British Museum blog

Digging Domuztepe: a season at a Neolithic site in Turkey

The camp at Domuztepe

The camp at Domuztepe

Alexandra Fletcher and Rachel Swift are a curator and a conservator working at Domuztepe, a Late Neolithic site (about 6200-5500 BC) in south eastern Turkey. This series of posts traces the weekly progress of their recent excavation season.

Rachel Swift

The dig’s base camp consists of old-fashioned canvas tents clustered around the buildings of a deserted school and arriving again is a strange experience. The weathered statue of Ataturk, stifling heat and friendly faces that greet me are now so familiar that the months since my last visit instantly disappear.

Rachel Swift at work in the conservation area

Rachel Swift at work in the conservation area

As usual, sleep during the first few nights is sporadic and I am woken at intervals by barking dogs, mooing cows and the 4.20am call to prayer. At 7.30am on day one I get to work preparing ‘Conservation Corner’ for action. I discover that writing an inventory of my conservation supplies last year was time well spent as I can now find just about anything in seconds. Oh the wonderful power of lists!

The archaeologists have been busy on site for a week now and a tidy pile of finds awaits my attention. I spend the next few days cleaning 7,000 year-old bone tools, tiny stone beads and fragments of wall plaster (a first for me at Domuztepe) whilst gently sweating and guzzling water to avoid dehydration.


Alexandra Fletcher

Like Rachel I have the strange sense of never really having been away and quickly settle into life in camp. I am pleased to see that the colony of owls that live in the building we use as our workroom are raising babies and that life in the rest of the village continues as normal.

A shade erected over the excavation area keeps the sun off the archaeologists at work

A shade erected over the excavation area keeps the sun off the archaeologists at work

I drive straight out to the site (very carefully as the track is rough and bumpy) and get my first look at what we will be digging this year. Several Neolithic graves have been found and over the next few days these will be photographed, drawn and lifted so excavation can continue beneath them.

A neolithic burial found on site

A neolithic burial found on site

Work has also begun to put in place all the safety equipment we need to dig out a deep well (2.5 metres and still going down).

Our team of workmen shout greetings as I join them and we catch up on a year’s worth of gossip. They come from the villages that nestle alongside other ancient tells (mounds created by hundreds of years of human occupation in one place) that dot the plain around us. This area was once marshland, although it is now drained for farming. Herds of wild pigs once lived here giving the site its name. ‘Domuztepe’ is ‘Pig Hill’ in English.

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Filed under: Archaeology, Domuztepe dig 2011

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Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design
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