Pataikos Cippus Amulet, 690–664 BCE (Napatan Period, reign of Taharqa), faience. Excavated at Meroe. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the exhibition label: “On this amulet the protective deity Pataikos stands on top of a pair of crocodiles. In each hand he grasps a plant and a serpent. Above him is a winged disc with a scarab in the center. On the reverse are incised a hyena, a tree, and a disc with serpent. The rounded shape of the amulet resembles that of a cippus, a traditional form for a protective statue but here made in a portable size.”
In the Sudanese Valley, just south of ancient Egypt, another major civilization once bloomed along the Nile. Now known collectively as Nubia, the cultures of this region sat at the crossroads of Central and Eastern Africa, the Mediterranean, and Western Asia and encompassed many different kingdoms over a 6000 year history. One of the earliest was the Kerma culture (2500–1500 BCE), which began in north-central Sudan and stretched upward, eventually extending to the Egyptian border and engulfing the Sudanese kingdom of Sai.
Kerma was subsequently sacked and Nubia (whose peoples were first referred to as the Kush by the Egyptian Middle Kingdom ruler Mentuhotep) annexed by Egypt. The relationship between Egypt and the Kush was never seamless, however, and as Egypt’s power waned, eventually resulting in the disintegration of the New Kingdom, the independent Kingdom of Kush rose. This new Nubian society centered first in the Sudanese city of Napata and then Meroe, also referred to as the Napatan (900–270 BCE) and Meroitic (270 BCE–350 CE) cultures. The Kushite kingdoms of these periods utilized and adapted certain Egyptian iconography, practices, and styles in their grave goods, which were both inherited culturally from the time of Egypt’s rule and brought in as trade goods or war spoils.
Like too many Americans, I knew (and, honestly, still know) very little about Nubia. Of course, it is that very ignorance the exhibition Nubia: Treasures of Ancient Africa sought to combat. Organized by Denise Doxey, curator of ancient Egyptian, Nubian, and Near Eastern art at the Museum of Fine Arts, Boston (MFA), the exhibit travelled to the Saint Louis Art Museum, where I had the pleasure of seeing it in the summer of 2021. The MFA’s collection of Nubian art is the largest outside of Khartoum, Sudan and, in the words of the museum’s collection page, “owes its existence to the pioneering efforts of George A. Reisner, who was granted permission by the Sudanese government to excavate 11 sites in northern Sudan from 1913 to 1932.” As part of this agreement, the uncovered objects were then split between Sudan, as the host country, and the excavators. It’s Reisner’s portion that now makes up the MFA’s collection.
The exhibition in St. Louis focused on burial goods made during the 2000 years that stretched between the Middle Kingdom and Meroitic periods. With one or two exceptions, the objects pictured here were excavated at Kerma, Meroe, Gebel Barkal (also of the Meroitic period), or the sites of the Napatan region, including Nuri and el-Kurru. All appear to have been either made locally or imported from Egypt or the Roman Empire.
The information I’ve included in this post, including that in the picture captions, comes from the exhibition texts, with supplements from the MFA, exhibition, and UNESCO websites, as well as Wikipedia.
Shawabties of King Senkamanisken, 643–623 BCE (Napatan Period), serpentinite and faience. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
The small figurines known as shawabties originated in ancient Egypt where they were intended to serve the deceased and resembled the owner carrying agricultural tools they would need in the afterlife. When the Napatan kings adopted this mortuary practice, they limited its use to only kings and queens. Some graves in Nubia contained over 1000 shawabties, far more than those found in Egyptian tombs, and their placement standing against the walls of the burial chamber, encircling the coffin, suggests they may have been used as protective sentinels.
Shawabties of King Senkamanisken, 643–623 BCE (Napatan Period), serpentinite and faience. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Shawabties of King Senkamanisken, 643–623 BCE (Napatan Period), serpentinite and faience. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Plaque in the Form of a Bound Prisoner, 100 BCE–100 CE (Meroitic Period), bronze. Excavated at Gebel Barkal. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the object label: “In the Amen temple complex at Gebel Barkal, the excavators found a series of bronze plaques showing tightly bound captive foreigners, including these examples. Each has distinct attributes, and Meroitic inscriptions on the backs identify them. They were originally nailed to the temple’s paneling and flagpoles. The act of driving a nail through their bodies would symbolically ‘kill’ them.”
Plaque in the Form of a Bound Prisoner, 100 BCE–100 CE (Meroitic Period), bronze. Excavated at Gebel Barkal. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Bells, 40–155 CE (Meroitic Period), bronze and iron. Excavated at Meroe. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the object label: “Meroitic kings, queens, and other elites regularly sacrificed animals in the entrances to their tombs. These bells once adorned horse collars. The incised decoration focuses on the theme of vanquished enemies. Two of the bells portray bound prisoners with spears or arrows protruding from their bodies. The third features fallen soldiers being devoured by vultures [below]. When rung, the bell’s clapper would have symbolically beaten the enemies depicted.”
Bells, 40–155 CE (Meroitic Period), bronze and iron. Excavated at Meroe. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Stone Vessels, 1700–1550 BCE (Egypt, Middle Kingdom), travertine and anhydrite. Excavated at Kerma, made in Middle Kingdom Egypt. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From exhibition object label: “Egyptian stone vessels, such as these, were valued at Kerma as exotic, foreign items. They were also used as raw material by Nubian artisans making inlays or jewelry. These two ointment jars were spared reuse and became funerary offerings.”
Head of a Man, 1784–1668 BCE (Egypt, Middle Kingdom, Dynasty 12), granodiorite. Excavated at Kerma. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the exhibition object label: “This finely carved head was found between two of the latest Kerma royal tombs. It probably came from a sanctuary in southern Egypt, possibly at Elephantine, near present-day Aswan. It was likely taken to Kerma following a Nubian attack on southern Egypt.”
Head of a Ram, 1700–1550 BCE (Classic Kerma Period), glazed quartz. Excavated at Kerma. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Rams were symbols of power, and this one was once coated in a blue, copper-containing glaze unique to Kerma. Unfortunately, because of its fragility, much of the blue coloring was lost over time.
Head of a Canopic Jar of Queen Atakhebasken, 690–664 BCE (Napatan Period, reign of Taharqa), travertine. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Napatan rulers adopted the Egyptian practice of using of canopic jars to hold the deceased’s internal organs during mummification. Each set contained four jars, and each jar possessed a lid representing one of the four sons of Horus. The baboon-headed jar represented Hapy and contained the body’s lungs.
Figurine of Taweret, 623–593 BCE (Napatan Period, reign of Anlamani), low-fired clay. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the object label: “As a protector of women during pregnancy and childbirth, Taweret was a favorite household goddess in both Egypt and Nubia. She takes the form of a hippopotamus standing on her rear legs, with the paws of a lioness, the breasts of a woman, and the tail of a crocodile. In a funerary context, she aided the rebirth of the dead in the afterlife. In Nubia, she first appeared on the footboards of funerary beds during the Kerma Period.”
Lamp with Handle in the Form of a Horse, 50–75 CE (Roman Imperial Period), bronze. Excavated at Meroe. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From exhibition object label: “The pyramid of Queen Amanikhatashan, the only Nubian ruling queen of the mid-1st century AD, contained a wealth of Roman imports. It is therefore likely that this lamp, with a handle of a galloping horse, comes from the Roman world. The Roman writer Pliny recorded a delegation sent by the emperor Nero on a visit to Meroe. Thus, the imported objects in Amanikhatashan’s tomb, including this lamp, may have been gifts from Rome.”
