Camel carvings in Saudi Arabia thought to be world’s oldest large-scale animal reliefs

The researchers behind the new study believe that the life-size carvings of the camels are between 7,000-8,000 years old. (AFP)
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Updated 15 September 2021
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Camel carvings in Saudi Arabia thought to be world’s oldest large-scale animal reliefs

DUBAI: A recent study has revealed that a series of camel sculptures in Saudi Arabia that were first discovered in 2018 are likely to be the oldest surviving large-scale animal reliefs in the world. 

The researchers behind the new study, published in the Journal of Archaeological Science, believe that the life-size carvings of the camels are between 7,000-8,000 years old. 




The figures were found in the northern province of Al-Jouf. (AFP)

This means that the sculptures are older than ancient landmarks like Egypt’s Pyramids of Giza, which are 4,500 years old, and England’s Stonehenge, which is 5,000 years old. 

The figures, which include other animals such as a donkey, were found in the northern province of Al-Jouf. 




The new study shows that the sculptures are older than ancient landmarks like Egypt’s Pyramids of Giza, which are 4,500 years old. (AFP)

According to the researchers, “Neolithic arrowheads and radiocarbon dates attest occupation between 5200 and 5600 BCE.

“This is consistent with measurements of the areal density of manganese and iron in the rock varnish. The site was likely in use over a longer period and reliefs were re-worked when erosion began to obscure detailed features. By 1000 BCE, erosion was advanced enough to cause first panels to fall, in a process that continues until today,” the text says, according to a report by the BBC.  

The research was done by the Saudi Ministry of Culture, Max Planck Institute for the Science of Human History, French National Centre for Scientific Research and King Saud University.


Producer Zainab Azizi hopes ‘Send Help’ will be a conversation starter

Updated 31 January 2026
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Producer Zainab Azizi hopes ‘Send Help’ will be a conversation starter

DUBAI: Afghan American film producer Zainab Azizi cannot wait for audiences to experience Sam Raimi’s new horror comedy “Send Help.”

In an interview with Arab News, the president at Raimi Productions kept returning throughout her interview to one central theme: the communal thrill of horror.

“I started watching horror from the age of six years old. So, it’s kind of ingrained in my brain to love it so much,” she said, before describing the formative ritual that still shapes her work: “What I loved about that was the experience of it, us cousins watching it with the lights off, holding hands, and just having a great time. And you know, as an adult, we experience that in the theater as well.”

Asked why she loves producing, Azizi was candid about the mix of creativity and competition that drives her. “I’m very competitive. So, my favorite part is getting the film sold,” she said. “I love developing stories and characters, and script, and my creative side gets really excited about that part, but what I get most excited about is when I bring it out to the marketplace, and then it becomes a bidding war, and that, to me, is when I know I’ve hit a home run.”

Azizi traced the origins of “Send Help” to a 2019 meeting with its writers. “In 2019 I met with the writers, Mark and Damien. I was a fan of their works. I’ve read many of their scripts and watched their films, and we hit it off, and we knew we wanted to make a movie together,” she said.

From their collaboration emerged a pitch built around “the story of Linda Little,” which they developed into “a full feature length pitch,” and then brought to Raimi. “We brought it to Sam Raimi to produce, and he loved it so much that he attached to direct it.”

On working with Raimi, Azizi praised his influence and the dynamic they share. “He is such a creative genius. So, it’s been an incredible mentorship. I learned so much from him,” she said, adding that their collaboration felt balanced: “We balance each other really well, because I have a lot of experience in packaging films and finding filmmakers, so I have a lot of freedom in the types of projects that I get to make.”

When asked what she hopes audiences will take from “Send Help,” Azizi returned to the communal aftermath that first drew her to horror: “I love the experience, the theatrical experience. I think when people watch the film, they take away so many different things. ... what I love from my experience on this film is, especially during test screenings, is after the film ... people are still thinking about it. Everybody has different opinions and outlooks on it. And I love that conversation piece of the film.”