ExhibitionsAncient Nubia: Art of the 25th Dynasty
Past Exhibition

Ancient Nubia: Art of the 25th Dynasty from the Collection of the Museum of Fine Arts, Boston

June 2 – September 3, 2023

For nearly three thousand years, a series of kingdoms flourished in the Sudanese Nile Valley—a region known in antiquity as Kush and by modern scholars as Nubia. Ancient Nubian trade networks reached across the Mediterranean to Greece and Rome and far into central Africa. In the eighth century BCE, Nubian kings based at the capital city of Napata conquered neighboring Egypt, and for nearly a century, controlled one of the largest empires in antiquity. The Nubians built major cities, temples, palaces, and more pyramids than the Egyptians. Their artists and craftspeople created magnificent jewelry, pottery, metalwork, furniture, and sculpture. Yet for many people today, this powerful history remains little known. 

Ancient Nubia: Art of the 25th Dynasty presents two hundred works of art, all from the collection of the Museum of Fine Arts, Boston, made during the peak of Nubian power. The exhibition features masterpieces that highlight the skill, artistry, and innovation of Napatan makers and reflect the wealth and power of their kings and queens. For much of the century since their discovery, the significance of these objects was not fully realized, leading them to be interpreted as merely derivative of Egyptian material culture. Only in recent decades has a more accurate history of mutual influence among these civilizations come to be thoroughly researched, appreciated, and understood.

This Art Is Not Egyptian

At first glance, much of the art in this exhibition may appear to be Egyptian. In reality, it comes from Nubia, or Kush, Egypt’s neighbor to the south, in what is today Sudan. A closer look at the objects reveals distinctively Nubian features and motifs that set them apart from works found in Egypt.

 

The two civilizations shared the northern Nile Valley for millennia. At certain times, they were friends and trading partners. Often, they were rivals competing to control commercial networks and precious commodities, especially gold. For some five hundred years, from about 1550 to 1070 BCE, Egypt controlled the northern part of Nubia, and cultural exchange between the two cultures flourished. The cult of Amen-Ra fostered a close religious, social, and political relationship between Thebes in southern Egypt and Napata in northern Kush. Then, in the mid-eighth century BCE, Nubians from the kingdom of Napata (750–332 BCE) conquered Egypt, unifying the valley from modern-day Khartoum in Sudan all the way to the Mediterranean Sea. King Piankhy and his four successors ruled Egypt as the 25th Dynasty. They conducted large-scale temple-building projects in Egypt, and it is hardly surprising that they adopted some features of Egyptian art and architecture. Perhaps most importantly, Kushite rulers began to leave inscriptions in Egyptian hieroglyphs, enabling scholars for the first time to read history from the Nubian perspective.

 

Because the first archaeologists to excavate in Sudan were trained first as Egyptologists, and because of racist and colonial biases inherent in their worldview, they often failed to recognize the ways in which Nubian art stands apart from, and sometimes surpasses, the art of Egypt. This exhibition is the first in the United States to display the art of Napata through the lens of its Nubian creators.

Vessel in the Shape of a Bound Oryx, early seventh century BCE

Discovered in the tomb of a young woman, this ointment jar takes the shape of an oryx antelope with bound legs, ready for slaughter. The jar is thoughtfully designed. When not in use, the upturned neck prevented spilling and the bound legs stabilized the vessel. When in use, the legs served as a handle. Originally, the eyes were inlaid and the horns made of dark stone. The current wooden horns are modern reproductions.

Nubian Artist, Sudan, Vessel in the Shape of a Bound Oryx, early seventh century BCE, travertine (Egyptian alabaster), 6 3/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston. 

Nubian Artist, Sudan, Vessel in the Shape of a Bound Oryx

Shawabties, 690–664 BCE

Among the Egyptian funerary practices Napatan kings adopted and modified was the dedication of funerary figurines known as shawabties, “one who answers” in ancient Egyptian. In Egypt, shawabties were believed to perform agricultural service in the afterlife on behalf of the deceased. The figurines portray their owners as mummies carrying hoes and wearing bags for produce on their backs. They served a different purpose in Napatan mortuary culture. While available to any Egyptian who could afford them, shawabties in Nubia were limited to use by kings and queens. Because they were carefully placed standing against the walls of the burial chamber surrounding the coffin, they might have served as sentinels to guard the body.

