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EN
The paper provides a preliminary overview of beads and pendants found on Saï Island at two Meroitic cemeteries, 8-B-5.A and 8-B-52.B. In the Meroitic period, strings of beads and pendants were an easily discerned motif in royal and private iconography, as well as in the arts and crafts, pottery included. The Saï bead and pendant assemblage is characterized by a variety of materials, techniques, and shapes that contribute significantly to a comparative study of Meroitic beadwork bead collections. Alongside objects already identified at other sites, richly imbued with visible Egyptian and Greek influences, the Saï assemblage contributes some new bead types. Moreover, the originally strung objects and their fragments confirm known bead patterns used over a long time between the 1st and 4th centuries AD, the date of the Saï necropolises. Finally, a comparison with other sites enables the tracing of some regional differences in Meroitic beadwork.
EN
The article reviews the body of archaeological and architectural evidence for social transformation taking place in Dongola during the period from the end of the 13th through the end of the 17th century, the uppermost stratum uncovered by Polish archaeologists excavating the ruins of the medieval seat of Makurian kings. Domestic architecture from the late 14th through 17th centuries and the artifactual finds from these dwellings, which were built on top of the ruins of the Makurian capital, demonstrate the character and extent of changes in the education, culture and religion of the inhabitants of the city from the Funj period
EN
Images of archangels and angels, which were painted on the walls, in the upper parts of the buildings and, on their structural elements, were very popular in Christian Nubian painting as attested by the discoveries from Church SWN.BV on the citadel in Old Dongola. These images, which derive from pre-Christian art, depict the eternal nature of the archangels and angels. Presenting this group of representations, the author traces the origins of these images to highlight the role of these spiritual beings as intermediaries between God and humankind. As such, they move freely between the Heavens and the Earth, so the air and cosmic space are their natural surroundings. Moreover, archangels govern the forces of nature, the planets, and the seven skies. Therefore, their sanctuaries were located on hill summits, in the upper chapels, on structural elements of ecclesiastical buildings, etc. The Nubian tradition is therefore part of a broader Mediterranean tradition, the roots of which should be sought in the Near East.
PL
Artykuł jest próbą określenia relacji między chrześcijaństwem a lokalną kulturą Nubii na podstawie analizy kultury nubijskich królestw Nobadii i Makurii. Wykorzystując teorię kryteriów inkulturacji, autorka przybliża sytuację Kościoła w Nubii w okresie od VI do początku XVI wieku, w świetle badań archeologicznych. Misja Kościoła musi być realizowana w określonej wspólnocie Ludu Bożego, a także w jego strukturze administracyjnej i lokalnej hierarchii. Zadaniem Kościoła jest wypełnianie jego misji uświęcającej, prorockiej i nauczycielskiej, które realizuje się poprzez głoszenie Ewangelii, sprawowanie sakramentów, obrzędów pogrzebowych i nauczanie praktyk modlitewnych. Ze względu na brak odpowiednich źródeł pominięto prorockie zadanie tego Kościoła. Kościół, jak pokazują badania archeologiczne, przyczynił się także do rozwoju życia społecznego i kultury materialnej mieszkańców Doliny Środkowego Nilu.
EN
This article is an attempt to define the relationship between Christianity in Nubia and the local cultures of the Nubian kingdoms of Nobadia and Makuria from the 6th to the beginning of the 16th century, using the inculturation criteria theory associated with the actualization of the Church within a particular culture in light of archaeological research. The mission of the Church must be realized within a specific community of the people of God as well as in its administrative structure and the local hierarchy. The Church’s task is to accomplish its sanctifying, prophetic and teaching mission, which is accomplished through the proclamation of the Gospel, the celebration of sacraments, funeral rites, and teaching of prayer practices. Due to lack of adequate resources, this Church’s prophetic task was omitted. The Church, as archaeological research shows, also contributed to social life and the development of the material culture of the inhabitants of the Middle Nile Valley.
Afryka
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2017
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issue 46
117-134
EN
The paper focuses on the research perspectives of the so called Funj period in Dongola Reach. It also outlines the socio-political situation after the collapse of the Kingdom of Makuria and presents an interpretation of the processes based on the written sources. The paper also introduces the ethnic context of the middle-Nile valley, reconstructed on the basis of written sources. The sources point to an influx of Arab tribes to the lands of the Kingdom of Makuria as the main reason of the ethnic shift. The state of the archaeological research on the Funj period is presented in the second part of the paper, along with a consideration of the possible research perspectives. Among the discussed approaches in the context of the studies of the Funj period in Dongola Reach are historical archaeology, Islamic archaeology and ethno-archaeology. The last part of the paper presents regional studies as a possible way of conducting research on the patterns of the settlements and the political integration in the middle-Nile valley. The aim of the paper is an assessment of the available research perspectives and methods according to the realities of the discussed region and the availability and character of the sources.
