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Karanis

Ugly Object of the Month — October 2015

BY SUZANNE DAVIS, Curator for Conservation, Kelsey Museum of Archaeology

October’s Ugly Object has a nickname in the conservation lab: Scary Hair. When Scary Hair was excavated at the site of Karanis in Egypt, the excavators classified it as the head of a rag doll. But based on other similar objects from Karanis, this might not be the head; it might be the whole doll.

DSCN6134
“Scary Hair” the rag doll, front view. Wool, mud, hair. 2nd–4th century AD. KM 7512.

Scary Hair is about 10 cm long and is made of scraps of three different wool fabrics, plus mud and hair. Is it actually a doll? It could be, but what about the SCARY HAIR? And the mud? Could this doll, maybe, have been used for nefarious magic instead of play? Like a voodoo-type way to curse your mean neighbor? Curses! I don’t know.

I do know that this object looks kind of yucky, what with the hair and the mud. At the same time, the yuck factor is what makes it so special. Two-thousand-year-old hair! How cool is that? Whose hair is it? What about the mud?! What is the mud for? Is it for shaping the hair?

DSCN6135
“Scary Hair” rag doll, back view.

The little scraps of fabric are also kind of cool. Scary Hair’s blue hoodie is a type of fabric construction called “sprang.” Sprang fabric is like a knit, in that it’s stretchy, but it predates the invention of knitting. Sprang is made entirely with warp threads in a technique that’s sort of like braiding.

We’re especially into Scary Hair right now because we have a new graduate intern in the conservation lab, Janelle Batkin-Hall, and she has a research interest in — guess what? — hair artifacts! Janelle is working with us while she completes her graduate degree in conservation at SUNY Buffalo. We hope to feature Janelle’s work on our hairy dolls in future (yes, Scary Hair has friends). In the meantime, please come see Scary Hair for yourself. It’s located in the “toys” drawer, just like last month’s Ugly Object. This drawer is in the first floor case focused on Kelsey Museum excavations; if you’re standing and facing the black basalt statute of the seated dignitary, it’s the case directly behind the statue.

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Ugly Object of the Month — September 2015

BY SUZANNE DAVIS, Curator for Conservation, Kelsey Museum of Archaeology

This month’s ugly object is one of my absolute favorites in the collection. To be clear — it’s not one of my favorite ugly objects, it’s one of my favorite Kelsey objects, period. What is it? What a great question. I think it’s a pig? I’m not 100% sure what it depicts, to be honest, but it’s a small toy animal made from unfired clay. It was excavated at Karanis, which was a Roman farming village in Egypt.

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Miniature toy animal, clay, 2nd–4th century AD, KM 26395.

I like this object for so many reasons. First, I like what it says about the University of Michigan and its devotion to detail in archaeological investigation. Karanis was excavated in the 1920s and ’30s, and at that time it was unusual for most excavators to save this kind of evidence. Most archaeologists at the time, especially in Egypt, were primarily interested in beautiful and impressive items. The Kelsey Museum team, however, saved everything. Even tiny, seemingly unimportant bits, like this little toy. It’s described in the excavation’s records as “Toy, small mud animal.”

I also like this “small mud animal” because it connects me to the past. When I look at it, I can imagine a child playing outside, 2,000 years ago. Funny-looking toys made by kids seem to be a universal thing. Most of us have made them at some point, and those of us who are now grownups are often on the receiving end of such things. Little everyday items like this clay pig (or cow, or whatever) make me think about how — despite all our fancy technology — a lot hasn’t changed in the past few millennia. Toys help me imagine life long ago, and points of entry into the past are important for everyone. How do you know where you want to go, or what you want to do as a society, if you don’t know where you’ve been?

Looking at this toy helps me on a personal level as well. It says to me, “Many civilizations have risen and fallen since I was made. Your life is short. Live it well.” Finally, this small mud animal reminds me of one of my favorite people, my brother Matthew, with whom I made toys just like this with mud from the creek that ran behind our house.

The toy doesn’t show to best advantage in the photo, so I encourage you to come in and see it for yourself. It’s on view in the first-floor permanent gallery, inside one of the drawers. If you are standing and facing the front of the black statue of a seated dignitary, it’ll be in the case directly behind the statute. Ask a Kelsey staff member if you can’t find it!

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A Romano-Egyptian lion takes a bath

BY CARRIE ROBERTS, Conservator, Kelsey Museum of Archaeology

When it comes to conserving works of art, how do you treat what you can’t see?

When a carved limestone lion from Karanis came to the conservation lab a few months ago, grain-sized bits of stone were coming away from the sculpture’s pitted, weathered surface. It was the type of deterioration conservators often associate with salt activity. Egypt has salty burial conditions, and objects that are porous — like ceramics and stone — absorb salty water into their bodies.

Sodium chloride, or table salt, is a common type of water-soluble salt found in archaeological artifacts. When moisture levels in the air fluctuate, sodium chloride crystallizes and liquefies. This action is called “cycling,” as the salt goes through cycles of change from liquid, to solid, to liquid phases. With these phase changes come changes in volume — an expansion and contraction of the salt. In the crystalline phase, salts are sometimes visible on an artifact’s surface; this is called “efflorescence.” Crystallizing salts can grow right through the surface of an artifact, sometimes even pushing it off. Imagine salts cycling inside an artifact, and, well, you can see why so many ancient stone sculptures are in such bad shape!

A close look at the Karanis lion revealed no salt crystals visible on the surface. However, salts can be present even if visible efflorescence is not. I had a hunch. I took a small sample of stone powder that had detached from the surface, and tested it for chloride salts. Sure enough, the test came back positive.

Lion in bath
The limestone lion during desalination treatment.

Since salts are so sensitive to fluctuating humidity levels, and since the lion was slated for display outside its usual climate-controlled storage environment, I decided it was time for the lion to take a bath. Soaking artifacts in a water bath is an often-used method for extracting potentially harmful salts, and by measuring the amount of salt in the water bath over time, we could monitor this extraction in a quantitative way. After a few hours in a bath of purified, or deionized, water, quite a bit of salt was removed from the lion, and with it much of the risk of potential damage from salt activity.

Carrie taking measurements
Conservator Carrie Roberts tests salt levels in the bath.

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Conserving a dog skull

BY MADELEINE NEIMAN, 2014–2015 Samuel H. Kress conservation fellow at the Kelsey Museum

This past Friday marked the opening of our new exhibition at the Kelsey: Death Dogs: The Jackal Gods of Ancient Egypt. My favorite object in the exhibition is a desiccated dog skull excavated from Karanis, a Roman-period village in Egypt. Here at the conservation lab we have affectionately named the skull Kalbi, or “my dog” in Arabic.

While he is not the prettiest specimen, the conservator in me is amazed by Kalbi’s phenomenal state of preservation. Large portions of the dog’s skin were preserved by the arid desert environment at Karanis. Even his eyelids and nose remain! Today, I thought I would share with you the challenges of displaying Kalbi, as well as how we overcame those challenges.

Challenge 1: The dried skin covering the skull is extremely fragile. Skin is composed of a network of collagen fibers — chains of amino acids that are spiraled together to form fibrils that, in turn, bundle together to form fibers. As the skin covering the skull dried, the fibers shrank and stuck together, causing it to become brittle and cracked. In several locations along the edges, the delicate skin was in danger of completely falling off.

Solution 1: Cracks in the skin were stabilized by gluing small pieces of Japanese tissue beneath the cracks. The tissue acts like a splint; it bridges/reinforces splits in the skin and secures loose pieces in place.

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Gluing Japanese tissue mends under cracks in the skin.

Challenge 2: Several of the teeth had fallen out of the dental aveoli — the small voids in the jaw that hold the roots of the teeth. While we could easily secure the teeth in place with a small amount of adhesive, figuring out their correct anatomical location was trickier.

Solution 2: For assistance, we turned to Richard Redding, a Kelsey Research Scientist and zooarchaeologist (specialist in archaeological faunal remains). Richard determined the proper placement of each tooth, and we glued them into place.

Challenge 3: We needed to find a way to put the head back together. The dog’s head came to the lab in two pieces; without muscles to hold them together, the skull and jaw had separated. Unfortunately, the fragile teeth and delicate skin along the lower jaw meant that the skull could not safely rest on top of the jaw.

Solution 3: A mount. The creation of mounts is typically the domain of our talented exhibition preparator Scott Meier. When objects are particularly fragile, however, Scott and the conservation staff collaborate. In this case, we combined forces to create a mount that would allow the skull to float above the jaw, giving the appearance of a complete head without allowing the two pieces to touch. Scott made a raised support using a carved wood block and brass dowels. To the top of the wood block, I attached carved pieces of ethafoam, which keyed into raised areas along the base of the cranium, locking it into place. With the skull held above, the jaw could be slid into place below. Each piece is separately supported, but Kalbi’s head appears complete.

DSC_4582
Kalbi on display at the Kelsey Museum.

As you can see, the preparation of objects for exhibition is a team effort! We hope you will come by to visit Kalbi and all of the other artifacts on display in Death Dogs: The Jackal Gods of Ancient Egypt.

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My Favorite Artifact

When it comes to the Kelsey Museum of Archaeology’s collections, not all artifacts are created equal. Some call out to us intellectually, others emotionally.

BY ANN VAN ROSEVELT, Adjunct Research Scientist Emeritus, Kelsey Museum of Archaeology. Her learned background includes a BA in classical studies in English from Vassar College and three MA degrees in classical studies, museum procedures, and classical archaeology from the University of Michigan. Associated with the Kelsey for nearly 50 years, currently as a volunteer docent.

Sculpture of a Lion
Sculpture of a lion.

Favorite Artifact: Sculpture of a lion. Limestone. Roman period (1st–4th century AD). Karanis, Egypt. KM 25785. U-M Excavations, 1924–1935.

Why. “This lion’s rather human profile reminds me of movie director Alfred Hitchcock! It looks a little like a cartoon character. It’s a comfortably sized lion and not frightening. There probably weren’t free-ranging lions in Egypt during the Coptic period, so I can’t help but wonder if the sculptor was using a sphinx for a model?”

About Artifact: One of many sculptures that University of Michigan archaeologists uncovered at Karanis during its 1924–1935 excavations, this sculpture of a lion appeared in Curator Elaine Gazda’s 1978 Kelsey exhibition Guardians of the Nile: Sculptures from Karanis in the Fayum (c. 250 BC–AD 450).

Background. According to Kelsey curator T. G. Wilfong, Karanis was a town in Egypt’s Fayum region, founded around 250 BC to house a population meant to work newly reclaimed agricultural land. It was a farming community with a diverse population and a complex material culture that lasted for hundreds of years after its foundation. Ultimately abandoned by its inhabitants and partly covered by the encroaching desert, Karanis eventually proved to be an extraordinarily rich archaeological site, yielding thousands of artifacts and texts on papyrus that provide a wealth of information about daily life in the Roman-period Egyptian town.

The University of Michigan excavated at Karanis from 1924 to 1935, and during these seasons the Egyptian government granted nearly 45,000 of the artifacts discovered to the University of Michigan. Along with extensive archival records and photographs of the excavation, the Karanis material forms one of the major components of the collection of the Kelsey Museum of Archaeology.

Find It. On the first floor of the William E. Upjohn Exhibit Wing, look for the statue of the seated priest near the stairway to the second floor. You’ll find the sculpture of a lion in the exhibit case right behind the seated priest on the left.

Learn More. A number of books about U-M’s Karanis excavations are available in our Gift Shop, or online from ISD, including: Karanis: An Egyptian Town in Roman Times; Discoveries of the University of Michigan Excavation to Egypt (1924-1935), edited by Elaine K. Gazda with new preface and updated bibliography by T. G. Wilfong.

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My Favorite Artifact

When it comes to the Kelsey Museum of Archaeology’s collections, not all artifacts are created equal. Some call out to us intellectually, others emotionally.

BY CATHERINE PERSON, Educational and Academic Outreach Coordinator, Kelsey Museum of Archaeology, University of Michigan. New to the Kelsey last year, Catherine received her PhD in archaeology from Bryn Mawr College, Bryn Mawr, Pa.

Conical glass lamp
Conical glass lamp in stand from Karanis, Egypt.

Favorite Artifact: Conical glass lamp in wooden stand. Glass and wood. Roman period (1st–4th century AD). Karanis, Egypt. KM 5929 (lamp), KM 3632 (stand).

Why. “I like this piece for its aesthetics. I’m attracted to the combination of materials, the glass and the carved wood, as well as the dots of blue on the glass mirroring the circles that march up the legs of the stand. I also like the versatility of the piece: it could be used for lighting but also for something else, such as a drinking vessel or a dice cup for gambling. You can see a similar glass lamp that was used that way in another exhibit case here. In a museum filled with labels, it’s good to remember that, like today, things in the ancient world were not always one-dimensional.”

About Artifact: According to Kelsey publication Karanis: An Egyptian Town in Roman Times, the number of wooden reading stands found in the U-M excavations of 1924–35 indicates that literacy, while by no means universal, had been attained by more than a few.

In the dark rooms of Karanis houses, light was provided for reading by various kinds of lamps. Conical lamps such as this one were probably set into tripod holders or suspended on ropes or chains. These lamps, many of which were found at Karanis, would have been filled entirely with oil or with water covered by a thin layer of oil. When ignited the oil would have given a muted but adequate light.

The sheer volume of glass discovered in Karanis, over twice as much as at any other single site in Egypt, has led to the assumption that glass was manufactured at Karanis. No definitive evidence was recovered, however, to prove that it was made locally.

Background. Museum namesake Professor Francis W. Kelsey began a series of excavations in Egypt that were intended to find artifacts and documents in an archaeological context to illustrate daily life in the Greek and Roman world. These excavations began with the site of Karanis (modern Kom Aushim), extensive ruins of an abandoned town of the Greek and Roman periods.

The Karanis excavations uncovered hundreds of homes containing thousands of objects. Much of this material attests to the domestic lives of the people — from this material we know what people ate, worked at, read, and how they lived.

The University of Michigan spent eleven seasons at Karanis, where the team unearthed a wealth of material of everyday life. Thousands of these objects were given to the University by the Egyptian government, and the artifacts are now housed at the Kelsey and the papyri in the Papyrus Collection at the University Library .

Find It. On the first floor of the William E. Upjohn Exhibit Wing, look for the seated priest near the stairway to the second floor. Facing the statue, turn left, walk toward a trio of female sculptures, then turn left again. You should be facing the three Karanis household exhibit cases. The conical glass lamp in stand is in the right-hand exhibit.

 Learn More. A number of books about U-M’s Karanis excavations are available in our gift shop, or online, including:

  • Karanis: An Egyptian Town in Roman Times: Discoveries of the University of Michigan Excavation to Egypt (1924–1935), edited by Elaine K. Gazda with new preface and updated bibliography by T. G. Wilfong. Purchase online here.
  • Karanis Revealed: Discovering the Past and Present of a Michigan Excavation in Egypt, edited by T. G. Wilfong with the assistance of Andrew W. S. Ferrara. Purchase online here.
  • In the Field: The Archaeological Expeditions of the Kelsey Museum, edited by Lauren E. Talalay and Susan Alcock. Purchase online here.

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Analyzing an Egyptian Textile Fiber

BY BRITTANY DOLPH, Graduate Conservation Intern, UCLA/Getty Conservation Program

Child’s garment, KM 22602.
Child’s garment, KM 22602.

 

Here in the conservation lab, we’ve been busily preparing for the upcoming exhibition Ancient/Modern: The Design of Everyday Things. One of the objects in the exhibition is this child’s garment, excavated from the site of Karanis, Egypt, in the 1920s and ’30s. The dry Egyptian desert creates excellent preservation conditions — so much so that even fragile organic materials like this textile can survive for 2,000 years.

Last month, Kate Carras wrote about her favorite textile fragment from Karanis. Her favorite fragment was made differently from the garment shown above, but the materials are the same: wool yarns. You might wonder, how do we know for sure what kind of yarn it is? How do we know that it’s not linen or cotton?

In the case of this garment, there was a meticulous analysis of the weave pattern and yarn structure in the object’s records but no identification of the fibers present. Knowing the fiber type is important for conservators because it helps us make good decisions about how to care for the textile. When we want to identify the fibers that make up a yarn, we carefully take a tiny sample of the fiber to examine with a microscope.

tunic2-3
(left) Photo-documentation of the blue warp sample location. (right) The labeled sample temporarily mounted on a glass slide with water.

We mount the sample on a glass microscope slide by placing a drop of water over it and a glass coverslip atop the water. The water serves both to improve the optical properties during examination and to hold the fiber in place.

What are we looking for? Different types of fibers have different surface clues, or morphological features, that tell us whether they are wool or hair (from an animal), cotton, linen (from the flax plant), or another type of bast fiber (also from plants). In this case, it looks like the samples are all wool.

(left) Dark blue warp fiber, magnified at 200x. (right) Fiber sampled from a pink weft, also magnified at 200x. The scales suggest that the fibers are both wool.
(left) Dark blue warp fiber, magnified at 200x. (right) Fiber sampled from a pink weft, also magnified at 200x. The scales suggest that the fibers are both wool.
A beige weft sampled from the proper right sleeve, magnified at 50x, also wool.
A beige weft sampled from the proper right sleeve, magnified at 50x, also wool.

The first clues that the fibers are wool are the small, jagged lines (called scales) visible on the surface.  The second clue is a feature called the medulla — the central air space that travels the length of the fiber shaft.

In this image, the medulla is faintly visible as a slightly darker column traveling down the center of the fiber (50x).
In this image, the medulla is faintly visible as a slightly darker column traveling down the center of the fiber (50x).

Though time did not permit us to investigate further, other methods can be used to narrow down the source even further, to a class of animals — for example, goats or camelids.

Identifying the fibers used in a textile contributes to archaeological research, determines what conditions are best for a textile’s preservation, and helps direct future conservation treatments.

 

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My Favorite Artifact

When it comes to the Kelsey Museum of Archaeology’s collections, not all artifacts are created equal. Some call out to us intellectually, others emotionally. We wondered, “Which artifacts move our staff?”

 BY KATHRYN (KATE) CARRAS, Entrance Monitor, Kelsey Museum of Archaeology, University of Michigan. A self-confessed “fiberholic” with two degrees in textile studio art from Eastern Michigan University, in her spare time Carras spins, knits, weaves, crochets, embroiders, and knits dolls from her own patterns. She is currently learning rug-hooking and Japanese braiding (kumihimo).

Image
Fragment of woven wool tapestry.

Favorite Artifact. Small fragment of woven wool tapestry. Roman period (1st–4th century AD). Karanis, Egypt. KM 10534.

Why. “I first saw this textile fragment when I worked on a Karanis textile cataloging project for former Kelsey curator Thelma Thomas. The image — which may be a lion or some other creature — looks more like something out of a Pac-Man game. As a spinner and weaver, I appreciate all the textiles in the museum, but this little cartoon character is special.”

About Artifact. This small tapestry fragment features the motif of an animal that appears about to eat a red/purple object. The design is somewhat oval with an outer ring of yellow crested wave motif on the red/purple backgrounds.

The ancient weaver used light brown wool for the warp (set of vertical threads) and the weft (set of horizontal threads), along with a lighter yellow, red/purple, and blended yarn of red/purple and blue. Although the weft in the plain brown weave shows damage on the fragment’s edges, the colors remain vivid and still show luster.

This piece was one of approximately 3,700 textile fragments excavated by University of Michigan archaeologists during their 1924–1935 Karanis expeditions. Historic textiles from the Roman period and later antiquity are rare in many parts of the world, but Egypt’s dry climate fortunately preserved great quantities of them.

Background. Museum namesake Professor Francis W. Kelsey began a series of excavations in Egypt that were intended to find artifacts and documents in an archaeological context to illustrate daily life in the Greek and Roman world. These excavations began with the site of Karanis (modern Kom Aushim), extensive ruins of an abandoned town of the Greek and Roman periods. The University of Michigan spent eleven seasons at Karanis, where the team unearthed a wealth of material of everyday life. Thousands of these objects were given to the University by the Egyptian government, and the artifacts are now housed at the Kelsey and the papyri at the Papyrology Collection at the University of Michigan Library.

