Archive for September, 2016

Human skeleton found at Antikythera shipwreck

Tuesday, September 20th, 2016

Archaeologists diving the site of the Antikythera shipwreck in the Aegean Sea have discovered human skeletal remains. The Return to Antikythera team, which has been exploring the site since 2012, found the bones under a foot and a half of pottery fragments and sand on August 31st. They recovered the cranium, a partial jawbone with three teeth, ribs, the long bones of the arms and legs and some other pieces. The rest of the skeletal remains are still embedded in the sea floor.

This isn’t the first time human remains have been found at the Antikythera wreck site. Famed marine explorer Jacques Cousteau found a smattering of bones during his two-day survey of the site in 1976. Osteoarchaeological analysis concluded that those bones were the remains of at least four people, although only three individuals could be identified: a young man, an adult woman and a teenager of undetermined sex. Having been treated for conservation purposes and exposed to a variety of temperature and environmental conditions, those bones can no longer be tested for DNA, not that they were ever prime candidates for recovery of ancient DNA.

That was a long time ago, aeons in terms of scientific technology, and this latest find isn’t just a bone here or there scattered by currents and marine life. This is the undisturbed skeleton of one person whose remains appear to have been protected by a thick debris layer, and it is the first ancient skeleton to be recovered from a shipwreck since the dawn of DNA analysis. Researchers are excited at the prospect of being able to extract a testable DNA sample from the bones, something that has never been attempted on an ancient shipwreck victim, to find out more about a crew member or passenger of the ancient merchant vessel laden with luxury objects that sank in around 65 B.C.

Within days of the find, [Woods Hole Oceanographic Institution archaeologist and co-director of the excavations team Brendan] Foley invited [Hannes] Schroeder, an expert in ancient-DNA analysis from the Natural History Museum of Denmark in Copenhagen, to assess whether genetic material might be extracted from the bones. On his way to Antikythera, Schroeder was doubtful. But as he removes the bones from their bags he is pleasantly surprised. The material is a little chalky, but overall looks well preserved. “It doesn’t look like bone that’s 2,000 years old,” he says. Then, sifting through several large pieces of skull, he finds both petrous bones — dense nuggets behind the ear that preserve DNA better than other parts of the skeleton or the teeth. “It’s amazing you guys found that,” Schroeder says. “If there’s any DNA, then from what we know, it’ll be there.”

Schroeder agrees to go ahead with DNA extraction when permission is granted by the Greek authorities. It would take about a week to find out whether the sample contains any DNA, he says: then perhaps a couple of months to sequence it and analyse the results.[…]

Schroeder guesses from the skeleton’s fairly robust femur and unworn teeth that the individual was a young man. As well as confirming the person’s gender, DNA from the Antikythera bones could provide information about characteristics from hair and eye colour to ancestry and geographic origin.

The video captures the moment of discovery and the divers’ unbridled joy.

[youtube=https://youtu.be/6pF0Ie4YvEo&w=430]

The Return to Antikythera team 3D scan every artifact they discover so that scholars all over the world can examine their finds. Here is a 3D model of the bones in situ.

[youtube=https://youtu.be/afSYf8v-XK0&w=430]

Here are the femurs recovered from the sea floor and in the laboratory.

[youtube=https://youtu.be/c4KFRNkbUaQ&w=430]

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Ukraine returns five paintings stolen from Dutch museum

Monday, September 19th, 2016

Five of the 24 paintings stolen from the Westfries Museum in Hoorn, northwestern Netherlands, on January 10th, 2005, have been returned to the Netherlands by the Ukrainian authorities. How they ended up in Ukraine is unclear. Museum officials searched constantly for their purloined works — 17th and 18th century oil paintings by Dutch masters and 70 pieces of silverware — for years before finally spotting a picture of one of the paintings on a Ukrainian website in 2014.

In July of 2015, two members of the ultra-right Organization of Ukrainian Nationalists (OUN) militia contacted the Dutch embassy in Kiev claiming that their battalion had all 24 of the stolen paintings and all the silverware. They claimed to have found the loot in the villa of one of their political enemies, a crony of the former president, and were willing to sell it back for an astronomical sum based on their groundless assumption that the art and silver were worth 50 million euros, a figure more than 50 times greater than the realistic assessment of expert appraisers.

The museum got the Ukrainian police involved, then the Foreign Ministry, then diplomatic talks ensued. No progress was made. When in December of last year they heard that the militia were looking for other potential buyers, museum officials notified the media and the whole crazy story made international news.

Since then, all kinds of under-the-radar things have been happening. Seemingly out of nowhere and with little explanation of the turn of events, in April of this year four of the 24 paintings were recovered by the Ukrainian secret service (SBU). They announced at a press conference that the recovery was the result of a special operation conducted in 10 regions of Ukraine over the course of four months, but no details were forthcoming about who had them or any legal repercussions for the thieves. All they said is they were found “in the possession of criminal groups,” which yeah, duh.

The four recovered works were The Peasant Wedding by Hendrick Boogaert, Kitchen Piece, by Floris van Schooten, The Return of Jephta and Woman World, both by Jacob Waben. These were the most prized of the stolen paintings and the museum was excited to get them back, especially since curators were concerned about their condition. Two of the paintings were still rolled up after having been cut out of their frames in the heist. Two others had been reframed.

Despite all the publicity about this caper and the artworks, the Ukrainian government dragged its heels about returning the paintings to the Westfries Museum. Officials decided they had to launch their own investigation of the pieces and who the legitimate owner was. The museum had supplied the authorities with ample documentation of their legal claim, which was doubted by nobody, not even the militia members themselves who had reached out to them directly, after all.

Then, in May, a fifth painting emerged, New Street in Hoorn by Izaak Ouwater. This one was handed in to the Dutch embassy in Kiev by an unknown buyer who apparently did not realize it was stolen when he purchased it. Again, no details were forthcoming.

Finally whatever kinks needed working out were worked out and on September 16th, all five of the paintings were formally returned to the Netherlands in a ceremony at the Dutch embassy in Kiev. Museum experts examined the works to authenticate them and assess their condition. The news for some of the works is grim.

[Museum director] Ad Geerdink: “Naturally I am very pleased about the return. But I am very sad about the condition of the paintings A Kitchen Scene by Floris van Schooten and A Peasants Wedding, by Hendrick Boogaert. For years, the paintings have been moved all over the place and they were folded or rolled up. They really suffered a lot. When unrolling them, a piece came loose. Luckily they can still be restored, but it will be a time-consuming effort. The costs will be significant, at least 100,000 Euros. As a museum, we are not able to bear these costs ourselves. We therefore hope that people will help us with the restoration by joining the crowd funding campaign. We will start the crowd funding when the paintings return to Hoorn. In the spring of 2017, we want to let the paintings shine again in full glory in the Westfries Museum.’

The paintings will be back on Dutch soil on October 7th and the museum is planning to welcome them with much happy fanfare. The five works will be briefly on display starting on October 8th and admission will be free for a week so the people of Hoorn can welcome back their long-lost prodigals.

I will post an update when the crowdfunding campaign is launched.

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Oldest known indigo dyed textile found in Peru

Sunday, September 18th, 2016

In 2009, archaeologists found textile fragments at the Preceramic settlement of Huaca Prieta in the Chicama Valley on the northern coast of Peru. The desert climate preserves organic materials and a great many early textiles made from wild cotton indigenous to the area have been unearthed there. What makes these fragments so significant is the dyed blue threads which are the oldest known indigo dyed textiles in the world, 1,800 years older than the Egyptian Fifth Dynasty textiles previously believed to be the oldest indigo dye.

Occupied between 14,500 and 4000, Huaca Prieta’s large ceremonial mound was first excavated in 1946 by archaeologist Junius Bird, curator of South American Archaeology at the American Museum of Natural History. There he unearthed the oldest known cotton textiles with recognizable figures — humans, birds, snakes — in the Americas. Those textiles are now in the American Museum of Natural History in New York.

Bird’s trenches are still being excavated today and a number textile fragments are visible peering through the soil. It was in of those trenches, stratum 44 of trench HP-3, that archaeologists discovered two textiles with blue dye about 6200 to 6000 years old. The fragments are weft twining with warp stripes in different colors: the natural tan of the cotton, yarn woven with a white fiber from a local vine in the milkweed family and the blue. Chromatographic analysis of the textile confirmed the presence of an indigoid dye.

