The Enigmatic 9,000-Year-Old Cave Painting in Tassili Cave, Algeria

A Glimpse into Ancient Psychedelic Practices

9000-year-old cave painting in Tassili cave, Algeria. Depicting a shaman during psychedelic mushroom use.

Deep within the rugged landscapes of the Sahara Desert lies a treasure trove of prehistoric art that has captivated archaeologists and historians for decades. The Tassili n'Ajjer cave complex in southeastern Algeria, a UNESCO World Heritage site, is renowned for its rich collection of rock art. Among these, a particular painting estimated to be around 9,000 years old stands out due to its intriguing depiction of a shaman engaged in what appears to be the use of psychedelic mushrooms. This extraordinary artwork provides a rare window into the spiritual and cultural practices of ancient hunter-gatherer societies.

The Tassili n'Ajjer: A Prehistoric Canvas

The Tassili n'Ajjer plateau stretches over 72,000 square kilometers and boasts more than 15,000 engravings and paintings. These artworks chronicle the lives, beliefs, and environments of the people who once inhabited this region. The cave paintings span several millennia, with some of the oldest dating back to around 12,000 years ago. They offer a visual narrative of the transition from a lush, verdant landscape to the arid desert we see today.

Discovery and Interpretation

The shamanic painting in question was first documented by French archaeologist Henri Lhote during his expeditions in the 1950s. Lhote and his team were struck by the vividness and complexity of the imagery, which included human figures, animals, and enigmatic symbols. The depiction of the shaman, however, has garnered particular attention due to the distinct presence of mushrooms and the associated trance-like postures.

In the painting, the shaman is adorned with elaborate headgear and body paint, common indicators of a ritualistic or ceremonial role. Surrounding the figure are representations of mushrooms, which appear to be of the Psilocybe genus—known for their psychoactive properties. The shaman's posture and facial expression suggest an altered state of consciousness, a hallmark of shamanic journeys facilitated by the consumption of psychedelic substances.

Shamanism and Psychedelics in Prehistoric Cultures

Shamanism is one of the oldest spiritual practices known to humanity, with evidence dating back tens of thousands of years. Central to shamanic traditions is the belief in the ability to access otherworldly realms and communicate with spiritual entities. Psychedelic plants and fungi have played a significant role in these practices, serving as catalysts for trance states and visionary experiences.

The use of psychoactive substances by ancient shamans is well-documented across various cultures. For instance, the indigenous peoples of the Americas have long utilized peyote, ayahuasca, and psilocybin mushrooms in their rituals. The Tassili painting suggests that similar practices existed in North Africa, highlighting a broader, possibly global, prehistoric tradition of using psychedelics for spiritual purposes.

The Symbolism of the Tassili Shaman

The Tassili shaman's depiction is rich in symbolic meaning. The elaborate headdress and body paint likely signify the shaman's elevated status within the community. The presence of mushrooms, depicted with careful detail, emphasizes their importance in the ritual. The trance-like state of the shaman points to a journey beyond the physical realm, a common theme in shamanic practices where the practitioner seeks guidance, healing, or knowledge from the spirit world.

The painting also reflects a deep connection between humans and nature, where natural elements like mushrooms are revered not merely as food but as sacred tools. This reverence underscores a worldview in which all aspects of nature are imbued with spiritual significance, a perspective that is often lost in modern times.

Implications and Insights

The 9,000-year-old painting from Tassili n'Ajjer is more than an artistic marvel; it is a testament to the sophisticated spiritual life of ancient peoples. It challenges contemporary assumptions about prehistoric societies, revealing their complex belief systems and the profound role of psychedelics in their culture.

Moreover, this artwork provides invaluable insights into the origins of religious and spiritual practices. It suggests that the quest for transcendence and the use of natural substances to achieve it are deeply rooted in human history. As modern science continues to explore the therapeutic potentials of psychedelics, this ancient painting serves as a reminder of their long-standing significance in human spirituality.

The shamanic cave painting in Tassili n'Ajjer is a powerful reminder of the depth and richness of our prehistoric heritage. It opens a window into a world where art, spirituality, and nature were intimately intertwined. As we continue to study and interpret these ancient symbols, we gain not only a better understanding of our ancestors but also a renewed appreciation for the enduring mysteries of the human spirit.

