For 21st century humans, the Sahara is a vast desert, an extreme habitat, a desolate region, where survival is a challenge. But the Sahara has not always been like this.
Cave paintings are found in many parts of the Sahara, from Morocco to Egypt and Sudan. But especially in the south of Algeria, especially in the Tassili N’Ayer, the abundance of paintings is extraordinary.
They have been estimated at over 15,000 and date from 2,500 to 7,000 years ago. The paintings presented today will take you back in time and allow you to discover amazing stories engraved in the rock.
The Tassili Plateau is a mountainous area located in the middle of the Sahara Desert in southeastern Algeria. Its highest point (Adrar Afao) is 2158 meters and its nearest town is Djanet, 10 kilometers to the southwest.
Much of this territory is rich in ecosystems, which has made it a biosphere reserve, as well as a cultural asset, which has led UNESCO to proclaim it a “world heritage site”.
Due to its altitude, the Tassili also benefits from vegetation, the most abundant being the Sahara cypress. As indicated by its ancient “Berber” language, Tassili means plateau of rivers, which suggests that this beautiful desert enjoyed in ancient times great humidity and therefore a rich ecosystem.
But if there is one thing that characterizes the Tassili n’Ajjer, it is its archaeological heritage of nearly 15,000 cave paintings and engravings, dated by mass acceleration spectrometers between the Lower Palaeolithic and the Neolithic (10 000 and 15,000 BC).
Discovered by the French archaeologist, explorer and humanist “Henry Lothe” in 1978, the vast majority of these paintings and engravings show us the evolution of their fauna and flora 8000 years ago, as well as their climatic changes, the migration of their fauna, geological transformations, coexistence, customs, hunting and breeding and daily life.
But among these 15,000 cataloged paintings are the “round heads”, most of which are concentrated in the area called “Jabbarent”, which, curiously translated into Berber, means “the giants”.
This is a fact that must be taken into account, so I would like to explain to you the real reason why I wrote this article, that I invite you to take a magical journey to other possibilities, which can only be understood by you, open-minded people, and to obtain by reading it an answer beyond archaeological suggestions and explanations.
There are many, many paintings in this enclave that tell of daily life for many but something incredible and beyond comprehension for many others, including yours truly who writes to you. We have chosen four among all those that are beyond all human comprehension.
Four paintings which, once again, show us and define with astonishing precision beings that are difficult to understand, which, in my opinion, must have impressed the former inhabitants of Jabbarent as much as in the past.
#1 Being in weightlessness
The first of them “the being in weightlessness” a painted being, this one in a horizontal position, something quite normal due to the abundance of humidity mentioned above, which suggests that these people mastered the technique from fishing to swimming.
But looking closer we can see incredible details that make this one can be called impossible for science, details attributed to him with helmet, gloves, one piece suit, boots with a perfect closure at the ankles and wrists.
It is easy, contemplating it, to ask the following question: who or who has worn clothes with these characteristics and adapted to horizontal positions? Does such a position sound like a “reinvigoration”? It is a curious image that reminds us of the training of current astronauts.
#2 The Great Martian God
The second of these enigmatic images is the one baptized by “Henry Lothe” as “the great Martian god”, a being represented at a height of 6 meters, endowed with clothes that it is once again impossible to date.
A hulking being who was obviously meant to intimidate with his size and physical appearance, dressed in his impossible clothes, and we ask ourselves this big question again:
Since when did Neolithic man dream of such clothing and such considerable stature?
#3 The god of prayers
The third image is called “the great god of the Orantes”: a sculpture, unclothed, which we consider unusual but endowed with an unusual morphology and not cataloged as belonging to any animal among its fauna.
But a being very similar to that observed in many sightings in many other places in the world where witnesses claim to have observed a being identical to this one, the best known of which is that of Riverside (California).
The fourth and to me the most amazing of all and possibly the most deteriorated due to the aggressive technique used on her, “tracing”, mostly straight from the “Lothe” expeditions, many of these tracings are currently kept at the Musée de l’Homme in Paris (France).
We can appreciate there an astonishing fact, a being endowed again with a diving suit, a one-piece suit and something similar to a respiratory system on its back and connected by a tube to a sphere.
An illuminated object in the representation leads us to suppose a type of illumination with flames in order to illuminate, dragging a total of four women with clearly African or Negroid profiles, the last of them even carrying a child.
And again these questions come to mind:
Does this image represent the physical contact of these people with these beings? Does this image represent some sort of genetic intervention in antiquity by the so-called roundheads? Have they manipulated also shown in so many other cultures, the best known of them being the Mesopotamian?
And to end our trip to this beautiful and enigmatic place, this fantastic video.