Цодило төбелері: ЮНЕСКО мұрасы және ежелгі өнер ошағы

UNESCO World Heritage Site in Botswana

The Tsodilo Hills are a UNESCO World Heritage Site (WHS), consisting of rock art, rock shelters, depressions, and caves in southern Africa. It gained its WHS listing in 2001 because of its unique religious and spiritual significance to local peoples, as well as its unique record of human settlement over many millennia. UNESCO estimates there are over 4500 rock paintings at the site. The site consists of a few main hills known as the Child Hill, Female Hill, and Male Hill. They are about 40 km from Shakawe and can be reached via a good graded dirt road. There is a managed campsite between the two largest hills, with showers and toilets. It is near the most famous of the San paintings at the site, the Laurens van der Post panel, after the South African writer who first described the paintings in his 1958 book 'The Lost World of the Kalahari'. There is a small museum and an airstrip near the campsite.

People have used the Tsodilo Hills for painting and ritual for thousands of years. UNESCO estimates that the hills contain 500 individual sites representing thousands of years of human habitation. The hills' rock art has been linked to the local hunter gatherers. It is believed that ancestors of the San created some of the paintings at Tsodilo, and were also the ones to inhabit the caves and rock shelters. There is evidence that Bantu peoples were responsible for some of the artworks at the hills. Some of the paintings have been dated to be as early as 24,000 years before present.

Rhino Cave is located at the North end of the Female Hill and has two main walls where paintings are located. The White Rhino painting (for which the cave is named) is located on the north wall, and is split by another painting of a Giraffe. (There are red paintings in this shelter, as well.) The white paintings depict animals, both domestic and wild, as well as human like figures. The rock shelter site, dated from charcoal samples, had its earliest occupation at least 30,000 years ago. Excavated from the two sites contained fragments of jewelry and metal tools, all made from iron and/or copper. Jewelry pieces were from bangles, beads, chains, earrings, rings, and pendants, while tools included chisels, projectiles and arrow heads, and even blades.

Many local peoples around the Tsodilo Hills have stories of times past that deal with the many painted caves and rock shelters at the site. Oral traditions often tell of the Zhu people, a local San group, using rock shelters for protection from the elements or as ritual areas. In thanks, when the hunt was successful, the people would return to the shelter and cook for their ancestors. In some of these alleged campsites, there is little to no evidence of fire remains.). A natural water spring at Tsodilo, near the Female Hill, is used as both a water collection site and a ritual site. It is seen as sacred, and used by countless peoples to cleanse, heal, and protect. Since then some of the archaeologists involved in the original investigations of the site in 1995 and 1996 have challenged these interpretations. They point out that the indentations (known by archaeologists as cupules) described by Coulson do not necessarily all date to the same period and that "many of the depressions are very fresh while others are covered by a heavy patina." Other sites nearby (over 20) also have depressions and do not represent animals. The Middle Stone Age radiocarbon and thermoluminescence dating for this site does not support the 70,000 year figure, suggesting much more recent dates. Discussing the painting, the archaeologists say that the painting described as an elephant is actually a rhino, that the red painting of a giraffe is no older than 400 AD and that the white painting of the rhino is more recent, and that experts in rock art believe the red and white paintings are by different groups. They refer to Coulson's interpretation as a projection of modern beliefs on to the past and call Coulson's interpretation a composite story that is "flatout misleading". They respond to Coulson's statement that these are the only paintings in the cave by saying that she has ignored red geometric paintings found on the cave wall. They also discuss the burned Middle Stone Age points, saying that there is nothing unusual in using nonlocal materials. They dismiss the claim that no ordinary tools were found at the site, noting that the many scrapers that are found are ordinary tools and that there is evidence of tool making at the site. Discussing the 'secret chamber', they point to the lack of evidence for San shamans using chambers in caves or for this one to have been used in such a way.