British Museum blog

Death, the great equaliser: Christianity on the Middle Nile

Julie Anderson, Assistant Keeper (curator), British Museum

A herd of Sudanese camels (photograph © J. Anderson)

A herd of Sudanese camels (photograph © J. Anderson)

People are often surprised to discover that two of the largest Christian kingdoms in the medieval world were in Sudan in northeast Africa. Ibn Selim Al-Aswani, an Arab traveller, visited Sudan in the 10th century AD and described the region north of Old Dongola, capital of the medieval kingdom of Makuria, situated roughly 750 kilometres upstream of Aswan Egypt, as an area of ‘about thirty villages, with beautiful buildings, churches and monasteries, many palm-trees, vines, gardens, cultivated fields and broad pastures on which one can see camels’.

Further to the south, Soba East, capital of the medieval kingdom of Alwa, located near modern-day Khartoum, was said to have ‘fine buildings and large monasteries, churches rich with gold and gardens’. This conjures up quite a romantic picture of medieval Sudan and provides us with an insight into the world in which the Sudanese female mummy, now in the exhibition Ancient lives, new discoveries, had lived. Was medieval Sudan as idyllic as it sounds?

Wall painting of a Nubian queen protected by the Virgin Mary and Child (Sudan National Museum 24362). (photograph Rocco Ricci © Trustees of the British Museum).

Wall painting of a Nubian queen protected by the Virgin Mary and Child (Sudan National Museum 24362). (photograph Rocco Ricci © The Trustees of the British Museum).

I am captivated by the medieval wall-paintings of saints, apostles, bishops, royalty, biblical stories and archangels, particularly those unearthed by the Polish archaeological mission in the Cathedral at Faras, Sudan, a site situated near the modern Sudan/Egypt border and now beneath the waters of Lake Nubia/Nasser. The paintings were discovered and rescued during the 1960s UNESCO salvage campaign to save the monuments of Egyptian and Sudanese Nubia threatened by the creation of the Aswan High Dam reservoir, and it is their singular beauty that inspired me as a student to focus on Sudanese and Nubian archaeology. To this day, I remain entranced by the richness of Nubian culture. The portrait in the Sudan National Museum of a Nubian queen or noblewoman, held within the protective embrace of the Virgin Mary and the infant Jesus, is particularly striking. Splendidly attired, the queen bears a small cross on her forehead demonstrating her Christian faith to the viewer whom she gazes directly at. The age at which she was depicted is perhaps close to that of the Sudanese mummy, who would have been between 20 and 35 years old at time of her death.

The Sudanese mummy was very likely not a queen, but in death rich and poor alike received similar burials. The conversion to Christianity in the 6th century AD by missionaries from the Byzantine Empire brought about one of the most profound changes ever experienced in the Middle Nile Valley. Churches and cathedrals herald the arrival of Christianity as they replaced the earlier temples to pagan gods. The traditional system of rites and beliefs was swept away and, in its place, totally different attitudes towards death and the afterlife were introduced. Unlike earlier burials, those of the Christian period were not provided with sumptuous grave goods or food offerings. They were sparsely endowed, if at all. Death was a great social equaliser.

Christian graves were simple tombs with small, flat-topped rectangular superstructures of brick or stones that covered a narrow grave shaft. The deceased was wrapped in a shroud, and the head was often protected by a brick or stone. Bodies were placed on their backs in an extended rather than crouched or contracted position. More elaborate tomb superstructures were plastered white; they might be cruciform in shape or have rounded tops. Graves were orientated east–west, though in some places this was done according to the orientation of the Nile rather than true north. The west end of the tomb, the end which corresponded to the location of the head of the deceased, was sometimes equipped with a lamp-box, a small niche which provided protection from the wind for a lit lamp.

Pottery lamp from Faras Cemetery 4, grave 39, excavated by the University of Oxford Expedition early in the 20th century. (British Museum EA 51771)

Pottery lamp from Faras Cemetery 4, grave 39, excavated by the University of Oxford Expedition early in the 20th century. (British Museum EA 51771)

One such lamp (EA51771) was excavated from Faras Cemetery 4 early in the 20th century by the University of Oxford Expedition led by Francis Llewellyn Griffith, and is now in the British Museum’s collection. The disc on the top of the lamp is decorated with a rosette, and a retrograde Greek inscription reading ‘Great is the name of God’ adorns the shoulder.

Decorative relief frieze with an eagle or dove from the First Cathedral at Faras, 7th century AD (British Museum, EA 606).

Decorative relief frieze with an eagle or dove from the First Cathedral at Faras, 7th century AD (British Museum, EA 606).

Artistic expression was not restricted to wall-paintings or ceramics (though traces of wall-paintings have so far been found in over 50 medieval churches), but also encompassed many minor arts such as basketry, leather and metal-work and textiles. Architectural elements were often embellished with Christian motifs. Such powerful religious symbolism is evident in a 7th-century decorative sandstone frieze (EA 606) from the First Cathedral at Faras. It depicts an eagle or dove surmounted by a cross, standing between columns and altars with its wings spread. This piece, originally part of a sequence of 24 birds, may have adorned the cathedral’s apse. Its yellow background with the relief features highlighted in black would have created an eye-catching, yet pious band of decoration which alluded to the resurrection of Christ, and it may have been something upon which our Sudanese mummy or her contemporaries gazed during their lives while contemplating salvation and paradise.

Ancient lives, new discoveries is on at the British Museum until 30 November 2014.
The exhibition is sponsored by Julius Baer. Technology partner Samsung.

The exhibition catalogue, Ancient lives, new discoveries: eight mummies, eight stories, is available at the Museum’s online shop for £15 (£13.50 for Members).

Filed under: Ancient lives: new discoveries, Archaeology, , , , , , , , , , , , , , ,

A second look at a Byzantine icon: The Triumph of Orthodoxy

Robin Cormack, classicist and art historian

And life slips by like a field mouse,
Not shaking the grass.

Working on a new edition of my book Icons – first published by the British Museum in 2007 – I was reminded of these lines by the poet Ezra Pound on the rapid passing of time. I had to think what changes might be necessary to my work after seven years. In writing Icons my hope was to do two things: to celebrate the importance of the collection of Byzantine and Russian icons in the British Museum, and at the same time to give reasons why icons form a significant part of the history of Europe too. To use a favourite phrase of art historians, if art is embedded in society, then how can we understand that society through looking at its art? Icons are a special case because they are a medium that was produced in Europe from the early centuries of Christianity, became an essential element in the lives of the people of the Middle Ages, especially in the Byzantine world with its capital of Constantinople, but continue to be produced today. In other words, if you go into an Orthodox church, you will see in use icons first painted centuries ago side by side with new icons. That makes icons a very special form of art. There is the further complication that you may also see icons, not in a church, but in a ‘secular’ setting like the British Museum. Do they have the same impact in that context?

Icon with the Nativity of Christ. Egg tempera on wood with linen and gesso. Crete, 17th century (2012,8039.1)

Icon with the Nativity of Christ. Egg tempera on wood with linen and gesso. Crete, 17th century (2012,8039.1)

What changes have there been since 2007? The Museum has acquired a dozen more icons since then, which are illustrated at the end of the catalogue. For me the most charismatic new icon is the Nativity of Christ (cat. no. 112), painted on Crete in the 17th century. It came to the British Museum in 2012 as a bequest from the artist and Royal Academician John Craxton who for most of his life worked in a studio at Chania and produced colourful and joyful paintings of life in modern Crete. He wanted this, the best icon in his collection, to be in the British Museum collection, and so the Museum has in its possession a painting previously owned by the artist who encouraged art historians to appreciate the icons of Crete.

The Triumph of Orthodoxy. Icon painted with egg tempera, with gilding, on a wooden panel faced with linen and gesso. Byzantine (late), around 1400, Constantinople (1988,0411.1)

The Triumph of Orthodoxy. Icon painted with egg tempera, with gilding, on a wooden panel faced with linen and gesso. Byzantine (late), around 1400, Constantinople (1988,0411.1)

Possibly the best known icon in the British Museum is the Triumph of Orthodoxy, dating to the 14th century. It celebrates the end of the period of Iconoclasm in the 8th and 9th centuries when icons were banned in Byzantium. From AD 843 onwards, the ban was revoked and icons became a defining feature of the Orthodox Church. The people who fought for icons are represented on the icon. As part of my research for the new edition of the book, I looked closely again at the icon, especially at the fragmentary Greek inscriptions giving the names of these iconophile ‘heroes’. I decided that I – as well as everyone else who had looked – had made some wrong deductions about who some of the figures were. In the new edition I identify the two central saints in the lower register, who jointly hold an image of Christ, as the two most famous iconophiles: St Stephanos, who was reputedly martyred in the 8th century, and St Theodore who was exiled on the 9th century for promoting the veneration of icons. As for the saints on the right, it is now argued that the artist wrote the wrong names beside some of the figures. The most likely explanation is that the icon copies an earlier icon of the same subject and the artist made a few mistakes, probably because the model was larger and had a few more figures.

So a second edition gives a second chance to look and interpret. Perhaps Ezra Pound was unduly pessimistic.

Icons by Robin Cormack, published by British Museum Press, is available online for £14.99, Members’ price £13.49

Robin Cormack is Emeritus Professor of the History of Art at the Courtauld Institute of Art, and is currently teaching Ancient art and archaeology at the Classics Faculty, University of Cambridge

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

Filed under: Collection, , , , , , , , , , ,

A new look at ancient Egyptian textiles

textile fragmentAmandine Mérat (Curator) and Emily Taylor (Museum Assistant), British Museum

We have recently taken the opportunity to audit, document and re-house the textiles dating to the 1st millenium AD – around 1,800 in number – that are looked after by the Department of Ancient Egypt and Sudan (AES). The main aims of this project are the re-organisation and distribution of the Roman, Byzantine and early Islamic textiles into a coherent and accessible storage system, along with the improvement of their documentation by adding photographs, technical analysis, iconographic and cultural information.

Square tapestry panel in multi-coloured wool depicting a bird and a cross-within-wreath (EA 22870).  Egypt, Akhmim, 4th-7th century AD. The tapestry panel is applied on a linen plain weave, cut out when discovered at the end of the 19th century

Square tapestry panel in multi-coloured wool depicting a bird and a cross-within-wreath (EA 22870). Egypt, Akhmim, 4th-7th century AD. The tapestry panel is applied on a linen plain weave, cut out when discovered at the end of the 19th century

As in many museums today, the British Museum’s Egyptian textiles collection is mostly composed of fragmentary pieces, acquired through excavation and purchase in the late 19th and early 20th century. At that time, decorative elements considered as spectacular or aesthetically pleasing were often cut out from large pieces when discovered, as only the most vibrant and colourful pieces were wanted by European collectors. However, this meant that they were also cut off from their archaeological contexts. It was for this reason that, with the exception of two great sets of textiles from excavations at Qasr Ibrim and Wadi Sarga, we decided to reorder the Museum’s collection not by provenance or date – as these are rarely known – but by technique. Indeed, a close visual examination of technique, and drawing on knowledge of their cultural background, allows us to determine the possible original function of many of the textiles, essentially fragments of garments and home furnishing originating from burial contexts.

Detailed macro shot of a multi-coloured tapestry panel, depicting three stylized human figures (EA 37131). Egypt, 4th-7th century AD

Detailed macro shot of a multi-coloured tapestry panel, depicting three stylized human figures (EA 37131). Egypt, 4th-7th century AD

We began our audit by classifying the textiles by their primary weaving technique – tapestry, brocade, embroidery etc. This process helped us to work out how much storage space was required for each group, taking into account the fragility of the textiles, but also the need for easy access and the possibility of new items joining the collection at a later date. Each primary group was then sub-divided, on the basis of shape or iconography of the textiles.

Late Antique Egyptian textiles re-housed in storage drawers after study, documentation and photography

Late Antique Egyptian textiles re-housed in storage drawers after study, documentation and photography

Drawer by drawer, the technical and iconographic analyses for each textile were completed by Amandine Merat, the curator responsible for the project. Some pieces had already been studied by Hero Granger-Taylor in the 1990s; in those cases, her detailed notes were checked and annotated where necessary. However, a great majority of the textiles had never been analysed before. For these, the fibres were identified, measurements were taken, techniques carefully analysed and a complete description of the piece and its iconography was made. Original function of the textiles and dating were re-attributed where necessary.

Once the technical information was recorded, the textiles were photographed by Emily Taylor. A general shot of front and back was taken, an arrow included to indicate the direction of the warp of the fabric. Detailed macro shots were then taken to record any small details or highlight interesting elements of design, use or technique. The textiles were then re-housed in acid free tissue, and melinex sleeves where possible, and then placed on Correx boards within their storage drawers to enable ease of handling.

Amandine Mérat (front) and Ruiha Smalley (behind) recording technical analyses from a textile, in the AES Department organic store room.

Amandine Mérat (front) and Ruiha Smalley (behind) recording technical analyses from a textile, in the AES Department organic store room.

All relevant information was recorded in a spreadsheet by our volunteer Ruiha Smalley, before being standardised and uploaded into the British Museum’s collection database, through which it will soon be available to the public via the collection online.

The post was updated on 24 June to correct a date in the first sentence. The textiles date to the 1st millennium AD, not BC.


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

Filed under: At the Museum, Collection, Egypt and Sudan, , , , , , , , , ,

Receive notifications of new posts by email.

Join 16,341 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This photograph shows a mountainside in #Angola featuring large engravings which may be thousands of years old. This rock art is found at Tchitundu-Hulu Mulume, one of a group of four rock art sites located in the south-west corner of Angola, by the edge of the Namib desert. The area is a semi-arid plain characterised by the presence of several inselbergs (isolated hills rising from the plain). Of the four sites, Tchitundu-Hulu Mulume is the largest, located at the top of an inselberg, 726 metres in height. There are large engravings on the slopes of the outcrop, most of them consisting of simple or concentric circles and solar-like images.

Our #AfricanRockArt image project team have now completed cataloguing 19,000 rock art images from Northern, Eastern and Southern Africa, and will be completing work on sites from Southern African countries in the final phase of the project. Follow the link in our bio to find out more about our African #rockart image project and the incredible images being catalogued.
Photograph © TARA/David Coulson. Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

This painted panel, from Kondoa District in #Tanzania, shows the white outline of an elephant’s head at the right, along with some figures in red that it is possible to highlight with digital enhancement.

Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson. Watch the incredible discovery of this colossal statue, submerged under the sea of thousands of years. This colossal 5.4-metre statue of Hapy was discovered underwater in what was the thriving and cosmopolitan seaport of Thonis-Heracleion. It once stood in front of a temple and would have been an impressive sight for traders and visitors arriving from the Mediterranean.

Come face to face with the ancient Egyptian god Hapy for yourself in our‪ #SunkenCities exhibition, until 27 November 2016.

Colossal statue of Hapy. Thonis-Heracleion, Egypt. About 380-250 BC. Maritime Museum, Alexandria. © Franck Goddio/Hilti Foundation. The discovery of this stela, which once stood at the entrance of the main entry port into ancient Egypt, was an extraordinary moment. Its inscription detailing taxes helped solve a 2,000-year-old mystery!

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 the cities of Thonis and Naukratis, and it originally stood in the Temple of Amun-Gereb. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis.

A bilingual decree found in 1881 refers in its Greek inscription to ‘the Temple of Heracleion’ and in hieroglyphs to ‘the Temple of Amun-Gereb’. Together these objects revealed that Thonis and Heracleion were the same place.

Learn more about the deep connections between the great ancient civilisations of Egypt and Greece in our #SunkenCities exhibition.
Stela commissioned by Nectanebo I (r. 380–362 BC), Thonis-Heracleion, Egypt, 380 BC. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that the #SunkenCities of Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the ancient Egyptian cities were believed to be lost.

Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. The amazing rediscovery of these lost cities is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

See more magical moments of discovery in our #SunkenCities exhibition, until 27 November 2016. © Franck Goddio/Hilti Foundation.

#archaeology #diving #ancientEgypt
Follow

Get every new post delivered to your Inbox.

Join 16,341 other followers