Tag Archives: Egypt

#5WomenArtists: Lara Baladi

Oum el Dounia; Lara Baladi (b. 1969, Beirut, Lebanon); 2000–2007; wool and cotton; courtesy the artist

Oum el Dounia; Lara Baladi (b. 1969, Beirut, Lebanon); 2000–2007; wool and cotton; courtesy the artist

Throughout Women’s History Month, we’re joining the National Museum of Women in the Arts in highlighting and celebrating women who are artists. We’ll introduce female artists throughout Asian art history, as well as those who currently grace our galleries with contemporary works. Use the hashtag #5womenartists to join in.

Overwhelming and vibrant, peppered with fairytale characters and archival images, artist Lara Baladi‘s contemporary vision of Egypt currently greets visitors to the Freer|Sackler. Born in 1969 in Beirut, Baladi is an Egyptian-Lebanese photographer and multimedia artist. Now based in Cairo, she created this digital tapestry—titled Oum el Dounia, Arabic for Mother of the World, a common nickname for Egypt—as part of her interest in the global perception of the country, as well as in the way technology affects visual narratives. The monumental piece, which stands nearly 10 feet tall and more than 29 feet wide, also reflects time she spent near the Bahariya Oasis in Egypt’s western desert: “traveling by jeep with friends, picnicking, and camping beneath the stars.”

“In thinking about how to represent my experience of the desert, I looked to fairytales such as Alice in Wonderland and The Little Mermaid, old picture postcards and my own archive,” Baladi recalled. “The resulting collage is a dreamlike journey, turning the stereotypical image of the desert upside down.”

Lara Baladi. Photo courtesy of Arts at MIT

Lara Baladi. Photo courtesy of Arts at MIT

Baladi’s firsthand experience of the events in Tahrir Square in 2011 marked a significant shift in her artistic practice. During the demonstrations, she began amassing a digital archive of videos, photographs, and articles related to the events in Egypt as well as other major occurrences around the world. This effort became an ongoing art and research project titled Vox Populi, through which she explores how technology can enhance access to materials that document revolution and the stories they tell.

Explore Vox Populi and Oum el Dounia online, and visit us to see Baladi’s work in person.

Powerballs

Egyptian balls

See more of these Egyptian balls on Open F|S.

Now, THESE are powerballs. Made of glass in Egypt, each one dates to the Ptolemaic dynasty or Roman period (305 BCE–14 CE). That’s not 1.5 billion years, but we’ll take 2,300! We’re not sure what they were for, though women may have used the larger ones to cool their hands after the balls soaked in melted snow.

Friday Fave: Fragment of a Glass Beaker

Fragment of a beaker; Syria, Late Bronze Age, 1400–1200 BCE; glass; Gift of Charles Lang Freer, F1909.604

Fragment of a beaker; Syria, Late Bronze Age, 1400–1200 BCE; glass; Gift of Charles Lang Freer, F1909.604

Some objects in the Freer|Sackler are quite small yet provide substantial information about their place of manufacture, ultimate destination, and function. This fragment of an ancient glass beaker is a little more than an inch wide and in remarkably good condition considering it is about 3,400 years old. It is an example of one of the most extraordinary glass vessels produced during the Late Bronze Age in the ancient Near East, specifically in places such as Tell Braq in northern Syria, Tell er Rimah in northern Iraq, and Hasanlu in Iran. The beaker fragment is composed of tiny colored glass canes that form a pattern of lozenge shapes in four colors: red, white, blue, and turquoise. Of surviving examples, this one is probably in the best condition.

The fragment becomes more interesting when one discovers that Charles Lang Freer acquired it along with 1,387 mostly glass objects from the famous antiquities dealer Giovanni Dattari in Cairo, Egypt, during the summer of 1909. This collection included dozens of glass objects clearly dated to the later Eighteenth Dynasty of Egypt, more specifically to the reigns of Amenhotep II (r. 1427–1400 BCE) through Tutankhamun (r. 1334–1325 BCE).

In order to understand how such a vessel could end up in Egypt, one has to consider its potential function as a political gift between rulers of the ancient Near East and those of Egypt. According to information provided by some remarkable clay tablets, written in cuneiform in an international dialect of Akkadian and found in a diplomatic archive at Tell el Amarna, Egypt was held in high regard by its neighbors. These included both small city-states and larger empires such as the Hittites, Mittanians, and Assyrians. Rulers writing to the pharaoh would address him as “brother” to indicate an equal status. Important and beautiful royal gifts of the highest quality would have been exchanged.

Though Egypt could send beautiful vessels and objects made of gold, ivory, or painted pottery, its developing industry of glass vessels could not yet meet the standards of its Near Eastern compatriots. These craftsmen were so advanced in the production of glass objects that they kept cuneiform documents with recipes for making different kinds. And though Egyptian glassmakers would produce some mosaic glass dishes, they could never produce a beaker such as this one—a royal gift of such high technical skill as to equal any Egyptian gift, even of vessels of gold.

The beaker likely ended up either in a royal tomb or in the ruins of a palace of an Eighteenth Dynasty ruler, such as Malqata at Thebes or Tell el Amarna in Middle Egypt. This object, with its geometric patterning, would have been just as attractive to a pharaoh as were Egyptian objects, with their exotic designs, to the rulers of the ancient Near East.