British Museum blog

Amara West 2012: excavating in the cemeteries


Mohammed Saad, Inspector, National Corporation of Antiquities and Museums, Sudan and Amara West Field School participant

I’m currently excavating a grave (317) in Cemetery D. It extends east-west and is around 2.5 metres in length, with a rather small shaft (only about 90cm long) leading to a small burial chamber around 1.2m wide. There are no remnants of a superstructure, and the roof of the chamber has been removed by surface erosion, where a scatter of schist stones suggests the grave was looted in ancient times.

Mohammed recording the location of the skeletons

Mohammed recording the location of the skeletons

We unearthed skeletal remains and some faience and shell beads scattered in windblown sand in the burial chamber, but below this we found another skeleton, undisturbed and intact. Among the most interesting things about this burial are the plant remains found associated with it, which when studied will tell us more about how the bodies were treated for burial. The individual is rested on the remains of matting made from plant material. Its colour ranges between light and dark grey, but it’s very soft and fragile. Wrappings of this kind have been found in other graves at Amara West, but rarely so well-preserved as in this case.

Lower burial with ceramic vessels placed by the head

Lower burial with ceramic vessels placed by the head

Directly underlying this skeleton, I found another one. This time, it was a completely intact adult male with a bad fracture to one of the bones of the left hand, and covered in the same kind of matting. There were also some objects buried alongside him: a shallow bowl and a small jar, which we think might date to the New Kingdom period, or shortly afterwards.

Find out more about the Amara West research project

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Odilon Redon was born #onthisday in 1840. This is one of Redon's (1840-1916) most famous coloured pastels, and was first shown in the gallery of Durand-Ruel - the favoured dealer of the Impressionists - in 1894. There it was seen by Tatiana Tolstoy, the daughter of the great Russian novelist Leo Tolstoy, who noted in her diary: 'One of them whose name I could not make out-something like Redon-had painted a face in blue profile. On the whole face there is only this blue tone, with white-of-lead.' Tolstoy quoted this in his diatribe against contemporary art, 'What is Art?', first published in 1898, as irrefutable evidence of the degenerancy of modern art.

One of many studies of female profiles in Redon's work, La Cellule d'Or ('The Golden Cell') suggests introspection, its golden glow embodying the power of thought. The intense colour and strict composition recall the portraits of the early Florentine Renaissance. Here however, the feeling dominates over objective representation; the blue and gold halo are the traditional colours of the Virgin Mary, but no further religious message intrudes.

The drawing is made on paper in oil paint over a white ground, which gives the colour its luminous intensity.
#art #history #drawing #artist Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
#print #art #history #Rome #Italy Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

You can see this wonderful object in our exhibition #DefiningBeauty, until 5 July 2015.
#exhibition #BritishMuseum #ancientGreece #sculpture #art

Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich. Uta Uta Tjangala's masterpiece Yumari is a highlight of‪ #IndigenousAustralia, opening a week today
#exhibition #art #history #BritishMuseum #Australia #museum Hans Sloane's collection also ended up as the basis of the @natural_history_museum and the @britishlibrary!
To make more room for the increasing collections held by the British Museum, the natural history collections were moved to a new building in South Kensington in the 1880s. This eventually became the Natural History Museum. These images show some of the natural history specimens on display, including giraffes and a mastodon!
In 1997, the library departments left the Museum to be re-housed at the new British Library in St Pancras.
#history #BritishMuseum #collection #animals #books
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