Ancient

Laas Geel: A Glimpse into Ancient Somaliland – Mysteries Tied to the Queen of Sheba

Published

4 months ago

May 19, 2024

waryatv.com

Discover the secrets of Laas Geel, Somaliland’s ancient cave paintings, and explore their intriguing connections to the Queen of Sheba, ancient Jewish history, and the prophetic legends of King Solomon.

By Kasim Abdulkadir:

Laas Geel, located near Hargeisa, the capital of Somaliland, is a site of exceptional archaeological significance. Discovered in 2002 by a team of French archaeologists, the cave paintings at Laas Geel are estimated to be around 10,000 years old, making them some of the oldest and best-preserved examples of rock art in Africa. These vibrant paintings, which depict cattle in ceremonial robes, human figures, and wildlife, offer a fascinating glimpse into the life and culture of early inhabitants of the Horn of Africa.

The Significance of Laas Geel

The name “Laas Geel” translates to “The Camels’ Well” in Somali, indicative of the pastoralist culture that the paintings portray. The site consists of approximately twenty rock shelters of varying sizes, with the largest being around ten meters long and five meters deep. The natural granite overhangs have protected the paintings from the elements, allowing the vibrant colors and intricate designs to remain remarkably intact over millennia.

Connections to the Queen of Sheba and Ancient Jewish Links

While Laas Geel itself does not have direct evidence linking it to the Queen of Sheba or Jewish history, the broader region of Somaliland holds many untapped archaeological potentials that could reveal more about ancient connections. The Queen of Sheba, a figure steeped in legend and mentioned in both the Bible and the Quran, is traditionally associated with the ancient Kingdom of Saba, which some historical texts place in the Horn of Africa. Although definitive archaeological evidence connecting the Queen of Sheba to specific sites in Somaliland is still lacking, the region’s historical richness suggests that further discoveries could shed light on these ancient narratives.

Prophetic and Solomonic Connections

The lore of King Solomon, known for his wisdom and his ability to communicate with animals and djinn, also intertwines with the legends of the Horn of Africa. While there is no concrete evidence linking Solomon directly to Laas Geel, the oral traditions and historical texts of the region often mention the grandeur of Solomon’s reign and his connections to various parts of Africa.

Written Texts and Rock Art

The rock art at Laas Geel does not contain written texts but is purely pictorial. However, other sites in Somaliland, such as Dhagah Kureh and Dhagah Nabi Gelay, feature ancient inscriptions that are believed to be among the earliest forms of writing in the region. These sites provide invaluable context for understanding the development of written language and communication in ancient Somali cultures.

Preservation and Tourism

Efforts have been made to preserve the Laas Geel paintings, which are threatened by both natural and human activities. Digital documentation projects, such as those by CyArk and ICCROM, aim to protect and share this heritage with the world. These efforts not only safeguard the site but also promote Somaliland as a destination for cultural tourism, drawing visitors interested in exploring its rich history and heritage.

Laas Geel stands as a testament to the ancient peoples of Somaliland and their profound connection to their environment and spirituality. As more research and exploration continue, there is hope that new discoveries will further illuminate the ancient ties that connect this region to broader historical narratives, including those of the Queen of Sheba and King Solomon.

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Africa

The Oldest Known Image of the African Rail

Published

2 weeks ago

August 26, 2024

waryatv.com

Newly discovered rock art reveals a profound connection between the San people and the African rail, shedding light on the spiritual dimensions of ancient depictions.

In a remarkable discovery that bridges the ancient and the present, a newly identified rock painting may represent the oldest known image of the African rail (Rallus caerulescens), a bird native to sub-Saharan Africa. Found in a rock shelter in South Africa’s Western Cape, this ancient artwork could predate the well-known 1773 watercolour by Georg Foster, which has long served as the species’ holotype.

The African rail, with its striking blueish breast, reddish legs, and long toes, is a resident of the wetlands in South Africa’s Western Cape. It’s one of around 140 species within the Rallidae family, which includes coots, moorhens, and crakes. Foster’s watercolour, created during British explorer Captain James Cook’s expedition, has been a crucial reference for the species. However, this new find could significantly alter our understanding of the bird’s historical depiction.

Discovered by researchers from the African Centre for Coastal Palaeoscience at Nelson Mandela University, the painting measures 20cm in length and is part of a larger panel featuring other wildlife such as bees, aardvarks, and antelope. The rock art is believed to date back centuries, possibly even thousands of years, providing a window into the early interactions between humans and their environment.

The San people, who created this artwork, were not only exceptional trackers but also profound ornithologists. They are said to have had names for up to 68 out of 76 bird species observed in a single day. The San’s deep knowledge of birds is reflected in this painting, which captures the distinctive features of the African rail, including its characteristic barring.

However, this rock art reveals more than just an avian image. It suggests a spiritual dimension that might have imbued the bird with deeper significance. Many San rock artworks depict therianthropes—beings with both human and animal features. The African rail painting seems to blend bird-like and human characteristics, evident in the absence of the bird’s bill and the depiction of toes resembling human fingers. This could indicate that the artist intended to create a “rail-person,” merging human and avian forms into a symbolic representation.

The proximity of the rock shelter to the rail’s wetland habitat, combined with the bird’s memorable call and distinctive appearance, suggests that the San may have regarded the African rail as a conduit to the spirit world. This theory aligns with other San rock art interpretations, where birds like swifts or swallows are seen as intermediaries between the physical and spiritual realms.

Despite centuries of persecution and displacement, the San’s cultural and spiritual legacy remains profound. Their intricate knowledge of the natural world, now being rediscovered and valued, underscores their enduring contribution to our understanding of prehistoric human interactions with their environment. This ancient rock painting of the African rail not only enriches our knowledge of early human ornithology but also highlights the San’s complex spiritual and cultural worldview.

The discovery offers a poignant reminder of the rich tapestry of human history and the timeless connection between people and nature. It allows us to glimpse the world through the eyes of a people whose wisdom and artistry continue to inspire awe and respect.