EN
The state of preservation of Banganarti’s unique medieval mud-brick fortifications and the deposits accumulated against them allows a study of the history of these defenses and their immediate surroundings. Trenches excavated in the northeastern corner of the fortifications in 2016 gave a full cross section, starting with the layers preceding the construction of the defenses, through two phases of the fortifications and ending with traces of secondary use of the ruins.
EN
Ancient texts refer to Nubia as Aethiopia and keep returning to it from as early as the 8th–7th centuries BC. The Iliad, the Odyssey, and a Cyclic epic, the Aithiopis, give the earliest testimony. This period marks the rise of the Napatan Kingdom in Nubia and Nubian rule in Egypt. The Greeks thereby gained awareness of the country, which was rich in gold, ivory, ebony, and iron. With the development of science and trade in the 6th century BC, interest in this area grew. After Hecataeus of Miletus, Herodotus in the 5th century BC described Aethiopia in the context of events in Egypt down to the Persian conquest. He was the first to name and describe the Aethiopian city of Meroe. The writings of Ephoros of Cyme and Hecataeus of Abdera from the 4th century BC were preserved in the texts of later authors. Pliny the Elder relays testimony from authors of the 3rd century BC, which marked the beginning of prosperous times in the Meroitic Kingdom. The heart of Nubia was visited at this time because of learning and trade, probably on the initiative of the Ptolemaic court. The itineraries of Bion of Soloi are valuable for numerous topographic details. Eratosthenes’ treatise on Aethiopia, which was used by Strabo, represents a true scientifi c work from the 3rd century BC. In the 2nd century BC, interest in the subject of Aithiopia subsides somewhat. Comprehensive texts on Aethiopia by Diodorus and Strabo round off the Hellenistic sources for this subject.Ancient texts refer to Nubia as Aethiopia and keep returning to it from as early as the 8th–7th centuries BC. The Iliad, the Odyssey, and a Cyclic epic, the Aithiopis, give the earliest testimony. This period marks the rise of the Napatan Kingdom in Nubia and Nubian rule in Egypt. The Greeks thereby gained awareness of the country, which was rich in gold, ivory, ebony, and iron. With the development of science and trade in the 6th century BC, interest in this area grew. After Hecataeus of Miletus, Herodotus in the 5th century BC described Aethiopia in the context of events in Egypt down to the Persian conquest. He was the first to name and describe the Aethiopian city of Meroe. The writings of Ephoros of Cyme and Hecataeus of Abdera from the 4th century BC were preserved in the texts of later authors. Pliny the Elder relays testimony from authors of the 3rd century BC, which marked the beginning of prosperous times in the Meroitic Kingdom. The heart of Nubia was visited at this time because of learning and trade, probably on the initiative of the Ptolemaic court. The itineraries of Bion of Soloi are valuable for numerous topographic details. Eratosthenes’ treatise on Aethiopia, which was used by Strabo, represents a true scientifi c work from the 3rd century BC. In the 2nd century BC, interest in the subject of Aithiopia subsides somewhat. Comprehensive texts on Aethiopia by Diodorus and Strabo round off the Hellenistic sources for this subject.
EN
The study of Christian popular piety in Nubia is very difficult, because after the old Christian communities in Nubia only ruins of churches, towns and villages buried in the desert sand, which are successfully examined by archaeologists from various countries, including Poland. The article presents forms of popular piety from the areas of Nobadia and Makuria, the former Christian kingdoms in the areas of present-day Sudan. Due to the small number of sources, the Alwa kingdom was omitted. The elements presented in this article are merely an outline of popular piety, which, thanks to the research of settlement positions from the period of Christian kingdoms and epigraphical sources, is successfully reconstructed.
