Morocco -- and indeed, all of northern Africa -- used to be considered part of the European cultural world. The region, then called Mauretania, was colonized by Phoenicians, then Phoenicia's descendent Carthage. After the Punic Wars there were a number of independent kingdoms in the region. They were weak, and the later ones were client-kings for Rome. Mauretania was eventually officially annexed by the Roman Empire in 46 CE and made a province. The region was conquered by the Vandals in the 400s CE, along with Spain. The whole time, Mauretania and its Berber tribes were considered the very edge of European culture, but European nonetheless.
It was the Arabic Empire that changed the cultural makeup of Morocco. The region was conquered by Muslim Arabs around 685 CE and incorporated into the new Umayyad Caliphate, ruled from Damascus. Its native Berber tribes slowly converted to Islam. Ever since, the country has been considered part of the wider Middle East sphere.
The Celtic Chieftainess Who Impressed The Romans (Before Boudicca)
Chiomara was the wife of Ortiagon, a chieftain of the Galatians, a group of Greco-Gauls who had settled in Asia Minor. Unfortunately for them Asia Minor was now neighbors with the Roman Empire. And the Roman Empire had a history of gobbling up their neighbors. According to the ancient (Roman) sources, Chiomara was captured by the Romans in 189 BCE after consul Gnaeus Manlius Vulso’s army defeated the Galatians. The ancient historians are clear that Chiomara did not fight in the battle, but was captured along with other Galatian women and slaves.
After her capture, she was raped by a centurion. The centurion then demanded a ransom from Chiomara’s husband Ortiagon. Chiomara, who had been captured with her slave, was allowed to dispatch her slave with the demand for ransom. Ortiagon sent two Galatians to deliver the ransom. At some point when the centurion was releasing Chiomara to the Galatians, he turned his back, either counting the gold or embracing her. Chiomara quickly gave the Galatians a signal to kill the centurion. She then wrapped the Roman’s head in her robe and delivered it to her husband, saying “Only one man alive should have me.” She was brave, resourceful, a survivor. Chiomara was so impressive that her enemies wrote about her -- which is why we know her name today.
This arch and the attached façade are the only remains of the once-great metropolis of Ctesiphon. Perched on the banks of the Tigris River, for eight hundred years, Ctesiphon reigned as the capital of first the Parthian and then the Sassanian Empire. But the city quickly declined after the Arabic conquests in the mid-600s CE, and was completely abandoned by the 700s. As new empires rose and fell, and the world moved on, Ctesiphon slowly crumbled into the desert.
The distinctive Chupícuaro style was recovered from a site covered by a reservoir in 1948 to supply water for Mexico City, where later salvage operations found a number of Chupícuaro style artifacts. The Chupícuaro region is northwest of Mexico City, about a four hour drive. It had longstanding cultural and trade connections with the Valley of Mexico beginning as early as 200 BCE, indicated by similarities in ceramic figural art traditions from both regions.
This ceramic female figure is a beautiful example of Chupícuaro mortuary figures dating to between 300 BCE and 100 CE. Burials of members of the Chupícuaro elite typically included a large number of female figures. Their worldview linked death with fertility, as a central precept of the Mesoamerican ideology of death, transformation, and regeneration. Death was not the end, but part of the cycle. This sculpture's striking body paint is typical of Chupícuaro figures. Her short pants (or possibly body painting) feature a combined vertical and horizontal patterning that suggests a highly developed weaving tradition. Sadly, actual examples of the region's weaving have sadly has not survived.
The ancient Greeks and Romans thought giraffes were an unnatural offspring of a camel and a leopard. Due to the animal's camel-like shape and leopard-like spots. The camel's Latin name is pretty simple: "camelopardalis." Which is how the camel's scientific name came to be "Giraffa camelopardalis."
Between 300 BCE and 300 CE, prehistoric Japanese people buried their dead in jars. The pottery jars would vary in size, and the quality of grave goods placed in or around the jars would denote upper- from lower-class citizens. Older burials are deeper (which makes sense) and newer burials are closer to the surface.
Gold was probably the first metal to be exploited in the Andes, by the end of the 2nd millennium BCE. From there, the archaeological record suggests goldworking then traveled north, reaching Central America in the first centuries CE, and Mexico by about 1000 CE.
This particular necklace is from the Chavin Civilization, which developed in the northern Andean highlands of Peru from about 900 BCE to about 200 BCE. That sounds old, but relatively speaking, that is not old at all. Gold had already been mined and worked in the Andes for a thousand years when the Chavin arrived on the scene.
A head in the Ecuadorian Chorrera art style. Circa 300 BCE to 600 CE. This was a time of social, political, economic, and artistic innovations in the region, prompted by agricultural improvements and a growing population. New settlements and towns, with ever-larger numbers of inhabitants, triggered the need for methods to manage village life and ensure the well-being of the community, which, in turn, led to greater social hierarchy. Hand-in-hand with the growing social complexity was the appearance of more complex religious practices. Both developments encouraged the desire for novel artworks to express the new sociopolitical and spiritual ideologies that characterize this dynamic time throughout ancient Ecuador.
The earlier Valdivia figurine tradition developed into an elaborate figural art form with such novel artistic expressions as the elegant, mold-made sculptures of the Jama Coaque and La Tolita styles of Ecuador's northwestern coastal region. This particular figure likely is an example of La Tolita style, which is differentiated by its heightened naturalism.
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By Lillian Audette
This blog is a collection of the interesting, the weird, and sometimes the need-to-know about history, culled from around the internet. It has pictures, it has quotes, it occasionally has my own opinions on things. If you want to know more about anything posted, follow the link at the "source" on the bottom of each post. And if you really like my work, buy me a coffee or become a patron!