Join Date: Jul 2006
Location: Buraimi Oman, on the border with the UAE
THE CROSS PART 3.
A. African Art by Frank Willet page 65 cave drawings lower Congo and page 109 Egypt in Africa. ( a description of the old fashioned Myth)
See above post my deliberate inclusion of the Black Crab sword and its Cross decorated Quillons and compare it with the cross design in the broad leaf shaped blades of West African tribal swords herein.
The cross format has to be looked at in more detail and although there are those who from the old fashioned school who think everything is somehow related to The Egyptian Era that arguement will be addressed in a moment.
For now the link between religious constructs of the Portuguese can be examined in viewing the cave drawings described in Reference A
which says Quote. "at Mbafu Cave in the Lower Congo an area where Portuguese influence was very strong in the late 15th C...and where the crucifix has become a power symbol used by tribal chiefs when they sit in judgement. The crude cave wall drawings show various cross insignia but interestingly most outstanding is a group of figures; one with a pectoral cross standing on a platform; with a Latin Cross.
These motifs seem to commemorate the consecration of Don Henrique, son of King Alphonso the first of the BaKongo as the first Congolese Bishop in 1518." Unquote.
With this in mind and viewing the likeness to the cross on tribal blades I agree that these are linked in some way and perhaps in the power imbued in a tribal chief by the two styles of religion thus the same cross design in both ; Tribal and Christian.
Turning to Egypt The author goes into simple but compelling detail in a short chapter which demolishes again the old theory that was dominant in the 19thC about Egypt and it being the source of everything!
Chronology in this regard is vital. To infer direct connections without the intervening links between Egyptian objects and others made 2, 3 or 4 millennium later in Africa is dangerous. For example it has been claimed that the akua ba doll of Ashanti is derived from the Ankh, the Egyptian symbol for life, which does have its roots in the same region to 16th C terracotta dolls but nothing whatsoever to do with the Egyptian Ankh in either case.
Parallel development in unrelated tribal systems seems to be the only link~ in other words a basket weave from Ancient New Zealand peoples has nothing to do with Eskimo baskets in Northern Canada.
Unfortunately traces of such old fashioned and outdated influence and belief still exist in certain writers and we must be on our guard to point this out where it is found to have crept back in....
Ibrahiim al Balooshi.