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Amara West 2012: a first Kerma period burial discovered


Åshild Vågene, physical anthropologist, Institute of Bioarchaeology Amara West Field School

Excavation of tumulus G308 in cemetery D at Amara West revealed a grave roughly three metres in diameter, with an interior structure of a type typical of the Kerma period. The interior of the grave is circular, consisting of two steps leading down towards a smaller circular grave pit in the southwest corner.

Tumulus G308 prior to excavation

Tumulus G308 prior to excavation

These features set the grave apart from the other tumuli dug here – yet another grave type found in cemeteries C and D.

The remains of a single individual were found within the grave, heavily disturbed, but with enough skeletal elements to suggest that the individual was buried in a flexed position: another difference with most burials at Amara West.

The interior structure of G308

The interior structure of G308

The presence of a few beads and sherds indicates there were originally grave goods placed with the deceased. However, the disarticulated state in which the skeleton was found, coupled with the sparse number of finds, suggests that this grave had been looted.

Planning of G308 during excavation, with Åshild and fellow Field School participant Mohamed Saad

Planning of G308 during excavation, with Åshild and fellow Field School participant Mohamed Saad

Despite this, some notable pottery was found close to the surface on the outer edges of the interior grave. Two complete ceramic vessels were uncovered and their position far from the body itself might indicate they are the remains of funerary offerings, not grave goods.

Kerma pottery, awaiting transport back to the expedition house....

Kerma pottery, awaiting transport back to the expedition house....

Being typical examples of Kerma pottery, with trademark red exterior and black rim, they suggest the burial is of the Kerma period (2500-1500 BC). This would be much earlier than the other burials – and indeed the occupation of the town.

Study of the ceramics – drawing, analysing the fabric, and comparing to published examples from other sites – should allow the date range to be narrowed down.

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Greece lightning: this exquisite bronze depicts Zeus, chief of the Greek gods #FridayFigure

In ancient Greece, powerful, shape-shifting gods provided compelling subjects for artists. The famous sculptor Phidias created a gold and ivory statue of Zeus, ruler of the gods, that was over 13 metres high for his temple at Olympia. One of the Seven Wonders of the Ancient World, it symbolised the awesome presence of the god at his sanctuary site. There was also drama to be found in the gods’ ability to change their form as a means of disguise. Zeus, ruler of the Olympian gods, could take animal form – he seduced Leda as a swan, carried away Europa as a bull and Ganymede as an eagle.

This bronze statuette splendidly represents the majesty of Zeus, ruler of the gods on Mount Olympus and lord of the sky. Zeus holds a sceptre and a thunderbolt, showing his control over gods and mortals, and his destructive power. Although just over 20cm high, this exquisite work appears to be a copy of a much grander statue that does not survive.

You can see this figure in our exhibition #DefiningBeauty, until 5 July 2015.
Bronze statuette of Zeus. Roman period, 1st–2nd century AD, said to be from Hungary.
#art #museum #exhibition #ancientGreece #Zeus #gods This beautiful watercolour of Tintern Abbey is by J M W Turner, thought to have been born #onthisday in 1755.

Even before he had entered the Royal Academy schools at the age of 14, Turner had worked as an architectural draughtsman. This training is evident in his fascination with the details of the famous ruins of this twelfth-century Cistercian Abbey in Monmouthshire, which he visited in 1792, and again in 1793. Tourists of the time were as much impressed by the way that nature had reclaimed the monument as by the scale and grandeur of the buildings. Turner's blue-green washes over the abbey's far wall blend stone and leaf together, and on the near arch the spiralling creepers seem to make the wind and light tangible. 
#art #artist #Turner #history #watercolour ‪#IndigenousAustralia is now open. Discover a remarkable 60,000 years of continuous culture in our new special exhibition.
This show is the first major exhibition in the UK to present a history of Indigenous Australia through objects, celebrating the cultural strength and resilience of both Aboriginal peoples and Torres Strait Islanders. See spectacular objects like Torres Strait Islander masks alongside significant paintings.
Organised with the National Museum of Australia, ‪the exhibition also includes important international loans.
#history #Australia #museum #BritishMuseum Happy #StGeorgesDay! Here he is killing the dragon and rescuing Lady Una on a medieval pilgrim badge
#history #StGeorge #dragon #IndigenousAustralia opens tomorrow. Here’s a sneak peek in the exhibition… 
#art #Australia #exhibition #BritishMuseum 
Objects pictured include: 
Roy Underwood, Lennard Walker, Simon Hogan and Ian Rictor, 'Pukara'. Acrylic on canvas, 2013. © the artists, courtesy Spinifex Arts Project. 
Charlie Allungoy (Numbulmoore) (c. 1907–1971), Ngarinyin Mowanjum. Pigment on composition board, 1970. Kimberley region, Western Australia. National Museum of Australia. 
Mask of turtle shell. Mer, Torres Strait, before 1855. 
Selection of shields:
Mulgrave River region, near Cairns, Queensland, c. 1900.
Adelaide Plains region, South Australia, before 1848.
South-east Australia, mid-19th century.
South-east Australia, before 1950. Legend has it that #onthisday in 753 BC Romulus founded Rome. Here's the myth on this coin
#history #coin #Rome #Romulus
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