Aquí vienen las novias: leyendo las pinturas neolíticas de Uan Derbuaen (Tasili n’Ajer, Argelia)

Augustin F. C. Holl

doi:10.3989/tp.2016.12170

Authors

Augustin F. C. Holl Dépt. d’Anthropologie, Université Paris Ouest Nanterre La Défense

DOI:

https://doi.org/10.3989/tp.2016.12170

Keywords:

Rock Art, Cognition, Tassilian Iconography, Central Sahara, Uan Derbuaen

Abstract

The Tassil-n-Ajjer mountain range is well known for its phenomenal richness in rock-shelters and cave paintings. Generations of researchers have surveyed, mapped, drafted and discussed different facets of these Tassili paintings. The diversity and versatility of the paintings traditions of the Tassili make difficult any attempt at straightforward generalization, whether stylistic or thematic. Each painting’s station appears to be unique and conveys its own suggestions that have to be studied extensively and systematically. In the approach outlined in this paper –the iconographic approach–, paintings are viewed as complex sets of ‘artifacts’ arranged by the creative minds of the actual artists. How did these artists practice their crafts? What iconic elements did they choose to represent and why? How and why are these selected elements arranged and combined? These are some of the questions addressed in this paper. The new readings of the Uan Derbuaen paintings allow to suggest a staging and grand representation of matrimonial arrangements, the final travel of the brides.

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