The Ancient Greek City of Tralles Combats Immorality: Measures Against Licentious Living

In an intriguing discovery from the ancient city of Tralles, modern Aydın, a Greek decree has been unearthed that sheds light on the city's efforts to combat immorality in the 2nd century A.D. The decree, inscribed on a marble stele, was found reused in the northern wall of the "Kuzey Dükkanları" (Northern Shops), a structure dating back to Late Antiquity (5th–7th century A.D.). This artifact provides a fascinating glimpse into the societal and legal measures employed by the citizens of Tralleis to maintain public decency and order.

The decree was proposed by various city officials, including the secretary of the people and the council. It begins by emphasizing the city's longstanding commitment to a moral and orderly way of life, inherited from their ancestors, who had ordered the city through pure laws and customs. The officials lament the recent rise in shameless behaviors that threaten the moral fabric of the city. They particularly focus on individuals who publicly exhibit their licentious lifestyles, making no effort to conceal their actions.

In response to these concerns, the city officials resolved to bar these licentious individuals from accessing public sanctuaries and gymnasiums. This measure reflects the broader societal commitment to maintaining public decency and order. The decree specifically targets those living an "unnatural" sexual lifestyle, referred to as οἱ ἐν κιναιδείᾳ β̣ιοῦντες, a term used to describe men exhibiting effeminate behavior, often associated with male prostitution.

The exclusion of these individuals from public spaces was seen as essential to preserving the city's dignity and moral standards. The decree's language is deliberately guarded, avoiding explicit terms for sexual behaviors, which were considered inappropriate for public inscriptions. This careful wording underscores the sensitivity of the issue and the desire to address it without offending public sensibilities.

This measure is part of a broader strategy to uphold public order and decency. The decree also mentions the routine removal of female prostitutes from public streets to less visible areas, ensuring that their presence does not disturb the city's virtue. This practice reflects a consistent approach to handling licentious behavior in ancient Greek cities, similar to laws in Classical Athens, where male prostitutes were also banned from public sanctuaries and gymnasia.

The study of this decree provides a detailed look at how Tralleis addressed issues of public morality through legislative measures. By barring individuals living licentious lifestyles from public spaces, the city aimed to uphold the moral standards and dignity of its citizens. This decree highlights a deeply rooted commitment to orderly conduct and the preservation of public decency.

The discovery and analysis of this inscription offer valuable insights into the societal norms and legal practices of ancient Tralleis. It underscores the city's efforts to combat immorality and maintain a well-ordered society, reflecting broader trends in ancient Greek approaches to public morality.

The Genealogy of Alexander the Great: Greek or NOT?

The Genealogy of Alexander the Great: Historical and Literary Evidence

The purpose of this study is to contribute to the research of the genealogy of Alexander the Great, aiming to gather and analyze historical and literary evidence supporting the claims of his origins. This research utilizes material from ancient Greek literature, works of Greek Patrology, and other historical texts, thereby offering a comprehensive view of Alexander's lineage.

Sources and Methodology

The sources for this study include a diverse range of ancient writings:

  • Ancient Greek literature: Herodotus, Thucydides, Theopompus, Diodorus Siculus, and Plutarch.

  • Greek Patrology: S. Theophylii Antiocheni and Eusebii Caesariencis.

  • Corpus Scriptorum Historiae Byzantinae (CSHB): George Syncellus.

  • Papyrology: Bernard P. Grenfel and Arthur S. Hunt’s “Hellenica Oxyrhynchiacum Theopompi et Cratippi Fragmentis”.

  • Corpus Scriptorum Latinorum (CSL): Pompeius Trogus (via Iustinus' epitome).

  • Tertullian’s “On the Soul” containing a fragment from Ephorus.

  • Arrian’s “Anabasis of Alexander”.

The methodology involved textual criticism and a meticulous study of these texts to validate the historical and literary claims regarding Alexander’s genealogy.

Findings

Herodotus' Accounts: Herodotus (5th century BC) in “Persian Wars” describes Alexander I, an ancestor of Alexander the Great, as a descendant of Temenus from Argos in Peloponnese. Herodotus recounts the journey of three brothers, descendants of Temenus, from Argos to Illyria and then to Macedonia, where they established the Macedonian dynasty. Alexander I himself claimed Greek descent in his declaration to the Greek army before the battle of Plataeae.

Thucydides and Theopompus: Thucydides (5th century BC) in “History of the Peloponnesian War” confirms the Temenid origin of the Macedonian kings. Theopompus (4th century BC) in “Philippica” also traces the lineage back to Heracles through Temenus.

Diodorus Siculus' Contributions: Diodorus Siculus (1st century BC) in “Library of History” asserts that Alexander was a descendant of Heracles on his father’s side and of the Aeacids on his mother’s side. Diodorus’ fragments further trace the genealogy of Macedonian kings from Caranus to Alexander, reinforcing the Heraclid lineage.

Latin Sources: Iustinus, summarizing Pompeius Trogus, mentions Caranus leading Greeks to Macedonia and establishing the dynasty. Tertullian preserves a fragment from Ephorus, suggesting symbolic prophecies about Alexander's birth.

Plutarch and Arrian: Plutarch (1st-2nd century AD) in “Parallel Lives – Alexander and Caesar” states that Alexander’s lineage is well accepted as being descended from Heracles and Aeacus. Arrian (1st-2nd century AD) in “Anabasis of Alexander” reiterates Alexander’s own declarations about his divine and heroic ancestry.

Greek Patrology and Byzantine Sources: Theophylii Antiocheni and Eusebii Caesariencis provide genealogical accounts linking Alexander back to Heracles. George Syncellus in “Chronographiae” maintains this genealogy and even mentions alternative, though less credible, theories about Alexander’s parentage.

Analysis

The consistency across these sources lends significant credibility to the genealogical claims. Herodotus and Thucydides provide early accounts that are further corroborated by later historians like Diodorus and Plutarch. The use of textual criticism ensures that these ancient writings are interpreted accurately.

The study also addresses the so-called “Macedonic question,” asserting that the genealogical evidence predates these debates and thus remains unaffected by them.

The genealogical evidence strongly supports that Alexander the Great was of Greek origin, descending from Heracles and Aeacus. The various historical texts, analyzed through textual criticism, provide a coherent and credible lineage. As Plutarch states, Alexander's ancestry is accepted "without any question," solidifying his Greek heritage through both his paternal and maternal lines. This research contributes to the historical understanding of one of history's most significant figures, affirming his place within the Greek legacy.

Alexander the Great Family Tree

Source: researchgate

References:

1. Herodotus, The Persian Wars, translated by A. D. Godley. Loeb Classical

Library. Harvard University Press. 1926

2. Thucydides, History of the Peloponnesian War, translated by C. F. Smith. Loeb

Classical Library. Harvard University Press. 1928

3. Grenfell, Bernard Pyne., et Arturus Hunt, Hellenica Oxyrhynchia cum

Theopompi et Cratippi Fragmentis, Oxonii M.DCCCC.IX

4. Diodorus Siculus, Library of History, translated by C. H. Oldfather. Loeb

Classical Library. Harvard University Press. 1935

5. Marcus Junianus Justinus, Epitome of the Philippic History of Pompeius

Trogus, translated by the Rev. John Selby Watson, London, 1853. Corpus

Scriptorum Latinorum, a digital library of Latin Literature.

6. Plutarch (Plutarchus), Lives – Alexander and Caesar, translated by Bernadotte

Perrin. Loeb Classcal Library. Harvard University Press. 1919

7. Saint Theophyli Episcopi Antiocheni, Ad Autolycum lib. II, Patrologiae,

Cursus Completus, Series Graeca, v.6, J. -P. Migne, 1857.

8. Eusebii Pamphili Caesariensis Episcopi, Chronicorum Lib. I-II, Patrologiae,

Cursus Completus, Series Graeca, v. 19, J. -P. Migne, 1857.

9. Georgii Syncelli, Chronographiae, in Corpus Scriptorum Historiae

Byzantinae(CSHB), Georgius Syngellus et Nicephorus CP.,v.1, consilio

B.G.Niebuhrii, ex recensione G. Dindorfil. Bonnae,Impensis ed. Weberi,

M.DCCCXX.IX.

10.Ephorus – Palaifatus, Complete Works. Editions “Cactos”, 2001. Athens

(Greece).

11.Documenta Catholica Omnia – Multilingual Catholic E – Books Database,

Tertullianus – On the soul, translated by Peter Holmes D.D.

12. Mysliwiec, Karol, The twilight of ancient Egypt: first millenium B.C.E., p.

169. Cornell University Press. 2000.

13. “The Anabasis of Alexander; or, The history of the wars and conquests of

Alexander the Great. Literally translated, with a commentary, from the Greek

of Arrian, the Nicomedian”. By E. J. Chinnock, M.A., LL.B., LOND9N,

Rector of Dumfries Academy, Hodder and Stoughton, 27, Paternoster Row,

London. Butler & Tanner. The selwood works. Frome and London.

MDCCCLXXXIV. Cornell University Library PA 3935. E5A3 1884.

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Translated in Greek by D. Lipurlis – L. Tromaras. University Studio Press.

Elgin Plundered the Parthenon Using a Document from a Local Ottoman Official, Lacking Official Authorization

The Controversy of Lord Elgin's Removal of the Parthenon Marbles

In recent historical debates, the legitimacy of Lord Elgin's removal of the Parthenon Marbles has been increasingly scrutinized. New evidence, spearheaded by Turkish archaeologists like Zeynep Boz, has revealed that Elgin's so-called permission to remove the Marbles was not an official decree from the Sultan, as previously claimed, but rather a minor administrative document from a local Ottoman official, or kaymakam. This discovery undermines the longstanding British assertion that Elgin had legitimate authorization for his actions.

Historical Context

During the early 19th century, Thomas Bruce, the 7th Earl of Elgin, was serving as the British ambassador to the Ottoman Empire. Elgin, a lover of Greek art, organized the removal of about half of the Parthenon's remaining sculptures. He justified his actions by claiming he had obtained a firman (an imperial decree) from the Ottoman Sultan granting him permission.

However, historical analysis and the recent findings presented by Boz suggest that Elgin did not possess such a firman. Instead, he had secured a document from a local Ottoman official, which lacked the legal weight and authority of a Sultan's decree. This document allowed him to take sketches and casts of the sculptures but did not explicitly permit the removal of the Marbles themselves.

The supposed firman.

The Legality and Ethics of Elgin's Actions

The revelation that Elgin did not have a firman has significant implications for the legal and ethical debates surrounding the Parthenon Marbles. The British Museum has long defended its possession of the Marbles by asserting that they were legally acquired. However, if Elgin's actions were based on a misrepresentation of his permissions, the argument for their lawful acquisition is substantially weakened.

The ethical considerations are equally compelling. Many people consider the Parthenon Marbles to be a valuable piece of Greek heritage, and their removal would be cultural theft. The Greek government has repeatedly called for their return, asserting that the Marbles belong in their original context, where they can be appreciated as part of the broader narrative of Greek history and identity.

Modern Perspectives and the Call for Repatriation

The debate over the Parthenon Marbles is part of a larger conversation about the repatriation of cultural artifacts. As museums worldwide grapple with the legacies of colonialism and historical injustices, the case of the Parthenon Marbles remains one of the most prominent examples of the complex interplay between cultural heritage, legal frameworks, and ethical responsibilities.

The Greek government continues to advocate for the return of the Marbles, a call that has gained international support. The recent findings about Elgin's lack of proper authorization provide new momentum to these efforts, challenging the British Museum's long-held position and inviting a reevaluation of what constitutes just and fair stewardship of cultural heritage.

The uncovering of the true nature of Elgin's permissions—or lack thereof—reshapes the narrative surrounding one of the most contentious issues in the art world. It underscores the need for transparency and accountability in the stewardship of cultural artifacts and highlights the enduring importance of respecting and preserving the cultural heritage of nations. As the debate continues, it calls into question the legitimacy of retaining artifacts acquired under dubious circumstances and reinforces the ethical imperative to rectify historical wrongs.