Amulet of a Cat, 743–712 BCE (Napatan Period, reign of Piankhy), dolomitic marble. Excavated at el-Kuru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Amulet of a Seated Sphinx, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Menat (counterpoise), 1390–1352 BCE (Egypt, New Kingdom, Dynasty 18, reign of Amenhotep III), bronze. Excavated at Dongola Province, Sudan. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the exhibition object label: “Menats, as seen here, originated as functional pieces of jewelry. They served as counterweights that hung at the back of broad beaded necklaces to keep them from drooping off the neck. Menats were sacred to the goddess Hathor, whose priestesses are shown holding then in their hands. In this beautiful openwork example, Hathork appears both as a cow in a papyrus boat and as a female deity with the distinctive features of Queen Tiye, the wife of Amenhotep III.”
Amulet of a Goddess, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Eye of Horus Amulet, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Statuette of Bes, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Lion-maned Bes protected the home, particularly the sleeping. In a funerary context, he protected the dead from harm.
Winged Scarab Pectoral, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Shrine Pectoral, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
This pectoral depicts the god Osiris seated between his wife, Isis, and their son, Horus.
Amulet of Ra-Horakhty, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Amulet of a Ram-headed God, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Amulet of Bes, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Shrine-shaped Pectoral, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From exhibition object label: “On this shrine-shaped pectoral, a nude god strides through a marsh setting. He wears a side lock and a royal uraeus cobra and carries large bunches of fruit or flowers in each hand. His chubby physique, nudity, and sidelock identify him as a child. He is probably Harporates, the infant version of the god Horus.”
Hathor Head Amulet, 743–712 BCE (Napatan Period, reign of Piankhy), faience. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the object label: “The face of the cow-eared goddess Hathor appears in the center of this amulet. Above her head is a shrine, and beneath her is a beaded broad necklace, which is also the hieroglyphic symbol for gold. The cobras on either side of her sit atop sacred eye symbols and wear the crowns of Upper and Lower Egypt on the right and left, respectively.”
Necklace, 270–50 BCE (Meroitic Period), gold and carnelian. Excavated at Meroe. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the exhibition object label: “During the Meroitic Period, Nubian jewelers combined elaborate goldwork with beads made of glass or semi-precious stones. Carnelian, seen here, was a particular favorite. This necklace is composed of 54 hollow gold beads, each made up of a three-dimensional figure soldered to a flat back. As is common in Meroitic jewelry, the metal beads bear images of composite deities. In this case, the lower part of each bead shows the head of a ram wearing a sun disk, most likely the god Amen. On top of the rams’ heads are female heads wearing tall headdresses. These might represent Amen’s wife, Mut.”
Pendant Earring with Hathor Head and Rosette, 100 BCE–100 CE (Meroitic Period), gold and enamel. Excavated at Meroe. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Finger Ring of King Taharqa, 690–664 BCE (Napatan Period, reign of Taharqa), gold. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Pendant with a Ram-headed Sphinx on a Column, 743–712 BCE (Napatan Period, reign of Piankhy), gilded silver, lapis lazuli, and glass. Excavated at el-Kurru. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Vulture Amulet, 633–643 BCE (Napatan Period, reign of Atlanersa), gold. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
Winged Isis Pectoral, 538–519 BCE (Napatan Period, reign of Amaninatakelebte), gold. Excavated at Nuri. Collection of the Museum of Fine Arts, Boston. On display at the Saint Louis Art Museum April 18–August 22, 2021 during the exhibition Nubia: Treasures of Ancient Africa.
From the exhibition object label: “Isis, wife of the funerary god Osiris, was a powerful, maternal protector of the dead. This pectoral of Isis was originally sewn into the mummy wrappings of King Amaninatakelebte, as the pierced tabs indicate. The exquisite treatment of the goddess’s feathers and bead net dress attests to the work of a master goldsmith. In her outstretched hands she holds two hieroglyphic symbols. In her left is a sail, symbolizing breath, and in her right is the ankh, the hieroglyph for life. The pectoral therefore conveys a message, ‘the breath of life,’ which Isis would bestow upon Amaninatakelebte in the afterlife.”