As was often the case when Napatan rulers took on Egyptian religious accoutrements, they far outstripped the Egyptians in scale. Some Napatan kings were buried with more than a thousand shawabties. The finest and largest groups of shawabties to survive from Nubia are those from the pyramids of kings Taharqa and Senkamanisken at Nuri.

Nubian Artist, Sudan, Shawabties, 690–664 BCE, serpentinite, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston. 

Nubian Artist, Sudan, Shawabties

Shawabty of King Taharqa, 690–664 BCE

Nubian Artist, Sudan, Shawabty of King Taharqa, 690–664 BCE, green magnesite-containing rock, 14 3/16 × 5 5/16 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston. 

Nubian Artist, Sudan, Shawabty of King Taharqa

Shawabty of King Aspelta, 593–568 BCE

Nubian Artist, Sudan, Shawabty of King Aspelta, 593–568 BCE, faience, 10 5/8 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston. 

Nubian Artist, Sudan, Shawabty of King Aspelta

Inscribed Steatite Ball, 743–712 BCE

This object features cartouches that read, “Khensa, may Amen give life and health.” Inscriptions between the cartouches read, “May Amen give all stability and prosperity, all life, all health and all joy.” King Piankhy, the first king of the 25th Dynasty, had at least three queens and perhaps as many as five or six. They are difficult to identify in the archaeological record, but based on her titles, scholars believe that his principal wife was Khensa, whose pyramid stood not far from his own. Inscriptions at other sites identify three additional wives, Tabiry, Pekereslo, and Abalo, the mother of Taharqa. The jewels from the tombs of royal women at El-Kurru are among the most exquisite objects to survive from Napatan times. Some of the jewelry may be Egyptian in origin, part of the wealth Piankhy brought back from his campaigns. Whether local or foreign, the artists used gold, silver, rock crystal, enamel, and semiprecious stones to achieve unique and stunning results. Some of the jewelry is too fragile to have been for use in life and must be funerary jewelry, while other pieces show signs of wear.

Nubian Artist, Sudan, Inscribed Steatite Ball, 743–712 BCE, steatite, 1 × 1 1/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Inscribed Steatite Ball

Hathor-Headed Crystal Pendant, 743–712 BCE

Discovered in the richest of the royal women’s tombs at El-Kurru, this pendant is a masterpiece of metalwork. A vertical gold tube encased in a rock crystal sphere may have originally held a prayer written on papyrus or gold leaf. Atop the orb is the head of Hathor, a goddess who symbolized love and fertility. Although her head appears to be solid cast, it is made of multiple pieces of sheet gold shaped and seamlessly soldered together.

Nubian Artist, Sudan, Hathor-Headed Crystal Pendant, 743–712 BCE, gold and rock crystal, 2 1/16 × 1 1/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Hathor-Headed Crystal Pendant

Amulet of a Cat, 743–712 BCE

This amulet of a seated cat, discovered in the tomb of Queen Tabiry, probably represents Bastet, a goddess of fertility and motherhood. It also exemplifies a longstanding tradition of assigning an animal form to deities.

Nubian Artist, Sudan, Amulet of a Cat, 743–712 BCE, dolomitic marble, 1 3/4 × 9/16 × 1 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston. 

Nubian Artist, Sudan, Amulet of a Cat, 743–712 BCE

Eye of Horus (Wedjat) Pectoral, 743–712 BCE

The maker of this amulet combined several popular motifs to create an unusual pectoral filled with protective imagery. The eye of Horus was the most widespread amulet in Egypt and Nubia, believed to ward off illness and injury. In this case, a pair of winged serpents and a smaller eye fill the space between the eye and the eyebrow. Below are a winged scarab and a seated figure of the moon god, Thoth.

Large faience pectorals, often strung on beaded necklaces, were popular among royal women during the reign of King Piankhy (743–712 BCE). They demonstrate enormous variation and creativity, combining local imagery with Egyptian motifs. Deities such as the grotesque but benevolent Bes and Pataikos are favorites, intended to offer protection to the wearer. Winged goddesses and scarabs have solar connotations; other figures remain enigmatic.

Nubian Artist, Sudan, Eye of Horus (Wedjat) Pectoral, 743–712 BCE, faience, 3 1/16 × 3 3/8 × 1/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Eye of Horus (Wedjat) Pectoral

Winged Goddess Pectoral, 743–712 BCE

This nude, winged goddess wears a complex headdress featuring a lunar crescent, a solar disk, and tall plumes. The cobras on her upper arms wear the same type of headgear. Her identity is unknown, but this pectoral suggests that she is the lunar counterpart to the lioness deity seen elsewhere in this case.  

Nubian Artist, Sudan, Winged Goddess Pectoral, 743–712 BCE, faience, 3 9/16 × 2 3/8 × 9/16 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Winged Goddess Pectoral

Pectoral with Pataikos as a Cippus, 690–623 BCE

On this amulet, the protective deity Pataikos stands on a pair of crocodiles while grasping a plant and a serpent in his hands. Above him is a winged disk with a scarab in the center. This image of Pataikos’s domination of dangerous creatures was believed to bestow protective powers to the wearer.

Nubian Artist, Sudan, Pectoral with Pataikos as a Cippus, 690–623 BCE, faience, 4 1/8 × 2 1/2 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Pectoral with Pataikos as a Cippus

Winged Scarab Pectoral, 743–712 BCE

The scarab beetle was a symbol of rebirth and transformation. This openwork amulet depicts a four-winged scarab holding a rosette between its hind legs. Amulets of this type are among the most popular in the royal tombs of El-Kurru.

Nubian Artist, Sudan, Winged Scarab Pectoral, 743–712 BCE, faience, 2 13/16 × 10 13/16 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Winged Scarab Pectoral

Bead Net for a Horse, 698–690 BCE

Shabaka’s, one of Piankhy’s successors, horses were buried wearing nets of multicolored beads with amulets of the fertility goddess Hathor and cartouches bearing Shabaka’s name. Floral pendants would have jingled as the horses moved. The excavators were able to reconstruct part of one net based on the arrangement of beads found in the grave.

King Piankhy recorded his victory over Egypt on a stele emphasizing his devotion to Amen-Ra, his sense of justice, his courage, and interestingly, his fondness for horses. He was deeply moved by the emaciated state of the horses, saying to the vanquished ruler, “How much more painful it is in my heart that my horses have been starved than at any other crime you have committed.” He then seized the horses, and buried them in the royal cemetery at El-Kurru, adorned with decorations of beads and precious metals—essentially “horse jewelry.”

Nubian Artist, Sudan, Bead Net for a Horse, 698–690 BCE, faience, 15 3/4 × 15 3/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Bead Net for a Horse

Statue of King Senkamanisken, 643–623 BCE

In 1916, excavators at the temple of Gebel Barkal discovered a cache of royal statues that had been broken in antiquity and buried in a large pit. This statue portrays King Senkamanisken, a prolific builder at the site. He is depicted with a powerful physique, broad shoulders, muscular arms and legs, and a narrow waist characteristic of early Napatan sculpture—overall, a body type that looks back to Egyptian examples from thousands of years earlier. Senkamanisken’s garments and accessories identify him as a ruler, including a type of kilt worn only by royalty, a cap crown with double uraeus cobras, and necklaces adorned with a ram’s head representing Amen-Ra, the god most closely associated with Nubian kingship. The kilt, headdress, jewelry, and sandals were originally covered with gold leaf.

Nubian Artist, Sudan, Statue of King Senkamanisken, 643–623 BCE, granite gneiss, 58 3/16 × 19 3/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Statue of King Senkamanisken

Relief of Men Playing Senet, 568–555 BCE

Almost nothing remains of the chapels that once stood in front of the pyramids at Nuri. This block from the tomb of King Aramatelka is a rare survivor. The scene is adopted from Egyptian tombs of the Old Kingdom, two thousand years earlier. The figure on the left is playing the board game senet. The decoration is only a preliminary outline and would have been plastered and brightly painted.

Nubian Artist, Sudan, Relief of Men Playing Senet, 568–555 BCE, sandstone, 12 13/16 × 25 13/16 × 8 1/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Relief of Men Playing Senet

Offering Table of King Aspelta, 593–568 BCE

The upper part of this stele from the pyramid of Aspelta shows the king standing at the right with his arms raised in worship. Seated and facing him is the god of the afterlife, Osiris, who appears as a mummy wearing his distinctive tall, feathered crown and holding a crook and flail, symbols of kingship. Behind Osiris are his wife, Isis, and the canine-headed Anubis, who guided the dead to the afterlife. The text below them describes purification rituals and requests offerings for Aspelta’s eternal use.

The spouted offering table found in front of the stele echoes the requests for eternal food and drink that appear on the stela. The surface is decorated with images of bread loaves, trussed ducks, cuts of meat, fruits and vegetables, and a jar for liquid refreshment.

