Ancient Nubia Now
October 13, 2019- January 20, 2020
MUSEUM OF FINE ART, BOSTON
Winged Isis pectoral, 538-519 B.C.E. Napatan Period, reign of Amaninatakelebte. Gold. *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
The Museum of Fine Arts, Boston (MFA), presents
more than 400 works of art from its collection,
made over thousands of years of Nubian history
THE BEGINNING OF AN EMPIRE
Kerma (2400–1550 B.C.E.)
Already an established and fortified city by 2400 B.C.E., Kerma grew to become the capital of a vast Nubian kingdom by about 1700 B.C.E., with a trade network that reached from the Nile Valley into Central Africa and the Red Sea coast. Palaces, offices, workshops and homes within the city clustered around a massive mud brick temple.
Outside the walls lay suburbs, ports and smaller settlements. A cemetery to the west of the city housed mortuary temples and mounded royal tombs, where Kerma’s rulers were buried along with the remains of animals and humans, sacrificed to accompany them to the afterlife.
Two of the exhibition’s galleries are dedicated to Kerma. The first introduces the kingdom’s material culture through objects such as blue faience temple remains, carved inlays from funerary beds, and burial offerings, including jewelry and some of the finest pottery found anywhere in the Nile Valley. The second features objects found in the royal tombs, while addressing how racial prejudices informed Reisner’s work and led to misinterpretations of Kerma.
Statue of Lady Sennuwy
Whole statue and bust detail. Statue of Lady Sennuwy, 1971–1926 B.C.E. Egyptian, Middle Kingdom, Dynasty 12, reign of Senwosret I Granodiorite *Museum of Fine Arts, Boston. Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
A highlight is the large-scale Statue of Lady Sennuwy (Egyptian, Middle Kingdom, Dynasty 12, reign of Senwosret I, 1971–1926 B.C.E.), a masterpiece of Egyptian sculpture that was found in Kerma, buried in the tomb of the kingdom’s last ruler. While Reisner originally concluded that Kerma was a military outpost ruled by Egypt, scholars now believe that an army from Kerma attacked Egypt, looted sanctuaries and brought Egyptian objects home as souvenirs and status symbols.
Belt and miniature Dagger
LEFT: Belt with a glazed quartz pendant, 1700-1550 B.C.E. Classic Kerma Period Faience, glazed quartz *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston.
RIGHT: Miniature dagger, 1700-1550 B.C.E. Classic Kerma Period, Bronze, ivory, gold *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Vessels
Vessels, 1700-1550 B.C.E. Classic Kerma Period Pottery *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Egyptian Occupation (1550–1070 B.C.E.)
One exhibition gallery explores the intertwined histories of ancient Nubia and Egypt as neighbors on the Nile—particularly during the period beginning in the mid-16th century B.C.E., when Egypt ruled over northern Nubia after defeating Kerma’s army and destroying the kingdom’s capital.
Egyptian propaganda cast Nubians as the barbaric “other.” The Reliefs of Thutmose III (Egyptian, New Kingdom, Dynasty 18, reign of Thutmose III, 1947–1425 B.C.E.), for example, refer to the ram-headed god Khnum as the “opposer of bows,” in reference to the Nubians’ proverbial skill as archers, and “smiter of bubalis-antelopes,” comparing the Nubians to wild desert animals that need to be brought under submission.
The true relationship between the Nubians and Egyptians, however, was far more nuanced. As other objects in the gallery reveal, they lived in proximity, traded materials and luxury goods, shared ideas and religious beliefs, and intermarried.
Napata (750–332 B.C.E.)
During the reign of the Nubian king Piankhy (743–712 B.C.E.), power dynamics in the Nile Valley took a dramatic turn. Piankhy and his army conquered Egypt, which he and his successors ruled as the 25th Dynasty. Official inscriptions and religious texts began to be recorded in Egyptian hieroglyphic script—offering, for the first time in their history, the Nubians’ own voices and perspectives in writing. Piankhy ruled from the city of Napata, which by the beginning of the 8th century B.C.E. had become the capital of an expansive Nubian kingdom, located at a strategic site for controlling trade and near Nubia’s holiest site, the “sacred mountain” at Gebel Barkal.
Three galleries of Ancient Nubia Now are focused on the Napatan era, when Nubia took its place as a world superpower and left monuments and artworks of uncontested beauty and power. Highlights include the spectacular jewelry of Piankhy’s wives; statues of kings Senkamanisken and Akharitene found at Gebel Barkal; the gold and silver “treasure” of king Aspelta; and more than 100 shawabties, or funerary figurines, of kings including Taharqa, the most powerful of Nubia’s rulers.
Pendant
Pendant with ram-headed sphinx, 743-712 B.C.E. Napatan Period, reign of Piankhy Gilded silver, lapis lazuli, and glass *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Pendant
Hathor-headed crystal pendant, 743-712 B.C.E. Napatan Period, reign of Piankhy Gold, rock crystal *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Collar
Collar, 712-698 B.C.E. Napatan Period, reign of Shebitka. Electrum *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Mirror
Mirror of King Shabaka, 698-690 B.C.E. Napatan Period, reign of Shabaka Bronze and gilded silver *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
King Senkamanisken
Whole statue and bust detail. Statue of King Senkamanisken, 643-623 B.C.E. Napatan Period, reign of Senkamanisken Granite gneiss *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Alabastron
Alabastron and detail. Alabastron (bag-shaped vessel) with inlaid gold and silver decoration, 593-568 B.C.E. Napatan Period, reign of Aspelta ravertine (Egyptian alabaster), gold, silver, Egyptian blue, carnelian, magnetite, amazonite *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Shawabty of King Taharqa
Shawabty of King Taharqa, 690-664 B.C.E. Napatan Period, Reign of Taharqa. Travertine (Egyptian alabaster) *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Vessel
Vessel in the form of a bound onyx, early 7th century B.C.E. Napatan Period Travertine (Egyptian alabaster) *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Meroe (332 B.C.E.–364 C.E.)
By the fourth century B.C.E., the Nubian capital moved south to Meroe—a cosmopolitan metropolis that was one of the great cities of antiquity, yet remains among the least understood. In part, the mystery stems from the fact that scholars still cannot read Meroitic script—the second-oldest African script, after Egyptian hieroglyphs. The Stele of King Tanyidamani (180–140 B.C.E.), is covered in the longest known Meroitic inscription, but is yet to be deciphered.
Stele of King Tanyidamani
Stelle and detail. Stele of King Tanyidamani, 180-140 B.C.E. Meroitic Period, reign of Tanyidamani Granite gneiss *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
The Meroitic period coincided with Greek and then Roman rule in Egypt, bringing Nubia into close contact with the classical world, while also ushering in a deeper relationship with central Africa.
Head of a statue of Dionysos
Head of a statue of Dionysos, 150–50 B.C.E. Greek, Late Hellenistic Period Bronze, silver, shell. *Harvard University—Boston Museum of Fine Arts Expedition. *Photograph © Museum of Fine Arts, Boston
Additional highlights of this gallery include finely decorated pottery that drew inspiration from cultural exchange across the Mediterranean; elaborate jewelry that reached heights of technical sophistication unparalleled in the ancient Nile Valley; Greek and Roman objects that may have been diplomatic gifts, tribute or results of trade with Meroe’s many rulers; and a set of recently conserved auloi (reed pipes) that are the subject of an ongoing international research project.
Pottery
Decorated spheroid jar, 2nd century C.E. Meroitic Period. Pottery * Harvard University—Boston Museum of Fine Arts Expedition * Photograph © Museum of Fine Arts, Boston
Shrine
Shrine, 100-200 C.E. Meroitic Period Stuccoed and painted sandstone *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
Hanging lamp
Hanging lamp, 140-155 C.E. Meroitic Period, reign of Takideamani Bronze *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston.
Bracelet
Bracelet with image of Hathor, 250-100 B.C.E. Meroitic Period Gold, enamel *Harvard University—Boston Museum of Fine Arts Expedition *Photograph © Museum of Fine Arts, Boston
New ways of understanding Nubia’s history
Masterpieces that highlight the skill, artistry and innovation of Nubian makers and reflect the wealth and power of their kings and queens. The Nubians left behind remains of cities, temples, palaces and pyramids, but few written records. As a result, their story has been told in large part by others—in antiquity by their Egyptian rivals, who used propaganda to cast Nubia in a negative light, and in the early 20th century by American and European scholars and archaeologists who brought racial prejudice to their work. The exhibition explores how these narratives have evolved over time, confronting the MFA’s own past misinterpretations, and offering new ways of understanding Nubia’s history and contemporary relevance.
A Recognition for MFA Curator George A. Reisner
All of the objects in the exhibition are drawn from the MFA’s collection of ancient Nubian art, the core of which was formed between 1913 and 1932, when the Museum partnered with Harvard University on the first scientific excavations of Nubian sites.
The expedition team, led by archaeologist and MFA curator George A. Reisner, undertook this work at the invitation of the Egyptian and Sudanese governments, then under British colonial administration. In exchange for financing and performing the excavations, the Museum received a portion of the finds, a standard practice at the time.
Like a number of 20th-century scholars, Reisner failed to acknowledge the sophistication of ancient African cultures south of Egypt. While his meticulous notes, records and photographs—which have been preserved by the MFA—continue to be an important source for ongoing research and excavations, curators, scholars and archaeologists today are also asking new questions and correcting his original assumptions.