Find It. Currently not on exhibit, this fragile textile is protected in our climate-controlled collections storage. Scholars should contact Kelsey Collections Manager Sebastián Encina at sencina@umich.edu for further information.

Learn More. The book Textiles from Karanis, Egypt, in the Kelsey Museum of Archaeology: Artifacts of Daily Life, by Thelma K. Thomas, is available for purchase in our gift shop or online from our distributor, ISD.

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Curator Favorites

When it comes to the Kelsey Museum of Archaeology’s collections, not all artifacts are created equal. Some call out to us intellectually, others emotionally. To that end, we asked our curators to name their favorite Kelsey artifact or object. Here is the fourth in a series.

Seated Dignitary from Karanis, Egypt
Seated dignitary from Karanis, Egypt.

BY T. G. WILFONG, Curator of Graeco-Roman Egyptian Collections, Kelsey Museum of Archaeology, and Professor of Egyptology, University of Michigan

Favorite Artifact: “Statue of a Priest.” Black basalt. AD 50–100. Karanis, Egypt. KM 8218.

Why. It’s hard to resist this statue: it’s a lively example of how Egyptian art adapted and survived into the Roman period. Although this isn’t a portrait, we get a vivid sense of the anonymous priest that this statue represents. With his smiling, eager expression, our priest seems ready to get off his seat, while the monumental quality of the statue attests to the endurance of Egyptian culture into Roman times. I never get tired of looking at this statue.

About Artifact. This statue was found in a courtyard near the South Temple by the University of Michigan’s 1928 expedition at the ancient site of Karanis (modern Kom Aushim). It represents a very late manifestation of traditional Egyptian style, all the more valuable because of its archaeological content.

Although classically Egyptian in its formality and frontal, symmetrical orientation, the statue’s proportions are not those of classical ancient Egyptian art. Its pose and monumentality hark back to the Old Kingdom but do not reflect the earlier canon of proportions. For example, the head and ears are bigger than one would expect.

The figure wears not only a traditional Egyptian short kilt but also a sash across his chest. The shaved head and costume indicate a priest, and he would have served the cult of two crocodile gods of the South Temple, Pnepheros and Petesouchos. The priest would have participated in the daily cult activities of the temple and its periodic festivals, and he may even have been involved in oracles delivered by the crocodile gods or the mummification of actual crocodiles as votive offerings.

Background. This statue has a number of parallels from elsewhere in Egypt’s Fayum region; a similar statue from Soknopaiou Nesos (modern Dimé) very closely resembles this example. Most of these statues are inscribed, some in Greek and some in Egyptian Demotic.

The Kelsey’s statue itself would have had an inscription on its base but was left unfinished: minor detailing work on the figure was not done, and the base and back pillar remain rough, in preparation for an inscription that was never written. Therefore, we do not know the name of our Karanis priest and can only guess about the specifics of his titles and duties from what is known generally about priests of his time.

“Statue of a Priest” anchored a special 2013 Kelsey exhibition: “Karanis Revealed, Part II.”

Find It. Fittingly, “Statue of a Priest” sits serenely (perhaps contemplating the day’s temple activities) in its own exhibit case on the first floor of the William E. Upjohn Exhibit Wing of the Kelsey Museum of Archaeology. Look for it between the Graeco-Roman Egyptian case and the stairway leading up to the Roman galleries.

Check out Wilfong’s new book, Life, Death, and Afterlife in Ancient Egypt: The Djehutymose Coffin in the Kelsey Museum of Archaeology.

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Welcome to Karanis: December 2012

imageimageBY SEBASTIAN ENCINA, Collections Manager, Kelsey Museum of Archaeology, University of Michigan

A month has passed since I arrived at Karanis, and work has been progressing well. Several areas are open at the moment, encompassing different sections of the site. The team is working mostly in areas not excavated by the Michigan team in the 1920s, outside the original Michigan boundaries. So far they have been excavating at a granary to the east of the North Temple, a kiln south of the South Temple, and a bathhouse north of the North Temple.

The finds from all sections have been interesting. Plenty of pottery has been found throughout the site, which is not at all surprising. Most of it consists of body sherds, but on occasion the team has found more unusual pieces, including filtered rims and whole vessels.

