Our series of blog posts on objects in our special writing-themed display at the Fitzwilliam Museum is drawing to an end, with just three objects left. This week the spotlight is on a replica clay tablet inscribed in Linear A, which I made as part of a practical writing experiment.
This week in our look through the objects in the CREWS exhibition at the Fitzwilliam Museum, we’re shining the spotlight on one of our replicas, this Ugaritic tablet I made last summer. There are lots of reasons why we’ve included replica items in the exhibition. Partly it lets us show off writing systems for which genuine ancient examples are hard to come by and which we wouldn’t otherwise be able to include. But they also have an important research role. Continue reading “CREWS Display: Replica Ugaritic Tablet”
For the third of our posts looking at the objects in the CREWS Display at the Fitzwilliam Museum, we’re going to turn our attention to probably the oldest item we have on display: this cuneiform tablet.
We recently had the pleasure of being involved in a number of outreach events organised through the Cambridge Festival of Ideas. That meant talking to the public about our work and showing people (especially groups of children) how to write in ancient writing systems. These are more than ‘just’ outreach events for us – they are a valuable opportunity to put our theoretical work into practice and share it with others!
You don’t have to be present at these events to join in! If trying your hand at ancient writing appeals to you, have a look at our ‘write your name’ sheets HERE. Currently available are the ‘standard’ Greek alphabet, the Cretan alphabet, Phoenician, Ugaritic cuneiform, Linear B and Egyptian hieroglyphics. They can be downloaded and used for free so please do have a look and try writing your name or a message.
First up was the Prehistory and Archaeology Day organised by the McDonald Institute in Cambridge. This was a big event with all sorts of different activities, where the opportunity to learn an ancient writing system was just one of the possibilities on offer. Philip helped to run a drop-in stall (alongside colleagues from Archaeology and Classics) showing people how to write in Ugaritic and Akkadian cuneiform as well as other scripts. The practical element to this was not only learning to write in these scripts but also using a stylus to write something on a clay tablet.
Philip’s post about the Prehistory and Archaeology Day last Saturday – and the problem of finding the right stylus for writing Ugaritic cuneiform in clay.
About a year ago I posted a series following my attempts to write Ugaritic cuneiform, first in plasticine and then in clay. I ended up using the square end of a chopstick for a stylus, and this is what I’ve been doing ever since, including in my cuneiform baking. It works, but it’s fiddly – the stick has to be held just right to make the wedge-shaped prints, and it takes practice to stop them being large and clumsy.
Last weekend I took part in a Prehistory and Archaeology Day as part of Cambridge University’s Festival of Ideas. Hosted by Cambridge Archaeological Unit, this offered hundreds of members of the public – mostly children – the chance to try their hands at a wide range of archaeology-related activities, from spear-throwing and archery to excavation and osteology. The ancient writing systems stall was particularly eclectic, with academics from the Faculty of…
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Our colleague Dr Daniel Unruh has written a fascinating blog post on the durability of written media. It looks like keeping our records on clay is the way forward! Read the post HERE.
Since I joined the CREWS Project last November, I’ve been teaching myself Ugaritic. Over the last few weeks I’ve had the chance to put that knowledge to work. It’s traditional among Cambridge’s classical linguists to spend the last term of the academic year learning a language outside the usual repertoire of Greek and Latin. This year it was my turn to lead the group in Ugaritic. Continue reading “Learning Ugaritic and Making Tablets”
Today we will continue our journey through the myths about writing and its patron gods in Ancient Mesopotamia. This area is especially important, as it is in the Sumerian city of Uruk where we have the first attestations of writing in the form of pictographs c. 3200 BC. Later, Sumerians would develop from these pictographs what we call “cuneiform” writing (which consists of abstract wedge-shapes representing words or syllables).
Mesopotamian pictograms. http://www.metmuseum.org/art/collection/search/329081
One of the Mesopotamian stories that talks about the creation of writing involves Enmerkar, one of the mythological kings of Uruk. According to the Sumerian King List he was the second king of the First Dynasty of Uruk and the builder of the city. In the epic poem that narrates the conquest of Aratta by king Enmerkar it is said that his messenger, who had the task to transmit the messages between the two kings (Enmerkar and the king of Aratta), was failing to remember these messages. Therefore, Enmerkar had the idea of writing them down on clay.
Term-time has recently finished here, and the CREWS project team has been taking part in some rather jolly end-of-term activities.
The first was the final session of the ‘Linear A self-help group’, a series of seminars we have been running where a number of colleagues working on Linear A or related scripts have been presenting their work and discussing their ideas. For the final meeting, we decided to have a practical session, and to try making our own inscriptions using modelling clay. You also can read about it on our colleague Anna Judson’s blog HERE.
What are Linear A and Linear B?
Linear A was used around the 19th-15th centuries BC, in Crete and some of the islands, to write an unknown language that we label ‘Minoan’ (we know the values of many signs, but still do not understand the language).
Linear B was used around the 15th-13th centuries BC, in Crete and on the Greek mainland, to write an early form of Greek.
Why bother trying to make our own inscriptions? Well, actually there are still a lot of unanswered questions about the production of clay tablets in the ancient Aegean. How did the scribes achieve such detail in the more complex signs? What did they use to write with? How did they create the flat surface for writing on? Why are Linear B ‘palmleaf’ tablets (i.e. small elongated ones that can be held in the palm of the hand) curved on the back but flat on the top? We started off the session with an illuminating presentation by PhD student Ester Salgarella on some of these problems, and then we set about trying to answer some of them through a practical attempt at making our own tablets.