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This striking head is a grave marker or perhaps a
commemorative piece from the ancient kingdom
of Saba which ruled over the lands of
southwestern Arabia, centered in modern day
Yemen. Technically, the Sabeans were one of
four major powers in this area, also including the
Minaeans, the Qatabanians and the Hadramites,
but the peoples as a whole became subsumed as
a single entity by the middle of the first
millennium BC. Saba is perhaps better known as
Sheba, whose famous Queen was recounted as
having visited Solomon in the pages of the Old
Testament. The wealth of the kingdom is
legendary, and is primarily attributable to Saba’s
position at the crossroads of the ancient world,
receiving consignments (particularly of incense)
from all across the Middle East, Asia and the
Mediterranean basin. The city of Marib was also
in an ideal position to control the trade route
between India to Egypt, although this lucrative
venture was cut short in the 1st century AD
following the foundation of a nautical route from
India directly to the port of Alexandria.
As well as being a highly successful nation state
in their own right, the Sabeans embraced the
multiplicity of cultural influences they
experienced as a trading superpower. Their
alphabet – Musnad – was one of the most
complex and elegant of the day, while they also
had a second, cursive system (Zabur) that was
used for day-to-day operations. They
mummified their dead, had a pantheon of gods,
and possessed liberal attitudes to the deities and
traditions of outsiders. They also had a complex
social stratification system, extensive public
buildings and ceremonial architecture, and a
literary/theatrical heritage that survives in
fragmented state. It is for their art, however, that
the Sabeans are best remembered. Their religion
and mythology fuelled the themes of their
sculptural works – primarily anthropomorphic
and zoomorphic statuary – while their contact
with other cultures and nations led to a highly
derived and distinctive style. There are major
works in bronze, precious metals and exotic
minerals, but they are perhaps best known for
works in soft stone such as alabaster.
This piece depicts a feminine head and neck, and
appears to have once served as a grave marker,
or perhaps as part of a larger alabaster structure.
The face is elongated, with a broad apex above
the eyes narrowing to a firm and pointed chin. As
in most Sabean pieces, the eyes – under high,
arches brows – are exaggerated in terms of size,
being wide and almond-shaped with the remains
of light-coloured inlay. The nose is very long and
delicate, with a high bridge, flaring slightly
towards the tip over a nugatory mouth in low
relief. Detailing is limited, with incised eyebrows
and a single line at the apex of the forehead that
seems designed to suggest a headband or
similar. It is therefore the linear design and
graceful execution of the piece that provide its
impact. The significance of the piece is, as ever
with ancient art, open to debate. However, the
fact that the person has been commemorated in
this way seems to imply they had a certain status
in the society. It is also possible that it refers to a
protector spirit or god from the large Sabean
pantheon. Whatever the reason, however, this is
a well-conceived and executed piece of ancient
art.
- (PF.0084 (LSO))
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