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<p>Animalia graphics in rocks are uncommon features that are rarely included as a component of geodiversity and hence largely undocumented. Unlike artificially carved petroglyphs, animalia rock arts, such as those observed at Oyemekun tourist centre, are natural imitations of animals formed by intrusive quartzofeldspathic veins within charnockite massifs. The Oyemekun massifs in Akure, occur within the southwestern part of the Precambrian Basement Complex of Nigeria. These massifs, dominated by high-grade charnockitic plutons, are exposed as inselbergs, whale-back hills, locally brecciated outcrops that are intruded by several quartzofeldspathic and pegmatitic veins. Field data revealed sharp lithologic contacts between these granitoids and the older and adjacent Archean to Early Proterozoic migmatite–gneiss while petrographical observations showed that the charnockites contained orthopyroxene (hypersthene), hornblende, biotite, quartz and plagioclase in a granoblastic groundmass, with zircon minerals occurring in accessory amounts. The pegmatitic quartzofeldspathic veins, ranging in size from a few millimetres to tens of centimetres, form graphic intergrowths mimicking animal shape-profiles such as patterns of dove, mermaid, and reptiles. Other geomorphologic rock art features of interest include inselbergs that outcropped as a whale with barnacles, the snout of a pig, and a dolphin imitation. Although, the Akure charnockite massif has been studied for its mineralogy, geochemistry and lithological association with other basement rocks, especially the migmatite gneiss complex, they have not been studied for their geotourism and geoconservation potential. This work presents the animalia graphic of the Oyemekun massifs and attempts to provide interpretive storytelling in the form of geoeducation materials that explain magma flow and viscosity as processes for the formation of these rock-art patterns. A geoconservation model is adapted to ensure protection from anthropogenic activities that may destroy this heritage.</p>

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Geotourism and Geoeducation Potential of the Oyemekun Charnockitic Massif of Akure Area, Southwest Nigeria

  • 期刊论文

  • 发表日期：

    2025年12月3日

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  • Olumuyiwa Michael Ajibade,
  • Adegoke Olukayode Afolabi,
  • Seun Damola Oladipupo,
  • Tesleem Olalekan Kolawole,
  • Comfort Boluwaji Adegoke,
  • Adedayo Abdullahi Adesiyan

摘要

Animalia graphics in rocks are uncommon features that are rarely included as a component of geodiversity and hence largely undocumented. Unlike artificially carved petroglyphs, animalia rock arts, such as those observed at Oyemekun tourist centre, are natural imitations of animals formed by intrusive quartzofeldspathic veins within charnockite massifs. The Oyemekun massifs in Akure, occur within the southwestern part of the Precambrian Basement Complex of Nigeria. These massifs, dominated by high-grade charnockitic plutons, are exposed as inselbergs, whale-back hills, locally brecciated outcrops that are intruded by several quartzofeldspathic and pegmatitic veins. Field data revealed sharp lithologic contacts between these granitoids and the older and adjacent Archean to Early Proterozoic migmatite–gneiss while petrographical observations showed that the charnockites contained orthopyroxene (hypersthene), hornblende, biotite, quartz and plagioclase in a granoblastic groundmass, with zircon minerals occurring in accessory amounts. The pegmatitic quartzofeldspathic veins, ranging in size from a few millimetres to tens of centimetres, form graphic intergrowths mimicking animal shape-profiles such as patterns of dove, mermaid, and reptiles. Other geomorphologic rock art features of interest include inselbergs that outcropped as a whale with barnacles, the snout of a pig, and a dolphin imitation. Although, the Akure charnockite massif has been studied for its mineralogy, geochemistry and lithological association with other basement rocks, especially the migmatite gneiss complex, they have not been studied for their geotourism and geoconservation potential. This work presents the animalia graphic of the Oyemekun massifs and attempts to provide interpretive storytelling in the form of geoeducation materials that explain magma flow and viscosity as processes for the formation of these rock-art patterns. A geoconservation model is adapted to ensure protection from anthropogenic activities that may destroy this heritage.