During the 2012 survey, while following a small modern track running roughly parallel to the Wadi Abu Suffian, the rock art in the Wadi el-Pheel was first noted. Although, the area has been heavily disturbed by stone quarrying activities, there are still numerous rock art localities as well as frequent surface finds of artefacts attesting to the use of this track over a long period of time. A panel featuring a detailed elephant discovered along this track give the wadi its name; pheel being the Arabic work for elephant (Nekhen News 24 (2012)).
This spectacular elephant is incised on a near horizontal outcrop of Nubian sandstone rising only slightly above the level of the wadi bed. Its body is decorated with a chevron pattern, a style, as mentioned above, also employed on other fauna around Hierakonpolis, and frequently seen on fauna depicted on Predynastic pottery and other artefacts from the time. Carefully realised, the high level of detail includes a tusk emerging from behind the trunk, a pendant lower lip, butterfly ears and a tasselled tail. Interaction with the rock art in antiquity is apparent from powerful, wide percussion marks that appear across the neck, obliterating a large part of the ears. Peck marks also appear at the face of the elephant. Such marks are seen on other rock art panels around the site and are subject to ongoing investigation to see if there is a pattern that can be observed. Whether such actions were taken to neutralize the dangers these animals might pose or to take strength from them (or both depending on species), remains to be explored (further discussed in Nekhen News 33 (2021)).
Another locality in Wadi el Pheel is ‘Ibex Flats’, which is situated in the shadow of a small inselberg along a wadi feeder that meets the Wadi. In this fairly large, rock strewn area was a small sandstone boulder bearing four incised ibexes in varying orientations. Further along, another rock bears what is likely a hartebeest, judging by the shape of the muzzle and its incurved horns, while on another rock in the vicinity was bovid shown with crescent horns, disproportionately long hind legs, and long tasselled tail.
Immediately east of the modern track is Barbary Sheep Rock, where petroglyph panels cover a conspicuous, horizontal sandstone outcrop. The central drawing, and the namesake of the locality, is a Barbary sheep, featuring the characteristic curved horns and distinctive indications of hair on the chest and forelegs. Shown being chased by two dogs, a typical composition for Barbary sheep, adjacent to the animal are two bows which likely refer to human involvement in the hunt in the indirect manner typical of the time period. In addition to other incised quadrupeds (including a smaller barbary sheep), are a high number of abstract compositions including straight and curved rows of notches. Such notched rows, some organized into spirals, appear to be a real feature of this wadi, but their meaning and significance remains unknown (see Nekhen News 20 (2012) notched rows).
“Rock Hut Hill” lies between Wadi el-Pheel and Wadi Abu Suffian and comprises an area between two low hills. On the summit of the west hill is an ancient stone circle made of once upright slabs. On the slope are rocks and areas of exposed bedrock incised with a hippopotamus, a donkey, a bull and a boat. The hippopotamus is small but detailed, executed with indications of tusks and a cross-hatched design on the body similar to that seen at HK11 Hill. The bull is depicted with body in profile and large crescent horns in front view similar to the bull that accompanies the HK 61A boat. With its head lowered in a charging position. it is a large, impressive beast, executed by pecking in sunken relief. In contrast, the donkey and boat, located nearby, are neatly incised. Pecks and marks of rubbing or polishing on the surround stone accompany the animals, suggesting interaction with the rock art beyond the process of its creation. On the east hill are exclusively abstract motifs with rows of notches predominating and a strange, deeply incised grid pattern, whose antiquity is not assured (see Nekhen News 22 (2010): 12-14).
