British Museum blog

Amara West 2012: the first day back on site

Neal Spencer, British Museum

After a few days preparing the house and all our equipment for the coming weeks of excavation, three of us took the boat journey to site on 2 January for the first time this season.

Site tent and wheelbarrows at Amara West

Site tent and wheelbarrows at Amara West

Michaela Binder walked the ground in cemetery D, where excavation will begin this week, but I spent most of my time supervising the erection of our site tents. One houses the policemen who guard the site, while the other is for our equipment. The tents also offer a welcome respite from the howling winds (like today) or biting flies, depending on the climate.

Once the tents were up, we started excavating in one of the houses (E13.8) under the supervision of Shadia Abdu Rabo. The upper deposit of mudbrick rubble has already yielded fragments with impressions of wooden poles, matting and foliage, indicating the space was once covered with a substantial roof.

Starting excavation in the back room of house E13.8

Starting excavation in the back room of house E13.8

Alongside pottery, fragments of ostrich eggshell, stone tools, carnelian and jasper jewellery have already come to light – perhaps this space will prove as intriguing as the other back rooms in this block of houses?

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These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684.
This is a rare type of drawing by Watteau, who used black chalk to strengthen the shadows and the darker lines of the stronger contours. The hands themselves are cast into relief by their shadows on the paper. The red chalks, of course, suggests the real flesh of the model in front of him, and was a favoured technique, in combination with black and white chalks, of French eighteenth-century artists. The drawing's expression lies in the position of the hand and not so much in its details. Although the hands are fully modelled there is still a stark, bare quality to them. They are economical, almost abstracted.
Antoine Watteau, Three studies of open hands. Drawing, France, about AD 1717-1718.
#art #drawing These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684. Watteau has used his favourite combination of black, red and white chalks. This technique 'à trois crayons' became widely used by French artists of the eighteenth century. With all of the chalks Watteau made stronger lines alongside thinner ones to provide texture. He then shaded in between these lines or rubbed the chalk with his fingers. Like most of Watteau's drawings from a live model, this sheet possesses a great sense of fluency, immediacy and freshness.
Antoine Watteau, Four studies of a young woman's head. Drawing, France, about AD 1716-1717.
#drawing #art Room 95 includes some of the finest Chinese ceramics in the world dating from the 3rd to the 20th centuries, from the collection of Sir Percival David. Some of the ceramics are unique creations, while others were mass-produced in batches of several hundred at a time. Technological innovations and the use of regional raw materials mean that Chinese ceramics are visually diverse.
Porcelain was first produced in China around AD 600. The skilful transformation of ordinary clay into beautiful objects has captivated the imagination of people throughout history and across the globe. Chinese ceramics, by far the most advanced in the world, were made for the imperial court, the domestic market, or for export.
#China #ceramics These white wares date from the late Ming to Republic period (1600–1949). Potters in the late Ming, Qing and Republican periods made copies of Ding wares at Jingdezhen in Jiangxi province, Zhangzhou in Fujian province and in other southern kilns. Potters at Zhangzhou under-fired the clay, which resulted in a ‘rice-coloured’ body. They then covered the ceramics either with a white slip and thin clear glaze or with an opaque white glaze.
See these amazing ceramics alongside nearly 1,700 objects from the collection of Sir Percival David in Room 95.
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You can fall for the goddess of love in Room 23, one of our Greek and Roman sculpture galleries.
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