British Museum blog

Amara West 2012: an osteoarchaeologist’s dream…


Laurel Engbring, physical anthropologist

Archaeology can be a bit of a gamble: you can dig for weeks and find nothing.

I began this season at Amara West excavating two shafts. They had little preserved inside them; though we did find the disarticulated remains of a neonate (a newborn child).

Laurel planning a layer of stones above the shaft in G314

Laurel planning a layer of stones above the shaft in G314

The tumulus I am currently excavating (G314) started out as a simple raised mound in Cemetery D, and initially proved somewhat frustrating. Beneath the sandy surface of the shaft lurked a series of schist slabs and large stones, covering a smaller east to west oriented shaft, lined in places with mudbrick. After photographing, leveling, planning and sectioning the stones, I excitedly removed the layer of huge stones, anticipating what lay beneath.

This turned out to be another layer of stones. After documenting this layer, and removing it, a third layer was revealed. In some ways this was frustrating. In other ways, the effort enhanced the anticipation.

Removing the schist slabs from G314

Removing the schist slabs from G314

When a fourth layer of schist slabs was removed, we finally discovered chambers extending to the east and west, nearly two metres in each direction.

My initial peek into the western chamber revealed disarticulated human bones and a few large ceramic vessels: an osteoarchaeologist’s dream!

The excavation and recording of the bones has just begun, making the 5.30am starts much easier.

Find out more about the Amara West research project

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Filed under: Amara West, Archaeology, ,

2 Responses - Comments are closed.

  1. Teri Engbring says:

    This entry in the British museum blog is a fascinating intro to the drama and the drudgery, the frustration and the thrills of archaeological field work. There are literally hundreds of Laurel’s friends and family back in the US who are following every word to share in her adventure there. Thanks!

    Like

  2. William Hickman says:

    “drama . . . drudgery, frustration . . .. thrills “. It leaps right off the screen.

    Thank you Laurel . And all the rest.

    Bill Hickman

    Like

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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 
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Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.)
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