Different plants can be used to make indigoid dyes. What they all have in common is indigotin, the main component in blue dye, and indirubin, an isomer of indigotin. There is no currently available test that can distinguish between the different genera of plants that are sources of indigo dye. Researchers believe the Huaca Prieta dye was derived from plants in the Indigofera genus which are native to South America and still used as dye plants today.

Early examples of the use of blue yarns that were most likely colored with indigo are known, but dye analysis had heretofore been unavailable. The composition of the indigoid dyes identified in the fabrics presented here reflects that of earlier findings in Latin American and Asian contexts, in that proportions of indirubin relative to indigotin are significantly higher as compared to European productions. To date, there is no firm evidence to explain these differences, but plant species, harvesting, dye preparation, and actual dyeing, as well as differential conservation processes of essential dye components, may have, alone or in combination, contributed to this observation. One interesting hypothesis, requiring further confirmation, is that ancient vat dyeing technologies favored the formation and uptake by the yarn of indirubin. This would have resulted in a more purplish hue produced by a reddish indirubin and a bluish indigotin.

The textile fragments are now in the Cao Museum in Trujillo, Peru.

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3,000-year-old pot contains burned cheese residue

Saturday, September 17th, 2016

A clay pot discovered during an archaeological excavation near Silkeborg in central Jutland, Denmark, in 2012 has the residue of 3,000-year-old burned cheese coating the interior. The pot was found upside down in a garbage pit. Museum Silkeborg archaeologists were excited by the find because the pot was intact and in near mint condition, a rare find for a Bronze Age vessel made between 777 B.C. and 588 B.C. They didn’t realize until they cleaned the soil off of it that the crusty remains of some whitish yellow food substance were stuck to the inside walls.

The color and texture were not something the archaeologists had seen before. Charred grains and seeds are a more common sight in ancient cookware — the ever-tricky porridge has been getting burned to the bottom of pots for thousands of years — but the yellowish film was a mystery. Samples of the crusty substance were subjected to macrofossil analysis at the Moesgaard Museum in the hope it might identify any plants, meat or fish. The results were inconclusive. The test found the substance was a foamy, vitrified material, possible the residue of oil or sugar.

Museum curators sent samples to the Danish National Museum next, where chemist Mads Chr. Christensen used mass spectrometry to identify the substance. He was able to narrow it down to a product made with the fat of a ruminant, likely bovine. With no similar sample to compare the mass spectrometry results, he wasn’t able to get more specific than that.

“The fat could be a part of the last traces of curds used during the original production of traditional hard cheese. The whey is boiled down, and it contains a lot of sugars, which in this way can be preserved and stored for the winter,” says [Museum Silkeborg curator Kaj F.] Rasmussen.

“It is the same method used to make brown, Norwegian whey cheese, where you boil down the whey, and what’s left is a caramel-like mass that is turned into the brown cheese that we know today from the supermarket chiller cabinet,” he says.

When things don’t go according to plan and the cheese burns to the pot, the smell is pungent, to put it charitably, and attempts to scrape the foul crust off the clay pot doomed to failure. It’s easy to picture a Bronze Age cheesemaker dumping the whole mess into the trash.

I’m not familiar with brown Norwegian whey cheese. It sounds … interesting. Has anybody tried this delicacy?

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Unique figurine of woman found at Çatalhöyük

Friday, September 16th, 2016

Archaeologists excavating the Neolithic urban settlement of Çatalhöyük in central Turkey have unearthed the figurine of a voluptuous woman in excellent condition. More than 2,000 figurines have been found at Çatalhöyük, but very few of them intact like this one. Several of them were also Mother figures; this is the first one to be found intact and with finely crafted details. It is also unusual in that it was discovered under a platform next to a piece of obsidian where it appears to have been deliberately placed likely for ritual purposes rather than discarded in garbage pits where archaeologists have found many broken statuettes, mostly made of clay. The beautiful Seated Woman of Çatalhöyük, for example, who is herself a zaftig female archetype seated on a throne and captured in the very act of giving birth, was found missing her head and the right hand rest in the shape of a leopard or panther head.

The figurine is 17 centimeters (6.7 inches) long, 11 centimeters (4.3 inches) wide and weighs one kilo (2.2 pounds), a large, heavy piece for Çatalhöyük. (The Seated Woman is 12 centimeters high.) Her hands and feet are small, markedly out of proportion to her large breasts, belly and buttocks, and her hands are placed under the breasts. She would not have been able to stand vertically on those small feet. The figurine is made of marble, another rarity, and was shaped by extensive polishing of the stone. Details — slanted eyes, a Modigliani-like flat nose, mouth, navel, etc. — were then incised on the figure.

It dates Neolithic occupation of the site, between 7100 and 6000 B.C., so the figurine is at least 8,000 years old. The exaggerated female features — breasts, hips, thighs — of such figures, carved by people for more 40,000 years, have often been interpreted as mother or fertility goddesses, but recent scholarship suggests some of them may represent venerable high status older ladies of the community.

Çatalhöyük is a fascinating site, founded in a period of transition between highly mobile hunter-gatherers and settled farming communities. No identifiable public buildings have been found thus far, just domestic structures built so close together than people had to use roofs and ladders to move between them. Residents grew a few different kinds of plants and kept cattle — not domesticated yet, mind you — for milk and meat. Large cattle horns were popular decorative features incorporated into the homes. The dead were buried under the houses; there was no dedicated cemetery or burial ground.

The Çatalhöyük Research Project has been excavating the settlement since 1993, combining excavation with in situ conservation and curation of artifacts to ensure the long-term preservation of this extraordinarily signficant site. Full details about the newly discovered figurine will be published in the team’s 2016 Archive Report later this year.

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World’s oldest snowshoe found in Italian Dolomites

Thursday, September 15th, 2016

On August 5th, 2003, Simone Bartolini, cartographer and head of the State Borders division of Italy’s Military Geographical Institute, was in the Pfossental Valley in the Italian Dolomites doing a topographical survey of the border with Austria when he came across an old snowshoe made by hand out of birch and twine. A birch stick about 1.5 meters (five feet) long had been shaped into a rough oval closed with twine, and then more twine stretched taughtly across the middle to support the foot. One of the twine supports was broken in the middle, but otherwise it was in excellent condition.

Bartolini thought it was maybe a hundred years old, the rudimentary work of a local farmer perhaps, and hung it on the wall of his office in Florence as a charming curiosity. That’s where it remained for 12 years until 2015 when Bartolini attended an exhibition of artifacts found in the glaciers at the Archaeological Museum of Bolzano. After a conversation with museum director Angelika Fleckinger, it dawned on him that his snowshoe might be a lot older than he had realized, so he gave it to the Office of Archaeological Heritage of Bolzano for further study.

Researchers had it radiocarbon dated by two independent laboratories and their results were the same: the snowshoe was made in the late Neolithic, between 3800 and 3700 B.C. That makes it 5,800 years old, by far the oldest known snowshoe.

“The shoe is evidence that people in the Neolithic period were living in the Alps area and had equipped themselves accordingly,” said Dr Catrin Marzoli, the director of the province’s cultural heritage department.

It was unclear why people were travelling through such an inhospitable region, she said. They may have been hunting animals, fleeing enemies from a rival tribe, or visiting pagan sites of worship.

If you live in an environmentally challenging region, you adapt. People gotta move sometimes for any number of reasons. The snowshoe was found at an altitude of 3,134 meters (10,280 feet) in the Gurgler Eisjoch pass which has been used by mountain travelers for thousands of years. Ötzi the Iceman, whose naturally mummified body was found just a few miles west of the snowshoe in 1991, was treading that well-worn trail between what are now Italy and Austria when he was killed, and microscopic evidence in his bones and digestive system indicate he had trod that path many times in his life. Ötzi died 500 years after that snowshoe was made.

The snowshoe will now join the Iceman on display at the South Tyrol Museum of Archaeology in Bolzano.