ORGANIZERS
The exhibition was organized by Denise Doxey, Curator, Ancient Egyptian, Nubian and Near Eastern Art; Rita Freed, John F. Cogan Jr. and Mary L. Cornille Chair, Art of Ancient Egypt, Nubia and the Near East; and Lawrence Berman, Norma Jean Calderwood Senior Curator of Ancient Egyptian, Nubian and Near Eastern Art. Interpretive materials for Ancient Nubia Now feature additional perspectives, including an introductory text on Nubia as a Black legacy by Edmund Barry Gaither, Director and Curator of the Museum of the National Center of Afro-American Artists (NCAAA) in Roxbury, a partner organization of the MFA for 50 years, and a statement from Dr. Abdel-Rahman Mohamed, a prominent member of the Boston Nubian community.
PUBLICATIONS
A trio of books focused on the MFA’s holdings of ancient Nubian art, all produced by MFA Publications, is available in the Museum shops and online.
Arts of Ancient Nubia
a recent addition to the MFA Highlights series, provides a fascinating introduction to the collection.
Author: Denise M. Doxey is Curator, Ancient Egyptian, Nubian, and Near Eastern Art, at the Museum of Fine Arts, Boston.
Softcover 7 × 9 in.
168 pages
125 color illustrations
ISBN: 978-0-87846-853-9
$22.50
Jewels of Ancient Nubia
features more than 100 adornments and personal accessories from the collection, offering the first comprehensive introduction to the sophisticated jewels of Nubia and revealing how Nubian artisans employed techniques that would not be reinvented in Europe for centuries.
Author: Yvonne J. Markowitz is Rita J. Kaplan and Susan B. Kaplan Curator of Jewelry, at the Museum of Fine Arts, Boston. Denise M. Doxey is Curator of Ancient Egyptian, Nubian, and Near Eastern Art at the Museum of Fine Arts, Boston.
Hardcover, 8 x 11 in
184 pages
140 color illustrations
ISBN: 9780878468072
$45
Unearthing Ancient Nubia
Photographs from the Harvard University–Boston Museum of Fine Arts Expedition features 80 beautifully reproduced selections from some 45,000 glass-plate negatives housed at the MFA. Documenting decades of excavations in Egypt and Sudan, the book brings to life the dramatic landscapes of the Nile Valley, the excitement of archaeological discovery and the artistry of the photographers who recorded it all.
Author: Lawrence M. Berman is Norma Jean Calderwood Senior Curator of Ancient Egyptian, Nubian, and Near Eastern Art at the Museum of Fine Arts, Boston. Hardcover, 11.375 × 8.5 in., 144 pages, 80 duotone illustrations, ISBN: 978-0-87846-854-6
$40.00
Highlights from the book “Unearthing Ancient Nubia”
Kerma: Statue of Lady Sennuwy emerging, December 16, 1913. Photographer: Mohammedani Ibrahim Ibrahim *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Gebel Barkal: Trench in Temple B 500, fragments of statues in situ, February 27, 1916. Photographer: Mohammedani Ibrahim Ibrahim *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Nuri: Pyramid 6 (Anlamani), men at work getting out the sarcophagus of King Anlamani, April 12, 1917. Photographer: Mohammedani Ibrahim Ibrahim *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Nuri: Camp, showing shawabties laid out, March 19, 1917. Photographer: George Andrew Reisner *Harvard University-Boston Museum of Fine Arts Expedition
Nuri: Pyramid 52 (a queen), end of entrance stair seen through doorway from Room A, January 4, 1918. Photographer: Mohammedani Ibrahim Ibrahim *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
El-Kurru: Pyramid 16, Room B, March 12, 1919. Photographer: Mahmud Shadduf *Harvard University-Boston Museum of Fine Arts Expedition Courtesy Museum of Fine Arts, Boston
Gebel Barkal: Pyramids 1-8, May 19, 1920. Photographer: Mohammedani Ibrahim Ibrahim *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Begrawiya: North Cemetery at Meroe, Pyramids N 32 and N 19, April 12, 1921. Photographer: Mohammedani Ibrahim Ibrahim Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Begrawiya: Pyramid N 17, room A, showing pottery in situ, April 1, 1921. Photographer: Mohammedani Ibrahim Ibrahim *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Kerma: Beads and pendants: faience, amethyst, glazed crystal, carnelian, shell, garnet, granite, August 10, 1914. Giza Camp. Photographer: Mahmud Shadduf *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Second Cataract at Semna, date boats returning, November 16, 1928. Photographer: Mustapha Abu el-Hamd *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
Uronarti: Southeast wing of the fort, south wall with mudbrick buttresses, December 15, 1928. Photographer: Mustapha Abu el-Hamd *Harvard University-Boston Museum of Fine Arts Expedition *Courtesy Museum of Fine Arts, Boston
MUSEUM OF FINE ART BOSTON
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Boston, Massachusetts 02115, 617-267-9300
https://www.mfa.org/