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EN
The project of the High Dam at Aswan is a continuation of an ancient tradition. The Egyptian pharaohs since the earliest periods of the Egyptian history made an effort to control the use of water of the Nile inundation for the benefit of the country’s agriculture. Careful records of the height of the Nile flood, building of barrages and dams, and digging of irrigation canals all belonged to the ancient Egyptians’means of helping prosperity and avoiding crop failure even during the years of too high or too low inundation. Similar to the ancient projects, the modern buildings, such as the Aswan dam, also provided only a partial solution to the problem. The High Dam at Aswan on the other hand brought a lasting possibility of collecting water in a large artificial lake, and of its use in agriculture regardless of the actual yearly volume of the river. In addition, the production of electricity enabled the necessary industrial development of Egypt. Despite the benefits of the project of the High Dam for Egypt, however, a number of problems arose, including the urgent need of saving the monuments of Lower Nubia. The Egyptian call to the UNESCO was answered in 1959, and the international salvage campaign started soon after, in which – besides many other countries – the Czechoslovak Institute of Egyptology participated.
Światowit
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2018
|
vol. 57
223-236
EN
Count Michał Tyszkiewicz (1828–1897) was one of the most renowned collectors of the ancient classical art at the end of the 19th century. His interest in archaeology and ancient art was developed during his travel through Egypt in 1861. His Journal of the Travel to Egypt and Nubia, fortunately found in 1992 in Poznań, recounts this journey. From Egypt, Michał Tyszkiewicz brought a collection of antiquities, estimated to have comprised c. 800 objects; today, over a half of them can be found in museums in Paris (Louvre), Warsaw, Vilnius, Kaunas, and Moscow. The majority of the objects originated from excavations conducted by the count, particularly in Thebes (Luxor area), by virtue of an official licence granted to him exceptionally by Mohamed Said Pasha – the then head of the Egyptian state. The present article discusses the circumstances of granting of this permission in the period when a strict state monopoly was imposed on archaeological investigations and presents the course of the excavations along with their results.
EN
The works of Polish archaeologists in Sudan, ongoing since "The Nubian Campaign" (1961-1964), constantly enrich our knowledge about Christian Nubia. New research not only forces us to correct our knowledge on Nubia, but also to take a fresh look at Mediaeval Christianity. An interesting thread of Nubian angelology is the evidence of seven archangels’ cult confirmed in inscriptions as well as in painting and architecture. In the case of Nubia, we do not have extensive descriptions of the development of the archangels’ worship and our knowledge is based on the combination of individual data, which, when collected, may form a complete picture. The purpose of this paper is to gather these single tesserae and show that the worship of archangels was developing in Nubia and that there was a certain permanent set of the archangelic names.
PL
Prace polskich archeologów w Sudanie, trwające od tzw. „Kampanii Nubijskiej” (1961-1964), stale wzbogacają wiedzę o chrześcijańskiej Nubii. Nowe badania nie tylko zmuszają do korygowania wiedzy na temat Nubii, ale także do świeżego spojrzenia na średniowieczne chrześcijaństwo. Ciekawym wątkiem nubijskiej angelologii są świadectwa kultu siedmiu archaniołów potwierdzone w inskrypcjach, a także w malarstwie i architekturze. W przypadku Nubii nie zachowały się obszerne opisy rozwoju kultu archaniołów i wiedza opiera się na łączeniu pojedynczych informacji, które po zebraniu tworzą pełny obraz. Celem niniejszego artykułu jest zebranie tych informacji i pokazanie, iż kult archaniołów rozwijał się w Nubii i istniał pewien stały skład imion tych archaniołów. 
EN
In the long history of the land between the Third and Fourth Cataracts on the Nile, the period corresponding to the times of Early Makuria is particularly well represented. The el-Zuma tumuli cemetery has been dated to the Early Makuria Phase II (AD 450–550). Although the graves were heavily robbed, the remains of personal adornments (beads, pendants, rings, and an earring) give a broad overview of materials (marine mollusk shell, coral, ostrich eggshell, stone, metal, faience, glass) and techniques applied in their production. A comparative synopsis of contemporary Nubian adornments shows parallels for the objects from el-Zuma. Moreover, the provenance of the materials and manufacturing techniques suggests el-Zuma’s involvement in regional and longdistance exchange during this period. Finally, the presence of a Christian symbol and imported beads in the el-Zuma tumuli is meaningful in itself.
EN
The article documents and discusses metal artifacts discovered in tombs explored by a joint Polish–Sudanese project from the PCMA UW and the NCAM in the tumuli field at Tanqasi in Sudan (Fourth Nile Cataract region). Metal finds from the first season in 2018 were in various states of preservation, allowing however the identification and interpretation of most of the objects through a thorough analysis that involves also metallographic studies and complex conservation. The results contribute to how the site is perceived from a social and cultural point of view.
