British Museum blog

Amara West 2012: questions and challenges in house E13.7


Mat Dalton, archaeologist

This season at Amara West, a team of workmen from Ernetta Island and myself will set out to answer some of the intriguing questions raised by last years’ excavations of the unusual house E13.7.

View of white-painted walls in house E13.7, with walls of later E13.4 above

View of white-painted walls in house E13.7, with walls of later E13.4 above

While most houses so far excavated at Amara are axial – that is, a series of rooms laid out in a row with only one or two entrances to each – E13.7 is radial. The house, a neighbour to the palatial Residence of the Deputy of Kush (the most important position in the Egyptian administration of Upper Nubia), has a large central room (E13.7.3) and no less than five separate doorways leading from it, not to mention a black and white painted wall decoration motif that is so far unique at the site.

View of the main room (E13.7.3) with column base at the centre

View of the main room (E13.7.3) with column base at the centre

Where do these doorways lead? How large was the complete house, and what kind of activities took place within it? Why was it so completely demolished and built over by much smaller houses?

Trying to answer these questions will be quite an undertaking; a lot of later overlying buildings and deposits will have to be examined first. In the south a new ‘street’ – the size of a narrow lane to those of us freshly arrived from London – was even built over the top of the house after it was demolished. An extra challenge (well known to my colleagues Shadia Abdu Rabo and Charlie Vallance from the 2011 excavation season) is caused by the pits dug in more recent times to extract material from the old walls to make new mudbricks.

Plan of house E13.7 at the end of the 2011 season

Plan of house E13.7 at the end of the 2011 season

Mudbrick walls are perfect trench supports, keeping sand out of our excavation areas. With these mined away in the south of our excavation area, we have had to engage in a running battle with the endless loose sand threatening to overwhelm the trench. Sandbag walls engineered yesterday by workman Gazafi Mohammed Ahmed are currently keeping the sand at bay.

Sandbag engineering at Amara West

Sandbag engineering at Amara West

Similar structures (though usually built of mudbrick or recycled stone) are also found in the doorways of ancient houses, where they would have stopped windblown sand and rising street dirt from creeping inside. A helpful reminder of how the problems faced by Amara West’s ancient inhabitants and its modern excavators are sometimes not so very different…

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

Filed under: Amara West, Archaeology

One Response - Comments are closed.

  1. Rebecca says:

    Great photography! I hope you don’t get buried in sand.

    Like

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

Join 14,399 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

The second generation of contemporary manga in our free #MangaNow display is represented by Hoshino Yukinobu, one of Japan’s best-known science fiction manga artists. This is a portrait of his new character: Rainman.

Hoshino Yukinobu’s 'Professor Munakata’s British Museum Adventure' featured in a similar display in 2011.  #japan #manga #rainman #art

Hoshino Yukinobu (b. 1954), Rainman. Ink on paper, 2015. © Hoshino Yukinobu. Our free display ‪#‎MangaNow is now open! It features three original artworks that show how the medium has evolved over generations, revealing the breadth and depth of manga in Japan today.

This is an original colour drawing of a golfer on a green by prominent and influential manga artist Chiba Tetsuya. He is a specialist of sports manga that relate a young person’s struggle for recognition through dedication to sport.

#japan #manga #golf #art 
Chiba Tetsuya (b. 1939), Fair Isle Lighthouse Keepers Golf Course, Scotland. Ink and colour on paper, 2015. Loaned by the artist. © Chiba Tetsuya. This is the Codex Sinaiticus, the world’s oldest surviving Bible. It’s a star loan from @britishlibrary in our forthcoming #EgyptExhibition and dates back to the 4th century AD. 
Handwritten in Greek, not long after the reign of the Roman emperor Constantine the Great (AD 306–337), it contains the earliest complete manuscript of the New Testament. 
The codex will be displayed alongside two other founding texts of the Hebrew and Muslim faiths: the First Gaster Bible, also being loaned by @britishlibrary, and a copy of the Qur’an from @bodleianlibs in Oxford. These important texts show the transition of Egypt from a world of many gods to a majority Christian and then majority Muslim society, with Jewish communities periodically thriving throughout.  #Egypt #history #bible #faith #onthisday in 31 BC: Cleopatra and Mark Antony were defeated by Octavian at the Battle of Actium. After the death of Cleopatra, Egypt was brought into the Roman Empire and the ancient Egyptian gods, such as the falcon god Horus shown here, were reimagined in Roman dress to establish the new authority. 
Discover how Egypt’s religious and political landscape was transformed over 12 centuries in our #EgyptExhibition, opening 29 October 2015.

#history #ancientEgypt #Cleopatra #RomanEmpire New exhibition announced: ‘Egypt: faith after the pharaohs’ opens 29 October 2015

Discover Egypt’s journey over 1,200 years, as Jews, Christians and Muslims transformed an ancient land. From 30 BC to AD 1171, #EgyptExhibition charts the change from a world of many gods to the worship of one God.

Tickets now on sale at britishmuseum.org/egypt

#egypt #history #faith For our final #MuseumInstaSwap post we’re highlighting the 'Make Do and Mend' campaign of the Second World War, as told by our partner @ImperialWarMuseums in their #FashionontheRation exhibition.

The campaign was launched to encourage people to make their existing supplies of clothes last longer. Posters and leaflets were circulated with advice on subjects including how to prevent moth damage to woollens, how to make shoes last longer or how to care for different fabrics. As the war went on, buying new was severely restricted by coupon limits and no longer an option for many people. The ability to repair, renovate and make one's own clothes became increasingly important. Although shoppers would have to hand over coupons for dressmaking fabric as well as readymade clothes, making clothes was often cheaper and saved coupons. ‘Make Do and Mend’ classes took place around the country, teaching skills such as pattern cutting. Dress makers and home sewers often had to be experimental in their choice of fabrics. Despite disliking much of the official rhetoric to Make Do and Mend, many people demonstrated great creativity and adaptability in dealing with rationing. Individual style flourished. Shortages necessitated imaginative use of materials, recycling and renovating of old clothes and innovative use of home-made accessories, which could alter or smarten up an outfit. Many women used furnishing fabrics for dressmaking until these too were rationed. Blackout material, which did not need points, was also sometimes used. Parachute silk was highly prized for underwear, nightclothes and wedding dresses.

We've really enjoyed working with and learning from our friends at @imperialwarmuseums this week. You can catch up on all our posts and discover many more stories from London’s museums with #MuseumInstaSwap. © IWM (Art.IWM PST 4773
Follow

Get every new post delivered to your Inbox.

Join 14,399 other followers

%d bloggers like this: