Download the Living Tradition catalog (PDF)

ContemporaryEthiopian

ChristianArt

fromtheSobaniaCollection

LivingTradition

KruizengaArtMuseum,HopeCollege

LivingTra

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ontemporaryE

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ProducedbyStormingtheCastlePicturesfortheKruizengaArtMuseumasacatalogfortheexhibition“LivingTradition:

ContemporaryEthiopianContemporaryArtfromtheSobaniaCollection,”September21–December15,2018.

Photographs,textanddesigncopyright2018byHopeCollegeandTomWagner.Noreproductionoruseofanymaterial,in

wholeorinpart,withoutthewrittenpermissionofHopeCollege.PhotographybytheKruizengaArtMuseum,NealSobania,

RaymondSilvermanandTomWagner.DesignbyTomWagner.

www.HOPE.eduwww.STORMINGtheCASTLEPICTURES.com

NealSobania,Lalibela,2005

ExhibitionfromSeptember21-December15,2018

LivingTradition:

ContemporaryEthiopianChristianArt


EssaysandCatalogentriesbyNealSobania,

CharlesMasonandNinaKay

TheKruizengaArtMuseum

atHopeCollege

PhotographybyAndrewNear,NealSobania,

RaymondSilverman,TomWagner

1

LocatedintheHornofAfricaontheeasternsideofthecontinent,EthiopiaishometoavibrantChristian

culturedatingbacktotheearly4thcenturyCE.Ethiopia’smostrecentcensusin2007revealedthat

approximately63%ofthecountry’spopulationisChristianwhile34%ofitspeopleareMuslim.Themajorityof

EthiopianChristiansbelongtotheEthiopianTewahedoOrthodoxChurch.ThetermTewahedomeans

“undivided”andreflectstheChurch’sbeliefthatChrist’sdivineandhumannaturesareperfectlyunitedwithout

separation,withoutmixture,withoutconfusionandwithoutalteration.TheEthiopianTewahedoChurchshares

thisChristologicalpositionwiththeCopticOrthodoxChurchofAlexandria(Egypt),theSyriacOrthodoxChurch

ofAntioch,theMalankaraSyrianOrthodoxChurchofIndia,theArmenianApostolicChurchandtheEritrean

OrthodoxChurch.Thesesixchurchesareincommunionwitheachotherandhaveconstitutedadistinct

branchoftheChristianfaithsincetheysplitawayfollowingtheCouncilofChalcedonin451CE.

ManypeopleoutsideofEthiopiaaresurprisedtolearnthatoneoftheworld’soldestestablishedcommunities

ofChristiansresidesinAfrica,andthatthiscommunitypredatesbymanycenturiesthearrivalofEuropeanand

Americanmissionariesonthatcontinent.WesternerswhoseknowledgeofEthiopiahasbeenshapedprimarily

byimagesoffamine,war,andlong-distancerunnerswinningracesareequallysurprisedtolearnthatEthiopia

possessesarichtraditionofwritingbooksusinganecclesiasticallanguage(Ge’ez)thatalsodatestothefirst

centuriesoftheCommonEra,andthatitsvibrantvisualarttraditionsconsistingofilluminatedmanuscripts,

woodeniconsandmuralpaintingsaresimilarlyancient.Indeed,theseliteraryandartistictraditionshavebeen

essentialcomponentsoftheChristianchurchinEthiopiafornearlyseventeencenturies.

Asthetitleofthisexhibitionmakesclear,theproductionofChristianartinEthiopiaisverymuchaliving

tradition.MostcontemporaryEthiopianOrthodoxChristianartismade,asitwasinpastcenturies,bypriests,

monksandotherartistswithsignificantreligioustraining.Itsupportstheperformanceofreligiousceremonies

andprivatedevotions,isusedintheadornmentofchurches,andaidsinteachingandsustainingtheChristian

faith.SomecontemporaryEthiopianOrthodoxChristianartisalsomadeforsaletotouristsandcollectors,as

wellasforEthiopianchurchesservingDiasporacommunitiesoverseas.Thedistinctionbetweenartmade

Introduction

2

forthechurchandartmadeforthemarketplaceisnotalwaysclear,andmanyreligiousartworkscouldfallinto

eithercategorydependingonwhomakesthem,whoacquiresthemandhowtheyareused.Artmadeforthe

churchmustfollowcertaintraditionsgoverningsubjectandstyleandisnotconsideredtohavetruespiritual

poweruntilitisapprovedandblessedbyapriestormonk.Artmadeforthecommercialmarketoftenfollows

thesamestylisticconventionsaschurchart,butitmaybemoreinnovativeinformandsubjectmatterandis

generallyconsideredtobedecorativeratherthansacred.

TheworksofartfeaturedinthisexhibitionwerecollectedanddonatedbyNealandElizabethSobania.After

graduatingfromHopeCollegein1968,NealSobaniajoinedthePeaceCorpsandservedforfouryearsin

Ethiopia.AfewyearslaterhelivedandworkedinKenyadoinggraduateresearchandworkingfortheUnited

NationsEnvironmentalProgram.Hecontinuedtodevelophisinterestinthosecountriesduringandafter

graduateschoolandhasmadeEastAfricathefocusofhisacademiccareerformorethanfiftyyears.Sobania

acquiredmuchoftheartintheexhibitionintheholycityofAksum,innorthernEthiopia.HometotheChurchof

OurLadyMaryofZion,thespiritualheadquartersoftheEthiopianOrthodoxChurch,Aksumhaslongbeena

vitalcenterfortheproductionofEthiopianreligiousart.ByvisitingAksumrepeatedlyoveraperiodofmore

thanthreedecades,Sobaniaformedstrongrelationshipswithmanyartistsandshopkeepersandwasableto

assembleacollectionofrarequalityanddepth.

TheKruizengaArtMuseumisimmenselygratefultoNealandElizabethSobaniafordonatingtheirart

collectionandforprovidingguidanceonmanyaspectsoftheexhibition.ThemuseumalsothanksDaniel

Berhanemeskel(HopeCollege2003)forassistingwithtranslations,theidentificationofsubjectsandthe

acquisitionofapriest’srobe;NinaKay(HopeCollege2019)forassistingwithexhibitionresearch,designand

labelwritingfortheexhibition;andTomWagner(HopeCollege1984)fordesigningandproducingthe

accompanyingexhibitioncatalog.

CharlesMason

DirectorandMargaretFeldmannKruizengaCurator

3

SectionOne:

WallPaintings

4

SectionOne:

WallPaintings

5

6

OurMotherMaryandHerBelovedSon

HaleqaTeklaiGebreKristos(Ethiopian,born1940)

2001

Paintoncloth

GiftofNealandElizabethSobania,2018.25.1

TheinteriorwallsofEthiopianOrthodoxchurchesaretypically

decoratedwithpanoramicmuralsthatbeautifythebuildingswhile

alsoprovidinginstructionandinspirationtothecongregationsthat

worshipthere.ImagesoftheVirginMaryholdingtheChristchildin

herarmsareanessentialiconographiccomponentofmanychurch

murals.ThebasiccompositionandstyleofthisMaryandchild

paintingfollowmodelsthathavebeenusedinEthiopiasincethe16th

century.Theboldcolors,schematicfiguredrawing,andelaborate

surfacepatterningarealltypicalcharacteristicsoftraditional

EthiopianChristianart.Thepaintingwasoriginallycommissionedby

anEthiopiannunwhoseimageappearsinthelowerleftcorner.The

nunintendedtodonatethepaintingtoachurchwhereitwouldhave

beenpastedontoawalltoserveasafocalpointforprayersand

venerationbythefaithful.However,thenunnevercollectedthe

finishedimagefromtheartistanditwaslateracquiredfromhimby

NealSobania.ThewordHaleqainfrontoftheartist’snameisan

honorifictitleforapersonwhoishighlyeducatedinchurchteachings

butiseithernotordainedornotpracticingasapriest.HaleqaTeklai

GebraKristosbelongstoawell-knownfamilyofreligiouspainters

fromtheholycityofAksum,wherehispaintingsmaybefoundonthe

wallsofmanychurches.MostchurchpaintingsinEthiopiahave

historicallybeencreatedbyartistswithextensivereligioustraining.

7

Christ,SavioroftheWorld

HaleqaBerhaneGebreIyesus

(Ethiopian,born1959)

2001

Paintoncloth

GiftofNealandElizabethSobania,

2018.25.2

ThispaintingportraysChrist,flankedby

thearchangelsMichaelandGabriel,

holdingacopyoftheNewTestamentin

hislefthandandmakingagestureof

blessingwithhisrighthand.Theimage

followsanancientmodelknownas

ChristPantocrator,orChristtheSavior

oftheWorld,whichhasbeenpopularin

OrthodoxChristianpaintingsinceat

leastthe6thcenturyCE.Theblank

spaceatthebottomofthepaintingwas

intendedtoaccommodateadedicatory

inscriptionfromadonorifthepainting

wasevergiventoachurch.Haleqa

BerhaneGebraIyesuswasbornintoa

farmingfamilyoutsideAksumandfirst

learnedtopaintbywatchingartistsat

workinthechurcheswhereheattended

schoolasachild.Paintingisseldoma

lucrativecareerinEthiopia,soHaleqa

Berhanenowmakeshislivingasa

carpenter,althoughhissonand

daughter,whohetaughttopaint,

continuetoproduceweddingpaintings.

8

9

OntheThirdDayHeRoseAgain

BerhanemeskelFisseha


1997

Paintoncanvas


2018.25.3

Christ’sresurrectionandlastjudgmentare

commonsubjectsinEthiopianchurch

muralsandiconpaintings.Thisintriguing

paintingofagloriousrisenChrist

surroundedbyamultitudeofthesaved

whiledemonsgnashtheirteethin

frustrationbelowcombineselementsof

bothsubjectsbutdoesnotconformexactly

tothetraditionalconventionsforeitherone.

ItwascreatedafterNealSobaniaspoke

withtheartistaboutafamiliarpassagefrom

theApostles’CreedinwhichChristdies,

descendsintohellandrisesagainonthe

thirdday.Sobaniaaskediftheselineswere

everportrayedinEthiopianpainting.

Berhanemeskelrepliedthatthattheywere

notbutthattheycouldbe,andheproduced

thispaintingwithoutevermentioningthat

theApostles’Creedisnotusedinthe

liturgyoftheEthiopianOrthodoxChurch.

BerhanemeskelFissehaisoneofthe

leadingreligiouspaintersactiveinEthiopia

today.Hehasbeencommissionedto

createlargesetsofmuralpaintingsfor

dozensofchurchesaroundhishomecityof

AksumandelsewhereacrossEthiopia.

10

OntheThirdDayHeRoseAgain

BerhanemeskelFisseha


1997

Paintoncanvas


2018.25.3

Christ’sresurrectionandlastjudgmentare

commonsubjectsinEthiopianchurch

muralsandiconpaintings.Thisintriguing

paintingofagloriousrisenChrist

surroundedbyamultitudeofthesaved

whiledemonsgnashtheirteethin

frustrationbelowcombineselementsof

bothsubjectsbutdoesnotconformexactly

tothetraditionalconventionsforeitherone.

ItwascreatedafterNealSobaniaspoke

withtheartistaboutafamiliarpassagefrom

theApostles’CreedinwhichChristdies,

descendsintohellandrisesagainonthe

thirdday.Sobaniaaskediftheselineswere

everportrayedinEthiopianpainting.

Berhanemeskelrepliedthatthattheywere

notbutthattheycouldbe,andheproduced

thispaintingwithoutevermentioningthat

theApostles’Creedisnotusedinthe

liturgyoftheEthiopianOrthodoxChurch.

BerhanemeskelFissehaisoneofthe

leadingreligiouspaintersactiveinEthiopia

today.Hehasbeencommissionedto

createlargesetsofmuralpaintingsfor

dozensofchurchesaroundhishomecityof

AksumandelsewhereacrossEthiopia.

11

12

SaintGeorgeSlayingtheDragon

QesAdamuTesfaw(Ethiopian,born1933)

1997

Paintoncloth


FollowersoftheEthiopianOrthodoxChurchbelievethatsaintscan

intercedewithGodonaperson’sbehalftoprovideblessingsorabsolve

sins,soimagesofsaintsappearfrequentlyinchurchmuralsandicon

paintings.SaintGeorgeisthemostwidelyveneratedsaintinEthiopia.

ChurchtraditionsaysthatSaintGeorgewasaRomansoldierwhowas

martyredin303CEforrefusingtorenouncehisChristianfaith.Later

writersembellishedhisbiographybytellinghowSaintGeorgeonce

savedabeautifulprincessfromadragonthatwasdemandinghuman

sacrifices.ThestoryofSaintGeorgeslayingthedragonhaslongbeen

afavoritesubjectforEthiopianartists,whooftenportrayhiminthe

guiseofanEthiopiannoblemanridingawhitehorseandattackinga

dragonwithaspear.Suchpaintingsarewidelyunderstoodas

metaphorsforChrist’striumphoverSatanandreinforcetheimageof

SaintGeorgeasaprotectorfigure.PaintingsofSaintGeorgeareoften

pairedwithpaintingsoftheVirginMaryinEthiopianchurchmuralsand

iconssince,accordingtoatextcalledTheMiraclesofMary,Maryis

supposedoncetohavesaidtoayoungpersonshecuredofanillness:

“Georgefollowsmealways.HeneverpartsfrommewhereverIgo.I

sendhimallplacesforhelp.”ThetitleQesinfrontoftheartist’sname

indicatesthatheisanordainedpriest.QesAdamucomesfromthe

villageofBichenainGojjamprovince,which,likeAksum,isknownfor

producingartists.Althoughhehasnotbeenactiveasamemberofthe

clergysincethe1960s,Adamu’spaintingsremainfirmlyrootedinthe

teachingsandartistictraditionsoftheEthiopianOrthodoxChurch.

13

SaintAregawiandSaintTaklaHaymanot

BerhanemeskelFisseha(Ethiopian,born1947)

1998

Paintoncloth

GiftofNealandElizabethSobania,2018.25.5and.6

SomeofthesaintsveneratedinEthiopiabelongtothe

generalcanonofChristiansaintsrecognizedbymany

denominationsaroundtheworld;othersaintsaremore

specifictoEthiopia.SaintAregawiwasaSyrianmonk

whocametoEthiopiaintheearly6thcenturyCEand

foundedDebreDamo,animportantmonasteryinTigray

province.DebreDamoisbuiltatopasteep-sided

mountainthatcanonlybescaledusingropes.Legend

saysthatSaintAregawifirstclimbedthemountainwith

helpfromthearchangelMichaelandalargesnakethat

carriedAregawiupthesteepcliffsinitscoils.Debre

Damowasamajorcenterofreligiouseducationin

Ethiopiaformorethanathousandyears.Amongthe

manylaterholymenwhostudiedtherewasTakla

Haymanot,a13thcenturymonkwhoissaidtohave

stoodinprayerononelegforsuchalongtimethathis

otherlegfelloff.Anotherlegendsaysthatwhenarope

snappedwhileTaklaHaymanotwasclimbingdownfrom

DebreDamo,Godsavedhimbygivinghimwingssothat

hecouldflysafelytotheground.Bothstoriesare

referencedinthepaintingshownhere,whichportrays

thesaintwithwingsandonlyonefoot.