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EN
Nubia constituted the area in the Nile Valley in the present day Sudan, the area which spread from the first cataract up to the place where the White Nile meets the Blue Nile. The area was inhabited by the population using a common language – Old Nubian. In the second half of the sixth century thanks to the missions send by the Byzantine Court, Nubia accepted Christianity as a state religion. Nubia immediately found itself in the area of influence of Byzantine culture. Byzantine administration, liturgy of the Eastern Church and the Greek language were introduced. In 641 the Arab conquest of Egypt took place. Soon after that in 642, the Arab army entered the Nubian territory and from this date centuries of clashes and peace treaties characterized relations between Nubians and Arab peoples. The 13th century marks slow decline of the kingdom of Nubia. Hostile Negro tribes from the South and South-West appear in the Mid Valley of Nile. Fights weaken the kingdom; slow islamization of the country follows, royal rule and Christian faith falls and together with those culture and arts deteriorates. The history of military as well as political or commercial Nubian-Arabic contacts over entire period of existence of Christian kingdom of Nubia undoubtedly had to bring about certain artistic trends in Nubia originating from rich heritage of Muslim culture. The culture of Christian Nubia originally based to considerable extent on Byzantine art, in course of time, subjected to more and more intense Arabic influence, significantly changed. Arabic components seen in Nubian church architecture, wall painting and art crafts became predominant, which over following centuries led to creation of Arabic culture of the contemporary Sudan.
EN
The excavation report covers eight months of fieldwork at the site of Ghazali, which resulted in the clearing of the entire monastery and the discovery of three annexes located on the north and west of the complex. The spiritual part of the monastery included two churches located in the southeastern corner of the complex, a household compound on the west side and a refectory and dormitory in between. Conservation work focused on the reconstruction and restoration of water storage installations in Room Y, as well as north of the North Church. Excavation outside the monastic walls brought the discovery of an iron smelting area with several well-preserved furnaces. Exploration of the monks’ cemetery uncovered regular box superstructures and an intriguing variety of substructures from simple vertical pit tombs to elaborate vaulted chambers.
17
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75%
EN
Re-edition of a twelfth-century epitaph in Greek (Turin, Museo Egizio, Cat. 7142), formerly attributed to a bishop of Faras in Nubia. In addition to presenting a new text, based on autopsy, the article discusses the ownership of the monument and advocates a new understanding of the linguistic and textual form of the epitaph.
EN
The aim of the article is to discuss a dating of two murals painted in a tempera technique on the walls of the southern entrance porch of Faras cathedral, namely the representations of an archangel and St Mercurius on horseback. Both were originally dated to the late tenth or the early eleventh century, but some scholars suggested that these works of arts could have been painted as late as in the late twelfth century or even later. That is at the time when area of the porch together with adjoining staircase had certainly been covered with a roof. Such a dating however, seems largely inadequate in view of the stylistic evidence and the artist’s workshop characteristics, so an effort to restore the original dating has been undertaken in the present article, in the belief that the porch must have been covered earlier in a something way. There follows a suggestion concerning construction of the original roofing. The latter part of the article concerns a possible identification of the archangel’s figure as Gabriel (and not Michael).
EN
In the Book of Tobit there is a thread about the demon Asmodeus, who possesses the body of Sarah and kills her seven husbands one by one. Archangel Raphael instructs Tobiah on how to cast out the demon who is then chained. The aim of the article is to demonstrate that Sarah’s release from the demon can be treated as overcoming death. The Nubian painting of Tamita showing Raphael trampling a beast from whose mouth an orant emerges, refers to compositions showing the release of Jonah from the mouth of a sea monster. Already in patristic texts Jonah was treated as an Old Testament type of Christ. Raphael's activities for humanity may foreshadow the mission of Christ who defeated death, which is presented as trampling Hades.
PL
W Księdze Tobiasza pojawia się wątek demona Asmodeusza, który opętał ciało Sary i zabił kolejno jej siedmiu mężów. Archanioł Rafał poinstruował Tobiasza, jak wypędzić demona, a następnie go spętał. Artykuł ma na celu wykazanie, iż uwolnienie Sary od demona, może być traktowane jako pokonanie śmierci. Nubijskie malowidło z Tamit ukazujące Rafała, depczącego bestię, z której paszczy wyłania się orant, nawiązuje do kompozycji ukazujących uwolnienie Jonasza z paszczy potwora morskiego. Jonasz już w tekstach patrystycznych traktowany był jako starotestamentowy typ Chrystusa. Działalność Rafała dla ludzkości może być zapowiedzią misji Chrystusa, który pokonał śmierć, co przedstawiane jest jako podeptanie Hadesa.
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