Glass and terracotta are still appearing. Fragments of a mask, possibly, and fragments of a shrine, potentially, have been excavated at the granary. This trench has also yielded a leather sandal, two large stone basins, and a mortar.

The site of Karanis has been a blessing for scholars for the amounts and types of materials discovered. This includes organics, which are still present: seeds, charcoal, textiles, and animal remains have come up in great numbers. Most interesting of all, though, are the large baskets and rope/cordage found. The weaving patterns used and shapes are reminiscent of those in the Kelsey collections.

There have been a few surprises thus far. The granary team found a pen that could have held animals, but its construction is puzzling. Walls were added that appear to serve no purpose. There is a hole in the wall, but its placement is right behind the newly built wall. Room 1 in the granary has a low-wall bin that seems quite small to have held much.

Unfortunately, one trench, the kiln, lies in the area destroyed by the sebakhim (farmers who dug up mudbricks for reuse). The levels here are disturbed, though they are still yielding plenty of finds. The room has two kilns, one small and one large. Though one glass fragment was found, it is likely this kiln was used for ceramics, as plenty of pottery and slag are found in the trench.

Due to ongoing work at Karanis, I will not be posting pictures of finds, as the team will likely want to publish their materials. However, I can show personal pictures of the site to give the reader a sense of the state of the town. Much has changed since Michigan left in 1935. Buildings that once stood prominently are covered by sand. Walls that towered over workers no longer exist. Wall paintings, decorated niches, dovecotes, arches are no longer visible. Some have been covered by backfill. Some have been claimed by the desert sands. Some have been destroyed by human hands.

When I return to Ann Arbor, I will present additional photographs to show the difference between 1920s Karanis and 2012 Karanis. Most has changed as detailed above. But the images shown here give a glimpse of how some structures remain unchanged.

A month has passed since I arrived at Karanis, and work has been progressing well. Several areas are open at the moment, encompassing different sections of the site. The team is working mostly in areas not excavated by the Michigan team in the 1920s, outside the original Michigan boundaries. So far they have been excavating at a granary to the east of the North Temple, a kiln south of the South Temple, and a bathhouse north of the North Temple.

The finds from all sections have been interesting. Plenty of pottery has been found throughout the site, which is not at all surprising. Most of it consists of body sherds, but on occasion the team has found more unusual pieces, including filtered rims and whole vessels.

Glass and terracotta are still appearing. Fragments of a mask, possibly, and fragments of a shrine, potentially, have been excavated at the granary. This trench has also yielded a leather sandal, two large stone basins, and a mortar.

The site of Karanis has been a blessing for scholars for the amounts and types of materials discovered. This includes organics, which are still present: seeds, charcoal, textiles, and animal remains have come up in great numbers. Most interesting of all, though, are the large baskets and rope/cordage found. The weaving patterns used and shapes are reminiscent of those in the Kelsey collections.

There have been a few surprises thus far. The granary team found a pen that could have held animals, but its construction is puzzling. Walls were added that appear to serve no purpose. There is a hole in the wall, but its placement is right behind the newly built wall. Room 1 in the granary has a low-wall bin that seems quite small to have held much.

Unfortunately, one trench, the kiln, lies in the area destroyed by the sebakhim (farmers who dug up mudbricks for reuse). The levels here are disturbed, though they are still yielding plenty of finds. The room has two kilns, one small and one large. Though one glass fragment was found, it is likely this kiln was used for ceramics, as plenty of pottery and slag are found in the trench.

Due to ongoing work at Karanis, I will not be posting pictures of finds, as the team will likely want to publish their materials. However, I can show personal pictures of the site to give the reader a sense of the state of the town. Much has changed since Michigan left in 1935. Buildings that once stood prominently are covered by sand. Walls that towered over workers no longer exist. Wall paintings, decorated niches, dovecotes, arches are no longer visible. Some have been covered by backfill. Some have been claimed by the desert sands. Some have been destroyed by human hands.

When I return to Ann Arbor, I will present additional photographs to show the difference between 1920s Karanis and 2012 Karanis. Most has changed as detailed above. But the images shown here give a glimpse of how some structures remain unchanged.

Welcome to Karanis: December 2012 Read More »

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