Latest Posts

Showing posts with label archaeology. Show all posts
Showing posts with label archaeology. Show all posts
To understand our own mortality is one of the biggest markers of being human. To seek to control it, even more so.

True, we're not sure whether the anticipation and understanding of death is uniquely human, and there are certainly plenty of arguments to suggest that some animals understand death too, but it might be that the concept of a soul that couples with the idea of death is entirely a human construct. In this way, humans would truly be unique.

In his book 'The Buried Soul', the archaeologist Timothy Taylor takes a close look into when it was that humans first started to create the concept of a soul and started to try to define and control their own mortality -and by extension - immortality.

One of the greatest problems with pre-history and early history is the difficulty in source materials and, by extension, the difficulty in stepping into the minds of those in the past. "The past is a foreign country" a wise man once said, and we are often scant-informed tourists. As an archaeologist Taylor is well aware of these problems and how these have led to what he believes are misinterpretations of the cultural data of mortality in the past, often due to anachronisms created when historians put their own modern cultural perspective onto the remnants of history. Too often we either assume that our ancestors thought and acted exactly like us (and therefore we reject the more distasteful parts of their cultures as false), or we view them as barbarians and so don't bother to properly unpick the layers of why their actions were important and unique to them. While Taylor runs through a whole host of different death cultures, it was his treatment of the above issue that I found the most valuable and interesting in the book.

For example, Taylor centres the majority of his book around unpicking an understanding the funeral of a Rus (Viking) chieftain, returning to the vividly described scene as each of his arguments shed more light on it and the mindsets of those involved. In this funeral we have a rare written account provided by an arab ambassador about how the chieftain was interred in the ground while a huge ship and scaffold were created, ready for his cremation. When complete he was disinterred and laid on a great bed on the ship. Of his slave girls, his favourite apparently volunteered and took part in a seemingly strange and brutal ceremony. She was given the rings of engagement, as if she was betrothed to the chieftain, and, heady on ritualistic wine, went to each tent of his closest men and slept with them. Afterwards she was lifted up above three houses, announcing that she could see her parents and others waiting for her in the afterlife. When she went to the great building of the ship she reportedly found herself hesitating and was encouraged inside. The rings were removed, she lay on the bed next to their chieftain and, with a noose tightening around her neck by the old women dubbed the 'Angel of Death', she was brutally raped by seven men as the crown outside drummed their shields to drown out her screams. 
Timothy Taylor
Why did this sequence of events occur?
How reliable is the account?
What purpose did the brutality serve and what was the slave girl's investment in it?
Why on earth do some historians reject the brutal realities and simply sign off with dismissive statements like: "The happy girl thus went to Valhallah?"
What does this ritual tell us about the purpose of death culture, and the potential danger that the chieftain's soul posed to the mortal living?

Taylor answers all of these questions and more with care and convincing evidence. In doing so he also looks into another brutal and controversial element of history: cannibalism. Since the 1970s it has been fashionable for historians to reject cannibalism altogether, finding it more comforting to assert that it never actually happened and was instead a racist accusation or a misinterpretation of evidence, to the point where I assumed this was likely. But Taylor challenges this in a very convincing manner, taking the stance that cannibalism was - and is - commonplace, but served very different purposes for different cultures, all of which features importantly in how these culture interacted with death and funerary rites. Cannibalism isn't something that belongs in a horror movie, but instead can be a legitimate, useful expression of grief that should not be ignored simply because it is distasteful to western historians. I must admit, after the reading the book, I'm pretty darn convinced he's on the right lines.


In the end, I know that in this blog I tend to trot our reviews of books that I like, leaving those less interesting neighbours by the wayside. But out of my pick of excellent books, this really is one worth paying attention to and picking up for yourself. Taylor's combination of engaging narrative writing as well as the exciting (and potentially controversial) views he has of the pre-history and history he knows so well, makes this a book that is both entertaining as well as being genuinely academically important for any interested in the subject. It certainly convinced me to re-evaluate how I looked at various elements of cultural history, which I think is worth it's weight in gold.

What's more, I couldn't put it down. For a non-fiction book is very high praise indeed. 



More Great Books and Media on Mortality and the Human Imagination:
- Sapiens, a Brief History of Humankind - By Yuval Noah Harrari
- The Self Illusion - by Bruce Hood
- Paranormality - By Richard Wiseman
- Gunther Von Hagen's Autopsy Series

Fingerprints Are Timeless and, More Importantly, Completely Unique.


We've all seen the crime dramas: since the late 19th century fingerprints have been the key method of unique identification for individuals and have been used to lock down security and solve crimes. Unless you're a member of the Men in Black, you're not likely to loose them any time soon.

But is it possible that fingerprints can do more than solve crimes? What if we could use them to identify and track people who died hundreds if not thousands of years ago? 


Dr Philippa Hoskin of the University of Lincoln, supported by AHRC funding, is looking to do just that. Working with the University of Sheffield's Humanities Research Institute, the project will aim to examine around 3,000 documents from the middle ages to see what fingerprints and palm prints have been preserved on the wax seals of these documents. Through searching in the National Library of Wales, the Westminster Abbey Muniments and the cathedral libraries of Exeter, Lincoln and Hereford, they hope to gather together very high resolution images and detailed descriptions of these fingerprints.

"So what?" You might ask. After all, these people aren't alive and with us today and, given that fingerprinting wasn't taking place back in medieval times, how do we identify anyone? 
The key here is the ability to track one man or woman's work across multiple documents: what did one particular person work on? How long did he work and what was his productivity? What documents was he involved in? Did he move around? Fingerprints allow us to focus in on one person's life as an individual - a notoriously difficult feat in a time before widespread literacy.

From the Journal of Ancient Fingerprints
The study of ancient fingerprints isn't a new discipline, but it is an under-represented one. Between the 1920s and the 1960s several keen archaeologists such as W.F.Bade, Charles Walston, Harold Cummins and Kurt Obenhaur identified ancient fingerprint marks left on ceramic pottery, figurines and lamps. These, along with other examples, inspired the foundation of the Fingerprint centre in Stockholme by Paul Astrom and Sven.A.Eriksson. As time went on, further fingerpints of the ancient world were identified, often embedded in pottery when the soft clay had been worked. Through looking at these fingerprints in detail the careers of many individuals were tracked, injuries and evidence of hard manual labour were identified, age could be estimated, and finally individuals roles and employment status can be identified. These silent individuals from far flung history were finally given their own subtle voice. As fingerprints are timeless, the same technique can be stretched all the way back into the stone age.

The Journal of Ancient Fingerprints is dedicated to spreading further knowledge about this quirky section of archaeology, so if you're intrigued about the details and potential of ancient fingerprinting you should definitely check it out.


Sources


Ever since the earliest of times, we humans have valued our hair.

The origins of such strange long head hair, contrasted with a relatively hairless body, has been a topic of debate for some years, but perhaps the leading theory is that sexual selection was at work. While long hair offers benefits of warmth in cold climates or protection from a hot sun, nevertheless it's likely that the existence of longer hair in largely due to associations of femininity or health. Whatever the reason, the longer head-hair was here to stay and humans, always eager to define their identities through their looks, jumped on the chance to get creative with their locks. This week I'd like follow the lead of the wonder Medievalists.net's recent post, and show some historical hairstyles that you can try at home.
Statue of Faustina the Younger

These come courtesy of  Janet Stephen, a hairdresser and amateaur archaeologist who was fascinated by how historical hairstyles were created. While many archaeologists and historians suggested that these hairstyles could only have been created with wigs, Janet instead discovered that through using a form of sewing in hairstyles, they could easily and quickly be replicated and used in the day to day. This breakthrough came in 2005 when, studying translations in Roman literature, she found that  the term 'acus' was likely being mistranslated. In the books, this was translated as a 'single-prong hairpin' but in fact it could also be translated as 'needle and thread'. Her theory was published in the Journal of Roman Archaeology in 2008 and she made a name for herself in historical circles.

"I could tell even from the first version that it was a very serious piece of experimental archaeology which not scholar who was not a hairdresser - in other words, no scholar - would have been able to write." John Humphrey, the journal's editor, explained.

Janet's practical work is shown on her youtube channel, where you can find out how to make such beautiful historical hairstyles for yourself, while also learning of where she found her sources.



