A detailed, regional study of Egyptian and Nubian rock art reveals that certain motifs, particularly those depicting hunted animals like hippopotami and Barbary sheep, as well as decorated boats, are largely confined to the Egyptian Nile Valley and Eastern Desert. These motifs are relatively rare in Nubia, giving the rock art at Hierakonpolis a distinctly "Egyptian" character. The faunal depictions, including hippopotamus, Barbary sheep, elephant, and giraffe, offer valuable data for relative dating, as their prevalence and mode of representations align with dated finds from the Naqada culture and Hierakonpolis itself.
Hippopotamus depictions, for instance, are widespread in the material culture of the Predynastic period, with most examples dating to the Naqada IB–IIB period. These motifs appear in various media, including ceramic, steatite and flint figures as well as painted pottery, as shown, for example by finds from the HK6 cemetery, underscoring their significance in Predynastic culture.
Similarly, Barbary sheep, though less frequent, have been found in rock art and painted pottery, amongst other aspects of material culture, spanning from the Naqada IC–IIB phase into later periods. The elephants depicted in the rock art of the site are particularly interesting considering the burials of two elephants at HK6, suggesting that the drawings were based on animals actually observed. Giraffes, while depicted in rock art at several locations, are not (yet) represented by physical remains at the site, but occur as potmarks and comb ornaments from Hierakonpolis.
The presence of body infill on many of the animals, a stylistic detail seen in various Predynastic media across Upper Egypt, including C-Ware pottery, suggests the rock art producers had a familiarity with contemporary artistic traditions. This stylistic coherence indicates that the motifs in the rock art share a common iconography and possible significance as other artifacts from the same period. However, notably, the use of body infill in faunal motifs is almost unique to the rock art of Hierakonpolis, giving it a certain local flavour, and perhaps reflect the influence of the high number of artisan that were likely resident at this important site.
Overall, the hunting scenes and their specific arrangements in the rock art at Hierakonpolis reflect the same symbolism seen across several different media. This consistency suggests that the artistic styles and themes were pervasive in the culture and resonated with the general population, not just the elite or a small group of artists. The rock art at Hierakonpolis, therefore, offers a rich and nuanced insight into the visual culture of the Predynastic period in Upper Egypt that was not restricted to small items of material culture but dotted and embured meaning in the surrounding landscape.
Read more about the rock art of Hierakonpolis and elsewhere from titles in this bibliography
(07-2025)