Abstract
The present paper deals with the study of Oukaimeden rock-art. The methodology developed for it is thoroughly explained. A total number of 249 rock-art stations containing 1068 individual depictions have been examined under three levels of analysis: rock-art station, panel and individual depiction. Eight different categories of depictions have been individualized: anthropomorphs; zoomorphs; weapons: ethnographic elements; symbols; idols and modern depictions. According to our analysis, anthropomorphs evolved from naturalistic to schematic designs. The same evolution is visible in zoomorphic depictions. By means of engraving’s overlapping and typology we suggest a possible chronology for them, from Neolithic to Bronze Age with some exceptions that belong to historic times. Other categories of depictions as weapons, the so-called undetermined depictions or ethnographic motives are also comprehensively analysed. Pecking was the main carving technique used, followed by abrading, being fine incision used exceptionally. Eventually an interpretation of the meaning of art in the context of the Oukaimeden landscape is offered.
Highlights
This chapter will focus on the results obtained by the “ARPA” project1
A total number of 249 rock-art stations containing 1068 individual depictions have been examined under three levels of analysis: rock-art station, panel and individual depiction
By means of engraving’s overlapping and typology we suggest a possible chronology for them, from Neolithic to Bronze Age with some exceptions that belong to historic times
Summary
This chapter will focus on the results obtained by the “ARPA” project. Its aims are strongly related to the groups of rock art engravings located in this rocky plateau, at the heart of the High Atlas. We needed to survey the area anew completely, reviewing and documenting the published rock art -after consulting the appropriate literature with the invaluable assistance of the Moroccan INSAP2 technical staff, whose catalogues have been made available for our Project- and the new rock art surfaces or figures located during this process. A total of 249 rock-art stations containing 1068 individual representations were studied with a system of indirect record that does not entail any harm for the surfaces and the engravings This system is exclusively based on detailed photographic documentation of the identified rock art sites, along with a set of data -obtained during the fieldwork campaigns- referring to the location and dimensions of the rock-art stations.
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