Nubian Artist, Sudan, Offering Table of King Aspelta, 593–568 BCE, porphyry, 34 5/8 × 25 13/16 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Offering Table of King Aspelta

Heart Scarab of Queen Asata, 593–568 BCE

The Nubians adopted the use of heart scarabs from Egypt but created examples that far exceed those of the Egyptians in size and quality, and their use was limited to the royal family. The scarabs bear an excerpt from the Book of the Dead, requesting that the heart testify favorably at the time of divine judgment, when it would be weighed against a feather and expected to balance perfectly.

Nubian Artist, Sudan, Heart Scarab of Queen Asata, 593–568 BCE, jasper, 4 5/16 × 2 3/4 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston. 

Nubian Artist, Sudan, Heart Scarab of Queen Asata

Winged Isis Pectoral, 538–519 BCE

Isis, wife of the funerary god Osiris, was believed to be a powerful, maternal protector of the dead. This pectoral of a winged, kneeling Isis was made to be sewn onto the mummy wrappings of King Amaninatakelebte, as the pierced tabs indicate. The exquisite treatment of the goddess’s feathers and beaded 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.

Nubian Artist, Sudan, Winged Isis Pectoral, 538–519 BCE, gold, 2 11/16 x 6 11/16 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Winged Isis Pectoral

Ram’s Head Pendant, 542–538 BCE

Napatan kings wore distinctive jewelry, in particular necklaces and earrings bearing the head of a ram, the manifestation of the supreme deity Amen-Ra. The solar disk on his head refers to his role as a god of the sun, while the two crowned uraeus cobras on his forehead are symbols of kingship.

Nubian Artist, Sudan, Ram’s Head Pendant, 542–538 BCE, gold, 1 7/16 × 7/8 × 13/16 inches, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Ram’s Head Pendant

Inscribed Beakers and Plaques, 623–593 BCE

When the foundation for a tomb was laid, it involved a series of rituals, including one where the king placed gold and precious stones at each of the tomb’s four corners. These included sets of small tablets in a variety of materials, each inscribed with the king’s name. With them were sets of faience cups, each bearing the name of a deity and containing a natural substance thought to have spiritual properties, such as gum arabic or charcoal. Also buried were the remains of ritual meals: animal bones, a grindstone for grain, and pottery vessels. The foundation deposit ritual was intended to ensure the long-term stability of tombs, temples, and other religious structures.

The most elaborate foundation deposits were found at the pyramid tomb of King Anlamani. Accompanying valuable stones and metals at each corner were tablets and faience cups inscribed with text and filled with substances such as ore, resin, wood, charcoal, vegetables, and liquids for protection and balance.

Faience is a type of tin-glazed ceramic made by firing silica, quartz, alkaline salts, or lime. It is characterized by bright colors produced by metallic colorants.

Nubian Artist, Sudan, Inscribed Beakers and Plaques, 623–593 BCE, Harvard University—Boston Museum of Fine Arts Expedition. Photo © Museum of Fine Arts, Boston.

Nubian Artist, Sudan, Inscribed Beakers and Plaques

This exhibition is organized by

Premier Exhibition Series Sponsor

Premier Exhibition Series Supporters

ACT Foundation, Inc.
William N. Banks, Jr.
Cousins Foundation
Burton M. Gold
Sarah and Jim Kennedy 

Benefactor Exhibition Series Supporters

Robin and Hilton Howell

Ambassador Exhibition Supporters

Mrs. Fay S. Howell/The Howell Fund
Karen and Jeb Hughes/Corporate Environments
The Fred and Rita Richman Fund
Loomis Charitable Foundation
Louise Sams and Jerome Grilhot
Mrs. Harriet H. Warren
Elizabeth and Chris Willett

Contributing Exhibition Series Supporters

Farideh and Al Azadi 
Sandra and Dan Baldwin
Mr. Joseph H. Boland, Jr.
Mr. and Mrs. Robin E. Delmer
Peggy Foreman
Mr. and Mrs. Baxter Jones
Tamara and Kent Kelley
Joel Knox and Joan Marmo 
Margot and Danny McCaul 
Wade A. Rakes II & Nicholas Miller
USI Insurance Services 

Generous support is also provided by

Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, The Fay and Barrett Howell Exhibition Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Katherine Murphy Riley Special Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund, and the RJR Nabisco Exhibition Endowment Fund.