Monday 03 / February / 2025
Muscat: Research sources related to historical aspects indicate that rock art in the Sultanate of Oman is widespread across multiple geographical areas, with a higher concentration in mountainous regions. It extends from Musandam in the north to Dhofar in the south, showcasing two distinct schools. The first school is situated in the Al Hajar Mountains of Oman, stretching from the mountain peaks of Musandam to Jabal Qahwan in the far east of the Al Hajar Mountains in Jalan. The second school is located within the Dhofar mountain range.
This observation is supported by numerous researchers specializing in historical affairs. They note that the northern school primarily employs techniques such as hammering or engraving directly onto the rock surface. In contrast, the southern school predominantly utilises a single-line drawing technique, often incorporating the use of colour.
Dr. Saif bin Yousef Al Aghbari highlights intriguing similarities between the northern and southern styles. For instance, the Jalan engravings include letters from the South Arabian language, while inscriptions in Samad Al-Shan exhibit letters from the southern Musnad script.
Dr. Aghbari further explains that Dr. Nasser Al-Jahouri discovered an inscription in Wadi Al-Jafr in Jabal Qahwan that bears striking resemblance to the Shanna inscription. This, along with the similarity between ancient Dhofar writings and the Shanna and Wadi Al-Jafr inscriptions in Jalan, suggests the existence of an ancient Arabic alphabet predating the current Arabic script, which emerged with the advent of Islam.
Dr. Aghbari emphasizes that ancient people meticulously documented their lives through rock drawings. Depictions of war weapons, such as swords, spears, and shields, are frequently observed. Furthermore, some drawings depict traps used for hunting wild animals. Evidence of war weaponry is not limited to Oman, as depictions of duels between horse-mounted warriors wielding spears and shields are found in colored drawings across the Arabian Peninsula, including Wadi Hadhramaut in Yemen.
Dr. Aghbari also points out the presence of symbolic elements within rock art, such as representations of numbers, letters from ancient alphabets, and religious symbols like stars, snakes, and ibexes in ancient civilizations across the Arabian Peninsula. He notes that while inscriptions and symbols are abundant, rock writings are relatively less common, likely due to the later emergence of the Arabic alphabet. However, some rock writings dating back approximately two centuries document events of political, economic, or social significance.
Dr. Aghbari delves into the techniques employed in creating rock art, highlighting the ingenuity and artistic expression of ancient people. Techniques include:
Hammering: Involves successive strikes using the tip of a stone tool. This method, due to its simplicity, is widely observed, with varying degrees of artistic skill evident in the resulting artwork.
Scratching: This technique involves rubbing the rock surface with a hard stone or an iron tool.
Dotting: This method utilizes a series of closely spaced dots to create lines and shapes.
Incising: This technique involves creating continuous, shallow lines on the rock surface.
Colouing: Coloured drawings, often dating back to the Bronze Age, demonstrate the use of materials like lime, ochre (yellow clay), and charcoal.
Dr. Aghbari further emphasizes that the techniques employed in creating rock art reflect the specific geographical and temporal context. He distinguishes between two primary styles:
Ideal or Symbolic Style: This older style, dating back to the era of hunters and gatherers, features symbolic and stylized representations.
Realistic or Natural Style: This more recent style, emerging in the late Neolithic era, depicts subjects with greater realism and detail.
Dr. Aghbari believes that the variations in rock art styles across different regions reflect distinct artistic traditions and cultural influences.
Dr. Habib bin Marhoon Al Hadi, a researcher in Omani history, highlights the significant role of rock art in providing insights into ancient Omani lifestyles. He states, "The evidence of rock art is a symbolic reality that reveals the adaptation of man in Oman to his surroundings and societal culture." Rock art provides valuable information about political, social, economic, and religious aspects of ancient Omani society. He acknowledges that interpreting the meaning of some rock art can be challenging due to the use of highly stylized and abstract forms.
Dr. Al Hadi emphasizes the aesthetic and cultural significance of rock art. He states, "Although the art of drawing has an aesthetic and creative value, it may highlight and clarify the relationship between the components of the scene, and on the other hand, it embodies the interaction between the components, and presents a visual vision that the naked eye does not capture in reality and nature, and the art of drawing presents the environmental, geographical, and spatial value in a three-dimensional form. Art in general is nothing but a lens for the reality of place and time."
Dr. Al Hadi also discusses the historical significance of rock art in relation to the development of writing in Oman. He mentions the discovery of the "Omani alphabet," an ancient script with 33 letters, distinct from the 28-letter Arabic alphabet. He highlights the importance of ongoing research and analysis to further understand the evolution of writing systems in the region.
Dr. Al Hadi emphasizes the importance of preserving rock art sites, acknowledging the threats they face from natural erosion and human activities. He highlights the role of official institutions in protecting and promoting rock art through research, excavation, and public awareness campaigns. He also emphasizes the potential of rock art to contribute to heritage tourism and cultural education.
Sulaiman bin Saleh Al-Rashidi, a researcher in documentary sciences, emphasizes the resilience and adaptability of ancient Omani people in navigating their environment. He points out that the creation of mountain terraces, the construction of aflaj (traditional irrigation systems), and the development of maritime trade demonstrate the ingenuity and resourcefulness of ancient Omani civilisations.
Al-Rashidi highlights the importance of sustaining rock art as a valuable cultural heritage. He emphasizes the need to address threats to rock art sites, such as erosion and human activities, and to develop strategies for their protection and preservation. He also emphasises the potential of rock art to contribute to cultural tourism and education, suggesting the inclusion of rock art in school curricula to foster appreciation for this unique aspect of Omani heritage.
In conclusion, rock art provides a unique window into the past, offering valuable insights into the lives, beliefs, and cultures of ancient Omani civilisations. Through ongoing research, conservation efforts, and public awareness campaigns, Oman can ensure that this invaluable heritage is preserved for future generations.
