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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Edward Burne-Jones was born #onthisday in 1833. This watercolour from his ‘Flower Book’ is titled ‘White Garden’. This was a name for Atriplex hortensis, a small garden plant that has edible leaves. In this painting Burne-Jones has created an imaginary ‘white garden’, populated with lilies that are being picked by two white-clad angelic figures. Like other figures in his works, they appear dressed in classically inspired white robes, with their blonde hair tied back.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers In this second watercolour from the ‘Flower Book’ of Pre-Raphaelite artist Edward Burne-Jones, we can see the goddess Venus walking through the night’s sky with doves. This painting is titled ‘Rose of heaven’ – a name given to the plant campion, a small pink flower. Burne-Jones took inspiration from the name of the flower and its connotations, rather than what the flower actually looks like. The depiction of Venus seems to be heavily influenced by Botticelli’s ‘Birth of Venus’, with flowing blonde hair and a dynamic pose.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers To mark the birthday of Pre-Raphaelite artist Edward Burne-Jones (1833–1898) this week, we’re featuring paintings from his ‘Flower Book’ – a sketchbook full of watercolours and drawings that contained fantasy artworks inspired by the names of flowers. This painting is titled ‘Love in a tangle’ – a name sometimes used for the climbing plant clematis. The scene suggests the story of Ariadne, who gave Greek hero Theseus a ball of golden thread to unwind as he wandered through the labyrinth in search of the minotaur (a mythological creature – half-man and half-bull). Here she waits anxiously for her lover to follow the thread back out of the maze. The clematis and its maze of tangled foliage inspired Burne-Jones to represent this story from ancient Greek mythology in his Flower Book.
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