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Digging Domuztepe: a season at a Neolithic site in Turkey

The camp at Domuztepe

The camp at Domuztepe

Alexandra Fletcher and Rachel Swift are a curator and a conservator working at Domuztepe, a Late Neolithic site (about 6200-5500 BC) in south eastern Turkey. This series of posts traces the weekly progress of their recent excavation season.

Rachel Swift

The dig’s base camp consists of old-fashioned canvas tents clustered around the buildings of a deserted school and arriving again is a strange experience. The weathered statue of Ataturk, stifling heat and friendly faces that greet me are now so familiar that the months since my last visit instantly disappear.

Rachel Swift at work in the conservation area

Rachel Swift at work in the conservation area

As usual, sleep during the first few nights is sporadic and I am woken at intervals by barking dogs, mooing cows and the 4.20am call to prayer. At 7.30am on day one I get to work preparing ‘Conservation Corner’ for action. I discover that writing an inventory of my conservation supplies last year was time well spent as I can now find just about anything in seconds. Oh the wonderful power of lists!

The archaeologists have been busy on site for a week now and a tidy pile of finds awaits my attention. I spend the next few days cleaning 7,000 year-old bone tools, tiny stone beads and fragments of wall plaster (a first for me at Domuztepe) whilst gently sweating and guzzling water to avoid dehydration.


Alexandra Fletcher

Like Rachel I have the strange sense of never really having been away and quickly settle into life in camp. I am pleased to see that the colony of owls that live in the building we use as our workroom are raising babies and that life in the rest of the village continues as normal.

A shade erected over the excavation area keeps the sun off the archaeologists at work

A shade erected over the excavation area keeps the sun off the archaeologists at work

I drive straight out to the site (very carefully as the track is rough and bumpy) and get my first look at what we will be digging this year. Several Neolithic graves have been found and over the next few days these will be photographed, drawn and lifted so excavation can continue beneath them.

A neolithic burial found on site

A neolithic burial found on site

Work has also begun to put in place all the safety equipment we need to dig out a deep well (2.5 metres and still going down).

Our team of workmen shout greetings as I join them and we catch up on a year’s worth of gossip. They come from the villages that nestle alongside other ancient tells (mounds created by hundreds of years of human occupation in one place) that dot the plain around us. This area was once marshland, although it is now drained for farming. Herds of wild pigs once lived here giving the site its name. ‘Domuztepe’ is ‘Pig Hill’ in English.

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Filed under: Archaeology, Domuztepe dig 2011

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The next gallery in our #MuseumOfTheFuture series is Room 67: Korea. The Korea Foundation Gallery is currently closed for refurbishment and will reopen on 16 December 2014. You can find out more about the refurb at koreabritishmuseum.tumblr.com  The unique culture of Korea combines a strong sense of national identity with influences from other parts of the Far East. Korean religion, language, geography and everyday life were directly affected by the country’s geographic position, resulting in a rich mix of art and artefacts.
Objects on display in Room 67 date from prehistory to the present day and include ceramics, metalwork, sculpture, painting, screen-printed books and illuminated manuscripts.
A reconstruction of a traditional sarangbang, or scholar’s study, is also on display and was built by contemporary Korean craftsmen. This is Room 66, Ethiopia and Coptic Egypt. It's the next gallery space in our #MuseumOfTheFuture series.
By the 4th century AD, Christianity was flourishing in both Egypt and Ethiopia. Christian Egyptians became known as the Copts (from the Greek name for Egyptians) and the church maintained strong links with its Ethiopian counterparts. Since antiquity, Ethiopia had been a major trade route, linking Egypt and the Mediterranean with India and the Far East.
The resulting history of cultural exchange and religious diversity is illustrated through objects in Room 66, which reflect the faiths and identities which coexisted in Egypt and Ethiopia. Objects from towns, monasteries and settlements range from decorated textiles and architectural elements to sculpture and ceramics. It's time for our next #MuseumOfTheFuture gallery. This is Room 65, the Raymond and Beverly Sackler Gallery of Sudan, Egypt and Nubia. Ancient Nubia, the Nile Valley upstream of the First Cataract, now straddles the border between Egypt and Sudan. Rich and vibrant cultures developed in this region at the same time as Pharaonic Egypt. Among them was the earliest sub-Saharan urban culture in Africa, which was based at Kerma.
These cultures traded extensively with Egypt and for two brief periods Nubian kingdoms dominated their northern neighbour.
The objects on display in Room 65 illustrate these indigenous pagan, Christian and Islamic cultures and the interaction between Nubia and Egypt. This is our next gallery space in the #MuseumOfTheFuture series. It's Room 64, the Raymond and Beverly Sackler Gallery of Early Egypt. Rapid advances in the technology and social organisation of Egypt during the 5th millennium BC produced a material culture of increasing sophistication. Further innovations followed in about 3100 BC when the separate Predynastic peoples of Upper and Lower Egypt were united under a single ruler. The resulting increase in wealth and strong central control led to dramatic achievements in architecture, writing and fine goods, culminating in the building of the Great Pyramids of Giza in around 2600 BC.
Objects on display in Room 64 illustrate the cultural, technological and political development of early civilisation in Egypt throughout this period. In this picture you can see Gebelein Man, a mummy who was naturally preserved in the desert sands, and who used to have the unofficial nickname of Ginger (although the Museum doesn't use this name). In the background you can see an interactive virtual autopsy of the mummy which was installed in the newly refurbished gallery last year. It's Toulouse-Lautrec's 150th birthday! Here's his poster for a Parisian cabaret 
#history #art #artist #Paris Although this gilded cartonnage mask of a mummy conveys vitality and alertness, the features are more bland and idealised than those of other masks. The eyes, ears, nose, mouth and chin are highly stylised and not fully integrated into the face. The collar, the wig and the necklace with an ankh (‘life’) pendant, are attributes showing that the deceased has entered the afterlife and been assimilated with the gods. A winged scarab beetle on the top and images of gods on the back also emphasise the funerary character of the mask.

The use of gold was connected to the belief that the sun god Re, with whom the mummy hoped to be united, had flesh of pure gold. The back of the wig is decorated in many colours, with a row of deities, a ba and falcon with outstretched wings and seven short columns of near-unintelligible hieroglyphs.

See this cartonnage mask in our exhibition #8mummies – now extended until 19 April 2015.
#MummyMonday #mummies
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