The Museum of Cycladic Art, the Regional Services of the Hellenic Ministry of Culture and Sports (Ephorates of Antiquities of Chania, Rethymno, and Herakleion) and the Region of Crete are co-organizing the exhibition entitled “Crete. Emerging cities: Aptera ― Eleutherna ― Knossos. Three ancient cities revived” from
12 December 2018 to 30 April 2019. This is a multi-faceted exhibition
with rich audio-visual aids, including screens, maps, and innovative
technologies.
The exhibition focuses on three of Crete’s one-hundred cities,
according to Homer (hekatompolis), and their common characteristics:
their establishment, acme, decline, destruction, abandonment, and
demise. Cities with centuries-long history, cities that were abandoned
and forgotten, but are also tangible examples of archaeological
investigation using similar or different approaches.
The exhibition comprises approximately 500 artefacts dating from the
Neolithic (7th-6th millennium BC) to the Byzantine period (8th century
AD), some newly discovered, others from old excavations, most of them
never presented to the public before: statues, reliefs, figurines,
inscriptions, vases, weapons, jewellery, coins, and other artefacts of
various materials—limestone, marble, clay, metal (bronze, iron, silver,
and gold), faience, glass, ivory, and semi-precious stones. This is the
first time that so many artefacts leave the storerooms of the
Antiquities Ephorates and display cases of the museums of Crete for a
temporary exhibition in Athens.
Antiquities from each one of the three cities speak
of its territory, public and private life, religious beliefs,
sanctuaries, and cemeteries, fragments of its historical continuum. A
special place is given to artefacts relating to each city’s founding
myths and also to personal stories: Soterios from Eleutherna who live
and died at Aptera, the young man of Eleutherna who died before knowing
love, and the child buried with their toys at Knossos.
KNOSSOS
The earliest of the three, Knossos, has a long history of
exploration, well known and well recorded since Minos Kalokairinos and
Arthur Evans to the present day. With its reconstructed palace and
millions of visitors, Knossos is now the second most popular
archaeological site in Greece after the Athenian Acropolis. The present
exhibition, however, focuses not on the famous palace but on the city
that lay beyond it both spatially and temporally. It showcases the
copious and continuous efforts of archaeologists in the Archaeological
Service and the British School at Athens, and of all those who
contribute in one way or another to provide as full a picture as
possible of this great Cretan city. The present exhibition demonstrates
that Knossos was not just a palace but an entire city that stretched
beyond it, a city whose history began long before the palace was built,
in the Neolithic period, and lasted long after it was destroyed; a city
with a vast territory, served by its harbours and cemeteries not only
during the Old and New Palace periods but also later, in the Geometric,
Archaic, Classical, Hellenistic, and Roman periods, a city that was
Christianised in the Early Byzantine period, as its Early Christian
basilicas and other finds testify.
ELEUTHERNA
Eleutherna is a different story. Here, systematic
excavation began recently, and the site’s conservation, restoration, and
promotion were approached differently thanks to the lessons learned at
Knossos. Eleutherna was all but forgotten after the ancient and medieval
city’s forced abandonment. It was either incorrectly marked (usually
east or south of its actual location), or confused with Apollonia to the
northwest of Herakleion, or omitted altogether on many Cretan maps of
the 15th to 17th centuries. There are occasional references to the site
during this period, either by travellers who visited it, who reported
from hearsay, or who compiled information provided by others. This was
remedied in the 18th and, especially, 19th centuries, when the site’s
correct location was given on maps and references to the site became
more specific. Rivalries between foreign archaeological schools
(particularly the British and Italian Schools) over who would excavate
Eleutherna delayed the site’s exploration. It wasn’t until the Cretan
State developed an interest in promoting Crete’s Greek identity that
Eleftherios Venizelos asked educator Efstathios Petroulakis to restore
the Hellenistic bridge, which a flood had destroyed in 1898, as part of a
programme to modernise the island’s road network in 1908. In the same
year, Petroulakis became the first to investigate part of the acropolis
there. Humfry Payne conducted a short-lived archaeological excavation in
1929, but systematic investigations did not begin until the University
of Crete surveyed the site in 1984 and initiated the on-going
excavations the following year.
