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UNESCO Ancient Civilizations of Africa (Editor G. Mokhtar)

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The Roman and post-Roman period in North <strong>Africa</strong><br />

define. It has become customary, however, to distinguish between two<br />

cultures in <strong>Africa</strong>, one being <strong>of</strong>ficial and Roman, and the other popular,<br />

indigenous and provincial. But there are monuments, <strong>of</strong> course, in which<br />

the two trends meet and contaminate each other, so that they lose their<br />

separate identities.<br />

<strong>Africa</strong>n architectural works generally reproduced types <strong>of</strong> public monuments<br />

which were prevalent throughout the Roman world, and accordingly<br />

derived their inspiration from an essentially Roman technique and ideal.<br />

Nor were ornamental sculptures and the great statues <strong>of</strong> gods, emperors<br />

and prominent men very different in style from their counterparts in Italy<br />

or in other provinces. However, architectural or sculptural creations linked<br />

with the religious or funeral traditions <strong>of</strong> the population, as well as certain<br />

special construction or decoration techniques, bore the stamp <strong>of</strong> local<br />

characteristics: this is evident in the temples raised to deities who retained<br />

their native individuality despite their apparent identification with Roman<br />

gods, in certain monumental sepulchres, in a special wall-building technique<br />

known as 'opus africum', in domestic architecture and, lastly, in the<br />

votive stelae still imbued with pre-Roman influences. In the Severan<br />

period, the sculptures <strong>of</strong> Leptis Magna and those <strong>of</strong> other towns in<br />

Tripolitania and proconsular <strong>Africa</strong> were strongly influenced by a significant<br />

artistic trend originating in Asia Minor, which was all the more readily<br />

assimilated because it was in keeping with ancient, but still vigorous<br />

tendencies in <strong>Africa</strong>n art.<br />

The countless mosaics brought to light since the beginning <strong>of</strong> this<br />

century also display local tendencies and characteristics. Here again, we<br />

can only refer the reader to the specialized periodicals and to the abovementioned<br />

book by G. Charles-Picard who brings his chapter on the<br />

'<strong>Africa</strong>n baroque' to a close with the following words: 'To say the very<br />

least, therefore, <strong>Africa</strong> fully repaid her debt to Rome, and showed that<br />

she was capable <strong>of</strong> reaping benefits from her borrowings in a spirit which<br />

is neither that <strong>of</strong> Greece nor that <strong>of</strong> the hellenized Levant.' 42<br />

Part II: From Rome to Islam p. SALAMA<br />

When Roman domination ended in North <strong>Africa</strong>, after holding sway for<br />

four centuries in some regions, up to five in others, the internal situation<br />

presented a complex picture. Regional risings, religious conflicts, social<br />

unrest, all led to a worsening climate, but the soundness <strong>of</strong> administrative<br />

experience and the prestige <strong>of</strong> Latin culture gave this imported civilization<br />

a good many chances <strong>of</strong> survival.<br />

Split into vanquished or independent zones according to the vicissitudes<br />

42. G. Charles-Picard, 1959, p. 353.<br />

499

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