Category: Drawing
Elaine Scarry: What Is the felt experience of cognition at the moment one stands in the presence of a beautiful boy or flower or bird?
“She recognized the foxglove leaves of the riding and knew, more or less, where they were.”
D.H. Lawrence, Lady Chatterly’s Lover
Figures of Babylon: oldest drawing of a ghost found in British Museum vault A 3,500-year-old image tablet of a ‘miserable male ghost’ gives up its secret
Read the story at The Guardian here
Figures of Babylon: oldest drawing of a ghost found in British Museum vault
A 3,500-year-old image tablet of a ‘miserable male ghost’ gives up its secret
A lonely spirit being led to eternal bliss by a lover on a Babylonian clay tablet. White line tracing © James Fraser and Chris Cobb for The First Ghosts, by Irving Finkel. Photograph: The British Museum
Sat 16 Oct 2021 13.00 EDT
Its outlines are faint, only discernible at an angle, but the world’s oldest drawing of a ghost has been discovered in the darkened vaults of the British Museum.
A lonely bearded spirit being led into the afterlife and eternal bliss by a lover has been identified on an ancient Babylonian clay tablet created about 3,500 years ago.
It is part of an exorcist’s guide to getting rid of unwanted ghosts by addressing the particular malaise that brought them back to the world of the living – in this case, a ghost in desperate need of a companion. He is shown walking with his arms outstretched, his wrists tied by a rope held by the female, while an accompanying text details a ritual that would to dispatch them happily to the underworld.
Dr Irving Finkel, curator of the Middle Eastern department at the British Museum, said the “absolutely spectacular object from antiquity” had been overlooked until now.
“It’s obviously a male ghost and he’s miserable. You can imagine a tall, thin, bearded ghost hanging about the house did get on people’s nerves. The final analysis was that what this ghost needed was a lover,” he said.
“You can’t help but imagine what happened before. ‘Oh God, Uncle Henry’s back.’ Maybe Uncle Henry’s lost three wives. Something that everybody knew was that the way to get rid of the old bugger was to marry him off. It’s not fanciful to read this into it. It’s a kind of explicit message. There’s very high-quality writing there and immaculate draughtsmanship.
“That somebody thinks they can get rid of a ghost by giving them a bedfellow is quite comic.”
As a world authority on cuneiform, a system of writing used in the ancient Middle East, Finkel realised that the tablet had been incorrectly deciphered previously. The drawing had been missed as the ghost only comes to life when viewed from above and under a light. Forgotten since its acquisition by the museum in the 19th century, the tablet has never even been exhibited.
Irving Finkel, a world authority on cuneiform script, tells the story of his ghostly discovery in The First Ghosts.
Finkel said: “You’d probably never give it a second thought because the area where the drawings are looks like it’s got no writing. But when you examine it and hold it under a lamp, those figures leap out at you across time in the most startling way. It is a Guinness Book of Records object because how could anybody have a drawing of a ghost which was older?”
While half the tablet is missing and it is small enough to fit in a person’s hand, the back bears an extensive text with the instructions for dealing with a ghost that “seizes hold of a person and pursues him and cannot be loosed”. The ritual involves making figurines of a man and a woman: “You dress the man in an everyday shift and equip him with travel provisions. You wrap the woman in four red garments and clothe her in a purple cloth. You give her a golden brooch. You equip her fully with bed, chair, mat and towel; you give her a comb and a flask.
“At sunrise towards the sun you make the ritual arrangements and set up two carnelian vessels of beer. You set in place a special vessel and set up a juniper censer with juniper. You draw the curtain like that of the diviner. You [put] the figurines together with their equipment and place them in position… and say as follows, Shamash [god of the sun and judge of the underworld by night].”
The text ends with a warning: “Do not look behind you!”
Finkel believes the tablet was part of a library of magic in the house of an exorcist or in a temple.
The ghost has appeared just in time for Halloween. Its discovery features in Finkel’s forthcoming book, The First Ghosts: Most Ancient of Legacies, to be published on 11 November by Hodder & Stoughton.
He himself has never seen a ghost, “even in the shadier vaults of the British Museum”, which is “riddled with ghosts”, he said. “In the King’s Library, more than one person has seen a head and shoulders moving along but at a peculiar height. That was dismissed by sceptics, but it turns out that the original floor under the present floor was actually low, which means that they were about right.”
He hopes to exhibit the Babylonian tablet, noting that such an artefact brings us closer to our ancestors: “All the fears and weaknesses and characteristics that make the human race so fascinating, assuredly were there in spades 3,500 years ago.
“I want people to know about this culture. Egypt always wins in Hollywood. If the Babylonian underworld is anything like it was described, then they’re all still there. So just remember that.”
Children’s Literature: Phong Tuong, “Oasis In the Concrete City”
Phong Tuong (’21) created this picture book for Professor Lin Haire-Sargeant’s Summer 2020 Continuing Education Children’s Literature class. In the story, a narrator recollects the joy he felt as a child in a distant land when he played in his small oasis surrounded by tall, concrete buildings.
Read Oasis in the Concrete City Here
Children’s Literature: Kassandra Aloe “Lemi the Unicorn and the Little Lion”
Kassandra Aloe (ArtEd 2008) created this picture book for Professor Lin Haire-Sargeant’s Summer 2020 Continuing Education Children’s Literature class. In the story, Lemi, a unicorn setting out for the Merry Meadows, helps an over-imaginative little lion regain his self-confidence and wonder. A delight!
Read Lemi the Unicorn here.
Literary Traditions: “Draw Every Female Character in Every Story Our Class Has Read This Semester”
Writes Sinclaire Thomas (’22):
It took me a long time to figure out what I wanted to do for my final project for Professor Norrie Epstein’s Literary Traditions. For a while, I wanted to focus on Medea because it was my favorite story of the semester. But, after I started seeing everyone else’s finals and how many were based around Medea, I admit I got a little self-conscious. I started thinking about how I could go above and beyond. Think outside of the box. Get creative.
That’s when I thought up the project that would take up the next 140 hours of my life: draw every female character in every story our class has read this semester.
The first day or so was spent sketching and doing research. All of these women existed during specific eras and places. I wanted to make sure that I could be as historically accurate as possible. Characters like Grete Smasa from The Metamorphosis and the Wife from The Wife of Bath’s Tale were easy to figure out. There’s no shortage of art from the time period as well as extant garments for me to be inspired by. But women like Shamhat from The Epic of Gilgamesh and Eve from Genesis have very little or very inaccurate references.
All of the artwork dedicated to Adam and Eve tend to depict a white couple. However, we know that the first humans lived on the African continent and the first Hebrew people lived in the Middle East. For these women, I had to rely more on my own personal interpretation. After I found photo references and came up with sketches I liked, it was just a matter of spending my every waking moment drawing, coloring, and shading.!
In all seriousness, it was a lot of hard work. But it was a lot of fun, too. I love history, so coming up with the costumes was great. And thinking about these women’s personalities and how I could convey them through their poses made the creative process more interesting. At the end of the day, I’m proud of what I turned in… And it only took me four days!
Story>Script>Storyboard>Animatic in FilmScript Writing: Adaptation
Image in a Mass Art corridor
All-Community Book Reading Experience: Thi Bui Presents “The Best We Could Do…”
In case you missed them, read Professor Jeanette Eberhardy’s introductory words for Thi Bui and her book The Best We Could Do.
My name is Jeanette Eberhardy. I serve as MassArt Program Coordinator for the 1st year writing where we explore the relationship between thinking, making, and writing that is needed for artists’ growth. I am also the curator for our annual show Why I Write. Why I Create. that offers intimate portrayals on learning to deliver truths through art.
Tonight is a night to celebrate our shared respect for the craft of storytelling—in all the wondrous ways that we explore stories through art, writing, and design.
Last year when I was feeling overwhelmed by the news around us, I found an elegant graphic essay by Thi Bui titled “Precious Time” published after the U.S. presidential elections by PEN, the International Writers Forum. I recognized myself in that essay—feeling small in the large universe, but still remembering that my actions matter. The essay “Precious Time” was my first introduction to tonight’s guest speaker Thi Bui. The moment I encountered that essay, I understood that Thi Bui has important things to teach me about empathy—the gateway into our genuine connection with each other. Continue reading
Serendipity: “Would You Like To Have A Show At My Museum?”
Professors Leon Steinmetz and Robert Gerst discuss how “serendipity” (good luck leading to good fortune) recently led Steinmetz to mount two shows of his work at the world-renowned Pushkin Museum in Moscow.