British Museum blog

Progress in the cemeteries

Michaela Binder, Durham University

After a somewhat disappointing first week in Cemetery C during which we only found heavily disturbed graves, our luck turned last week. We discovered two largely intact graves which provide us with important insights into the funerary customs of the people living at Amara West.

Excavations in Cemetery C

One of these intact graves is G216. As with most of the other graves excavated in Cemetery C it is of the niche grave type, in which the body of the deceased is placed in a narrow niche on the bottom of a rectangular shaft.

With a length of 2.2 metres and a width of 1.2 metres, G216 is the largest niche discovered so far. In contrast, other graves found this week are very small, with just enough space to accommodate a small child burial.

G217: Niche grave for a child burial

While some of these graves were used for only one burial, G216 was re-used no less than five times. As the niche is only large enough to hold one body, the older burials were simply thrown out of the shaft – we found the remains loosely scattered within it.

The coffin inside the burial niche of G216

Only the latest burial was discovered intact within the burial niche, placed in a wooden coffin decorated with a fine layer of white plaster, painted with parallel red and black stripes. This coffin was not exclusively used for this individual – parts of an earlier burial were found on the bottom of it.

Ivory Bes amulet (F9459)

One of the most exciting finds of this grave so far is a finely-carved ivory amulet found within the jumble of human bones on the side of the coffin. The figurine represents Bes, the Egyptian household god.

Though Bes amulets are not an unusual thing to find in graves, this is a special one. Its body features all the elements of a typical Egyptian style, but its head is carved in an entirely different, presumably local, manner, which is more reminiscent of an African mask than an Egyptian god. This little amulet therefore nicely shows how imported religious iconography was combined with local cultural elements.

If you would like to leave a comment click on the title

Filed under: Amara West, Archaeology, , , , , , ,

2 Responses - Comments are closed.

  1. Katy Meyers says:

    I am extremely intrigued by this excavation. As a mortuary archaeology graduate student, these types of cemeteries (where two distinct cultures are overlapping) are fascinating. I was wondering if there are any contemporaneous cemeteries in the Nubian region which were less affected by Egyptian control and through comparison may be revealing about how much agency the Nubian population was showing at Amara West while under Egyptian control? it would seem that the Bes carving is indicative of local ideology found regardless of Egyptian rule.

    Best of luck with the continuing excavation. I love keeping up to date with the work. Out of curiousity, do you ever bring graduate students with you?

    Like

  2. Katy – thank you very much for your comment. Unfortunately, the number of known sites dating to the period of Egyptian occupation further to the south towards the boundaries of Egyptian empire is very small. Those that have been identified, however, all show a clear influence of Egyptian cultural elements.
    Cemetery C, the one we’re working on at the moment, dates to the period after the end of Egyptian control over the area. It shows that elements of Egyptian culture even continued to be in use, mixed with local Nubian elements.
    All the best and many greetings from Amara West, where things got even more exciting during the last days (post soon to follow!).
    Michaela Binder

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,275 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Spring cleaning with Dürer: read a new blog post about conserving the magnificent Triumphal Arch at blog.britishmuseum.org
Celebrated German artist Dürer and his team designed this dense and spectacular image on 195 woodblocks which took three years to cut and print, between 1515 and 1518. It was commissioned by the Holy Roman Emperor Maximilian I (r. 1486–1519) who took a personally close interest in its production. At over 3.5 metres tall, the incredibly detailed arch is both elaborate and immense. Maximilian harnessed the superlative skills of German woodcut designers and printers to advertise his achievements and dynastic ambition for the Austrian Habsburg family to which he belonged.
#conservation #print #Dürer Discover some of the amazing wearable treasures in our new #Waddesdon gallery on @Pinterest at pinterest.com/britishmuseum
The Grenville Jewel. Dating from about 1635–1640, this superb locket contains a portrait by David Des Granges of Sir Bevil Grenville, a Cornish Royalist General who died during the English Civil War in 1643. The case is a bravura demonstration of enamelling on gold. Minute pansies, marguerites and green leaves stand out against a black background. A large square sapphire adorns the centre, surrounded by rubies, opals and diamonds. A pendant pearl in an enamelled setting completes the piece.
Gold enamelled pendant jewel with a ruby-studded parrot. The top of the base is enamelled with shields and flowers. Two pendant pearls complete the jewel. The parrot itself may have 16th-century Spanish origins, but the rest of the jewel is largely a 19th-century construction by the French jeweller Alfred André (1839–1919). A similar parrot pendant is in the Museo Arqueológico Nacional, Madrid, where the bird is also modelled in the round and white enamel used to highlight the eyes. Here's another great photo from our instagramer event, a #tired_portrait in the Great Court by @zoecaldwell.
Check out #emptyBM to see all their amazing photos! US artist John Sloan was born #onthisday in 1871. 
John Sloan, painter, printmaker and teacher, first took up etching as a self-taught adolescent.  Moving to New York in 1904, he became part of a group of eight artists, better known as “The Ashcan School”, who focused on creating images of urban realism. Between 1891 and 1940 Sloan produced some 300 etchings. He was also one of the first chroniclers of the American scene and wrote about printmaking and the etching technique.
This etching comes from the series of 10 prints entitled 'New York City Life', recording the lives of the ordinary inhabitants in less affluent areas of Manhattan. The prints had a mixed reception at the time and a number were rejected from an exhibition of the American Watercolor Society as ‘vulgar’ and ‘indecent’. #August is named after the Roman emperor Augustus. Before 8 BC the Romans called it Sextilis! 
This head once formed part of a statue of the emperor Augustus (ruled 27 BC – AD 14). In 31 BC he defeated Mark Antony and Cleopatra at the battle of Actium and took possession of Egypt, which became a Roman province. The writer Strabo tells us that statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them in 25 BC.
Although Roman counter-attackers reclaimed many of the statues, they did not reach Meroë, where this head was buried beneath the steps of a native temple dedicated to Victory. It seems likely that the head, having been cut from its statue, was placed there deliberately so as to be permanently below the feet of its Meroitic captors.
The head of Augustus appears larger than life, with perfect proportions based upon Classical Greek notions of ideal human form. His calm distant gaze, emphasised with inset eyes of glass and stone, give him an air of quiet, assured strength. Coins and statues were the main media for propagating the image of the Roman emperor. This statue, like many others throughout the Empire, was made as a continuous reminder of the all-embracing power of Rome and its emperor. English sculptor Henry Moore was born #onthisday in 1898.
Drawing played a major role in Henry Moore's work throughout his career. He used it to generate and develop ideas for sculpture, and to create independent works in their own right.
During the 1930s the range and variety of his drawing expanded considerably, starting with the 'Transformation Drawings' in which he explored the metamorphosis of natural, organic shapes into human forms. At the end of the decade he began to focus on the relationship between internal and external forms, his first sculpture of this nature being 'Helmet' (Tate Collections) of 1939.
This drawing titled ‘Two Women: Drawing for sculpture combining wood and metal’ was based on a pencil study entitled ‘Ideas for Lead Sculpture’. It reflects his awareness of surrealism and psychoanalytical theory as well his abiding interest in ethnographic material and non-European sculpture; the particular reference in this context is to a malangan figure (malangan is a funeral ritual cycle) from New Ireland province in Papua New Guinea, which had attracted his interest in the British Museum. 
Henry Moore, Two Women: Drawing for sculpture combining wood and metal. England, 1939.
Follow

Get every new post delivered to your Inbox.

Join 14,275 other followers

%d bloggers like this: