British Museum blog

Excavating a chamber tomb

Carina Summerfield-Hill, physical anthropologist

Rami Mohamed Abdu and Abou Ad Abu Taher excavating through the roof of the western chamber

I’m one of three physical anthropologists working in Cemetery C at Amara West, and in recent days I’ve been working on a chamber tomb (Grave 234) – the largest and most exciting of grave types here.
Rami Mohamed Abdu lifting the beer jar from the shaft of grave 234

The tomb consists of a central shaft with an underground eastern and western chamber. We started excavating down into the central shaft to expose the doorway to each chamber. The sand in the shaft contained a complete Egyptian-style beer jar.

Since then, we have focused on excavating the western chamber.

The safest way to excavate it was to dig down from above, through the chamber’s roof, otherwise the fragile but heavy layers of alluvium could collapse on us. Once the chamber was exposed, we removed windblown sand which had accumulated inside.

It contains three articulated burials and a concentration of disarticulated bone that included four complete skulls.

Carina Summerfield-Hill excavating the Nubian style crouched burial

So far I have excavated one of the articulated burials towards the centre of the chamber, the feet of which poked out into the shaft.

The entire burial was within the remains of a wooden casing, and was of an adult female, fully articulated in a crouch position – this was a really pleasing discovery as it is a local Nubian tradition of burial, as opposed to the Egyptian tradition of laying the body out in an extended burial position. This is the first Nubian burial type to be found in Cemetery C!

Western chamber of Grave 234 with three articulated burials and concentration of disarticulated human remains (under cover to the right)

The western chamber also contains two further articulated burials that are extended – It is fascinating to see two different traditions in the same grave.

Over the coming days I shall be excavating these two extended burials along with the concentration of disarticulated bones, so there is a lot of work still to do.

And next we have the eastern chamber, where we have just begun removing the surface to get access.

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

Filed under: Amara West, Archaeology, , , , , , ,

Receive notifications of new posts by email.

Join 16,486 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

In 1966 the Beatles were number one with Paperback Writer, Lyndon Johnson was asked to ‘get out’ of Vietnam, and a gallon of gas cost $0.32. American artist Ed Ruscha travelled 1,400 miles on Route 66 from LA to his hometown of Oklahoma, recording the gas stations dotted along the road. Influenced by graphic design and advertising, he transformed everyday images like this into dramatic works of art.

See this work on loan from @themuseumofmodernart in our #AmericanDream exhibition – follow the link in our bio to book tickets.

Edward Ruscha (b. 1937), Standard Station. Screenprint, 1966. @themuseumofmodernart New York/Scala, Florence. © Ed Ruscha. Reproduced by permission of the artist.

#EdRuscha #Route66 #USA #graphicdesign #advertising #print #art #LA #1960s #westcoast #printmaking Today marks 30 years since the death of Andy Warhol, hailed as the ‘Pope of pop art’. One of the most recognisable images in the world, Warhol’s Marilyn series remains sensational after five decades. This series of 10 individual screenprints, made in 1967, is on loan from @tate for our #AmericanDream exhibition – opening 9 March. Warhol used a cropped and enlarged publicity still as the source image for this work, taken by photographer Gene Kornman for Monroe’s 1953 film ‘Niagara’. Behind the glamour and fame of the Marilyn series lay tragedy. Recently divorced from playwright Arthur Miller, Marilyn had taken her own life with a drug overdose in August 1962. Warhol’s depiction of the alluring screen goddess became a memorial to a fallen idol.

See some of Warhol’s most iconic works in our major exhibition. Follow the link in our bio to find out more.

#Warhol #AndyWarhol #PopArt #1960s #USA #art #MarilynMonroe Sweets, ice creams and cakes feature heavily in the sugary, colourful work of American artist Wayne Thiebaud. This piece is called ‘Gumball Machine’ and was made in 1970. His works are characterised by his focus on mass-produced objects.

You can see some of his prints in our upcoming #AmericanDream exhibition – book your tickets by following the link in our bio.

Wayne Thiebaud (b. 1920), Gumball Machine. Colour linocut, 1970. © Wayne Thiebaud/DACS, London/VAGA, New York 2016.
#WayneThiebaud #popart #art #Americanart #🍭 #🍬 This beaded #wedding blanket was made around the 1950s in South Africa by a Ndebele artist. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves. In response to losing their ancestral lands, Ndebele women began to make distinctive beadwork for significant events.

They also adapted these designs and painted them on their homesteads, to include ever more intricate and colourful patterns. As a form of protest, these artworks had the effect of making Ndebele identity highly visible at a time when the government was attempting to make them effectively invisible through rural segregation.

See this beautiful beaded blanket in our special exhibition #SouthAfricanArt, which traces the history of this nation over 100,000 years. Follow the link in our bio to book your tickets before the exhibition closes on 26 Feb.
#SouthAfrica #history #design #beads #Ndebele #blanket In 19th-century southern Africa, people wore different designs, colours and materials to communicate their power, wealth, religious beliefs and cultural community.

This beautiful beaded necklace is made of brass, glass and fibre, and is known as an ingqosha, a traditional necklace worn by the Xhosa people. Young Xhosa women and men traditionally wear the ingqosha at weddings and ceremonial dances.

During apartheid, necklace designs from the 1800s were used as a form of political and cultural protest. While on the run in 1961, Nelson Mandela was photographed wearing a beaded collar, and after his capture his then wife Winnie reportedly chose one for him to wear during sentencing. By wearing this necklace Mandela made a powerful cultural and political statement about his Xhosa ancestry.

Learn more about the fascinating history of this nation in our #SouthAfricanArt exhibition, closing 26 Feb 2017. Follow the link in our bio to find out more.
#SouthAfrica #necklace #jewellery #beads #history #art #xhosa We love this great shot of Esther Mahlangu’s stunning BMW Art Car taken by @bitemespice. It’s currently in the Great Court as part of our #SouthAfricanArt exhibition, charting the fascinating history of a nation through its art. The car was painted in 1991 to mark the end of apartheid in South Africa, and the brightly coloured geometric shapes are inspired by the traditional house-painting designs of the Ndebele people.

Mahlangu’s Art Car combines tradition and history with contemporary art and politics; themes  that are explored in our #SouthAfricanArt exhibition. Catch it before it ends on 26 February 2017 – you can book tickets by following the link in our bio.
#SouthAfrica #mybritishmuseum #britishmuseum #regram #repost
%d bloggers like this: