By Suzanne Davis, Curator of Conservation, with Kelsey Director Terry Wilfong
This month for the Ugly Object blog, we’re featuring an object chosen by Kelsey Museum director Terry Wilfong for the new Kelsey in Focus case in our Upjohn Exhibition Wing. To learn about this special object, I interviewed Terry, who is also the Kelsey’s curator of Graeco-Roman Egyptian Collections.
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Suzanne: Hi, Terry! The new Kelsey in Focus case features three ostraka, or pottery sherds with writing on them. Can you tell us what this is about? Why would someone have written on a potsherd?
Terry: In ancient Egypt, papyrus and parchment were relatively scarce commodities, but broken potsherds were easily available. Using a potsherd to write something, like a letter or a tax receipt, was a good way to reuse a common, inexpensive material.
Suzanne: Ostraka, in my opinion, are not the most aesthetically pleasing objects in the world (which is why they’re being featured in this blog), but some people really like them. Is it fair to say you’re one of these people? What can you tell us about the attractions of ostraka?
Terry: I am one of these people! My dissertation research focused on women’s lives in 7th–8th-century Egypt, and one of the main ways I studied this was by reading a set of excavated ostraka from a site called Medinet Habu. Unlike “official” documents, which were written on papyrus or parchment and tended to focus on the lives of elite men, the ostraka from this site were less formal and documented much more about the lives of women.
You are right that ostraka are not good-looking in the way we usually think of museum objects, but that’s what I like about them! They come in different shapes and colors, and they often show a lot of wear. They’re also usually hard to read, since you have to decipher someone’s handwriting at the same time you’re contending with the unique shape of the potsherd. Ostraka are challenging, but very cool.
Suzanne: Of the three ostraka being featured in the Kelsey in Focus case, which one is your favorite and why? And can you tell us something about the text?
Terry: My favorite of these is a literary text by “Severus,” as the ostraka identifies the author. It’s interesting for many reasons — it is written on limestone, the handwriting is beautiful, the contents are unusual, and “Severus” was probably an author known locally in Egypt. To learn more about the text (and the language it’s written in), be sure to read my article in the upcoming Kelsey Newsletter (Fall 2018). I don’t want to give everything away in this post ….
Suzanne: Fair enough. We will look forward to your article! What is one thing you think everyone should know about this important class of non-art objects?
Terry: Beauty isn’t everything! Ostraka are written on throwaway pieces of pottery and stone, but if you want to know about the daily lives of ancient people, they’re wonderful — they contain lists, letters, receipts, and contracts. They’re like the email of Graeco-Roman Egypt: pure gold for anyone studying ancient lives.
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Come see this ostrakon for yourself! The Kelsey in Focus case is located on the first floor of the Kelsey Museum, on your right as you enter the galleries from the gift shop.
Interested in learning more about Coptic writings? Check out Written Culture of Christian Egypt: Coptic Manuscripts from the University of Michigan Collection in the Audubon Room of U-M’s Hatcher Graduate Library. This exhibition is curated by visiting scholars Alin Suciu and Frank Feder and is on view November 12th through February 17th, 2019.
A lifelong fascination with ancient ruins led Theo Nash to study Classics, earning First Class Honours for his Bachelor’s degree and a Master of Arts with Distinction at Victoria University of Wellington in New Zealand. His research so far has been focussed on the Mycenaeans and their broader contexts, starting with his Honours thesis where he explored the creation of identity during the early Mycenaean period. In his MA he argued that the Mycenaean presence at Knossos during Late Minoan II was a precipitating factor in the emergence of palatial culture on the mainland, with a special focus on the contemporary development of Linear B and the contexts in which new scripts are created. He hopes to ask further questions of how scripts develop and spread, both at the palaeographic level and in their broader societal contexts. His other interests include the development of early Greek hexameter poetry and Attic vase painting.
Alex Moskowitz earned a BA in Ancient History with High Honors from Swarthmore College in 2015. His research there focused on modeling processes of cultural contact at the Greek site of Sybaris. In 2017, Alex received his MA in Classical Languages (Greek and Latin emphases) at the University of Georgia. His master’s thesis considered Herodotus’s Histories and focused on the role of colonial narratives in blurring distinctions between Greek and non-Greek identities. Alex has also participated in the Azoria Project in Crete and the Western Argolid Regional Project. Since 2016, he has excavated at Morgantina with the Contrada Agnese Project, most recently serving as an assistant supervisor. Alex’s research investigates economic exchange, migration, and transitions in cultural identity at the periphery of the Iron Age Greek world.