14

SaintAregawiandSaintTaklaHaymanot

BerhanemeskelFisseha(Ethiopian,born1947)

1998

Paintoncloth


SomeofthesaintsveneratedinEthiopiabelongtothe

generalcanonofChristiansaintsrecognizedbymany

denominationsaroundtheworld;othersaintsaremore

specifictoEthiopia.SaintAregawiwasaSyrianmonk

whocametoEthiopiaintheearly6thcenturyCEand

foundedDebreDamo,animportantmonasteryinTigray

province.DebreDamoisbuiltatopasteep-sided

mountainthatcanonlybescaledusingropes.Legend

saysthatSaintAregawifirstclimbedthemountainwith

helpfromthearchangelMichaelandalargesnakethat

carriedAregawiupthesteepcliffsinitscoils.Debre

Damowasamajorcenterofreligiouseducationin

Ethiopiaformorethanathousandyears.Amongthe

manylaterholymenwhostudiedtherewasTakla

Haymanot,a13thcenturymonkwhoissaidtohave

stoodinprayerononelegforsuchalongtimethathis

otherlegfelloff.Anotherlegendsaysthatwhenarope

snappedwhileTaklaHaymanotwasclimbingdownfrom

DebreDamo,Godsavedhimbygivinghimwingssothat

hecouldflysafelytotheground.Bothstoriesare

referencedinthepaintingshownhere,whichportrays

thesaintwithwingsandonlyonefoot.

15

SaintYaredandKingGebreMeskel

HaleqaHailuGebreMedhin(Ethiopian,born

1959)

2001

Paintoncloth


2018.25.7

SaintYaredwasa6thcenturypriestand

musicianwhoiscreditedwithcreating

Ethiopia’ssacredmusictraditions.Heissaid

tohavedrawninspirationforhismusicby

listeningtobirds—heisoftenportrayedwith

threebirdsrepresentingtheHolyTrinity—

andbyobservingthechangingseasons.

Thispaintingportraysalegendinwhich

SaintYaredandhispatron,King

GebreMeskel,weresocaughtupinoneof

Yared’smusicalperformancesthatneither

ofthemnoticedwhenthekingdroppedhis

spearanditpiercedthesaint’sfoot.

Paintingsofthisstoryareoftenfoundinthe

narthexesofEthiopianchurcheswhere

deaconsstillperformsomeofthemusic

writtenbySaintYaredalmost1500years

ago.HaleqaHailuGebreMedhinisadeacon

intheEthiopianOrthodoxChurch.Highly

respectedforhisreligiouslearning,Haleqa

Hailuhasreceivedcommissionstopaint

multi-canvasmuralsforatleasttwenty

churchesinTigrayandGojjamprovinces.

16

SaintYaredandKingGebreMeskel

HaleqaHailuGebreMedhin(Ethiopian,born

1959)

2001

Paintoncloth


2018.25.7

SaintYaredwasa6thcenturypriestand

musicianwhoiscreditedwithcreating

Ethiopia’ssacredmusictraditions.Heissaid

tohavedrawninspirationforhismusicby

listeningtobirds—heisoftenportrayedwith

threebirdsrepresentingtheHolyTrinity—

andbyobservingthechangingseasons.

Thispaintingportraysalegendinwhich

SaintYaredandhispatron,King

GebreMeskel,weresocaughtupinoneof

Yared’smusicalperformancesthatneither

ofthemnoticedwhenthekingdroppedhis

spearanditpiercedthesaint’sfoot.

Paintingsofthisstoryareoftenfoundinthe

narthexesofEthiopianchurcheswhere

deaconsstillperformsomeofthemusic

writtenbySaintYaredalmost1500years

ago.HaleqaHailuGebreMedhinisadeacon

intheEthiopianOrthodoxChurch.Highly

respectedforhisreligiouslearning,Haleqa

Hailuhasreceivedcommissionstopaint

multi-canvasmuralsforatleasttwenty

churchesinTigrayandGojjamprovinces.

17

TheMartyrMarmehnam


1993

Paintoncloth


TraditionsaysthatMarmehnamwasthesonofa

noblefamilyfromthecityofAthorinwhatisnow

modernIraq.Hisfatherwasapaganbuthis

motherwasChristian.Onedaywhilehewasout

hunting,Marmehnamencounteredaholyman

namedMatthewwhoconvertedhimto

Christianity.Marmehnaminturnconvincedhis

sisterandhisretainertobecomeChristiansas

well.Marmehnam’sfatherwasangeredbyhis

son’sembraceofChristianityanddemanded

thatherenouncehisnewfaith.When

Marmehnamrefused,hisfatherhadhim,his

sisterandhisretainersexecuted.Marmehnam’s

motherhadthebodiesburiedinstonecoffins,

whichlaterbecamethesiteofmanymiracles.

WarriorsaintslikeMarmehnamweretraditionally

veneratedbyEthiopia’sseculararistocracy,who

viewedthemselvesasprotectorsofboththe

churchandthecommonpeople.Thispainting

wasdeliberatelymadetolookolderthanitis,

partlytoevoketheheroicromanceofEthiopia’s

pre-modernkingdoms,andpartlytoallowthe

shopkeeperthatsoldittoaskahigherprice.

18

TheMartyrMarmehnam


1993

Paintoncloth


TraditionsaysthatMarmehnamwasthesonofa

noblefamilyfromthecityofAthorinwhatisnow

modernIraq.Hisfatherwasapaganbuthis

motherwasChristian.Onedaywhilehewasout

hunting,Marmehnamencounteredaholyman

namedMatthewwhoconvertedhimto

Christianity.Marmehnaminturnconvincedhis

sisterandhisretainertobecomeChristiansas

well.Marmehnam’sfatherwasangeredbyhis

son’sembraceofChristianityanddemanded

thatherenouncehisnewfaith.When

Marmehnamrefused,hisfatherhadhim,his

sisterandhisretainersexecuted.Marmehnam’s

motherhadthebodiesburiedinstonecoffins,

whichlaterbecamethesiteofmanymiracles.

WarriorsaintslikeMarmehnamweretraditionally

veneratedbyEthiopia’sseculararistocracy,who

viewedthemselvesasprotectorsofboththe

churchandthecommonpeople.Thispainting

wasdeliberatelymadetolookolderthanitis,

partlytoevoketheheroicromanceofEthiopia’s

pre-modernkingdoms,andpartlytoallowthe

shopkeeperthatsoldittoaskahigherprice.

19

JesusandHisApostlesWentUpthe

Mountain

QesAdamuTesfaw(Ethiopian,born

1933)

Ca.2001-2012

Paintoncloth


2018.25.9

QesAdamuTesfawisaninventive

artistwhosepaintingstypically

combineamixoftraditionaland

modernelements,allofwhichare

expressedinahighlydistinctive

individualstyle.Thispaintingmayhave

beeninspiredbyapassagefromthe

GospelofMark3:13-15:“Jesuswent

upthemountainandcalledtohim

thosewhomhewanted,andtheycame

tohim.Andheappointedtwelve,whom

healsonamedapostles,tobewith

him,andtobesentouttoproclaimthe

message,andtohaveauthoritytocast

outdemons.”QesAdamuconveysthe

basicelementsofthestorybyplacing

Jesusinthecenteroftheimagefacing

outward,whilethetwelveapostlesare

depictedfromthesideandfromthe

rearasiftheyareproceedingtoward

him.Thevisualimpactofthe

sophisticatedcompositionis

heightenedbytheboldfiguredrawing

andbytheuseofrepeatedcolorsin

differentcombinations.

20

TheArrestofJesus


2011

Paintoncloth


2018.25.10

Thispaintingillustratesastoryaboutthe

arrestofJesusthatistoldinallfour

gospels.Hereistheversionrecountedin

Matthew26:47-51:“WhileJesuswasstill

speaking,Judas,oneofthetwelve,arrived;

withhimwasalargecrowdwithswordsand

clubs,fromthechiefpriestsandeldersof

thepeople.Nowthebetrayerhadgiven

themasign,saying,‘TheoneIwillkissis

theman;arresthim.’Atoncehecameupto

Jesusandsaid,‘Greetings,Rabbi!’and

kissedhim.Jesussaidtohim,‘Friend,do

whatyouareheretodo.’Thentheycame

andlaidhandsonJesusandarrestedhim.

Suddenly,oneofthosewithJesusputhis

handonhissword,drewit,andstruckthe

slaveofthehighpriest,cuttingoffhisear.”

Inthispainting,QesAdamufollowsthe

traditionalEthiopianconventionof

portrayingevilcharactersinprofilewhile

goodfiguresaredepictedmoreinthe

round.WithonlyfiftypercentofEthiopians

beingliterate,narrativepaintingsofthistype

aresometimesusedinEthiopianchurches

toteachBiblicalstoriesandtohelp

worshipersimaginethepeopleandevents

theyhearaboutinreadingsandsermons.

21

SaintGeorgeofLydda,KingofSaints

HaleqaHailuGebreMedhin(Ethiopian,born1959)

2000s

Paintoncloth


LyddawasacityinRomanPalestinewhereSaint

Georgeissaidtohavebeenbornsometimeduringthe

secondhalfofthe3rdcenturyCE.Georgewasserving

intheRomanarmyduringthereignofEmperor

Diocletianwhentheemperororderedhimtorenounce

hisChristianfaith.Georgerefusedandwasrepeatedly

torturedbeforebeingexecuted,afterwhichhisbodywas

returnedtoLyddaforburial.VenerationofGeorgeasa

martyredsaintmayhavebegunlocallyinLyddawithina

fewdecadesofhisdeathandgraduallyspreadamong

ChristiancommunitiesthroughouttheRomanempire

andbeyondduringthefollowingcenturies.SaintGeorge

hasbeenveneratedinEthiopiasinceatleastthe12th

centuryandisnowregardedasthepatronsaintof

Ethiopia.ImagesofSaintGeorgeastheKingofSaints

oftenappearonEthiopianchurchwallsaroundthe

cornerfromimagesofSaintGeorgeslayingthedragon.

22

SaintGeorgeofLydda,KingofSaints


2000s

Paintoncloth


LyddawasacityinRomanPalestinewhereSaint

Georgeissaidtohavebeenbornsometimeduringthe

secondhalfofthe3rdcenturyCE.Georgewasserving

intheRomanarmyduringthereignofEmperor

Diocletianwhentheemperororderedhimtorenounce

hisChristianfaith.Georgerefusedandwasrepeatedly

torturedbeforebeingexecuted,afterwhichhisbodywas

returnedtoLyddaforburial.VenerationofGeorgeasa

martyredsaintmayhavebegunlocallyinLyddawithina

fewdecadesofhisdeathandgraduallyspreadamong

ChristiancommunitiesthroughouttheRomanempire

andbeyondduringthefollowingcenturies.SaintGeorge

hasbeenveneratedinEthiopiasinceatleastthe12th

centuryandisnowregardedasthepatronsaintof

Ethiopia.ImagesofSaintGeorgeastheKingofSaints

oftenappearonEthiopianchurchwallsaroundthe

cornerfromimagesofSaintGeorgeslayingthedragon.

23

KingMenelikBringingtheZionTabottoAksum

MemherLeaketsionYohannes(Ethiopian,1937-2017)

1997

Paintoncloth


AccordingtotheKebraNagest(GloryofKings),a14thcentury

manuscriptthatrecordsEthiopia’snationalepic,thecountry’sfirstking,

Menelik,wasthesonofQueenMakedaofEthiopia(alsoknownasthe

QueenofSheba)andKingSolomonofIsrael.Whenhereachedtheage

oftwenty,MeneliktraveledtoJerusalemandwasanointedasKingof

Ethiopiabyhisfather.TostrengthentiesbetweenIsraelandEthiopia,

SolomonsentMenelikhomewithanentourageofyoungIsraelitenobles

andacopyoftheArkoftheCovenant,thesacredcoffercontainingthe

tabletsofthelawgiventoMosesbyGod.Theyoungnobles,unhappyto

leavebehindtherealArk,tookituponthemselvestoswitchthecopyfor

theoriginal.MenelikandhisfollowersbelievedthatpossessionoftheArk

—whichtheycalledtheZionTabot—wasasignthatGodfavoredEthiopia

asanewIsraelandtheyfollowedmanyJewishreligiouspractices,

includingthecircumcisionofmalechildrenandtheobservanceofcertain

dietarylaws,someofwhichstillpersistinEthiopiatoday.AfterChristianity

becamethestatereligionofEthiopiaintheearly4thcenturyCE,many

politicalandreligiousleaderscontinuedtoinvokethepresenceoftheZion

TabotinEthiopiaasasignofGod’sfavor.TodaytheZionTabotiskeptin

aspecialchapelintheholycityofAksumwhereitisguardedbyasingle

monk,whoistheonlypersonallowedtoknowitsmysteries.

24

25

TimketFestival

MarcosJembere(Ethiopian,born1958)

Ca.1993

Paintoncloth


TheEthiopianreligiouscalendarisfullofholidaysand

feastsassociatedwithpeopleandeventsfrombiblical

andchurchhistory.CelebratedinlateJanuary,Timketis

aholidaycommemoratingtheJesus’sbaptisminthe

JordanRiver.Onthedayofthefestival,ordainedpriests

removethesacredaltartabletsthatconsecratetheir

churchesandprocessoutside,holdingthetabletsabove

theirheadswithclothveilstoprotectthem.Deaconsand

laypeoplefollowtheprocession,whichusuallyendsata

bodyofwaterwhereJesus’sbaptismissymbolically

reenacted.ThisstylizedimageofaTimketprocession

featuresaveil-coveredpriestatthecenterofthepainting

whoissurroundedbyturbanedpriestsanddeacons

holdingtheirprayerstaffsaloftandchantingintimetoa

drummervisibleinthelowerleftcorner.Theceremonyis

furtherenlivenedbytheululationsofwomenseen

singinganddancinginthelowerrightcorner,andbythe

well-dressednobleswhoareseensittingandstandingall

aroundtheprocessionalgroup.MarcosJembere

continuesatraditionofreligiouspaintingbegunbyhis

father,QengetaJembereHailu,anordainedpriestand

highlyrespectedchurchartistwhodiedin1994.

26

TimketFestival

MarcosJembere(Ethiopian,born1958)

Ca.1993

Paintoncloth


TheEthiopianreligiouscalendarisfullofholidaysand

feastsassociatedwithpeopleandeventsfrombiblical

andchurchhistory.CelebratedinlateJanuary,Timketis

aholidaycommemoratingtheJesus’sbaptisminthe

JordanRiver.Onthedayofthefestival,ordainedpriests

removethesacredaltartabletsthatconsecratetheir

churchesandprocessoutside,holdingthetabletsabove

theirheadswithclothveilstoprotectthem.Deaconsand

laypeoplefollowtheprocession,whichusuallyendsata

bodyofwaterwhereJesus’sbaptismissymbolically

reenacted.ThisstylizedimageofaTimketprocession

featuresaveil-coveredpriestatthecenterofthepainting

whoissurroundedbyturbanedpriestsanddeacons

holdingtheirprayerstaffsaloftandchantingintimetoa

drummervisibleinthelowerleftcorner.Theceremonyis

furtherenlivenedbytheululationsofwomenseen

singinganddancinginthelowerrightcorner,andbythe

well-dressednobleswhoareseensittingandstandingall

aroundtheprocessionalgroup.MarcosJembere

continuesatraditionofreligiouspaintingbegunbyhis

father,QengetaJembereHailu,anordainedpriestand

highlyrespectedchurchartistwhodiedin1994.

27

LakeTana

BerhanuYimenu(Ethiopian,

1908-1989)

1989

Paintoncloth


2018.25.14

LakeTanaisalargefreshwaterlake

locatedintheEthiopianhighlands.It

ishometonumerousislandchurches

andmonasteriesandhasbeenan

importantcenterofreligiouslearning

sinceatleastthe15thcentury.Here

weseethrongsofturban-wearing

priestsanddeaconspaddlinginreed

boatsacrossthelaketovisitthe

islandchurches,whichlookasifthey

arebuiltonfloatingplatformsrather

thannaturallandformations.The

highlyschematicstyleofthepainting

istypicalofBerhanuYimenu’slater

work.Berhanuwasinitiallytrainedas

achurchpainterandlaterbroadened

hisrepertoirewhileworkingasa

watchmanattheimperialpalacein

AddisAbaba.Inthe1960s,Berhanu

beganmakingartforEthiopia’s

growingtouristmarketandhe

continuedhiscommercialpainting

careerevenaftertheDergcameto

powerin1974.

28

LakeTana

BerhanuYimenu(Ethiopian,

1908-1989)

1989

Paintoncloth


2018.25.14

LakeTanaisalargefreshwaterlake

locatedintheEthiopianhighlands.It

ishometonumerousislandchurches

andmonasteriesandhasbeenan

importantcenterofreligiouslearning

sinceatleastthe15thcentury.Here

weseethrongsofturban-wearing

priestsanddeaconspaddlinginreed

boatsacrossthelaketovisitthe

islandchurches,whichlookasifthey

arebuiltonfloatingplatformsrather

thannaturallandformations.The

highlyschematicstyleofthepainting

istypicalofBerhanuYimenu’slater

work.Berhanuwasinitiallytrainedas

achurchpainterandlaterbroadened

hisrepertoirewhileworkingasa

watchmanattheimperialpalacein

AddisAbaba.Inthe1960s,Berhanu

beganmakingartforEthiopia’s

growingtouristmarketandhe

continuedhiscommercialpainting

careerevenaftertheDergcameto

powerin1974.

29

SectionTwo:

IconsandParchmentPaintings

30

SectionTwo:

IconsandParchmentPaintings

31

32

DiptychIconwithImagesofChrist,MaryandSaints


2012

Paintonwood


Iconsareimagesofimportantfiguresandnarratives

fromtheEthiopianBibleandotherreligioustexts.

Traditionallypaintedonwoodbypriestsandmonks,

theirexistenceinEthiopiaisknownfromexamplesthat

havebeenpreservedinchurchesandmonasteries

overthepastfivehundredyears.Thesedevotional

objectsarebelievedtobefilledwiththespiritual

presenceofthesaints,especiallySaintMary,andare

thususedasfocalpointsforprayerandveneration.

Todaymosticonsarepaintedbyprofessionalartists,

oftentoselltotourists;fewarecommissionedfor

churches.Iconsareusuallyrectangularinshapeand

consistofone,two,orthreepanels.Theymaycontain

oneimageormultipleimages.Thistypeoffoldingicon

containingimagesofMary,Christandvarioussaints

firstbegantobeusedinEthiopiaduringthereignof

KingDawit(reigned1382-1413),andbecamewidely

popularwhenDawit’sson,KingZaraYaqob(reigned

1434-68),integratedthevenerationofVirginMary

iconsintochurchservices.[NinaKay‘19]

33

TriptychIconwithScenesfromtheLifeofChrist


2002

Paintonwood


Whilethenumberoffiguresorstoriesportrayedin

aniconpaintingcanvary,someofthemost

commonsubjectsincludeOurMotherMaryandHer

BelovedSon,SaintGeorgeSlayingtheDragon,and

theCrucifixionandResurrectionofChrist.Ashere,

theVirginMaryfrequentlyappearsasacentral

figureinEthiopianiconsandistypicallyportrayed

withflowingbluerobesandaglowinghalo

surroundingherhead.Theotherpassagesinthis

icondepictepisodesfromthelifeofChrist.Viewed

fromtoptobottom,thescenesdepictedinthe

centralpanelbelowtheimageofOurMotherMary

andHerBelovedSonare:Christteachingthesaints;

Christgatheringtheapostles;Christhealingthe

blind;thearrestofChrist;andChristcarryingthe

cross.Fromtoptobottomtherightpaneldepicts

SatantemptingChrist;Christtransformingwaterinto

wine;ChristwashingPeter’sfeet;andChristbeing

questionedbyPontiusPilate.Thescenesontheleft

paneldepictthecrucifixionofChrist;Christbeing

takendownfromthecross;theentombmentof

Christ;andtheresurrectionofChrist,representedby

theraisingofAdamandEve.[NinaKay‘19]

34

35

36

followingpages

DiptychIconwithImagesofChrist,SaintMaryandSaintGeorge

GebreMerhaYohannes(Ethiopian,born1975)

1997

Paintonwood


DiptychIconwithScenesfromtheLifeofChrist

DanielBerhanemeskel(Ethiopian,born1980)

1998

Paintonwood


MostEthiopianiconpaintingsfollowacommonsetofaestheticconventions,

butthereisalsoroomforartiststodemonstrateindividualstyles.Thisstylistic

diversityisfullyintentionalasartistsareencouragedtostartdevelopingtheir

ownartistichandsearlyintheirtraining.Youngartistsaretypicallyfirsttaught

todrawandpaintbycopyingtheworkofanestablishedmaster.Thisallows

forcorestylisticfeaturestobepasseddownfromgenerationtogeneration

whilestillgrantingyoungartiststhefreedomtoexpresstheirowncreativity

withincertainparameters.Theindividualstylesofdifferentartistscanbeseen

intheirlinedrawingtechniques,intheircolorpalettes,andindetailssuchas

theshadingoffacesandhowtheypaintthedrapesandfoldsofclothing.

GebreMerhaYohannesandDanielBerhanemeskelarerespectivelythe

grandsonandgreat-grandsonofHaleqaYohannesTeklu(1882-1979),awell-

knownandhighlyrespectedpriest-painterwhoseworkscanbefoundin

numerouschurchesthroughoutnorthernEthiopia.Thoughtheyareclosein

ageandmembersofthesamefamily,GebreandDanielhaveeach

developedtheirownstylesofpainting.[NinaKay‘19]

37

38

39

PendantIconwithOurMotherMaryandHerBelovedSonandSaintGeorge

SlayingtheDragon

GardGidey(Ethiopian,born1976)

2012

Paintonwood


PendantIconwiththeCrucifixionandResurrectionofChrist


Ca.2002

Paintonwood


AlthoughtheyarenolongercommonlyworninEthiopia,pendanticonswere

traditionallystrungonaleathercordandhungaroundthenecktoexpressthe

wearer’sfaith,toprotecthimorherfromharm,andtohaveadevotionalobjectclose

athand.Dependingonthedepthandqualityofthewoodcase,pendanticonscan

beeithersingleordouble-sidedandtypicallycontaintwotofourimages.Thetwo

mostcommonsubjectsinpendanticonsareOurMotherMaryandHerBelovedSon

pairedwithSaintGeorgeSlayingtheDragon.Othercommonsubjectsincludethe

CrucifixionandResurrectionofChrist(usuallyrepresentedbytheraisingofAdam

andEve)alongwithimagesofvariousEthiopiansaints.Theuseofpendanticonsin

Ethiopiadatesbacktothe15thcenturyandreachedapeakduringthe17thand

18thcenturies.Itisimportanttonotethatalthoughmanycontemporarypendant

iconsaremadeforthetouristtrade,anythingthatdepictsbiblicalimagerystillhas

greatreligiousvalueinEthiopia.AdeaconintheEthiopianOrthodoxChurch,Gard

GideylearnedtopaintbycopyingmuralsinthechurchofSeakaEndaIyesusin

Adit,alocalenearAksum.EarlyinhiscareerGardsoldmanyofhispaintingsto

foreignersthroughasouvenirshopinAksum,buttodaymuchofhisworkismade

directlyforchurchesonacommissionbasis.[NinaKay‘19]

40

41

ViewofFrontViewofBack

PendantIconCase

QesKellemHaileSelassie

(Ethiopian,born20thcentury),carver

Ca.2001

Wood


Mostpendanticonshaveintricatelycarvedexterior

surfaces.Thequalityoftheexteriorcarvingisoftenas

importantasthepaintingfordeterminingtheicon’s

value.Pendanticoncasesarejudgedbasedonthe

styleanddepthofthecarving,thetypeofwoodused,

andotherdistinctivequalitiesthatdemonstratethe

maker'sskill.QesKellemisapriestfromtheTembien

regionineasternTigrayprovince.Heiswidely

regardedasoneofthefinestcarversofpendanticon

casesactiveinEthiopiatoday.[NinaKay‘19]

42

ViewofFrontViewofBack

PendantIconCase

QesKellemHaileSelassie


Ca.2001

Wood


Mostpendanticonshaveintricatelycarvedexterior

surfaces.Thequalityoftheexteriorcarvingisoftenas

importantasthepaintingfordeterminingtheicon’s

value.Pendanticoncasesarejudgedbasedonthe

styleanddepthofthecarving,thetypeofwoodused,

andotherdistinctivequalitiesthatdemonstratethe

maker'sskill.QesKellemisapriestfromtheTembien

regionineasternTigrayprovince.Heiswidely

regardedasoneofthefinestcarversofpendanticon

casesactiveinEthiopiatoday.[NinaKay‘19]

43

PendantIconwiththeHolyTrinity

andSaintsTaklaHaymanotand

Aregawi

DanielBerhanemeskel

(Ethiopian,born1980),painter;

ZorahuYohala


1997

Paintonwood


2018.25.22

LikealldenominationsofChristianity,

theEthiopianOrthodoxChurchhasits

owndistinctiveiconographictraditions.

