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Three Horses

At Kobo, we try to ensure that published reviews do not contain rude or profane language, spoilers, or any of our reviewer's personal information. You submitted the following rating and review. We'll publish them on our site once we've reviewed them. Continue shopping. Item s unavailable for purchase.

Please review your cart. You can remove the unavailable item s now or we'll automatically remove it at Checkout. Remove FREE. Unavailable for purchase. Continue shopping Checkout Continue shopping. You are in the Malaysia store Not in Malaysia? Choose Store. The tail is full from the dock to the tip and may have been banged at the end. It is wearing a halter with a long lead. The second Arabian horse also faces left, has a short clipped mane, a full tail, and a line from behind the ears to the throatlatch perhaps representing a halter.

A third horse faces right, has a very concave facial profile, a thick mane, and a tail that appears to be braided, pulled or clipped from the root to about a third of the length of the tail before it spreads out Fig. This may be a juvenile based on its small face and brushy mane. A tiny rider, added later, was drawn just as a vertical line with a horizontal line probably representing one of the arms behind.

Another long line that could represent a lance runs from the rider to a stick-figure oryx, also younger than the original horse image. The figure is quite distinct from the earlier North Arabian style horses in its straight facial profile, long ears, straight neck, bent forelimbs, medium high tail carriage and the way the hind limbs emerge from the body.

Based on these features, this particular equine may be a type other than an Arabian horse and may have been introduced from outside this region. His legs dangle straight down, with no indication of stirrups. Photo by Sandra L. On the southeast side, it has a long, smooth, vertical face with several groups of figures scattered along it. The central panel Fig. All of the animals face right, except for one dog.

The two horses have long manes, but their tails appear to have been plaited, pulled or clipped for most of their length so the tail skirts flair only near the tip. Both horses have shading on the forelimbs all the way up to the elbows, probably representing henna. The larger Arabian horse has no visible mane, so it may have been roached, and the tail has a tassel at the end as though it was plaited, pulled or clipped down most of the length of it, as well.

It has no shading on the legs. The powerful arched neck on this figure suggests it was an adult. Miscellaneous smaller figures are sprinkled on cliffs and boulders around the corner from the main panel. Two Arabian horses face left, one behind the other, separated by just a couple meters Fig. Likely done by the same artist at the same time, the horses have a concave, unshaded face and distinct forelock. The manes, necks and all four legs are shaded, probably representing henna coloring.

The forelimbs are shaded all the way up to the elbow, while the hind shading only goes up to the hock. The hooves are not shaded. The tail on the first horse is full and shaded, but the one on the other figure is a single line, as if it had been wrapped, plaited, pulled or clipped. A small circular object suspended midair between a hind leg and the tail of the first horse may indicate defecation. The second horse has a diminutive rider who is holding the reins of its bridle and has a long lance in the other hand.

Behind the second horse is a bow case with the end of a bow protruding out. Normally, bow cases are attached to the rider, but this one appears to have just fallen off. A few meters farther to the right is an older outline of a lion, also facing left. The first horse may be defecating and the second has a small rider who has apparently just dropped his bow case.

A series of figures from left to right includes: a group of six long-necked camels and a fat-tailed sheep, followed by an Arabian horse with a rider, another fat-tailed sheep, small cavalrymen, more camels, inscriptions, and a horse and chariot. It has a full mane and a pulled, clipped or plaited tail, and all four legs are shaded. The horse has a net-like pattern on its neck, breast and trunk that probably indicates it is wearing some form of armor or caparison. The horse on this Syrian or Phoenician style piece has features reminiscent of the Arabian breed, with a delicate muzzle, erect neck and high tail carriage.

Without actual examples, it is not always clear whether the horse trappings are purely ornamental or were sufficiently padded to provide real protection for the horse. It may also be a rein, but it turns downward at a right angle. Its point of origin seems too high to be one of the yoke traces. The man in the middle does not seem to be armed and may actually be the charioteer, even though the reins do not clearly extend over to his hand. This could simply be a problem with the small size of the image and lack of detail. The passenger on the right is wielding a bow, perhaps to defend against an infantryman carrying a sword and shield standing behind the chariot.

The box of the chariot is made up of rows of smaller squares that represent its construction.


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  5. The draft pole is indicated below the chariot box with the eight-spoked wheels coming off of it in a strange perspective that, like earlier schematic chariot images, shows both wheels facing toward the viewer. The wheel rims have segments within them that represent the felloes and possibly wheel clamps or wraps that held the spokes in place. Roughly scratched into the hard sandstone, their outlines are somewhat jagged. The men hold the reins in one hand and the first rider seems to have a riding crop in the other hand.

    The riders are seated with their leg extended fully and toe pointing forward. The horses appear to have some type of saddle blanket. The manes and forelocks are lightly indicated and both have full tail skirts. The first horse probably has a pulled, clipped or plaited dock. The panel also includes two camels, a large lion, and inscriptions.

