British Museum blog

Angareeb – a living Sudanese tradition

Shadia Abdu Rabo, Sudan National Museum

New beds stacked up in Omdurman market near Khartoum

New beds stacked up in Omdurman market near Khartoum

In November, clearing out a store in the expedition house at Amara West, we came across many fragments of traditional beds, or angareeb, made of wood, leather and rope. We have repaired some of these, to use in our lounge area, but also in some of the bedrooms.

Angareeb bed legs found in the storeroom of the expedition house at Amara West

Angareeb bed legs found in the storeroom of the expedition house at Amara West

These beds have a very long history in Sudan, going back to the ancient Kerma culture, where the dead were placed on low beds inside graves.

The Virgin Mary on a bed. Painted scene from Faras, Sudan National Museum

The Virgin Mary on a bed. Painted scene from Faras, Sudan National Museum

In the cemetery at Amara West, despite the actions of both robbers and termites, there is clear evidence that some of the burials featured similar beds. In some tombs, there is evidence for both beds of this type and Egyptian coffins, reflecting a mixture of different cultural traditions in the late second millennium BC.

But the form of the bed survived through historical, political and religious changes.

In a fifth century AD painting in the church at Faras, now in the Sudan National Museum, the Virgin Mary is shown upon a bed, while in the late nineteenth century, the wife of the ruling Mahdi owned a lavish example of an angareeb.

An angareeb decked out for a wedding

An angareeb decked out for a wedding

The beds follow people from birth to death: childbirth often takes place on such angareeb; circumcision rituals are performed; beds are used in Koranic khalwa-school, are adorned for wedding ceremonies, and are a feature of funeral processions.

Craftsman cutting legs for a new angareeb, in Omdurman market near Khartoum

Craftsman cutting legs for a new angareeb, in Omdurman market near Khartoum

The shape has not changed radically, and today one can visit craftsmen in the market to see the beams of acacia, mahogany or date palm being cut and joined (now with wire and metal nails), before the bed is strung – often with nylon string not rope.

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

Filed under: Amara West, Archaeology

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

Join 16,385 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation. Recent underwater excavations at the mouth of the Nile in Abukir Bay, Egypt, have revealed two ancient cities, perfectly preserved beneath the sea. Our #SunkenCities exhibition tells of the extraordinary rediscovery of the international port Thonis-Heracleion, and the city of Canopus, famed for their temples which attracted religious devotees from Egypt and beyond. 
Since 1996, underwater investigation using state-of-the-art technology has uncovered spectacular objects, including colossal statues, religious offerings and ancient ships. The finds shed new light on the interaction between ancient Egypt and the Greek world at a crucial period in their history, from the arrival of Greeks in Egypt around 650 BC, to the reign of the Greco-Macedonian Cleopatra VII, the last pharaoh of Egypt (51–30 BC). With only a fraction of these sites explored so far, annual excavations are continuing to uncover the cities’ long-hidden secrets. 
This 2,000-year-old bust depicts Neilos, the Nile river god. Neilos appealed to Egyptians and Greeks alike – he was the Greek version of Hapy, the Egyptian personification of the annual Nile flood that brought prosperity and fertility to the land. This bust was once mounted into a large decorative shield and adorned a temple in the ancient Egyptian city of Canopus. It was discovered by underwater archaeologists at the base of the wall on which it once hung. 
Follow the link in our bio to find out more about our unmissable exhibition. 
Bust of Neilos. Canopus, AD 100–200. On loan from Maritime Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation.
%d bloggers like this: