The remains of the world’s oldest planned city may crumble to dust in twenty years if action isn’t taken, the Telegraph reports.
Mohenjodaro, a 5,000 year-old city in Pakistan, is under threat from extreme temperatures and monsoon rains, which leave deposits of salt on the unbaked clay bricks that were used to create its buildings. That salt leeches out any moisture in the bricks and slowly turns them to dust.
A crew of workmen is coating the ancient structures with salt-free mud, but there are far too few people on the job and very little money.
The Bronze Age city, which is a UNESCO World Heritage Site, was founded around 3,000 BC and shows a remarkable amount of urban planning. There were toilets in every house, separate water systems for drinking and sewage, roads laid out on a grid system, a large communal bath shown in the above photo, and a communal granary. It was the center of the Indus Valley civilization and traded as far away as Mesopotamia, using a set of standardized weights and measures to regulate commerce.
UNESCO officials met with Pakistani archaeologists last week to draw up a plan to save the site, which includes burying some of the most threatened structures. It remains to be seen whether Pakistan’s government, strapped for cash and stuck in a grueling war with the Taliban, will foot the bill.
I visited Mohenjodaro back in 1994 when Pakistan was safer to visit than it is now and found the place to be enchanting. The layout can be clearly seen and it almost feels like you’re in a living city. It would be a shame if such a landmark of human development disappeared.
Cave paintings at the Altxerri cave system in the Basque region of northern Spain are about 39,000 years old, making them some of the oldest in Europe, Popular Archaeology reports.
A team of French and Spanish scientists analyzed the paintings, which include images such as the bison shown here, as well as finger marks, a feline, a bear, an unidentified animal head and more abstract markings. This early dating of these images puts them in the Aurignacian Period, believed by most archaeologists to be the first flowering of modern humans in the region, although whether or not there were still Neanderthals in the area at this time is an open question.
A later set of paintings in another part of the cave system, which has been designated a UNESCO World Heritage Site, date from “only” 29,000-35,000 years ago.
By comparison, the art at Cauvet Cave in France is about 31,000 years old, although it is of a much higher quality. The beautiful paintings there were the subject of Herzog’s breathtaking 3D documentary Cave of Forgotten Dreams.
Stonehenge is the world’s most iconic prehistoric monument. Scientists have argued about its significance for generations, but few have been allowed to excavate there. Archaeologist Mike Parker Pearson is one of those lucky few, and he’s documented his finds in a new book.
Stonehenge: A New Understanding chronicles a seven-year excavation of Stonehenge and the surrounding countryside.
Pearson and his team took an innovative approach and came up with some innovative interpretations. Instead of looking at Stonehenge as an isolated monument, they studied the landscape and other prehistoric monuments around it. This led them to determine that Stonehenge was part of a ritualistic network of monuments and natural features.
But what was it all for? Pearson believes that despite the astronomical alignments and the regular meetings of people at Stonehenge, it was not a monument to nature or the seasons or fertility as many archaeologists have concluded, but rather a monument to the dead, similar to other enclosed cremations burial grounds in the British Isles. Other constructions nearby were symbols of life and were intimately connected to Stonehenge just as the concepts of life and death are intimately connected with each other.
The main connection is with a site called Durrington Walls, two miles away from Stonehenge. Both had avenues leading to a nearby river. Durrington Walls, however, had a settlement while Stonehenge only had burials. Natural features in the landscape aligned with important astronomical events, making the location of Stonehenge perfect for any monument concerned with the heavens.
Weighing in at 350 dense pages, this is not for the casually interested reader. Luckily Pearson has a clear writing style, avoids getting overly technical, and the book is richly illustrated with maps and photographs that help the reader follow the text. I would suggest this to anyone with a serious interest in archaeology and science.
I had the good fortune to hear Dr. Pearson talk a few years ago to a packed auditorium at Oxford University. Once he was done, Oxford professors gathered around in their self-important way to talk with this leading scientist. Before they could start posturing, a twelve-year-old girl came up to him and chirped, “I want to be an archaeologist!”
Dr. Pearson could have patted her on the head, replied, “That’s nice darling” and gone on to speak with the professors, but he didn’t. Instead he sat her down and spoke with her for a good five minutes about what she needed to do to become an archaeologist and all the fun she could have in that career.
The professors looked ruffled and impatient. The girl left glowing with enthusiasm.
Australia’s vast and wild Northern Territory holds a number of wonders for visitors to discover, not the least of which is Kakadu National Park. Spread out across more than 7600 square miles, the park is the true embodiment of the Outback with a rugged and unforgiving landscape that includes some of the most breathtaking scenery that can be found anywhere on the entire continent. But Kakadu is more than just pretty scenery as it also holds important keys to understanding Australia’s past in the form of Aboriginal art that is scrawled across rock faces throughout the region. That artwork offers important insights into the history of the indigenous people who have inhabited Australia for more than 40,000 years and continue to have a lasting impact on the country.
Named a UNESCO World Heritage Site in 1981, Kakadu is one of the rare destinations that earned that distinction by scoring points for being significant both for its cultural and natural wonders. Travelers need only visit the spectacular Jim Jim Falls and Twin Falls to understand why the park earned the nod in the area of natural significance, as those locations are postcard-perfect representations of just how beautiful our planet can be. Both places require a little work to reach, but the payoff in both cases is a stunning waterfall dropping majestically into a serene pool of water.
Kakadu’s historical and cultural significance is also found at the sites of Nourlangie and Ubirr, where Aboriginal artwork adorns the rock faces in spectacular fashion. Since Australia’s indigenous tribes had no written language they would often leave messages for one another in the form of pictures on the sides of cliff faces. Those images could convey important messages such as which animals lived in an area and which were best to eat. Other images represented characters from Aboriginal legends, which were typically passed along orally from one generation to the next. Those characters gained a level of immortality by surviving on the rocks in Kakadu for hundreds of years.
The artwork that is found in Kakadu is simple in design but often surprisingly detailed. The artists tended to draw what they saw around them, so much of what is depicted on the rocks there is straight out of the daily lives of the Aboriginals. For example, at the Ubirr site there are numerous drawings of fish, the very distinct outline of a kangaroo, a couple of turtles and even a white man. That particular image clearly reflects the growing interaction with the Aboriginals and the strange outsiders who began visiting their lands just a few hundred years ago. The simple figure is depicted using white paint, which was surely no coincidence, and he is clearly wearing shoes and standing with his hands in his pockets, something that the indigenous people had no knowledge of prior to Europeans coming to their country.
Each of the images was created using ochre, a colorful mineral that is plentiful throughout the region. The soft material comes in a variety of yellows, whites and reds, although the industrious artists found ways of creating still other colors by mixing it with animal fats and other natural resources around them. In Aboriginal tradition, it was forbidden for female members of the tribe to gather the ochre, although they could use it in their artwork once the males had taken it from the earth. The location of the ochre pits remain sacred ground to the original inhabitants of Australia even to this day and some are still used for collecting the mineral for use in traditional ceremonies.
Because it can’t be carbon dated it is impossible to know exactly how old the artwork at Ubirr and Nourlangie actually is. But judging from what is on the wall it is possible to estimate an approximate age. For instance, Europeans haven’t been living in Australia for all that long, relatively speaking, so the image of the white man is probably no older than 300 years. On the other hand, visitors to Ubirr will notice an image of a Thylacine, or Tasmanian Tiger, which have been extinct on the continent for at least 2000 years.
While the artwork in Kakadu has survived for centuries it remains a fragile piece of history that could be easily lost forever. The original artists never meant for their works to stay on the rocks indefinitely, as they were often erased or painted over with new artwork much like a blackboard. The images found in the national park have survived through the years in part because most of them are sheltered from the elements by overhanging rocks. That natural protection has kept this aspect of Aboriginal culture alive and on display for visitors to Kakadu to appreciate generations after the artwork was originally created.
Australia’s Aboriginal tribes wandered the country for millennia before Europeans began to arrive. Those indigenous peoples had an intimate relationship with the land and that shows through in their artwork and the places that they painted those indelible images. In Kakadu, where the landscapes are so beautiful and dramatic, that connection with the Earth can still be felt. It is as ageless as the artwork that marks the passage of time, sending us a message from the past that is undeniably powerful and humbling at the same time.