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HMS Terror may have been found

Wednesday, September 14th, 2016

Not basking in the success of its search for HMS Erebus, the flagship of Sir John Franklin during his last doomed voyage to find the Northwest Passage, Parks Canada continued its research on the Franklin expedition this season, studying the Erebus with sonar and seeking out any remains of the second ship, the HMS Terror. One of its partners in the endeavour is the Arctic Research Foundation whose vessel Martin Bergmann carries Parks Canada underwater archaeologists, side-scan sonar equipment and a remotely operated vehicle.

On September 3rd, the crew of the Martin Bergmann found a large three-masted shipwreck at the bottom of, believe it or not, Terror Bay. The sonar data was confirmed by video from the ROV which allowed the team to compare the wreck to the plans of the HMS Terror. They found the ship’s bell, but couldn’t see the name of the vessel on it. One key feature that indicates this is the Terror is the exhaust pipe which is in the same location as the smokestack on the ship’s plans. It was added to HMS Terror to vent exhaust from the locomotive engine installed in the ship’s hull so it could cut through sea ice.

The Terror was long believed to have been crushed by the hard, cold embrace of sea ice, but if this is the ship itself, it appears to be in excellent condition. Its three masts are broken, but it sits level on the sea floor about 80 feet below the surface, indicating that it sank gently. A long rope, still threaded through a hole in the deck, may have been used as an anchor line. The metal sheeting on the hull is intact. It seems the crew battened down the hatches, so to speak, as the ship was closed up tight. Of the four glass windows in the stern cabin, only one is broken. That bodes very well for the preservation of the contents.

On Sunday, a team from the charitable Arctic Research Foundation manoeuvred a small, remotely operated vehicle through an open hatch and into the ship to capture stunning images that give insight into life aboard the vessel close to 170 years ago.

“We have successfully entered the mess hall, worked our way into a few cabins and found the food storage room with plates and one can on the shelves,” Adrian Schimnowski, the foundation’s operations director, told the Guardian by email from the research vessel Martin Bergmann.

“We spotted two wine bottles, tables and empty shelving. Found a desk with open drawers with something in the back corner of the drawer.”

As with the discovery of Erebus, here too Inuit knowledge of the area played a pivotal role. The Martin Bergmann was headed to the north end of Victoria Strait to join the other ships on the Parks Canada mission when one of the crew members, Sammy Kogvik, told a story about how on a fishing trip six years ago he saw a large vertical piece of wood poking through the ice covering Terror Bay. He took some pictures of himself hugging the mast-like timber but lost the camera on the way home.

Taking the loss of the camera to be a bad omen — the Inuit have thought King William Island to be plagued with bad spirits since the death of everyone on the Franklin expedition — Kogvik told nobody of his find until he told Adrian Schimnowski on board the Martin Bergmann. Breaking from the lost history of explorers discounting Inuit evidence, the crew decided to take a detour from their destination and check out Terror Bay.

So it seems the Inuit are two for two on the Franklin expedition ships. Nice stats for people Lady Jane Franklin contemptuously dismissed as “savages” and their information, now proven to be accurate on pretty much every point, as “gossip” that should never have been repeated because it included reports of survival cannibalism among the crew.

The identification is not a sure thing yet. This ship was found a full 60 miles south of where the Terror was thought to have been destroyed based on the only known official records of the expedition ever found: an Admiralty form in a cairn at Victory Point on King William Island that noted the coordinates of where the two ships had been abandoned to the sea ice. But then again, Erebus was found much further south than expected too. Jim Balsillie, co-founder of the company that created the Blackberry and founder of the Arctic Research Foundation, has an idea of why this might be.

“Given the location of the find [in Terror Bay] and the state of the wreck, it’s almost certain that HMS Terror was operationally closed down by the remaining crew who then re-boarded HMS Erebus and sailed south where they met their ultimate tragic fate.”

Sounds reasonable. Parks Canada is circumspect about the find. They’re excited about it and recognize the significance of the find particularly in highlighting the inestimable value of the Inuit contribution, but they aren’t ready to call the Terror found until they’ve examined the details and confirmed it’s the real deal.

This CBC News story includes video of the shipwreck taken by the remotely operated vehicle.