OneexampleofadistinctlyEthiopian

iconographictraditionisthedepictionof

theHolyTrinityseeninthispendant

icon.InEthiopianart,theHolyTrinityis

usuallyportrayedasatrioofidentical-

lookingbeardedmen.Themenare

typicallyshownseatedinarow,wearing

whiterobesandholdingorbsthatsignify

theworld.Eachfiguremakesagesture

ofblessing,withtwofingersandthe

thumbbentinwardwhiletheothertwo

fingersarebentoutward.Such

portrayalsoftheHolyTrinitycanbe

foundinEthiopianpaintingsdatingback

atleasttothelate11thcentury.Itis

worthnotingthatnotalliconsareasold

astheylook.Manycontemporaryicons

aremadetomeetthedemandsofthe

touristmarketwhichfavorsolder-looking

artifacts.[NinaKay‘19]

ViewofFront

44

ViewsofEachSideOpen

45

PendantIconwithSaintYaredand

KingGebreMeskelandKingDavid

withHisHarp


1997

Paintonwood


2018.25.23

Noteveryonewhowantstoownan

Ethiopianiconwantsonewithsubject

matterdrawnfromtheNewTestament.

Someartists,suchasGardGidey,

recognizethisandpaintsubjectsthat

illustrateothernarrativesbutarestill

verymuchEthiopian.Forinstance,one

panelofthisicondepictsYared,the6th

centurysaintwhoisrecognizedas

havingbroughtsacredmusictothe

EthiopianTewahedoChurch.Inkeeping

withtheconventionsforthissubject,he

isshownwithhissistrumandprayer

staffchantingbeforeKingGebreMeskel.

Botharesoenchantedbythehymn

Yaredissingingthatneitherhasnoticed

thattheking’ssharpspearhaspierced

Yared’sfoot.Theotherpaneloftheicon

depictsthestoryofKingDavidplaying

hisharp,butinthiscasetheharpisa

begana,alarge,deeplyresonant

stringedinstrumentthatmostEthiopians

wouldreadilyrecognize.

46

PendantIconwithSaintYaredand

KingGebreMeskelandKingDavid

withHisHarp


1997

Paintonwood


2018.25.23

Noteveryonewhowantstoownan

Ethiopianiconwantsonewithsubject

matterdrawnfromtheNewTestament.

Someartists,suchasGardGidey,

recognizethisandpaintsubjectsthat

illustrateothernarrativesbutarestill

verymuchEthiopian.Forinstance,one

panelofthisicondepictsYared,the6th

centurysaintwhoisrecognizedas

havingbroughtsacredmusictothe

EthiopianTewahedoChurch.Inkeeping

withtheconventionsforthissubject,he

isshownwithhissistrumandprayer

staffchantingbeforeKingGebreMeskel.

Botharesoenchantedbythehymn

Yaredissingingthatneitherhasnoticed

thattheking’ssharpspearhaspierced

Yared’sfoot.Theotherpaneloftheicon

depictsthestoryofKingDavidplaying

hisharp,butinthiscasetheharpisa

begana,alarge,deeplyresonant

stringedinstrumentthatmostEthiopians

wouldreadilyrecognize.

47

HandCrosswithIconPaintings

MabratuYemene

(Ethiopian,born1980),painter;

ZorahuYohala

(Ethiopian,born1950),carver

1996

Paintonwood


2018.25.25

InEthiopia,handcrossesareusedonly

byordainedpriestsandmonks,butsome

crossesarealsomadetobesoldto

tourists.Thesehandcrosseshavebeen

cutinhalfverticallytocreateflatsurfaces

foriconpaintingsandcontainadditional

imagespaintedinwindowpanelsonthe

frontandbacksidesofthetwohalves.

ExamplesofEthiopianhandcrossesthat

containpaintediconscanbefoundasfar

backasthe17thcentury,butithas

alwaysbeenarareformbecauseofthe

greatskillthatisrequiredtocarvethe

crossesandpreparethepainting

surfaces.Thetwocrossesshownhere

werecarvedbybrothersAzuzumand

ZorahuYohala.[NinaKay‘19]

48

49

HandCrosswithIconPaintings

ErmiasZeluel

(Ethiopian,1975-2003),painter;

AzuzumYohala

(Ethiopian,born1973),carver

1997

Paintonwood


50

51

IconwithImagesofChristand

SaintMary

DanielBerhanemeskel


1990s

Paintonwood


2018.25.26

ContemporaryEthiopianartistsand

dealerssometimesexperimentwith

newandunusualiconformsasthey

seekwaystodistinguishthemselves

inthecountry’scompetitivetourist

artmarket.Theformofthisiconis

modeledafterthecanopiedcoffers

calledmanbaratabotthatcontain

thesacredaltartabletsofEthiopian

Orthodoxchurches.Theinterior

surfacesoftheiconarepaintedwith

storiesfromthelivesofChristand

theVirginMary.Daniel

Berhanemeskelfirstlearnedtopaint

fromhisfather,Berhanemeskel

Fisseha,whoisoneofEthiopia’s

leadingchurchartists.Hecameto

theUnitedStatesin1999toattend

HopeCollegeandlaterwentonto

earnanMFAdegreefromMichigan

StateUniversity.Hecurrentlylives

inWashington,D.C.

52

IconwithImagesofChristand

SaintMary

DanielBerhanemeskel


1990s

Paintonwood


2018.25.26

ContemporaryEthiopianartistsand

dealerssometimesexperimentwith

newandunusualiconformsasthey

seekwaystodistinguishthemselves

inthecountry’scompetitivetourist

artmarket.Theformofthisiconis

modeledafterthecanopiedcoffers

calledmanbaratabotthatcontain

thesacredaltartabletsofEthiopian

Orthodoxchurches.Theinterior

surfacesoftheiconarepaintedwith

storiesfromthelivesofChristand

theVirginMary.Daniel

Berhanemeskelfirstlearnedtopaint

fromhisfather,Berhanemeskel

Fisseha,whoisoneofEthiopia’s

leadingchurchartists.Hecameto

theUnitedStatesin1999toattend

HopeCollegeandlaterwentonto

earnanMFAdegreefromMichigan

StateUniversity.Hecurrentlylives

inWashington,D.C.

53

TriptychIconwithSaintGeorge,OurMotherMary

andHerBelovedSon,andtheHolyTrinity

GabraSellaseAbadiWoldemariam

(Ethiopian,early1900s-1986)

Ca.1970

Paintoncardboard,cottonthread


ThenatureoftheHolyTrinityhasbeendebatedin

Ethiopiamanytimesoverthecenturies.The15th

centurykingZaraYaqoblikenedtheTrinitytothree

sunswhoseraysunitetocreateonedivinelight.His

viewwaschallengedbythemonkEstifanoswho

comparedtheTrinitytoasinglesunthathasthree

components:itsform,itslightanditsheat.Thistriptych

—withitsimagesofSaintGeorge,OurMotherMaryand

HerBelovedSon,andtheHolyTrinity—waspaintedby

apriest-artistwhowasactiveinthecityofMekelein

Tigrayprovince.GabraSellaseAbadiWoldemariam

attendedchurchschoolasayouthandlearnedtopaint

throughanapprenticeshipwithanestablishedchurch

painter.Asanadult,GabraSellasecreatedmurals,

iconsandreligiousmanuscriptpaintingsforchurches

acrossnorthernEthiopia.Thepaintingsinthisexhibition

belongtoabodyofworkthatGabraSellaseproduced

mainlyfortouristsandexpatriatesworkinginEthiopia

duringthe1960sandearly70s.Theimagesarepainted

onpiecesofcardboardthatGabraSellasefoundor

otherwiseobtainedfromlocalbusinessesandresidents.

54

TriptychIconwithSaintGeorge,OurMotherMary

andHerBelovedSon,andtheHolyTrinity



Ca.1970



ThenatureoftheHolyTrinityhasbeendebatedin

Ethiopiamanytimesoverthecenturies.The15th

centurykingZaraYaqoblikenedtheTrinitytothree

sunswhoseraysunitetocreateonedivinelight.His

viewwaschallengedbythemonkEstifanoswho

comparedtheTrinitytoasinglesunthathasthree

components:itsform,itslightanditsheat.Thistriptych

—withitsimagesofSaintGeorge,OurMotherMaryand

HerBelovedSon,andtheHolyTrinity—waspaintedby

apriest-artistwhowasactiveinthecityofMekelein

Tigrayprovince.GabraSellaseAbadiWoldemariam

attendedchurchschoolasayouthandlearnedtopaint

throughanapprenticeshipwithanestablishedchurch

painter.Asanadult,GabraSellasecreatedmurals,

iconsandreligiousmanuscriptpaintingsforchurches

acrossnorthernEthiopia.Thepaintingsinthisexhibition

belongtoabodyofworkthatGabraSellaseproduced

mainlyfortouristsandexpatriatesworkinginEthiopia

duringthe1960sandearly70s.Theimagesarepainted

onpiecesofcardboardthatGabraSellasefoundor

otherwiseobtainedfromlocalbusinessesandresidents.

55

IconwiththeArchangelGabriel



Ca.1970



2015.39.4

Angelsplayanimportantroleinthe

EthiopianOrthodoxChurchandare

portrayedfrequentlyinEthiopian

religiouspaintings.Thispainting

depictsthearchangelGabriel,who

appearsasGod’smessengerinthe

holytextsofallthreeAbrahamicfaiths

—Judaism,ChristianityandIslam.

TheEthiopianOrthodoxChurch

considersGabrielasaintand

celebrateshimwithafeastdayonthe

19thofeveryEthiopianmonth.Heis

consideredaprotectorofhomesand

churchesandisoftendepictedin

Ethiopianarttogetherwiththe

archangelMichaelasaguardianof

ChristandtheVirginMary.

56

IconwithSaintGebreManfasQeddus



Ca.1970



2015.39.8

GebreManfasQedduswasanEgyptian

monkwhocametoEthiopiasometime

aroundthe14thor15thcenturyand

foundedthemonasteryofZuquallain

today’sAmhararegion.Traditionsays

thatGebreManfasQeddusspentmany

yearslivingasahermitinthedesertand

thatduringthistimehishairandbeard

grewsolongthathewasabletowear

thehairasarobe.Heisalsosaidto

havebefriendedlionsandleopardswhile

livinginthedesert,andthatthese

normallyfierceanimalsweretransformed

intopeacefulcompanionsbythesaint’s

holypower.GebreManfasQeddusis

typicallyportrayedwithbotharmsraised

inprayer.Hereheholdsacrossinone

handandabirdintheother.Thebird

referstoastoryinwhichthesaint

rescuesabirdthatisdyingofthirstby

allowingittodrinkfluidfromhiseye.

57

58

CrucifixionIcon

SaintMaryIcon

Ethiopian

Ca.1970

Paintoncloth


2015.39.13and2015.39.15

Thesesimplebutpowerfuliconswere

paintedbyanunrecordedpriestartist

whowasactiveinthecityofMekele

inTigrayprovinceduringthe1960s

andearly1970s.Thisartistpainted

onpiecesofclothusingcommercial

pigmentsthathepurchasedwith

moneyearnedfromsellinghisartto

foreigners.Althoughtheyarerecent,

thepaintingsfollowmucholder

traditionsofEthiopianiconpainting.

Inthecrucifixionicon,theanguished

facesofMaryandJohnthe

Evangelistemphasizethesorrowof

Christ’sdeathwhiletheangels

collectinghisbloodremindusofhis

resurrection’sredemptivepower.The

SaintMaryicondepictsMaryoffering

herhandkerchieftoasupplicantasa

demonstrationofhermercy.

59

60

61

PreviousPages

FourPanelswithSaintGeorge,SaintMaryand

Christ


2012

Paintonparchment


Datingbacktothe17thcentury,sensularefolding

iconspaintedonparchmentthatcanbeusedforprivate

devotions.Thesesensulpaintingsjuxtaposeimagesof

St.GeorgeandSt.MarywithimagesofChrist’s

crucifixionandresurrection,followinganiconographic

programalsocommonlyseeninwoodeniconpaintings.

Eachpaintingisborderedbyelaborateendlessknot

designsthatsymbolizeeternallife.Calledharagin

Ge’ez,theecclesiasticallanguageofEthiopia,such

knotdesignshavebeenusedinEthiopianpaintingand

manuscriptilluminationsincethe14thcentury.

ImagetoRight

OurMotherMaryandHerBelovedSon


2012

Paintonparchment


Thissingleleafparchmentpaintingwasmadefor

thetouristmarketbutderivesfromanolder

traditionofparchmentpaintingsthatwereusedin

illuminatedmanuscripts.Thecircularthroneon

whichMarysitsinthisimageisnottypicallyseen

inEthiopianpaintingandmayhavebeencopied

fromadifferentOrthodoxpaintingtradition.Many

contemporaryEthiopianartistsareexposedto

foreignarttraditionsthroughbooks,magazines

andtheinternetandsometakeinspirationfrom

thosesourcestoexperimentwithnewstyles,

compositionsandcolorschemes.Artintendedfor

churchusemustfollowprescribedconventions,

butartmadefortouristscanbemoreinventive.

62

63

HealingScrollwithSaintMary,SaintGeorge,andthe

CrucifixionofChrist

GebraSellassieGebru(Ethiopian,born1972),scribeand

KetsalaSebhatleab(Ethiopian,born1976),painter

1997

Paintonparchment


EspeciallyinruralEthiopiathereiswidespreadbeliefin

thepowerofbothgoodandevilforcestoshapedailylife.

Somepeopleattempttomanagetheseforcesby

commissioningspecialscrollsthatcanbeusedtorestore

health,wardoffdemonsandbadluck,andprovideother

typesofprotectivemagic.Thescrollsarepreparedby

scribesknownasdabtara,whoaregenerallyunordained

clericswithspecialtraininginastrologyandtraditional

medicine.Whensomeonewishestocommissiona

healingscroll,thedabtarainstructsthemtopurchasea

sheeporgoatandhaveitrituallysacrificed.Theanimal’s

skinisthencleanedandscrapedtoproducestripsof

parchmentthataresewntogethertocreatethescroll.In

manycases,thelengthofthescrollcorrespondstothe

heightofthepersonforwhomitisbeingmade.The

dabtarainscribesthescrollwithpassagesfromtheBible

orotherreligioustextsthataddresstheowner’sspiritual

andphysicalneeds.Finally,thedabtaraaddsreligiousor

talismanicpaintingstoenhancethescroll’sprotective

powers.Healingscrollsmaybehungintheowner’s

houseorcarriedbytheownerrolledupandwornlikean

amulet.TheEthiopianOrthodoxChurchdoesnot

endorsethecreationanduseofhealingscrollsbutthey

stillexistinEthiopianpopularculture.

64

HealingScrollwithSaintMary,SaintGeorge,andthe

CrucifixionofChrist

GebraSellassieGebru(Ethiopian,born1972),scribeand

KetsalaSebhatleab(Ethiopian,born1976),painter

1997

Paintonparchment


EspeciallyinruralEthiopiathereiswidespreadbeliefin

thepowerofbothgoodandevilforcestoshapedailylife.

