Ancient Sudan:
The Kingdom of Kush at Meroë
(4th c. B.C. to 325 A.D.)

	1. Pyramids from the Northern Cemetery at Meroë, 3rd c. B.C. to 4th c. A.D. By the 4th c. B.C., the Kushite kings had moved south to the Sudanese savannah and built a capitol at Meroë. Here southern cultural traditions slowly prevailed over the cultural heritage of Egypt.
	2. Ruins of the Merotic temple at Musawwarat es-Sufra. This temple complex, called the "Great Enclosure", lies south of Meroë near the Sixth Cataract. It may have been a pilgrammage center or a royal palace. A number of towns were located on the banks of the Atbara, Blue Nile and White Nile, in which lived craftsmen who met local needs and exported along the trade route that ran from Red Sea port towns in the East to beyond Lake Chad in the West. This route eventually connected to the major center of iron production in Jenne Jeno.
	3. Elephant statue from the "Great Enclosure" at Musawwarat es-Sufra temple. Elephants served a military function, but the cultural influence from the South is apparently the reason for their having a religious significance, now lost to us.
	4. South wall of the funerary chapel of pyramid N.11 at Meroë. This inscription is probably from Queen Shanadakhete (d. 160 B.C.), Meroë's most powerful ruler and great builder in stone, and perhaps the first significant female ruler in world history, if one discounts Egypt's Hatshupset, who ruled as "king." (as ruler, was a male). Seated behind Shanadakhete is her husband. At Meroë the kandake system of government made the Queen Mother the central political figure, and the queens were either the principal ruler or at least equal to their husbands as co-ruler. Behind the thrones are the protecting wings of the standing goddess Isis. Besides the ranks of people coming to pay their respects is a representation of Shanadakhete's judgement before Osiris. 2.52 m.
	5. Stele inscribed with Merotic cursive erected near Meroë by Queen Amanirenas, late first century B.C. (London: British Museum). 2.36 m. This queen or her successor ruled Meroë when its conflict with Rome began. This is an unusually long historical inscription in Merotic, but so far has not been translated. When the Kingdom of Kush was still located at Napata, Egyptian demotic script was used at court. The development of a distinctive script to express the Sudanese language indicates the cultural independence of Meroë from Egypt.
	6. Relief from a stand at Wad Ban Naga temple. It shows Queen Amanitare, wife of her co-ruler, Natakamani. The inscription is in both Egyptian and Merotic hieroglyphs, and so is important for knowing how to translate Merotic script. The tendency today to see Natakamani as the principle ruler of Kush probably results from our privileging Roman written sources.
	7. Relief from the Lion Temple at Naga, south of Meroë at the Sixth Cataract. King Natakamani stands before the lion god, Apedemek, and also Horus and Amun. The king's robe and the sash draped over his right shoulder, which is typical of Merotic dress. The Sudanese god Apedemek slowly displaced the divinities of Egypt.
	8. "Kiosk" at Naga, Sixth Cataract, South of Meroë, showing both Graeco-Roman and Egyptian stylistic influences. There developed a major cultural link from Alexandria through the Red Sea ports to which Meroë connected. This was associated with the eventual rise of the port towns to become the independent state of Axum, which contributed to the demise of Meroë in 325 A.D.
	9. The Lion Temple of Naqa. The architectural style is Egyptian. The entrance reliefs show the king and queen striking their enemies. The queen reflects Merotic culture in both her importance being equal to that of the king, but also in her figure style.
	10. Rear view of the Lion Temple, Naqa, Meroe. The Kushitic god, Apedemek, with three heads and four arms, is worshiped by the royal family, dressed in the Nubian style.
	11. The Lion Temple, Naqa, Meroe. Side view of one of the front pylons, shows in relief the figure of Apedemek, represented as a snake arising from a flower.
	9. The Ba statue of a woman. The idea of representing the souls of the dead as human-headed birds derives from Egypt, but in Meroë they were placed at the entrance to tomb chapels. The stylistic tendency of late Merotic sculpture is to simplify the treatment of the body and to make the eyes prominent, perhaps a hieratic tendency.
	10. Gold jackal, Meroë, ca. 1st c. B.C. (London: British Museum). 3.1 cm. Apparently exported to Cyrene, Libya, where this piece was found.
	11. Bronze vessels from Merotic graves at Faras. The bowl at the right has an ankh sign and frieze of uraeus serpents (London: British Museum).
	12. Redware amphora from a Merotic grave at Faras with figure of an archer, probably first century B.C. (London: British Museum). A coarse utilitian ware.
	13. Burnished black ware from Meroë, 1st c. B.C. to 1st c. A.D. (London: British Museum). 18.5 cm. Typical of the black handmade domestic ware made by women that copied the shape of gourds or bags. The roots of this style are Kerma and C-Group cultures and beyond. This is coarse utilitarian pottery for every-day use, and should be contrasted with the fine ware illustrated next.
	14. Decorated Merotic cups from Faras. Designs show Mediterranean influences and include the ankh, frogs, fantastic animals, and small stamped motifs. These cups are fine wares of very high quality.
	15. Ring flask decorated with guilloche and floral motifs from a Merotic grave at Faras, 1-2nd c. A.D. (London: British Museum). Faras, a town in lower Nubia, was emerging as an important settlement. In later centuries it became a major center of Christian art.
	16. Meroitic utility redware from a grave at Faras, probably 1st c. B.C. (London: British Museum). 24.7 cm.
	17. Tomb of a Merotic aristocrat at Faras, below the second cataract. The brick foundations of the superstructure remains and the vaulted brick burial chamber is exposed. To the left are the remains of the funerary chapel with its stone offering table.
	x. Descriptive text (location in parenthesis at end), then an optional analysis.