{"id":2722,"date":"2020-10-19T00:26:53","date_gmt":"2020-10-19T00:26:53","guid":{"rendered":"https:\/\/jazairhope.org\/?p=2722"},"modified":"2020-10-19T00:43:15","modified_gmt":"2020-10-19T00:43:15","slug":"lart-prehistorique-saharien-un-musee-a-ciel-ouvert","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/fr\/lart-prehistorique-saharien-un-musee-a-ciel-ouvert\/","title":{"rendered":"L\u2019art pr\u00e9historique saharien : un mus\u00e9e \u00e0 ciel ouvert"},"content":{"rendered":"
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L\u2019art rupestre dit aussi art du n\u00e9olithique, apparu \u00a0d\u00e8s 8000 avant notre \u00e8re concerne les peintures \u00e0 l\u2019air libre, et l\u2019on retrouve ses repr\u00e9sentations partout dans le monde; contrairement \u00e0 l\u2019art pari\u00e9tal r\u00e9alis\u00e9 sur les parois des grottes et \u00a0qui lui,demeure localis\u00e9, ne concernant actuellement que le continent Europ\u00e9en.<\/p>\n

En Afrique, et plus pr\u00e9cis\u00e9ment au Sahara, on compte plus de 10000 Sites, dont les plus connus sont \u00a0\u00e0 Tissonka\u00ef, Djabarren, au sud des monts Atlas, ou dans le Tibesti, mais les t\u00e9moignages rupestres les plus cit\u00e9s, restent ceux que l\u2019on peut admirer, dans le Tassili n\u2019Ajjer, en Alg\u00e9rie.
\n<\/a><\/p>\n

Introduction \u00e0 L\u2019Art Saharien<\/span><\/strong><\/p>\n

L\u2019apparition de l\u2019art pr\u00e9historique du Sahara, et \u00a0dont les plus anciennes manifestations connues remontent \u00e0 plus de 20 000 ans, co\u00efncide avec le d\u00e9but de l\u2019\u00e8re dite\u00a0 \u00ab\u00a0Ibero-Maurusienne\u00a0\u00bb (peuple du littoral m\u00e9diterran\u00e9en) \u00a0et s\u2019\u00e9tend jusqu\u2019\u00e0 la\u00a0 protohistoire, p\u00e9riode imm\u00e9diatement ant\u00e9rieure \u00e0 l\u2019apparition de l\u2019\u00e9criture.<\/p>\n

Dans l\u2019ensemble, l\u2019art rupestre consid\u00e9r\u00e9 plus r\u00e9cent, \u00a0diff\u00e8re de l\u2019art pari\u00e9tal de mani\u00e8re radicale. D\u2019une part, il est beaucoup plus narratif, faisant de la vie quotidienne qui \u00e9tait r\u00e9guli\u00e8rement \u00e9lud\u00e9e par les pal\u00e9olithiques, un sujet courant. D\u2019autre part, les techniques de repr\u00e9sentations qui sont \u00e0 pr\u00e9sent : la gravure, l\u2019incision et la peinture, seront r\u00e9alis\u00e9es \u00e0 l\u2019aide d\u2019une palette de couleur plus vari\u00e9e qu\u2019\u00e0 l\u2019\u00e8re pr\u00e9c\u00e9dente. Les sujets sont \u00e9galement plus divers : on y voit d\u00e9sormais des hommes, plus d\u2019animaux, des armes, des sc\u00e8nes de guerre et de chasse.<\/p>\n

Au d\u00e9but du VIIIe Mill\u00e9naire av. J.-C., appara\u00eet une culture d\u00e9nomm\u00e9e Capsienne, (de Capsa, aujourd\u2019hui Gafsa Tunisienne), dont la pr\u00e9sence est surtout attest\u00e9e dans l\u2019actuelle Alg\u00e9rie et qui, juxtapos\u00e9e \u00e0 la culture pr\u00e9c\u00e9dente, forme le fond du peuplement maghr\u00e9bin contemporain. L\u2019\u00e8re Capsienne est annonciatrice de nombreuses \u00e9volutions qui touchent l\u2019ensemble des aspects de la vie. De ce fait, en marge de la peinture rupestre,\u00a0les Capsiens mirent au point un art domestique et ornemental qui comprend nombre de coquillages, dents, et vert\u00e8bres\u00a0 perfor\u00e9s servant \u00e0 la r\u00e9alisation de colliers. On trouve \u00e9galement les vestiges d\u2019assemblages en pierres naturelles, rondelles de poterie\u2026Qui auraient servit \u00e0 la confection de bracelets et pectoraux.<\/p>\n

Ainsi, les premiers ateliers de c\u00e9ramiques sont attest\u00e9s d\u00e8s le VIIIe mill\u00e9naire av JC au tassili Azjer.<\/p>\n

La r\u00e9volution du n\u00e9olithique<\/span><\/strong><\/p>\n

Elle d\u00e9bute au Maghreb (du VIII e au IV e mill\u00e9naire AV. J-C) et avec elle l\u2019art se diversifie et s\u2019affine dans les gravures rupestres de l\u2019Atlas Saharien. Des animaux Africains sont grav\u00e9s et non plus peints, nous permettant ainsi la r\u00e9colte d\u2019\u00e9l\u00e9ments pr\u00e9cieux sur la faune d\u2019alors. On retrouve \u00e9galement de jolies mises en sc\u00e8nes grav\u00e9es, telle que celle du kef Messiour (pr\u00e8s de Sedrata) et qui repr\u00e9sente un lion d\u00e9vorant un sanglier. En marge de ces repr\u00e9sentations de sc\u00e8nes de chasse, on remarque la figuration de troupeaux, ce qui indique le pastoralisme de gros cheptel.<\/p>\n

Au Tassili, les teintes des peintures se diversifient et comprennent d\u00e9sormais le bleu, le jaune, le violet\u2026 l\u2019art se fait plus narratif, et dans la mise en sc\u00e8nes d\u2019\u00eatres humains, on constate l\u2019apparition d\u2019une population blanche, que l\u2019on consid\u00e8re venue d\u2019Orient. Le sens du mouvement de ces peintures, fortes en d\u00e9tails et en couleurs, est saisissant. Les femmes y sont figur\u00e9es par\u00e9es, les hommes arborant des peintures sur la figure\u2026 La seule vitrine reliant nos deux mondes, se fait plus clairs et plus d\u00e9taill\u00e9s.<\/p>\n

Au d\u00e9but de l\u2019Histoire\"gravure\"<\/a><\/span><\/b><\/p>\n

A partir de 2000 AV J-C, le n\u00e9olithique final marque la fin de la pr\u00e9histoire, et l\u2019art se fait plus \u00e9lanc\u00e9, plus a\u00e9rien, avant de dispara\u00eetre brutalement. Les derni\u00e8res p\u00e9riodes avant la rar\u00e9faction de ces peintures continuent de mettre en sc\u00e8ne la faune Africaine, et on constate que certains animaux tels que l\u2019\u00e9l\u00e9phant et l\u2019hippopotame ont disparu, indication de l\u2019ass\u00e8chement de la r\u00e9gion. La stylisation des formes dans les peintures est pouss\u00e9e \u00e0 son paroxysme. L\u2019apparition du r\u00e8gne du cheval co\u00efncide avec la figuration de formes a\u00e9rienne, d\u2019o\u00f9 l\u2019appellation du style du galop volant. Les corps humains sont r\u00e9duits \u00e0 des sch\u00e9mas, au m\u00eame moment \u00a0qu\u2019appara\u00eet l\u2019\u00e9criture libyque\/pal\u00e9oberb\u00e8re. Il est consid\u00e9r\u00e9 comme l\u2019un des plus anciens alphabets au monde et sa forme moderne r\u00e9siduelle serait l\u2019alphabet tifinagh, demeur\u00e9 chez le touareg.<\/p>\n

La profusion artistique, comme seule t\u00e9moin du passage de l\u2019homme pr\u00e9historique,\u00a0 s\u2019interrompt avec l\u2019une de ses plus belles inventions\u00a0: l\u2019\u00e9criture, symbole ultime de la ma\u00eetrise de ses capacit\u00e9s mentales. Bienvenue, dans l\u2019Histoire\u00a0!<\/p>\n

Mira B. G<\/p>\n

Bibliographie :<\/p>\n

    \n
  1. H. Lhote,\u00a0A la d\u00e9couverte des fresques du Tassili (2006)<\/i><\/li>\n
  2. G. Meynier, l\u2019Alg\u00e9rie des origines (2007)<\/li>\n
  3. Slaouti Taklit,\u00a0L\u2019alphabet latin serait-il d\u2019origine berb\u00e8re\u00a0? (2004)<\/i><\/li>\n
  4. photographies : Faiza Faiyzou<\/li>\n<\/ol>\n

     <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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