Objectives
The aim of this project is twofold: First, to investigate from which sources Nubian clergy and craftsmen drew inspiration for the decoration of their churches. Which choices did they make and why? Was Christian Egypt, as the prominent neighbour, the main source of inspiration, or can other sources be identified? After the unification of Nobadia and Makuria, what role did the capital Dongola, the new seat of power, play from an artistic point of view?
In examining church decoration in the border region of Aswan and further north in Egypt, do we find themes coming from the south, as an opposing movement, as a contrast to the inspiration and tradition from Egypt itself?
This study will, for the first time, cross boundaries by addressing the region as a multicultural one. It will complement and connect existing studies on painting in the Aswan area and Lower Nubia.
Methodology
A study of primary sources: Ancient texts (historical sources, hagiographies), medieval Egyptian historical sources and the journals of early European travellers and scholars as well as historical maps, photographs, drawings and watercolours will be examined. This historical documentation is important since a large part of the murals is now lost while the paintings preserved have deteriorated over the years.
Catalogue: a catalogue of the preserved wall paintings containing all relevant information and imagery.
Context: – Location of the church building: was it a monastic church, an episcopal foundation, or a village or a town church? The nature of the building had impact upon the choice of subjects depicted. For example, it is to be expected that monastic saints would be among the saints represented in a monastic environment while these particular saints might have played a minor role or no role at all in a cathedral.
– Location of the painting in the church: A church is primarily built for the celebration of the Eucharist, in commemoration of Christ’s sacrifice. This rite dominates the architecture and the choice of subjects for decorating the various spaces in the building. In this framework, the study of the liturgy performed plays an important role.
Chemical Analysis: Technical analysis of paints and binders. Paints and binders are an important source of information on painting practices and traditions. The pigments used might be local or imported; the composition of paint and binders might differ and betray the background of the painter and/or his team.
The analysis of the pigments and binders of selected murals from the Aswan area and the part of Lower Nubia that is in modern time Egyptian territory will be possible in cooperation with the Ministry of Antiquities in Egypt. The results will be compared to the results of the recently finished project on the technology of Nubian wall paintings of the Institute of Archaeology/Department of Egypt and Nubia (D. Zielińska (ed.), Medieval Nubian Wall Paintings. Techniques and Conservation, London: Archetype Press 2019; NCN project no. 2011/01/D/HS3/0611).