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    The chariot is pulled by one visible equine, but the four reins suggest another. The drawing is less realistic than most and the horse is not drawn in a way that indicates any Arabian features. It is all shaded in and the back is elongated and flat. The neck is not arched and the facial profile is convex. The tail has been braided or wrapped to leave just a tassel at the end.

    The chariot box appears to have just the driver, and the wheel has around ten spokes, an exceptionally high number. The main camel is behind the chariot and is done in the Shuwaymis style. Its tail is elevated, an indicator that it is a female, since female camels raise their tail when in estrus. The lion is directly below the horse and chariot and is depicted as equal in size to them. If the camel was done at the same time by the same artist who drew the chariot, then the person may have been from around Shuwaymis and perhaps from a later time.

    The mane is lying down, with individual strands that are the same length, perhaps braided and trimmed. The tail has a high carriage and is lush, but there are 3 curved, parallel lines near the dock that may represent taping of the tail with cloth bands. The two hind feet are shaded, perhaps indicating henna or leg wraps. In his other hand, the man is holding a riding crop. The man has a distinctive hairstyle or helmet, and pecked dots on his body suggest that he is wearing scalar armor.

    A bow case projects behind him from his waistband or belt. From his appearance, the rider must have been a cavalryman. A brief inscription was placed directly in front of the horse, but it does not mention the drawing. Several camels of a different style and an ostrich are on the same panel. Another boulder just in front of the panel is covered with camels and the image of a strange sprawled body of a man.

    The horse and rider face left, as is typical, and the horse is drawn in the standard manner for an Arabian, with a concave face, large eye, small ears, short topline, level croup, and high tail carriage. As with the other image, there is a line running from behind the ears to the throatlatch, but this bridle has a noseband and chin strap on the muzzle with a rein coming off the bridle where the cheekpieces would be.

    The mane, tail, and both hind legs up to the stifle are shaded. This shading of the legs, and perhaps even the mane and tail, may indicate the use of henna. Either his hairstyle or a helmet is shown, and there is a hint of armor on his chest and shoulders made by heavy pecking with the stone that made the image.

    He is positioned fairly far back on the horse, almost in a donkey seat, with bent knee on a saddle blanket with no indication of either a saddle or stirrups. Nearby is another panel with two Arabian horses facing one another and wearing clothes on their necks. One face of this large sandstone block is densely packed with figures and inscriptions, many overwriting ones from earlier periods. The fact that it is one of the more complex petroglyph palimpsests reflects that this was clearly a very popular place along an ancient route.

    Animals on this panel include numerous ibexes, camels, lions, and stick figure warriors and cavalrymen. Beside a large outline of a camel is a well-executed Arabian horse, facing left.


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    It has a notably large eye with the pupil and brow indicated. The full mane, all four limbs and tail are shaded. An X on the muzzle represents a bridle. Photo by Sandra Olsen. There are multiple inscriptions, apparently done by different individuals at different times. Three of the horses face left and three face right. Five of the equines are clearly Arabian horses, drawn more or less in the traditional North Arabian style.

    These have slight indications of manes in at least four cases, and tails that were pulled, clipped or plaited to a varying extent. One tail appears to have a full skirt but with segments that may indicate wrappings, while the other tails have been pulled, clipped or plaited. Four of the horses are identified as mares in the inscriptions. Only the horse at the bottom lacks an inscription.

    The entire body of the horse is shaded so that it appears to be all one color overall. It has a prominent forelock and a full, lush tail. The effect is similar to a photographic negative in comparison to other horse petroglyphs.

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    The rider has a beard and appears to be wearing a helmet and a cuirass, with perhaps a bow case and a sword projecting behind him. There is an ancient inscription in front of the horse, probably written contemporaneously with the figures. The first line gives a name, but the second line is illegible. Below and to the left are four much younger mounted stick figure cavalrymen wielding swords or short lances over their heads.

    Perched near the top in a very precarious position is a small image of an Arabian horse with a rider pecked into the red sandstone with a small inscription below it.

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    The equestrian is a simple figure with one hand on the reins and both legs bent and on the side facing the viewer. The tail is plaited so that it has a tassel at the end. Around the corner, a larger panel of figures scratched through a heavy layer of desert varnish shows camels done in the North Arabian style, alongside a lion, palm trees, and some stick figure horses and camels that are probably much later.

    Several other conventions for depicting horses existed in different regions or time periods in the Arabian Peninsula, some even showing breeds other than the Arabian. Although the North Arabian style has numerous shared characteristics, it is possible to detect the work of different artists and, at the same time, to conclude that some images in a shared vicinity could have been made by one artist. During this peak period for the incense trade, it is likely that horses and camels, both critical means of transportation and valued property, would be heavily emphasized on caravan routes and in the environs of important oases.

    The images of horses elucidate the arrival of the Arabian breed into North Arabia and the high status it rapidly gained in society. Sign in. You must verify your email address before signing in. Check your email for your verification email, or enter your email address in the form below to resend the email. Postmedia wants to improve your reading experience as well as share the best deals and promotions from our advertisers with you.

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