British Museum blog

Amara West 2012: Kerma pottery

Marie Millet

Earlier this season, we discovered a Kerma grave (G308) in cemetery D. Being accustomed to finding New Kingdom (or post New Kingdom) pottery in this cemetery, it was surprising to find four pottery vessels typical of the Kerma civilization, especially a bowl with incised decoration on the rim.

Fragment of a Kerma vessel (C8075), with incised rim decoration, from Grave 308

Example of a black-topped red ware vessel (C8077) from Grave 308.

Classic Kerma beaker, British Museum EA 55424, from Kerma. C. 1750-1650 BC

The pottery in the grave can be dated, by looking at parallels from other sites, to the middle of the third millenium BC or early second millenium BC, so many centuries before the Egyptian town was founded in the reign of Seti I (1290-1279 BC).

During the Kerma civilization, pottery is the most abundant artefact in graves. All hand-made from Nile clay mixed with fine straw, the pots were made by building up coils of clay. Despite being aware of the Egyptian technique of making vessels on a potter’s wheel, the coil technique was retained, and very fine vessels were produced.

Most Kerma culture pots are known as “black-topped redware”, as the interior and rim is black and the exterior surface is red. This type of pottery is common in Egypt during the Predynastic Period only, but continues in Nubia through later periods.

To achieve the black-topped appearance, the unfired vessels are placed in an open area, then covered with sand, and sometimes earth, sand and ash. Placed upside down, the parts exposed to the air are turned red through oxidisation, whereas the rims turn black through carbonisation. In addition to polishing, some are incised with decoration near the rim, as with one example from this grave.

The discovery of an early Kerma burial suggests a Nubian community lived nearby, long before the Egyptian town was built … In the town, we have so far found only one sherd from a Classic Kerma beaker (C4382), with a distinctive blue-grey band between the black and red.

Leave a comment or tweet using #amarawest

Find out more about the Amara West
research project

Filed under: Amara West, Archaeology

One Response - Comments are closed.

  1. Nick says:

    The pottery is fascinating — thank you for sharing.


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

Join 14,506 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

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.
#ceramics #China Collector of Chinese ceramics Sir Percival David died #onthisday in 1964. He built the finest private collection of Chinese ceramics in the world. His passion for China inspired him to learn Chinese well enough to translate 14th-century art texts and to give money towards establishing the first public display of Chinese ceramics at the Palace Museum in Beijing. He was determined to use his own collection to inform and inspire people and to keep it on public view in its entirety. His collection is on long-term loan to the British Museum and has been on display in Room 95 since 2009.
Explore nearly 1,700 objects from Sir Percival David’s incredible collection in Room 95, including some of the finest Chinese ceramics in the world, dating from the 3rd to the 20th centuries.
#China #ceramics #todayimet goddess of love, Aphrodite. In this statue the voluptuous Aphrodite crouches down at her bath and turns her head sharply to her right, as if surprised by her audience. This Roman copy from the 2nd century AD is based on an original sculpture from Hellenistic Greece. This statue is lent to the British Museum by Her Majesty the Queen.
You can fall for the goddess of love in Room 23, one of our Greek and Roman sculpture galleries.
We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum #WWIM12

Get every new post delivered to your Inbox.

Join 14,506 other followers

%d bloggers like this: