Libyan Rock and Cave Art May Point to Origins of Egyptian Civilization

I'm not sure I haven't posted about this before.  But - just in case :)

Sahara cave may hold clues to dawn of Egypt
Mon May 24, 2010 9:35am GMT
By Patrick Werr

CAIRO (Reuters) - Archaeologists are studying prehistoric rock drawings discovered in a remote cave in 2002, including dancing figures and strange headless beasts, as they seek new clues about the rise of Egyptian civilisation.

Amateur explorers stumbled across the cave, which includes 5,000 images painted or engraved into stone, in the vast, empty desert near Egypt's southwest border with Libya and Sudan.

Rudolph Kuper, a German archaeologist, said the detail depicted in the "Cave of the Beasts" indicate the site is at least 8,000 years old, likely the work of hunter-gatherers whose descendants may have been among the early settlers of the then-swampy and inhospitable Nile Valley.

The cave is 10 km (6 miles) from the "Cave of the Swimmers" romanticised in the film the "English Patient", but with far more, and better preserved, images.

By studying the sandstone cave and other nearby sites, the archaeologists are trying to build a timeline to compare the culture and technologies of the peoples who inhabited the area.

"It is the most amazing cave ... in North Africa and Egypt," said Karin Kindermann, member of a German-led team that recently made a trip to the site 900 km (560 miles) southwest of Cairo.

"You take a piece of the puzzle and see where it could fit. This is an important piece," she said.

The Eastern Sahara, a region the size of Western Europe that extends from Egypt into Libya, Sudan and Chad, is the world's largest warm, dry desert. Rainfall in the desert's centre averages less than 2 millimetres a year.

The region was once much less arid.

About 8500 BC, seasonal rainfall appeared in the region, creating a savanna and attracting hunter-gatherers. By 5300 BC, the rains had stopped and human settlements receded to highland areas. By 3500 BC, the settlements disappeared entirely.

MOVING TOWARDS THE NILE VALLEY
"After 3-4,000 years of savanna life environment in the Sahara, the desert returned and people were forced to move eastwards to the Nile Valley, contributing to the foundation of Egyptian civilisation, and southwards to the African continent," said Kuper, an expert at Germany's Heinrich Barth Institute.

The mass exodus corresponds with the rise of sedentary life along the Nile that later blossomed into pharaonic civilisation that dominated the region for thousands of years and whose art, architecture and government helped shape Western culture.

"It was a movement, I think, step-by-step, because the desert didn't rush in. The rains would withdraw, then return, and so on. But step by step it became more dry, and people moved toward the Nile Valley or toward the south," Kuper said.

Kuper and his team are recording the geological, botanic and archaeological evidence around the cave, including stone tools and pottery, and will compare it to other sites in the Eastern Sahara region, adding new pieces to a prehistoric puzzle.

"It seems that the paintings of the Cave of the Beasts pre-date the introduction of domesticated animals. That means they predate 6000 BC," said Kuper, who led his first field trip to the cave in April 2009. "That is what we dare to say."

The visible art work covers a surface 18 metres wide and 6 metres high. In October, Kuper's team scanned the cave by laser to capture high-definition, three-dimensional images.

A test dig a few weeks ago during the team's third expedition to the sandstone cave uncovered yet more drawings that extend down 80 cms below the sand, Kindermann said.

"Now we have increasing evidence how rich the prehistoric culture in the Eastern Sahara was," Kuper said.

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I believe it was in Libya that Katherine Neville wrote about the gigantic carving/cave drawing of the White Goddess in her mega-hit novel "The Eight" back in the 1980s.

Check out:

Saharan Prehistoric Rock Art from Temehu.com

No references to the White Goddess would be complete without mentioning Robert Graves' work "The White Goddess" which, after nearly 10 years, I'm still wading through.  The book was recommended by IM Ricard Calvo, our mentor at Goddesschess, and so I dutifully plowed into it.  And I'm still plowing into it, long after The Chief passed away (in mid-September, 2002).  My dad passed away November 3, 2002, less than 2 months later.  In July, 2003, I lost Ken Whyld.  With his passing, I was left bereft of learned men to whom I could turn.

For some information on the sibyls of the ancient world ("white goddesses" who prophesized for worshippers), see Albuenea, The Roman White Sibyl.   You will notice the close association of this sibyl (and, indeed, all of the ancient sibyls) with sacred wells or sacred springs. 

Ngame, Mother Goddess of the Akan

My own note:  Alphito - archaic white "sow" goddess - actually linked to ancient barley cultivation, perhaps dating back to Catal Hoyuk days in Anatolia.

Greek Goddesses - Alphito:  Alphito was the Arcadian White Grain Goddess as a Sow. But by Classical timesshe was barely remembered. She was given sole rights over the ability to inflict leprosy. Scary. But she was kind of scary, so . . . Again, I have lost my source, so I can't verify this at all. What I CAN say for sure is that "alphito" is the Greek word for "barley."

Alphito - alphit:  Greek: barley; pearl barley; groats; originally "white grain."  Linked to practice of divination.

From the Probert Encyclopdedia (unsourced "source" - so take with a grain of salt): In Greek mythology, Alphito was a white goddess of barley flour, destiny and the moon. The hag of the mill and the lady of the nine heights.

Robert Graves "White Goddess" Bombshell!

Wow! I've YET to work my way through Graves' "The White Goddess" - one can only read a chapter or less at a sitting, it's so dense, so rich and leads one off on so many different tangents of thought - but I will do it, because it was a book The Chief recommended.

And so this article came as a shocking surprise - but then, again, why should I be surprised. How many times has this scenario played out? We've heard about it countless times - they've even made movies about it! The older, world-weary and "wise" writer/scholar/poet/actor/politician (take your pick) takes up with an adoring and incredibly stupid (naive) younger woman, taking her for the ultimate ride, stealing not only her innocence but also her ideas. Photo: Laura Riding a/k/a Laura Reichenthal. She married twice: Louis Gottschalt (div. 1925) and Schuyler B. Jackson (critic, m. 1941, d. 1968).

From the Independent.co.uk
War poet Robert Graves 'stole work from his mistress'
By Arifa Akbar, Arts CorrespondentFriday, 4 July 2008

Few would doubt the brilliance of Robert Graves, a man considered to be one of Britain's foremost war poets whose verses on Greek mythology and frontline conflict cemented his name in literary history.

But one academic has accused the poet of stealing ideas, literary criticism and poetry from his one-time American mistress and passing them off as his own.

Dr Mark Jacobs, a research fellow at Nottingham Trent University who has spent two decades studying 700 letters he received from Laura Riding Jackson as well as her literary works, said when she discovered the uncanny similarity in his texts she condemned her former lover as a "robber baron".

Dr Jacobs, who is writing a book which will reveal the full extent of the couple's relationship, credits Jackson for having been a major influence on Graves's work and has called for a reassessment of his writings in the light of the revelations.

Jackson's chagrin at Graves' alleged "lifting" of her work is described in her letters to Dr Jacobs, who began writing to her as a PhD student 30 years ago. Their correspondence continued until a year before her death in 1991 and the letters were this week placed in the university's research archive.

The couple became lovers in the 1920s, when Graves was still with his first wife, Nancy Nicolson. Jackson moved into the couple's home for some time before the marriage ended after Jackson's failed suicide attempt when she threw herself out of a window, an event she describes in her letters. The couple's literary and romantic partnership was the inspiration for Miranda Seymour's 1998 novel, The Summer of '30.

Dr Jacobs said Jackson accuses Graves of "robbing" her of key ideas which he appropriated as his own for his seminal study of poetic inspiration, The White Goddess, published in 1948.

He claimed that the inspiration for the work, which equates God with women, related to an early essay Jackson wrote in the 1930s called The Idea of God and her book, The Word Woman, which preceded Graves's magnum opus.

The couple moved from Britain to Spain, where Jackson left her manuscript for The Word Woman when the pair fled the country on the outbreak of the civil war in 1936. Dr Jacobs claims it was this manuscript – which Jackson had asked Graves to burn – that the poet used as the basis for The White Goddess.

"Between 1926 and 1939, he was learning from her what she was doing and thinking," Dr Javcobs said. "He was taking her ideas, her research, he was simply shovelling it in to his own books.... She left her manuscript in Majorca. She later wrote to him [Graves] and told him to burn the manuscript. We now know that he didn't. It all appeared in dribble form in The White Goddess. He used it for his own ends without mentioning it to her. She only found out in the 1950s."

Graves also used four lines of a poem Jackson had published at least two decades earlier about the Greek mythological hero, Hercules, in his own poem, Ogmian Hercules, Dr Jacobs added. "He wrote the poem and stole about four lines in his 12 line poem. Her poem was published by the private Seizin Press that they had set up in the 1920s."

In her letters to Dr Jacobs, Jackson accuses Graves of having "sucked, bled, squeezed, plucked, picked, grabbed, dipped, sliced, carved, lifted the body of my work" after their relationship broke down in 1939."

Professor Dunstan Ward, president of the Robert Graves Society, said there was a host of textual evidence proving that Graves was developing his theory for the White Goddess even before he met Jackson and that a poem called A History, written before the two met, contains "clear references" and the reproduced lines of poetry in Ogmian Hercules was a "homage to her".