From the Sahara to the Nile: the low representation of dangerous animals in the rock art of the Libyan desert could be linked to the fear of their animation Julien d'Huy* and Jean-Loïc Le Quellec** (Translated by Geoffrey Kolbe***) Abstract: Fleeing the increasing aridity of their territory in order to reach the more favourable regions of the Nile valley, perhaps following what was to become the Abu Ballas trail, the inhabitants of Jebel Uweinat and the Gilf Kebir may have taken with them their fear of representing dangerous animals. 1. Introduction A number of authors have proposed an influence of the Saharan rock art on the art of the Egyptians. These hypotheses are very plausible. In effect, due to the progressive drying up of desert greenery in the middle of the Holocene, there was a migration of humans out of the Sahara to populate the Nile Valley and contribute to its culture. (Brook 2006: 35-37; Hassan 1998; Keita & Boyce 2005: 234-5; Kobusievicz 1992; Kobusiewicz et al 2004; Wendorf & Schild 1980; Wendorf et al 2001). Throughout this period, the affinity of the pre-dynastic Egyptian with the Sahara desert is obvious. This latest hypothesis on the influence of the Saharans on the Egyptian culture is on the representation of fantastic animals without heads, the bodies of cats and which were surrounded by humans which they swallow, or spit out (Fig. 1) and individuals who are "floating" or "upside down" prefiguring mortuary beliefs during the dynastic pharonic times (La Quellec & de Flers 2005: pp 260-5; Le Quellec 2005, 2008). Never-the-less, all the propositions put forward up to now which have attempted to bring together on the one hand, the paintings and engravings of the Sahara and on the other hand, the representations and beliefs of the ancient Egyptians, have not been completely convincing (Dupuy 2008). Until now, researchers have tried to identify possible common forms between Saharan rock art and Egyptian art, or a common mythological content which was conveyed by these two forms of art. To our knowledge, nobody has ever tried to show a similarity in attitude of Saharan and Egyptians vis-à-vis art. Based on the evidence, there would appear to be many similarities. The art of the Eastern Sahara is surprising in many ways, notably the apparent absence of representations of animals dangerous to man or their cattle. We think there is clear evidence of the similarity of attitude with the Egyptians, based on the images. 2. Method What do we describe as dangerous animals, since we may be influenced by, "the subjective character of our appreciation" (Clottes 1995)? Five animals, significantly called "the big five" have the reputation of being particularly dangerous for man in Africa: the lion, the elephant, the buffalo, the rhinoceros and the leopard (Burton & Burton 2002: 305; Kilgo 2003: 83; Shomon 1998: 13; Prato & Fagre 2005: 368). We also think it is a good idea to look at animals dangerous to cattle as well as small game, adding the lynx, the jackal, the crocodile, the cheetah, the hyena and the African wild dog. Fig. 1 One of the mythical "beasts" of the Libyan desert which seems to be swallowing (or regurgitating) a person. (DAO Julien d'Huy). * dhuy.julien@ yahoo.fr ** CNRS/IFAS (UMIFRE 25) – School of Geogra- phy, Archaeology and Environmental Studies, University of Witwatersrand, Johannesberg 2050 rupes@neuf.fr ***geoffreykolbe@ compuserve.com Notes of the AARS – No13 - 2009