|UNESCO World Heritage Site|
Aerial photo of Tassili n'Ajjer
|Includes||Tassili National Park, La Vallée d'Iherir Ramsar Wetland|
|Criteria||Cultural and Natural: (i), (iii), (vii), (viii)|
|Inscription||1982 (6th Session)|
|Area||7,200,000 ha (28,000 sq mi)|
|Location||Tamanrasset Province, Algeria|
|Official name||La Vallée d'Iherir|
|Designated||2 February 2001|
Tassili n'Ajjer (Berber: Tassili n Ajjer, Arabic: طاسيلي ناجر; "Plateau of rivers") is a national park in the Sahara desert, located on a vast plateau in south-east Algeria. Having one of the most important groupings of prehistoric cave art in the world, and covering an area of over 72,000 km2 (28,000 sq mi), Tassili n'Ajjer was inducted into UNESCO's World Heritage Site list in 1982.
The rock formation is an archaeological site, noted for its numerous prehistoric parietal works of rock art, first reported in 1910, that date to the early Neolithic era at the end of the last glacial period during which the Sahara was a habitable savanna rather than the current desert. Although sources vary considerably, the earliest pieces of art are assumed to be 12,000 years old. The vast majority date to the 9th and 10th millennia BP or younger, according to OSL dating of associated sediments. Among the 15,000 engravings so far identified depicted are large wild animals including antelopes and crocodiles, cattle herds and humans that engage in activities such as hunting and dancing. According to UNESCO, "The exceptional density of paintings and engravings...have made Tassili world famous."
Tassili n'Ajjer is a vast plateau in south-east Algeria at the borders of Libya, Niger and Mali, covering an area of 72,000 km2. It ranges from east-south-east to . Its highest point is the Adrar Afao that peaks at 2,158 m (7,080 ft), located at . The nearest town is Djanet, situated around 10 km (6.2 mi) southwest of Tassili n'Ajjer. The archaeological site has been designated a national park, a Biosphere Reserve (cypresses) and was induced into UNESCO's World Heritage Site list as Tassili n'Ajjer National Park.
The plateau is also of great geological and aesthetic interest. Its panorama of geological formations of rock forests, which comprises eroded sandstone, resembles a strange lunar landscape.
The range is composed largely of sandstone. The sandstone is stained by a thin outer layer of deposited metallic oxides which color the rock formations anywhere from near-black to dull red. Erosion in the area has resulted in nearly 300 natural rock arches being formed, along with many other spectacular landforms.
Because of the altitude and the water-holding properties of the sandstone, the vegetation here is somewhat richer than in the surrounding desert; it includes a very scattered woodland of the endangered endemic species Saharan Cypress and Saharan Myrtle in the higher eastern half of the range.
The ecology of the Tassili n'Ajjer is more fully described in the article West Saharan montane xeric woodlands, the ecoregion to which this area belongs. The literal English translation of Tassili n'Ajjer is 'Plateau of rivers'.
Relict populations of the West African crocodile persisted in the Tassili n'Ajjer until the 20th century. Various other fauna still reside on the plateau, including mouflons, the only surviving type of the larger mammals depicted in the area's rock paintings.
In 1989, the psychedelics researcher Giorgio Samorini exposed the theory that the fungoid-like paintings in the caves of Tassili are proof of the relationship between humans and psychedelics in the ancient populations of the Sahara, when it was still a wild green land:
One at the most important scenes is to be found in the Tin-Tazarift rock art site, at Tassili, in which we find a series of masked figures in line and hieratically dressed or dressed as dancers surrounded by long and lively festoons of geometrical designs of different kinds (fig. 2). Each dancer holds a mushroom-like object in the right hand and, even more surprising, two parallel lines come out of this object to reach the central part of the head of the dancer, the area of the roots of the two horns. This double line could signify an indirect association or non-material fluid passing from the object held in the right hand and the mind. This interpretation would coincide with the mushroom interpretation if we bear in mind the universal mental value induced by hallucinogenic mushrooms and vegetals, which is often of a mystical and spiritual nature (Dobkin de Rios, 1984:194). It would seem that these lines – in themselves an ideogram which represents something non-material in ancient art – represent the effect that the mushroom has on the human mind. [...] In a shelter in Tin – Abouteka, in Tassili, there is a motif appearing at least twice which associates mushrooms and fish; a unique association of symbols among ethno-mycological cultures (fig. 5). Two mushrooms are depicted opposite each other, in a perpendicular position with regard to the fish motif and near the tail. Not far from here, above, we find other fish which are similar to the aforementioned but without the side-mushrooms.— Giorgio Samorini, 1989
This theory was reused by new-age icon Terence McKenna in his 1992 book Food of the Gods, hypothesizing that the Neolithic culture that inhabited the site used psilocybin mushrooms as part of its religious ritual life, citing rock paintings showing persons holding mushroom-like objects in their hands, as well as mushrooms growing from their bodies. For Henri Lohte who discovered the Tassili caves in the late 1950s, these were obviously secret sanctuaries.
The painting that best backs the mushroom hypothesis is the Tassili mushroom man Matalem-Amazar where the body of the represented shaman is covered with mushrooms. According to Earl Lee in his book From the Bodies of the Gods: Psychoactive Plants and the Cults of the Dead (2012), this imagery refers to an ancient episode where a "mushroom shaman" was buried with his clothes, and when unearthed some time later, his body was covered with tiny mushrooms growing in his clothes. Earl Lee considered the mushroom paintings at Tassili fairly realistic.
According to Brian Akers, writer of the Mushroom journal, the fungoid rock art in Tassili does not resemble the representations of the Psilocybe hispanica in the Selva Pascuala caves (2015). The art at Tassili is not even considered realistic.
Les eaux de pluie ont raviné les crêtes et ont progressivement entaillé les plateaux, creusant des canyons étroits et profonds aux parois à pic, dont la direction générale est Sud-Nord. C'est d'ailleurs ce qui lui a valu le nom de Tassili-n-Ajjer, nom qui vient des mots touaregs : Tasilé = plateau et gir = rivières, ce qui veut dire : le plateau des rivières. == rainwater gutted the ridges and progressively slashed the plateaus, digging narrow, deep canyons with steep walls, whose general direction is South-North. This is what earned it the name of Tassili-n-Ajjer, name that comes from the Tuareg words: Tasilé = plateau and gir= rivers, which means: the plateau of rivers.
|Wikimedia Commons has media related to Tassili n'Ajjer.|
|Wikivoyage has a travel guide for Tassili n'Ajjer Cultural Park.|