APTERA
Aptera, a city that
commands Souda Bay and the far reaches of the Apokoronas plain, was
investigated in a similar manner to Eleutherna, although 15th-century
maps gave a more accurate location. Robert Pashley identified the city
in 1834, and the French Archaeological School conducted the first
excavations in 1862 and 1864. Ioannis Svoronos and Stefanos Xanthoudidis
referred to Aptera in their written works in the late 19th century, and
Margherita Guarducci published inscriptions from Aptera in the 1940s.
In 1942, V. Theofanidis supervised the German occupation forces
excavation of a two-roomed temple. Rescue excavations by the Greek
Archaeological Service began in 1958. In 1984, when the University of
Crete expressed an interest in excavating at either Aptera or
Eleutherna, the Hellenic Ministry of Culture decided on the latter. The
Archaeological Service (former 25th Ephorate of Prehistoric and
Classical Antiquities, current Ephorate of Antiquities of Chania)
conducts the current systematic excavations at Aptera.
Modern human skulls have a unique 'globular' (round) shape. Our
closest cousins, the long extinct Neandertals, had the elongated skulls
that are typical of most primates. This striking shape difference is
suspected to reflect evolutionary changes in the relative sizes of
structures of the human brain, perhaps even in the ways that key brain
areas are connected to each other. However, brain tissue doesn't itself
fossilize, so the underlying biological explanation has remained
elusive.
An international research team, led by paleoanthropologist Philipp
Gunz (MPI, Leipzig) and geneticists Simon Fisher and Amanda Tilot (MPI,
Nijmegen), developed a new strategy to investigate this question. The
team combined analysis of fossil skulls, ancient genome sequence data
and brain imaging. "Our aim was to identify potential candidate genes
and biological pathways that are related to brain globularity", says
Tilot. To tightly focus their search, they took advantage of the fact
that living humans with European ancestry carry rare fragments of
Neandertal DNA buried in their genomes, as a result of interbreeding
between Neandertals and the ancestors of modern Europeans. Different
people carry different fragments, which are scattered through the
genome.
The researchers first used computed tomographic scans of fossil
Neandertal skulls and skulls of modern humans to make endocasts -
virtual imprints of the interior of the braincase. They then developed a
single measure of globularity, based on the differences in skull shape
between humans and Neandertals. Next, the scientists teamed up with
colleagues at the Radboud University, the University of Greifswald and
UC Irvine, to determine the degree of globularity of thousands of
healthy present-day humans, using data from magnetic resonance imaging.
Although modern human brain and skull shapes are all clearly distinct
from those of Neandertals, the scientists still found considerable
differences in globularity among the participants. Finally, the
researchers studied the genomes of around 4,500 of the participants to
identify the fragments of Neandertal DNA that each person carried. Would
any of these Neandertal DNA fragments influence brain globularity in
their living human sample?
The team found Neandertal DNA fragments on chromosomes 1 and 18 that
were associated with less globular (more elongated) brains. These
fragments were associated with altered activity of two genes, UBR4 and
PHLPP1, which are already known to play roles in important aspects of
brain development (neurogenesis and myelination respectively). The
strongest evidence for effects of these Neandertal DNA fragments on gene
activity were in the putamen (in the basal ganglia) and the cerebellum.
"The potential for links between evolutionary changes in brain
globularity and mechanisms affecting the basal ganglia and cerebellum is
intriguing", says Gunz. Both structures receive direct input from the
motor cortex and are involved in the preparation, learning, and
coordination of movements. The basal ganglia also contribute to
cognitive functions such as memory, attention, planning, skill learning,
and potentially speech and language evolution.
