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A new synopsis of the history of Nubia is needed given the increase in new research in recent years; Freed’s focus on the art of the region is a refreshing take that rightfully emphasises the unique material produced across Sudanese history. Ancient Nubian Art: a history manages to convey a vast period of sometimes complicated history in a concise and clear manner. Each chapter focuses on a select time period and includes a useful map highlighting important contemporaneous sites, with highlights of particularly important object types, themes, or sites, all accompanied by high-resolution images, making this a valuable new publication.
The book deals in detail with the period 8000 BC-AD 350, but also takes a look at the post-Meroitic, medieval, and modern periods in a concluding summary. The first chapter opens with early prehistory (8000-3800 BC), contextualising this long period well, with pertinent discussions of climate change and subsequent movements towards semi-sedentism in the Middle Nile.
Chapter 2 reviews the A-Group culture (3800-2900 BC), emphasising shifts and developments in their material culture over time, as well as touching on the important discussion of cultural hybridity and the group’s interconnections with Egypt. Chapter 3 moves to the C-Group and Pan Grave cultures (2300- 1500 BC), highlighting changing cultural practices among a Nubian community buried at Hierakonpolis, and the important role bodily decoration played in senses of identity within these societies. Chapter 4 brings us to Kerma – ‘Nubia’s first empire’ (2600-1500 BC) – and contains a vibrant discussion of Kerma’s political spheres of influence, its complex burial rites, and its fantastical art focusing on the natural world. It also gives a reasoned summary of the debates around the interpretation of Kerman architecture.
In Chapter 5, we reach the 500-year Egyptian colonisation of Sudan (1550 1069 BC), where the persistence of Nubian cultural traditions is highlighted and local experiences of colonisation are explored via the burials of three known individuals, emphasising the complexity of experience under Egyptian rule. Chapter 6 shifts to the beginning of the Kingdom of Kush, looking at the Napatan period, ‘Nubia’s second empire’ (780-270 BC), where the proclivity of the new ruling family to create Egyptianised art through a Kushite lens is studied through their magnificent architecture and sculpture. Chapter 7, the book’s longest chapter, continues to focus on Kush, looking at the Meroitic period, ‘Nubia’s third empire’ (270 BC- AD 250). This section covers a wealth of topics and is heavily illustrated with temples, textiles, and trinkets. It includes a particularly interesting summary of the development of contemporaneous new glass techniques. Finally, Chapter 8 draws the discussion to a close with a glimpse of modern Nubian culture, focusing on the enduring threads of heritage connecting ancient and modern Sudan. It features beautiful modern artwork, too.
Throughout, the text gives particular attention to ceramic art – sorely needed in any discussion of a region where pottery was clearly highly appreciated – as well as offering nuanced discussions exploring the female perspective through Nubian history. Its inclusion of the latest research and references to recent excavations is impressive. Finally, the book includes a vast array of high-quality object images that are essential in a publication focusing on ancient art – such as the mica fish in Figure 1.9, faience inlays from Kerma in Figure 4.19, and rare textiles dating to the Meroitic period in Figures 7.28/7.29. Many of them are from the Sudan National Museum, a vital collection that needs especial focus and publicity while Sudanese heritage remains under threat in the current war. A valuable and enjoyable new addition to any library.
REVIEW BY LORETTA KILROE
Ancient Nubian Art: a history
Rita E Freed
Yale University Press, £45
ISBN 978-1606069813
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