located in different parts of southern Ethiopia. #> It appears that the early Dahthami phase of the Ethiopian- #> Arabian Style dominate the arts of Southern Ethiopia. However, there is no evidence of superimpositionings of figures in the engravings in the same region.  Galma. This rock art site, which contains engravings, is located near Chabe and was discovered by Anfray in the 1970s. #> Long-horned humpless cattle are portrayed in the engravings at the site of Galma. #> There are also groups of lines engraved on the hind- limbs and necks of the bovid which seem to carry something with their horns. Cont. … #> The site of Galma preserves semi naturalistic representation of domestic cattle drawn in body profile. #> Such figures are executed in outline engravings. Sometimes, the engraved cattle are displayed with no head. These engravings seem to belong to the early the second stage the Dahthami Style. Engravings at Galma Gesuba. Gesuba is found 30 km away to the south of Welayta Sodo between the River Omo and Lake Abaya. #> This rock shelter preserves engravings on its wall, is situated near the River Weyno. #> The site of Gesuba displays long-horned humpless cattle associated with lines and circles. Cont. … #> What appears to be a human figure with no head is also depicted in these engravings. An ox is also represented beside the anthromorph. #> Furthermore, double spiral figure in serpent shape and solar symbols associated with cattle are exhibited among the petroglyphs. Cont. … #> In addition, a circle that seems to be a disc is displayed beside long-horned humpless cattle. #> Quadrangular figure whose interior is divided into four parts by a cross-shaped pattern is also portrayed. #> Circular sign consisting half-moon shapes are also represented in the same engravings. #> A Groups of 12 cups deeply engraved which form a semi circular figure are also included within the same drawings. Cont. … #> Moreover, two abstract figures are also represented in the engravings. It is not clear as to why the cattle are associated with lines and circles. #> The meanings of these geometric figures with signs and circles are unclear. #> The earlier and later stages of the Dahthami phase of the Ethiopian-Arabian styles are recognized in the drawings at the rock shelter of Gesuba. Cont. … Rock paintings at Gesuba  Dibitcha and Soka. These two rock-engraving sites are situated 29 km away to the south of the town of Dilla near the River Doyo. #> The engravings in these two sites are semi- naturalistic representation of cattle displayed in body profile. #> The horns of bovid are pincer like and wide like an arc. #> The styles of these arts seem to fall into the early phase of the second stage of the Ethiopian-Arabian Style Cont. … The figures found in these sites are also executed in outline incision. Some of the cattle in these engravings are displayed with no head. Engravings at Sokka Dibitcha Yabello. Recent archaeological survey carried out by around Yabello show the presence of additional paintings at Borena, Deakole and Deaki Taefi. #> Long-horned humpless cattle, camels, goats, humans, giraffes, elephants, lions, hunting scene and humped cattle are represented in the rock art sites that are located around Yabello. Cont. … It seems that the long-horned humpless cattle of Yabello and Deakole belong to the Surre- Hanakiya. However, the rest of the paintings with humped cattle and camels of Borena, Yabello, Borena, Deakole and Deaka Taefi can be categorized into the later phase of the Dahthami Style. Paintings at Yabello (after Clark 1954). Rock Arts in Northern Ethiopia Both pictographs and petroglyphs are found in Tigray. Rock paintings dominate rock engravings in the same region. Paintings are located in the Eastern Escarpment (cliff), Tigray Plateau (flat raised ground) and along the Tekkezze River. #> The rock arts found in Tigray show domestic and wild animals, humans, and fighting and cultivation scenes. Cont. … #> Some of the engravings in the same region may have had ideological or religious purposes. #> The rock arts display animals in a body profile. #> The paintings are naturalistic and schematic representation of domestic cattle and wild animals executed in black and red. #> The engravings are drawn in outline incision. Dabo Zellelow. This shelter is situated in the foothills around the town of Abiy Addi and was discovered by Agazi Negash in the 1990s. #> It contains both engravings and paintings. #> There are displays of geometric figures and engravings of cattle and geometric figures. #> Long-horned humpless cattle, human and geometric figures are represented in this shelter. Cont. … The engraved human figures at the site are executed in “hour-glass” style similar to those of Addi Qanza in Eritrea. The engravings representing long-horned humpless cattle and the paintings at this site can be grouped to the earliest and the 2nd phases of the Ethiopian-Arabian Style, respectively. Rock engravings at Dabo Zellelow Be’ati Gaewa. This is a granite cave located across the Tekkeze River around the town of Emba Madre at Dedebaria. #> The paintings are displayed on the wall of the cave. #> At least 13 paintings are portrayed in this cave. #> Long-horned, short-horned and humped cattle are dominantly represented in the paintings of the same cave. Cont. … A single calf is drawn besides a cow and its udders. Moreover, 2 men are also depicted on this cave. One of them that seem to carry a stick with his hands is depicted driving or Paintings at Be’ati Gaewa. following 2 oxen. Cont. … Long-horned humpless cattle at Be’ati Gaewa Painting at Be’ati Gaewa Mai Lemin. This site is located in northwestern Tigray Administrative Zone in Tselemit district. #> The paintings are found on the wall and ceiling of the cave inside and outside the semi-built up church of Gebriel. #> Walia Ibexs are dominantly represented in these paintings. Cont. … #> 24 figures can be deciphered from the panel located on the wall of the cave while 27 figures can be identified on that of the ceiling. In this site, 7 naked humans are also depicted. They have #> round and long heads and short necks. One of the men is exhibited with two overstretching hands. #> All figures at Mai Lemin are drawn in white. #> A cow and a calf motif is also its feature. Cont. … #> The cow is painted in white color. Its whole body is fully decorated (coated) with several four sided rectangles. #> The long-horned humpless cattle show superimposioning and seem to be one of the oldest paintings in Ethiopia. #> The style of this site can be categorized into the Surre- Hanakiya and the Dahthami stages of the Ethiopian-Arabian Style. Paintings at Mai Lemin Thank you !!