[youtube=https://youtu.be/-_hug6UIyyE&w=430]

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Studies of Brazilian fauna by 17th c. Dutch artist found

Tuesday, September 13th, 2016

In 1636, Johan Maurits, Count of Nassau-Siegen, (if the name rings a bell it’s because his house in The Hague is now the magnificent Mauritshuis museum) was appointed the Dutch West India Company (DWIC) governor of what was then the Dutch colony of Brazil. His mission was to stabilized the new colony, wrested from Portugal after nine years of war, expand its territories and increase the number of sugar plantations putting money in the DWIC’s coffers. He landed in Recife in January of 1637 with a large retinue including scientists and artists to document the people, environments, plants and animals they came across.

One of those artists was Frans Post. Born in Haarlem in 1612, he was the son of a noted glass painter and brother of one of the premier architects of the age both of whom taught him to draw and paint when he was a youth. His brother helped him secure a post at court where he spotted by Maurits who invited him to join him in Brazil. Post traveled throughout Dutch Brazil until 1644, sketching and painting landscapes, flora and fauna. He was the first European artist (professional anyway) to paint New World landscapes.

He only completed six paintings (later gifted by Maurits to Louis XIV of France) while still in Brazil, but he continued to paint Brazilian landscapes after his return to the Netherlands for another 25 years. They were very popular and sold briskly, eventually entering the collections of several museums. Art historians suspected that Post must have used studies done during his time in Brazil to create the paintings made in the Netherlands, but not a single sketch or drawing of Brazilian flora or fauna by Post was known to exist.

That changed in 2010 when Alexander de Bruin, curator of the image collection of the Noord-Hollands Archief in Haarlem discovered 34 previously unknown drawings by Frans Post. He found them in a 17th century album of bird drawings by Pieter Holsteijn the Elder and the Younger that he was looking through for a digitization project. The album had been donated in 1888, but nobody noticed the pencil sketches and gouaches of capybaras, jaguars, tapirs, sloths, caymans and other South American animals until de Bruin.

Because the discovery was unprecedented, experts from the Noord-Hollands Archief, the journal Master Drawings, and the Rijksmuseum put their heads together to confirm that the really were the long-suspected Frans Post Brazilian studies. They compared the subjects — individual animals captures in 24 watercolor and gouache drawings and 10 graphite ones — to animals in finished paintings and found that they were indeed studies used in his landscapes. One of the paintings he did in Brazil, for example, now in the Louvre, prominently features a capybara who appears in both a graphite sketch and a gouache. The graphite sketches are captioned in Post’s own hand; the gouaches in an unknown 17th century hand which assures us that armadillo tastes like chicken.

Alexander de Bruin on the find:

“These drawings with their inscriptions have a immediacy about them that makes you feel as if you were looking over Frans Post’s shoulder, as he recorded the fascinating fauna of the New World. The animal studies provide the missing link between Post’s seven-year Brazilian adventure and the paintings he produced on his return to Haarlem.”

The drawings will go on display for the first time in the upcoming Rijksmuseum exhibition Frans Post. Animals in Brazil. Six of his paintings and all of the studies will be exhibited alongside taxidermied specimens from the Naturalis Biodiversity Center in Leiden of the animals Post drew. The exhibition opens October 7th and runs through January 8th, 2017.

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22 ancient inscribed gold plates found in Java

Monday, September 12th, 2016


Construction workers in the Indonesian province of Central Java have unearthed 22 inscribed gold plates from the 8th century. The crew was digging for an aquifer project in the village of Ringinlarik when they came across a stone box in a rock pile. A small container at 14 centimeters (5.5 inches) long, 13.5 centimeters (5.3 inches) wide, and six centimeters (2.4 inches) high, the box was intact with its lid still on — one of the workers thought it looked like a jewelry box — and its contents apparently undisturbed.

Gutomo, an official with the Central Java Heritage Conservation Agency (BPCB) confirmed the gold found was 18 carats. Each plate has an inscription in ancient Javanese letters. The inscriptions are names of cardinal and ordinal directions of Dewa Lokapala’s wind Gods.

The inscriptions are names of cardinal and ordinal directions of Dewa Lokapala’s wind Gods.

“We recorded eight names of wind Gods. We have also declared the location as a heritage site,” Gutomo said.

Dewas, also known as devatas or dewatas, are minor Hindu deities that govern specific areas of nature and humanity. The Devata Lokapala are the Guardians of the Directions, overseers of the four cardinal points — Indra (east), Yama (south), Varuṇa (west) and Kubera (north) — and four ordinal points — Agni (southeast), Nirṛti (southwest), Vayu (northwest) and Īśāna (northeast). Javanese Hinduism includes a ninth member of the party, representing the center point, and calls them the Dewata Nawa Sanga, or Nine Guardian Gods.

The Guardians are often found painted or carved on the walls and ceilings in Hindu temples, but Java has an even stronger historical connection to these deities because they appear on the Surya Majapahit, a symbol associated with the great Majapahit Empire which ruled over what is now Indonesia from 1293 to 1500. (Old time readers might recall the wonderful Majapahit piggy banks made centuries before pigs became a popular home savings motif in the West.) The Surya Majapahit has been found carved on many Majapahit structures, enough that archaeologists believe it was an emblem of the empire. It’s an eight-pointed star representing the rays of the sun with the major Hindu deities in the circular center and the Guardians on the outer perimeter next to the rays that point in the cardinal or ordinal direction they guard. The plates predate the Majapahit Empire by at least five centuries so they’re not related, but they do attest to the regional significance of the deities.

It’s not clear on what grounds the gold plates have been provisionally dated to the 8th century, but one big clue is a discovery made at the same work site earlier this year: the remains of a candi, the Indonesian word for a stupa, a Hindu or Buddhist temple. The use of volcanic rock and the structure of the temple indicated to archaeologist that it was younger than the Candi Prambanan, a 9th century Hindu temple about 40 miles southwest of Ringinlarik. Metal plates inscribed with incantations and prayers were placed in containers and buried under the foundation of temples along with other offerings to bless the temple, so it’s highly probable these 22 plates were in place when construction on the candi began.

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CBS This Morning to preview National Museum of African American History on Monday

Sunday, September 11th, 2016

CBS This Morning will broadcast live from the Smithsonian’s new National Museum Of African American History and Culture (NMAAHC) on Monday, September 12th. The much-anticipated and hard-won museum doesn’t officially open until September 24th and the crowds are certain to be enormous for the forseeable future, so this is a chance to get a preview tour of the museum, and a thorough one at that. Guests include museum director Lonnie Bunch, Attorney General Loretta Lynch, Civil Rights icon Representative John Lewis, former Secretary of State General Colin Powell, historians and donors.

The 2-hour broadcast will be presented with limited commercial interruptions and feature interviews with lawmakers, historians, and curators who were part of bringing the museum to life.

Viewers will get a preview of the roughly 36,000 artifacts highlighting African American life, music, sports, and politics.

“It’s going to take you on a historical journey. They’re going to have a slave house. Slave ships. Emmett Till’s coffin. So you go from that, to the election of President Barack Obama all in one building,” said host Gayle King.

CBS This Morning streams live here. I don’t know if the full broadcast will be made available on the website after broadcast or if they’ll save it for CBS’ subscription streaming service.

The museum will be throwing a three-day music festival on the grounds of the Washington monument the weekend before the opening. Freedom Sounds: A Community Celebration features musicians from a panoply of African American musical traditions including jazz, gospel, R&B, brass band and hip-hop. The lineup includes Public Enemy, The Roots, Living Colour and Meshell Ndegeocello. The food concessions look to be scrumptious too.

Tickets to the National Museum Of African American History and Culture on grand opening weekend (September 24-25) are no longer available. Free timed passes were offered through ETIX, but they flew off the proverbial shelves. Because interest is so high and the crowds sure to be huge, the museum is continuing to issue timed passes through the end of the year to ensure visitors can enjoy the experience without being crushed and buffeted in the traffic. Starting Monday, September 26th, visitors can get a timed pass at the museum when they show up on the day, but of course they’ll have to wait until their allotted time, and that’s no guarantee they won’t have a long line to wait in or that they’ll be ushered in the doors precisely on schedule. Advanced passes for September and October released on September 6th, and have already all been snapped up. ETIX only has passes available now for November and December.

The NMAAHC’s website was redone recently and is excellent, with large swaths of its collection digitized. Very much worth a long, leisurely browse.

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