The authors stress that recent archaeological evidence has
documented sophisticated symbolic behaviours in Neandertals that had
previously been attributed exclusively to modern humans, such as the
enigmatic structure built deep inside Bruniquel cave, and Neandertal
cave-art from Iberia. As Gunz notes, "The focus of our study is on
understanding the unusual brain shape of modern humans. These results
cannot be used to make inferences about what Neandertals could or could
not do".
"The effects of carrying these rare Neandertal DNA fragments are
really subtle, but detectable due to the large sample size" explains
Fisher, adding "This is only our first glimpse of the molecular
underpinnings of globularity. Like other aspects of brain structure,
globularity is a trait that is likely to be influenced by the combined
effects of many different genetic variants."
According to the research team, this discovery generates
hypotheses that can be tested with new experiments, for example using
human neuronal tissue that can be grown in the laboratory. Gunz and
Fisher are now scaling-up the approach for investigations in larger
samples such as the UK Biobank. They anticipate that future genome-wide
screening studies will reveal additional genes associated with
globularity, as well as indicate how this fascinating trait is linked to
other aspects of human biology.
The domestication of maize, a process
which began in what is now central Mexico nearly 9,000 years ago, was
far more complex and nuanced than once previously thought, a new study
finds. The results of an analysis of the ancient grain's genetic
heritage reveals southwestern Amazonia as a secondary improvement center
for early maize. The findings provide new insight into the
human-mediated evolutionary processes that gave rise to one of the
planet's most important staple crops.
In a related Perspective, Melinda
Zeder writes: "The remarkable new multiproxy study of the dispersal of
maize into and across northern South America is a fine example of recent
advances in unraveling the complex histories of early domesticates."
Domesticated maize evolved from teosinte, a wild grass of Mexico, and
rapidly spread through the Americas, filling early agricultural
landscapes and becoming a near-ubiquitous food source by the time of
European arrival. While its widely understood that maize domestication
occurred once, the nature of its domestication and spread into South
America remain unclear and existing archaeological and genomic data do
not always agree. Logan Kistler and colleagues sequenced the genomes of
maize from South America - both domesticated indigenous varieties as
well as archaeological samples of ancient corn - and compared them to
the genetic lineages of modern and ancient maize and teosinte worldwide.
According to Kistler et al., the results suggest that ancestral maize
arrived in South America "semi-domesticated." Isolated from their
Mexican progenitors before the genetic hallmarks of domestication could
be fixed, distinct South American lineages evolved -- some becoming
fully domesticated under continued human selection. Combining their
genomic findings with archaeological, paleoecological and linguistic
data, the authors suggest that this parallel, yet independent secondary
improvement likely began in the southwestern Amazon.
British Museum 8 November 2018 – 24 February 2019 Sainsbury Exhibitions Gallery
This autumn, discover the world of ancient Assyria through the life and legacy of its last great ruler, King Ashurbanipal. The BP exhibition I am Ashurbanipal: king of the world, king of Assyria will transport you back to ancient Iraq in the 7th century BC, when Ashurbanipal became the most powerful person on earth. From his capital at Nineveh, he ruled a vast and diverse empire, shaping the lives of peoples from the shores of the eastern Mediterranean to the mountains of western Iran.
How did one man negotiate family politics, the pressures of kingship, and the will of the gods? Ashurbanipal, proud of his scholarship, assembled the greatest library in existence during his reign. Guided by this arsenal of knowledge, he defined the course of the empire and boldly asserted his claim to be ‘king of the world, king of Assyria’.
This will be the first ever major exhibition to explore the life of Ashurbanipal in such depth. The exhibition will tell Ashurbanipal’s remarkable story through the vivid narratives recorded on his palace sculptures, the hundreds of cuneiform texts that survive from his library, and from the wealth of objects discovered by archaeologists working in the region. Innovative displays bring to life the tumultuous story of Ashurbanipal’s reign; his conquest of Egypt, the crushing defeat of his rebellious older brother, and his ruthless campaigns against all who defied his rule.
Over 200 extraordinary objects from all corners of the empire reveal how one of the greatest Assyrian monarchs stamped an indelible mark on the history of the world. The British Museum’s world-renowned collection of Assyrian treasures will be complemented by key loans from across the globe. These include unique objects and artworks from the collections of the History Museum of Armenia, Yerevan; the Musée du Louvre, Paris; the Vorderasiatisches Museum, in Berlin; the State Hermitage Museum, St Petersburg; the Museo Gregoriano Etrusco, Musei Vaticani, Vatican City; and the Cyprus Museum, Nicosia. Many of these remarkable objects have never travelled to the UK before.
The exhibition will immerse visitors in the life at the great Assyrian court. Massive stone sculptures, intricately carved reliefs, painted glazed bricks and rare wall paintings evoke the splendour of the cities and palaces. Delicately carved ivories, extravagant metalwork, cosmetic vessels and gold ornaments show how the elites lived in splendour. Ornate chariot fittings and elaborate weaponry reveal how this was an age of conflict, as rival kings fought for power and glory. Ashurbanipal’s prowess as a valiant warrior is recorded on a series of vividly carved reliefs in the British Museum’s collection that depict the royal lion hunt. Lion hunts were drama-filled public spectacles staged within the hunting grounds at Nineveh.
Ashurbanipal claimed to be unlike his predecessors for he could read, write and debate with expert scholars. During his reign he assembled a unique and visionary library at his palace in Nineveh. Knowledge was power; this library was a practical tool that helped the king to manage his empire. Using the British Museum’s world-renowned collection of documents dating to Ashurbanipal’s reign, the exhibition will recreate the king’s great library to evoke its scale and present its contents and significance.
A map showing the extent of the Assyrian empire (in pink). Map
produced by Paul Goodhead.
Votive bronze decorated helmet offered to the god Haidi, by king Arguisti
1st, Copper-alloy,786 BC –764 BC. History Museum f Armenia, Yerevan
Many of the objects featured in the exhibition come from archaeological sites in Iraq such as Nineveh and Nimrud that have been systematically targeted and destroyed by Daesh (IS).
The final section of the exhibition will highlight the challenges faced in protecting Iraqi cultural heritage under threat and will showcase the work of the ‘Iraq Emergency Heritage Management Training Scheme’. In response to the destruction of heritage sites in Iraq, the British Museum developed this scheme to train Iraqi archaeologists in rescue archaeology and emergency heritage management. An overview of the project’s training and research will be presented to visitors through film footage of the excavations and exclusive interviews with participants.
Beautifully illustrated, this book will feature images
of objects excavated from all corners of the empire and will highlight
the British Museum’s unrivalled collection of Assyrian reliefs, which
bring to life the tumultuous story of Ashurbanipal’s reign: his conquest
of Egypt, the crushing defeat of his rebellious brother, and his
ruthless campaign against the Elamite rulers of southwest Iran.
Published to accompany a once-in-a-generation exhibition at the British Museum, I am Ashurbanipal gives a fascinating account of the Assyrian Empire told through the story of its last great rule
September 26, 2018 - July 1, 2019 The Louvre’s Petite Galerie―a space set aside for art and
cultural education―is launching a new exhibition on September 26, 2018.
The event is intended to spark a dialogue between archaeology and this
season’s “guest”―comic book art. About a hundred artworks and a
selection of original pages by comic book artists with an interest in
archaeology (such as Jul, Enki Bilal, and Nicolas de Crécy) will invite
visitors to follow in the footsteps of amateur and professional
archaeologists with a passion for antiquity: to see how they discover
“treasures,” unearth objects buried at different periods, classify them,
and try to understand what they tell us about the past. In four
theme-based rooms, the exhibition will show how comic book art (known
as the “ninth art” in France), with its blend of fact and fiction, has
drawn inspiration from the archaeological finds that have contributed to
the Louvre’s collections:
– “Artists and Archaeologists”: archaeology did not
become a profession until the 19th century, when scientific
archaeologists began to use drawings, surveys, and publications. Both
archaeologists and comic book artists use sketchbooks to record the
objects, places, and characters that interest them―but comic book heroes
tend to be reporters, detectives, or adventurers rather than
scientists!
– “Archaeological Treasures”: the history of
archaeology is dotted with amazing and unexpected discoveries. But the
word “treasure” has a particular meaning for archaeologists: it can
refer to pieces of precious metalwork that were buried to save them from
natural disasters or war; it can also mean a group of objects dedicated
to a divinity and buried under the foundations of a temple, in the
ancient Near East and pharaonic Egypt for example. Many comic books
feature these moments of discovery―unexpected or otherwise―with heroes
in search of treasure or lost civilizations.
– “Classifying and Understanding”: using methods of
description and comparison derived from natural science, archaeologists
identify, classify, and suggest typologies of material according to
technique, shape, or decoration. To date an artifact, they study the
conditions of its discovery (burial depth, traces of destruction, etc.)
and try to relate these to known events. Some comic book artists use the
thoughts of their heroes to evoke different periods of the past; others
compose their own typologies of objects.
– “Interpreting and Imagining” and “Comic Book Creativity”:
after excavations, archaeologists study and publish their finds. They
gather all the material data available and try to interpret it. When
there is no information about the context in which an archaeological
artifact was found, it is difficult to interpret it. Comic book art has
drawn inspiration from historical figures and legendary heroes,
archaeological sites and imaginary places. Historical accuracy is
sometimes respected, but fact usually gives way to fiction or even
science fiction.
Educational wall labels, video displays, a digital
flip-book, and a media library draw attention to details and provide key
contextual elements.
Exhibition curators: Jean-Luc Martinez,
President-Director of the Musée du Louvre, and Fabrice Douar, Editorial
Manager at the Interpretation and Cultural Programming Department. Project Manager: Florence Dinet, Musée du Louvre.
A dedicated website: http://petitegalerie.louvre.fr
PUBLICATION L’archéologie en bulles, under the direction of Fabrice Douar and Jean-Luc Martinez, assisted by Florence Dinet.
Co-published by: Musée du Louvre Éditions / Éditions du Seuil. French.
Copyright: Photo: Niki Davidov, Israel Antiquities Authority
(Communicated by the IAA Spokesperson)
Archaeological excavations carried out in the past month by the Israel Antiquities Authority
in the city of Lod,in preparation for the construction of a Visitors’
Center that will exhibit mosaics previously exposed here several years
ago, have revealed an additional colorful mosaic dating from the Roman
period. The mosaic was carefully removed for conservation in order for
construction of the Shelby White and Leon Levy Lod Mosaic Center to
continue.
The Shelby White and Leon Levy Lod Mosaic Center project is a joint
initiative of Shelby White and the Leon Levy Foundation, the Lod
Municipality, the Lod Economic Development Corporation and the Israel
Antiquities Authority. When complete, the Center will display the
mosaics, enclosed within a modern building that relates to and respects
the plan of the ancient villa in which they were originally laid. In
1996, road workers discovered by chance a mosaic floor at the entrance to Lod,
adjacent to the Ginnaton Junction. In the subsequent excavation,
directed by the late IAA archaeologist Dr. Miriam Avissar, the remains
of a luxurious villa with exceptionally well-preserved, unique mosaic
floors dating to the 4th century CE were found. According to Dr. Amir
Gorzalczany, the director of the present excavation, “the excavations at
the site exposed a villa that included a large luxurious mosaic-paved
reception room triclinium, and an internal columned courtyard, also with
mosaics, and a water system. We found evidence for Mediterranean luxury
that characterized the Roman Empire, including attributes such as
fresco wall paintings”.
Animal figures in the mosaic (detail). Photo: Assaf Peretz, Israel Antiquities Authority.
The extraordinary mosaics
uncovered in the Lod villa depict realistic and imaginary animals,
complex geometric designs and marine scenes, incorporating a multitude
of fish and two ships. The variety of colors, the extraordinary quality
and the exceptional state of preservation led to local and world-wide
interest. The central panel of the mosaic served as a worldwide
ambassador for Israel, as the mosaic was exhibited in special
exhibitions in museums many of which had never before borrowed artifacts
from Israel. These museums included the Metropolitan Museum in New
York, the Louvre in Paris, the Hermitage in St. Petersburg, the Frost
Museum in Miami, Florida, the Altes Museum in Berlin, the Cini
Foundation in Venice, the Field Museum in Chicago and the Art Museum in
Cincinnati, Ohio. Over the years, hundreds of thousands of visitors saw
the mosaics worldwide, and the media and scientific coverage was
extensive.
Shelby White, the generous donor of ‘The Shelby White and Leon Levy
Lod Mosaic Archaeology Center’ said, “The Lod Museum will be a dream
come true, that began when my husband Leon Levy and I first saw the
magnificent mosaic more than twenty years ago. This initiative could not
have materialized without the strong support of the Lod community and
the Israel Antiquities Authority.”
According to Lod Mayor Adv. Yair Revivo, “It is fascinating to
learn how many centuries ago the centrality and the potential of the Lod
environs was appreciated by the ancient residents. The establishment of
the Center exhibiting aspects of the rich history of Lod will provide
an impressive gateway to the town.”
Director of the Israel Antiquities Authority, Israel Hasson said,
“After twenty years of the IAA’s perseverance we have succeeded in
reaching a worthy and committed cooperation with the Lod Municipality. I
am happy that the citizens of Israel and worldwide will be able to
appreciate the cultural heritage that has waited patiently for world
recognition, and will now receive the honor it deserves”. The mosaic
that was discovered recently will also be displayed in the new Center.
“The archaeological excavation that we carried out this month was
relatively small, but contributed significantly to our understanding of
the villa building” says Gorzalczany of the IAA. “Thankfully, the main
central panel of the mosaic was preserved. The figures, many similar to
the figures in the earlier mosaics, comprise fish and winged creatures. A
fairly similar mosaic was found in the past in Jerusalem, on the Mount
Zion slopes. The Lod mosaics, however, do not depict any human figures
that are present in the Mount Zion mosaic. It is quite probable that the
same artist produced both the mosaics, or that two artists worked from a
similar design. This type of mosaic is better known in the Western part
of the Roman Empire. Also noteworthy,” continues Gorzalczany, ”are the
rectangular marks that may denote the placing of the couches on which
the participants of the banquet or feast reclined. These marks are
common in similar villas and are an indication of the use of the space
in the reception halls.”
The professional treatment of the mosaic in the course of its
exposure and its removal from the site for conservation, are carried out
by the Conservation Department of the IAA, under the supervision of the
Head of the Artistic Conservation Branch Jacques Neguer, and the Head
of the Mosaics Department Galeb Abu-Diab.
Gorzalczany considers that the newly discovered mosaic paved an
additional reception room next to the sumptuous reception hall uncovered
in 1996. “If this is the case, then the villa may be much larger than
we supposed. The discovery, in close proximity to the earlier hall,
raises new questions: How large was the building? Did the villa comprise
several reception halls? Where were the private living rooms? Was there
a second story? These issues may be resolved in future excavations.”
The Center will enable visitors to appreciate the mosaic from different
angles and with the aid of various visualizing aids. Additional
artifacts from the excavation and from the rich history of Lod will also
be displayed.
The Visitors’ Center of Lod Is part of the wider plan to develop
other parts of the historic city of Lod as a touristic route. The mosaic
is located in the northeast of Lod, next to the Ginnaton Junction. It
is accessible from the Ben Gurion International Airport, and from the
two main arteries of the country, the Tel Aviv to Jerusalem Highway No.
1, and the north to south highway No. 6. The Visitors’ Center is
planned to open within two years.
The rare stone mask dating to the Neolithic period
Copyright: Clara Amit, Israel Antiquities Authority
(Communicated by the IAA Spokesperson)
This fascinating and rare stone mask dates to the Neolithic (new stone
age) period. It was discovered several months ago and is currently being
studied by experts of the IAA and the Geological Survey of Israel.
Results of the initial study of the mask will be presented tomorrow
(Thursday, 29 November 2018) at the Israel Prehistoric Society annual
meeting.
Information received at the IAA’s Antiquities Theft Prevention Unit
at the beginning of 2018 led to the recovery of the impressive stone
mask. The Head Staff Officer of Archaeology Department of the Civil
Administration in Judea and Samaria Mr. Hananya Hizmi was informed on
the finding of the mask. An investigation revealed the probable
archaeological site in which the mask was originally found, in the Pnei
Hever region of southern Har Hevron. Its characteristics, in addition to
other findings from the contexts in which it was discovered, testify
that the mask is 9,000 years old – dated to the Pre-Pottery Neolithic B
period.
According to Ronit Lupu of the IAA Antiquities Theft Prevention Unit,
“The mask is a unique finding in the archaeological world. It is even
more unusual that we know which site it came from. The fact that we have
information regarding the specific place in which it was discovered
makes this mask more important than most other masks from this period
that we currently know of.” The mask is made of pinkish-yellow
limestone, carefully shaped with stone tools to resemble a human face.
Four holes were drilled along the perimeter of the mask, probably in
order to tie it – possibly to the face of a living person, or maybe to a
pole or other designated artifact in order to display it. According to
Lupu, “Discovering a mask made of stone, at such a high level of finish,
is very exciting. The stone has been completely smoothed over and the
features are perfect and symmetrical, even delineating cheekbones. It
has an impressive nose and a mouth with distinct teeth.”
Dr. Omry Barzilai, head of the IAA Archaeological Research Department,
said that “Stone masks are linked to the agricultural revolution. The
transition from an economy based on hunting and gathering to ancient
agriculture and domestication of plants and animals was accompanied by a
change in social structure and a sharp increase in ritual-religious
activities. Ritual findings from that period include human-shaped
figurines, plastered skulls, and stone masks.”
Ancestor worship was practiced during this period. “It was part of
the ritual and retention of family heritage that was accepted at the
time,” says Ronit Lupu. “For example, we find skulls buried under the
floors of domestic houses, as well as various methods of shaping and
caring for the skulls of the dead. This led to plastering skulls,
shaping facial features, and even inserting shells for eyes. Stone
masks, such as the one from Pnei Hever, are similar in size to the human
face, which is why scholars tend to connect them with such worship.”
There are currently fifteen known masks in the world that date from
this period, of which only two were discovered in a clear
archaeological context – meaning: we know which site they came from. The
remaining masks are in private collections throughout the world, which
makes it more difficult to study them. The importance of this new mask
stems from the fact that it has been traced to an archaeological site
that can be studied. The site can help us understand the material
culture, everyday world in which the mask was produced, probably for
purposes of worship.
The mask from Pnei Hever joins other masks attributed to the
Pre-Pottery Neolithic B period discovered in the southern Hebron Hills –
Judean Desert area. Discovering the mask from Pnei Hever strengthens
the assumption that the southern Hebron Hills area was a center for
producing stone masks, and most likely also for ritual activities in the
Pre-Pottery Neolithic B period.
Dr. Omry Barzilai and Ronit Lupu of the IAA will present the
initial research of the mask tomorrow (Thursday) at the Israel
Prehistoric Society annual meeting to be held at the Israel Museum.