Agrippina the Younger

 


Ancient Roman Hairstyles For Men

 


 Empress Plotina




Faustina The Younger 


 
 18thc 'Butterfly'/Papillote Curls



 I thoroughly recommend that you spend some time browsing Janet Stephens' youtube channel if you have any interest in fashion or history. 
For one she is an inspiration showing us how, no matter what your background, if you have interest, confidence, creativity and passion you can make a lasting contribution to the study of history. 
For another, her work is living proof of the value of experimental history and archaeology in how to bring what we read in the texts to life for for practical purposes and for emotional ones. In her study of these hairstyles Janet offers a unique insight to what had been an ongoing debate on historical hairstyles, but in doing so she also let us see with real intimacy into the lives of the people that made use of these hairstyles in the day to day. In how their family lives were set up (for example, why they needed someone else to do their hair), how they valued their appearance, and how much physical time and patience that these people would have had to give to making these creative styles happen. With such a life breathed into such a small but important part of these historical figures' daily routines, they are grounded and - as observers from the future - we can see just how like us our ancestors really were.


Sources

-Why is Human Hair So Long?
-Medievalists.net: Medieval hairstyles
-On Pins and Needles: Stylist Turns Ancient Hairdo Debate on Its Head

As a Western Society, we are products of the Renaissance's fascination and deification of Classical Antiquity.

Augustus of Prima marble
 Large sections of our cultural values and what 'good taste' and 'class' comprise of are directly influenced by the romantic view of Ancient Greece and Rome that the educated upper classes held. The way they imitated the ancient artists and scholars shapes what we today view as 'beautiful' art. With the exploration of Roman art, our Renaissance ancestors discovered and prized the beautiful white statues that they uncovered of goddesses and emperors. Noting the skill involved, they in turn developed their own ways of improving and refining sculpture, but stayed true to the fine materials and ascetic - choosing pristine white marble for their own creations. The effect is beautiful and versatile and these pieces - ancient and later - are prized in countless galleries and country houses across Europe and beyond. Because of our appreciation of this aesthetic, this is how we believe sculpture should be achieved in traditional form, and we celebrate the Ancient Greek and Roman's 'refined' taste.

However, it seems that the reality of Ancient taste contrast jarringly with what we nowadays view as 'classical' sculpture...in fact we've been conditioned to view the reality as really quite garish.

Introducing the painted statues of Ancient Greece and Rome:


Augustus of Prima painted replica

 Countless Ancient status have been unearthed over the years, but when one was found with what appeared to be ancient paint pigments still clinging to its surface archaeologists and scientists banded together to analyse what this meant for our view of ancient art. One of the pigments in question was 'Egyptian Blue' and, through using advanced ultraviolet techniques to deconstruct what colours remained on the statue, it was identified to be a mix of skin colour - having been added in small amounts to pinks, whites and yellows to create a 'realistic' tone.


Realistically painted version of Caligula (31-37AD)
Reconstruction by Matthew Brennan, Virtual World Heritage Laboratory.

The above sculpture of Caligula, for example, was already very rare, being one of only two complete statues of the infamous emperor. When the University of Virginia set about trying to discover more about how this statue was coloured, the historical significance was poignant. Through colour analysis they discovered that Caligula is likely to have had brown hair. The use of gilt patterns shows some of the opulence of the statues and goes some way to explaining, for example, how they must have affected the subjected populations in the cities that displayed them. These pagan or political images were not imposing but ultimately blank slabs of white, but were instead bold, loud and potentially even lifelike.

It is interesting to think about what kind of charge [these statues] must have had for Jews of the time,” commented Peter Schertz, a curator at the Virginia Museum of Fine Arts: “Jewish prohibition against idolatrous images must have made the appearance of classical statues both very frightful and, for some, somewhat seductive.”



Through all the various studies of these ancient statues, Ultraviolet light has been especially useful in discerning patterns and in the occasions when colours were visible. However to track each colour sometimes the scientists had to analyse deeper down to the very chemical compounds that made each pigment.

 In  galleries and auction houses often valuable old paintings are analysed to determine authenticity, and one manner is to look for particular organic elements in the paint pigments. Hundreds or even thousands of years ago, particular plants and materials were used to create particular colours and their presence shows that the art in question is the genuine article. In the same way, those studying the statues could work backwards by identifying what organic elements were present in the pigments: get the right combination and you would be able to identify what colour was used in that area.

We might ask why bother with such expensive material as marble if one was only going to paint it and, really, it's difficult to be sure. Some academics have suggested that the paint may have been fine enough to have enhanced the natural luminescence of the marble. Others suggest that the quality of the material was focused more on allowing for greater quality of sculpture, and that painting the already expensive material was seen to enhance its beauty and value spiritually rather than detract form it, even if it did hide some of the marble's attractive plain elements.



Painted ancient statues are now. admittedly, quite old news: Vinzenz Brinkmann and Ulricke Koch-Brinkmann, for example, have spent over 20 years studying and painstakingly recreating classical statues to bring together this revelation...yet it is always quite a shock to the modern observer to see such a rejection of the colourless marble art that we know and love. It certainly goes to prove that the ancient world was never dull.

Istanbul Museum recreation of the Alexander Sarcophagus


Sources
- BBC4 Treasures of Ancient Rome
- True Colours
- The Ugly Truth
- Weird Science uncovers ancient art's true colours
- Was this Roman Sculpture of Gaius Caligula Painted?
- Greek Statues and their Technicolour Dreamcoats

Today I wanted to show you a little gem I found on Tumblr. I've copied the thread here for your viewing pleasure as proof that, even in ancient times, medical genius and general badassery were both very much alive:

---


archiemcphee:

"Here’s an awesome little piece of history:
Archaeologists in the Burnt City have discovered what appears to be an ancient prosthetic eye. What makes this discovery exceptionally awesome is the striking description of how the owner and her false eye would have appeared while she was still alive and blinking:
[The eye] has a hemispherical form and a diameter of just over 2.5 cm (1 inch). It consists of very light material, probably bitumen paste. The surface of the artificial eye is covered with a thin layer of gold, engraved with a central circle (representing the iris) and gold lines patterned like sun rays. The female remains found with the artificial eye was 1.82 m tall (6 feet), much taller than ordinary women of her time. On both sides of the eye are drilled tiny holes, through which a golden thread could hold the eyeball in place. Since microscopic research has shown that the eye socket showed clear imprints of the golden thread, the eyeball must have been worn during her lifetime. The woman’s skeleton has been dated to between 2900 and 2800 BCE. 
So she was an extraordinarily tall woman walking around wearing an engraved golden eye patterned with rays like a tiny sun. What an awesome sight that must have been.
[via TYWKIWDBI]
 knottybear:
Wow.
fangirequeen:
SOMEONE DRAW HER PLEASE
 beecharts:


CHALLENGE ACCEPTED!!

kitsunecoffee:
CAN WE TALK ABOUT HOW AN ANCIENT CRAFTSMAN WAS PRESENTED WITH PEOPLE LOOKING FOR HELP TO NORMALIZE THEIR DISABILITY. AND THEN SAID ‘NAH FUCK THIS WE’RE GOING TO MAKE YOU LOOK BADASS."

----

The internet asks, and it shall deliver.
I have to admit that the comment thread amused me no end, but this really is a fascinating discovery (made way back in 2006). Just like the discovery of the Antikythera mechanism, the ancient world always has the capacity to surprise us with it's creativity and ingenuity.


The 'Burnt City' of Shahr-e Suketh was one of the world's largest cities at the dawn of the urban era (our bronze age) and was thought to be home to a civilised people who were both farmers and craftspeople. Is is also thought by some, after analysing grave evidence, that mothers here held social and financial prominence. In the graves of some female inhabitants were found 5,000 year old insignias that were thought to belong to only distinguished members of the city, and these may have been used as seals for important documents or as visual reminders of their high status.

The city itself is thought to have been unique and distinct to many other surrounding cultures of the time and is thought to be proof of civilisation east of prehistoric Persia that was independent of Mesopotamia. It is also thought, due to a mix of burial positions, that the city held multiple cultures.

Studies were still underway in 2010 by Iran's Archeology Research Center and Newcastle University, and the site still proves to be a rich treasure trove of artefacts awaiting discovery.



Sources
Originally found on Tumblr via geyserofawesome and kitsune coffee
Shahr-e Suketh 'The Burnt City'
Original blog article at TYWIWDBI
Drawing by Nick Beecher
Iran Review - The Burnt City