British Museum blog

New explorations on the south side at Amara West

Charly Vallance, archaeologist

Frustrating times – seeking the town wall in the first days

In my second season at Amara West – I spend the rest of the year as a field archaeologist in the UK – I have been excavating in the south-west portion of the town, an area never previously investigated, alongside Shadia Abdo Rabo, a curator at the Sudanese National Museum, also acting as our inspector from the National Corporation of Antiquities and Museums.

The first stage of our work was to locate the south-west corner of the town’s enclosure wall. You might think a wall 3.5 metres wide and several metres high would be easy to find, especially with the help of magnetometry data.

The architecture of excavation – sandbags keeping sand out of the deep trench

But, after two days of hard digging, there was no sign of the wall corner; local workman Abdul Razig was becoming increasingly frustrated and threatened to move trenches!

On the fifth day, relief, as several areas of mudbrick were exposed and identified as belonging to the town walls. The walls have suffered badly from deep pits dug through them to extract clay for building material.

Inside the walls, two distinct rooms were discovered, each one of considerable size, filled with over a metre of disturbed sands and silts, making excavation rather heavy-going. Battles with inflowing sand from the surrounding desert have been a daily occurrence, and one which has made us all experts in sandbag logistics.

Paved court with stone doorways (D13.3.1) in course of excavation

The biggest discovery to date has been a mudbrick pavement in pristine condition laid across the surfaces of both rooms. This was a sign we were digging something pretty grand. The presence of two elaborate entrances flanked by large sandstone door jambs leading north from the paved areas emphasise that we are not in a modest domestic building.

The finer detail: cleaning a small pottery bowl found in the corner of room D13.3.2

The purpose of the rooms is currently unclear, though the pottery suggests it dates to the late New Kingdom.

Perhaps one space was an open courtyard, a communal area tucked away in the south-west corner of the town? Or was it a rather grand residence? Only with more digging will we find out more: from 7am tomorrow, armed with shovels, picks and trowels, we will be out there again, trying to seek evidence for these and other questions…

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  1. Hi Charly and team,

    You’re doing some really interesting work. You are the living proof that there is more to a wall than meets the eye. And to find the tiled floor intact must have been pretty exciting. With one week to go on this wave who knows what else you might dig up; a throne perhaps!?
    Happy, safe flight back to Heathrow,
    Love and thoughts,
    Angela Vallance

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#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. Here's another fabulous view of the Great Court captured by @whatinasees at our instagramer event #regram #repost
Check out all of the photos at #emptyBM Vincent van Gogh died #onthisday in 1890. Here's a print of his only known etching. It depicts his doctor, Dr Paul Gachet, seated in the garden of his house.
#vanGogh #etching Beatrix Potter was born #onthisday in 1866. Here are some of her flopsy bunnies! 🐰
#BeatrixPotter Made in AD 700, the exquisite Hunterston brooch was found at Hunterston, Ayrshire during the 1830s. It is a highly accomplished casting of silver, richly mounted with gold, silver and amber decoration. It is sumptuously decorated with animals executed in gold wire and granules, called filigree. In the centre of the brooch is a cross flanking a golden ‘Glory’ representing the risen Christ #MedievalMonday
The Hunterston brooch will feature in our forthcoming #Celts exhibition, on loan from @nationalmuseumsscotland.
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