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Patterns on the rocks: report on recent work to survey rock art sites in the Wadi al-Hayat, Fezzan

Published online by Cambridge University Press:  03 March 2015

T. F. Barnett
T. F. Barnett*
Affiliation:
Environment Directorate, Northumberland County Council, Morpeth, Northumberland, UK
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Abstract

This article reports on survey work carried out in December and January 2004/5 to identify and record rock engravings in the Wadi al-Hayat (previously called the Wadi al-Ajal). This work builds on previous surveys carried out under the aegis of the Fezzan Archaeological Project (FAP) (Barnett 2002; Barnett and Roberts 2003; Mattingly et al. 2003).

During this season, systematic survey identified over 300 engraved panels which included all stylistic ‘phases’ known to be present in the wadi (Barnett in Mattingly et al. 2003). When these engravings are incorporated into the spatial distribution model derived from previous field seasons, the preliminary patterns this model describes are no longer wholly applicable. Instead, a more complex and subtle spatial distribution is indicated, in which there appears to be the interplay of several separate relationships between die engravings and die cultural landscape. To avoid misleading interpretation, detailed analysis of die rock art and integration with cultural and environmental data will be attempted only once a full dataset has been gathered on completion of the fieldwork. In the meantime, this paper describes what has been achieved this season. It presents a broad overview of the patterns of rock art distribution as they appear so far with an incomplete dataset and points die way to future fieldwork.

One of the key additional aims of the fieldwork this season was to develop an appropriate recording ʿtoolkitʾ. This included piloting state-of-the-art digital technology to establish its accessibility and value in this environment. Working in collaboration with a team from the University of Bristol, die project applied surface laser scanning to capture 3-dimensional digital data from 14 separate engraved panels. This is die first time this technique has been used to record rock art in North Africa and this provided an unprecedented opportunity to explore its potential for future heritage applications.

Type
Archaeological Reports
Information
Libyan Studies , Volume 36 , 2005 , pp. 121 - 134
Copyright
Copyright © Society for Libyan Studies 2005

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