British Museum blog

Faience figurines from Middle Kingdom Egypt

Gianluca Miniaci, Research Fellow, British Museum

Faience hippopotamus found in tomb 477 at Matmar. (EA 63713)

Faience hippopotamus found in tomb 477 at Matmar. (EA 63713)

The British Museum has a fine collection of faience figurines made during the late Middle Kingdom and Second Intermediate Period (c. 1800–1550 BC). I have recently completed a three-month post-doctoral fellowship in the Department of Ancient Egypt and Sudan, during which time I studied and documented a total of 82 examples. Most of these glazed statuettes represent animals such as hippopotami, lions, crocodiles, baboons, cats, dogs and even hedgehogs. The corpus also includes humans, most notably dwarves and female fertility figures. Images of the deities Aha and Ipy are part animal, part human. Some of the objects are non-figurative and represent food offerings such as fruit and vegetables, as well as jars, cups and bowls.

Faience figurine of a lion attacking a calf. Purchased by the British Museum in 1891. (EA 22876)

Faience figurine of a lion attacking a calf. This is one of the items purchased by the British Museum in 1891. (EA 22876)

Some 35% of the British Museum material comes from documented excavations, including sites such as Serabit el-Khadim, Tell el-Yahudiya, Matarya, Asyut, Matmar, Mostagedda, Abydos, and Thebes. Most pieces are from funerary contexts, where they would have been found in or near the coffin or just outside the burial chamber. Fourteen figurines, purchased from various collectors and dealers in 1891, may have been found at a site in the north of Egypt. They closely parallel examples from the elite cemeteries of Lisht, Lahun and Harageh.

Two faience figurines from Petrie’s tomb G62 at Abydos: a female dwarf and the god Aha. (EA 37298 and EA 37297)

Two faience figurines from Petrie’s tomb G62 at Abydos: a female dwarf and the god Aha. (EA 37298 and EA 37297)

Most interesting of all is a group of six pieces representing Aha, Ipy, a female dwarf, an antelope (?) and two model vessels. They are recorded as finds from tomb G62 in Abydos, excavated by Flinders Petrie in 1902. He discovered the burial with much of its content intact, all now in the British Museum, and I have been kindly granted permission to publish the entire group. Beside the faience objects, it includes pairs of ivory wands, a bronze mirror, a wooden fish, a silver torque, gold and silver rings, alabaster vessels, a copper bowl, various amulets, and many stone and faience beads.

Part of my research aims to clarify why the figurines were included in burials and determine what they symbolise. It is clear that many were apotropaic, intended to ward off evil. Statuettes like these have often been found together alongside other objects with apotropaic imagery, including magic rods and wands, and feeding cups. These other objects display a much broader range of creatures but include images of hippopotami, lions, crocodiles, baboons, cats, dogs, and of Aha and Ipy. Inscriptions indicate that the wands had to protect pregnant women and infants, but by extension they probably also served to protect people reborn into the afterlife. All new-borns and those newly born were vulnerable to destructive forces, so they needed magical protection. It is fortunate that these ancient beliefs have left us with such a wealth of charming statuettes!

Video production by Claudio Benedetti and Anna Giulia De Marco, Laboratorio di cultura Digitale Università di Pisa

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

Colourful glass adornments from Egypt: an 18th-dynasty enigma

Anna Hodgkinson, Research Fellow, British Museum

The author inspecting the glass objects

The Egyptian 18th Dynasty (around 1545-1290 BC) is renowned for the quality of glass production, particularly vessels such as the famous bottle in the form of a fish from Amarna. I have spent the last three months in the Department of Ancient Egypt and Sudan studying a less well-known group of glass objects from the same period.

These have been widely interpreted as ‘ear-plugs’ or ‘ear-studs’. I was intrigued: how did this interpretation come into existence? The overall form of the – very colourful – glass objects resembles that of mushroom- or papyrus-shaped ear-studs, frequently found in New Kingdom contexts, with a large number coming from Amarna and depicted on tomb scenes and mummy cartonnages. However, what struck me as unusual was that all the examples in the British Museum have a small hole running through the centre of the object. Although scholars refer to these items as ‘ear-studs’ or ‘ear-plugs’, publications from over a century ago, including some by Sir Flinders Petrie and bead specialist Horace C. Beck, call them beads or amulets, because of this piercing.

The glass objects laid out during the documentation process

The objects were produced by wrapping molten glass rods around a metal rod; however, this procedure would not have necessitated a complete piercing. Scholars have suggested that the frontal hole, which would be visible if these items were worn through a pierced ear-lobe, may have accommodated a fresh flower. While this is conceivable, I would rather interpret these items as beads, since most of them have a spiral-decorated shaft. This shaft would be invisible when worn through the ear-lobe. The beads could have been threaded horizontally or vertically, worn in collars or on the ends of wigs.

Unfortunately, there is no pictorial nor three-dimensional evidence for how these objects were worn, nor do the archaeological contexts tell us much about their use. Most have been found individually, rather than in pairs, and those that appear on the art market and in private collections are usually without provenance (i.e. information about the context in which they were originally excavated or found). This shows that we must be cautious with how objects are designated, because they may be based on conjecture rather than evidence.

My time in the British Museum has allowed the updating of nearly 240 records of items of glass jewellery of the New Kingdom with full descriptions and measurements, and full photographic documentation, accessible to all through the Museum’s Collection online.

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

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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
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