Somepeopleattempttomanagetheseforcesby

commissioningspecialscrollsthatcanbeusedtorestore

health,wardoffdemonsandbadluck,andprovideother

typesofprotectivemagic.Thescrollsarepreparedby

scribesknownasdabtara,whoaregenerallyunordained

clericswithspecialtraininginastrologyandtraditional

medicine.Whensomeonewishestocommissiona

healingscroll,thedabtarainstructsthemtopurchasea

sheeporgoatandhaveitrituallysacrificed.Theanimal’s

skinisthencleanedandscrapedtoproducestripsof

parchmentthataresewntogethertocreatethescroll.In

manycases,thelengthofthescrollcorrespondstothe

heightofthepersonforwhomitisbeingmade.The

dabtarainscribesthescrollwithpassagesfromtheBible

orotherreligioustextsthataddresstheowner’sspiritual

andphysicalneeds.Finally,thedabtaraaddsreligiousor

talismanicpaintingstoenhancethescroll’sprotective

powers.Healingscrollsmaybehungintheowner’s

houseorcarriedbytheownerrolledupandwornlikean

amulet.TheEthiopianOrthodoxChurchdoesnot

endorsethecreationanduseofhealingscrollsbutthey

stillexistinEthiopianpopularculture.

65

66

HealingScrollwithAngelsandTalismanic

Designs

HaleqaHailuGebreMedhin


2001

Paintonparchment


2018.25.30

Healingscrollsoftenincludereferencesto

guardianangelsintheirtextsandintheir

paintings.InEthiopiaangelsarereveredas

protectorfiguresandalsoasintercessorswith

thesaintsandVirginMary.Manyscrollsalso

includestar-shapeddesignsfeaturingimages

ofhumaneyesandfaces.Thesedesignsare

sometimesreferredtoas“Solomon’sSeal,”

andarebelievedtofunctionastalismans

againstbadluckandevilinfluences.

67

TheFourEvangelists

MemherLegesseMengistu

(Ethiopian,1932-2009)

1993

Inkandpaintonparchment


2018.25.31

MemherLegesseMengistuwasan

ordainedpriestandformerchurch

painterwhobeganmakingartforthe

overseastouristmarketinthe1960s.

Hespecializedinpaintingon

parchmentanddepictedboth

religiousandsecularsubjects.This

paintingofthefourevangelists

recallsthetraditionalpracticein

Ethiopianilluminatedmanuscriptsof

insertingportraitsoftheGospel

writersatthebeginningoftheirtexts.

68

SaintMaryBlessedSaint

EphraimwithHerCross



1993


GiftofNealandElizabeth

Sobania,2015.39.19

SaintEphraimwasa

4th-centurySyrianmonk

knownforhispoems,hymns

andsermons.Thispainting

showsSaintMaryblessing

Ephraimwithahandcross.

69

70

JesusInvitedtheDisciplesonThursdayNight



1993



Easteristhemostimportantholidayinthe

EthiopianOrthodoxreligiouscalendar.The

celebrationofEasterbeginswithJesus’sentry

intoJerusalem,calledHosannainEthiopia,and

continuesinearnestwiththeFeastoftheLast

Supper,whichcommemoratesthefinalmeal

sharedbyChristandhisdisciplesonthenight

beforehisarrestandexecution.

FollowingPages

Left

SaintGeorgeSlayingtheDragon



1993



2018.25.32

Right

SaintGebreManfasQeddusand

SaintTaklaHaymanot



1993



2018.25.33

71

72

73

OnCollecting

AsayouthIwasintroducedtocollecting—stamps,marbles,baseballcards.OnfamilyvacationsIaddedpostcardsof

historicalsites.Bycollegemostkidshaveleftthissortofthingbehind.However,whileinCzechoslovakiawithHope

CollegeIwasgivenawoodcutoftheCharlesBridge,andmyfervorforcollectingwasreignited.Aftergraduation,while

servingasaU.S.PeaceCorpsvolunteerinEthiopia,followedbyresearchandworkinKenya,Ifoundmyself

surroundedbydistinctiveandexceptionalobjects.Therewasneveragoalofactuallybecomingacollector;thatwas

simplytheunintendedresultofadesiretolearnmoreaboutwhereIwaslivingandtodiscoverwhatinsightobjectsof

materialculturemightaddtomyunderstandingofthepeopleamongwhomIwasconductingresearch.

Ethiopiainthe1960sandearly70swashardlyatouristdestination(norwasthenorthofKenyainthe70sand80s)and

ithadnoneofthefigurativeartofwestandcentralAfricathatmuseumscollectedandexhibited.Indeed,thescholarly

worldhadn’tyetfullyembracedEthiopia,unsurehow“African”itwas.Thefewshopkeepersthatsold“handicrafts”at

thattimedidn’tencouragetheirmanufacture,butresoldfromlocalmarketstheobjectsstillproducedandusedby

Ethiopiansineverydaylife.Butnewhouseholdgoodswerearrivingandwhentheycould,Ethiopianswerediscarding

theoldinfavorofthenew—woodencoffeetraysforenameledones,storagebasketsforplasticjugs,andmanuscript

booksofparchmentforBiblesprintedonpaper.Iwasfortunatethatforfouryearsmyresponsibilitiestookmefromone

endofEthiopiatotheotherwhereIcouldpurchaseitemsinlocalmarkets,orvisittheAddisAbabaMercato(saidat

thattimetobethelargestoutdoormarketinallofAfrica)andpracticespeakingAmharic(thenthenationallanguage)

withtheshopkeepers.Iacquiredwhatappealedtomeaesthetically,eachawonderfuladditiontomyunfurnished

apartment—anintricatelywovenbasketfromHararforawall,aheadrestwitharich,glossypatinaforabookend.Each

objectremindedmeofwhereI’dbeenoranexperienceI’dhad—apipewithabeautifullyshapedwoodenstem,a

chokernecklaceofcoloredbeadsandbuttonsintricatelymixedwithwirechain,ahealingscrollwithtalismanic

paintings.

ForthelongesttimeIhadnoideaIhada“collection”:justthingsIlikedand(fortunately)sodidLiz,mylovingwifewho

wasgenerallytolerantofmyhabit.Whatshedidn’tlikestayedinthebasement.OnceIreceivedasananniversary

presentthepermissiontobuyaparticularpiece,nottheobject,justthepermissiontobuyit.EachtimeIreturnedfrom

EthiopiawithamoresilverneckcrossesshewouldaskifIdidn’thaveenough,butshealwayspatientlylistenedtomy

explanationthateachonewasdifferent.OnlylaterdidIgetcaughtoutwhensherealizedthatanyobjectmadeusing

thelostwaxprocesswouldalwaysbedifferentfromanyotherone.Thenintheearly1990sIwasintroducedtoan

74

Africanarthistorian,RaymondSilverman,whopronouncedmyboxesof“stuff”acollection!Whenhelateraskedmetoco-

directtheresearchforamajorexhibitionofEthiopianart,afastfriendshipgrewthatsoonledtoadditionalcollaborative

researchprojects.Wefirstfocusedontraditionalmetalworkersandlateroncontemporarypainters,especiallythose

producingtheartthatcoversthewallsandsometimestheceilingsaswellofEthiopianOrthodoxTewahedoChurches.

Conferencepaperswerepresented,researchwaspublished,andamorerefinedfocustocollectinggrew.Specificallythis

hasmeantworksproducednotbyanonymousmakers,butbyindividualswhoarerecognizedandrespectedascreatorsof

objectsthatremainvitaltothecommunitiesinwhichtheylive.Thishasresultednotonlyinrichlydetaileddocumentation

ofobjectsthatarepartofavibrantandlivingtradition,butfriendshipsandrelationshipswiththosewhocreateobjectsthat

remainvitaltothecommunitiesinwhichtheyliveandwork,andwithacommunitythatnowseemslikeasecondhome.

Today,LizandIstillcollect.ThisbeganinEnglandwhenweddinggiftmoneyallowedforthepurchaseofafew

contemporaryBritishprints.InJapanwewereintroducedtocontemporaryJapaneseprints.WithAfricaalwayssofar

away,interestinhavingaresearchprojectclosertohomeledustotheAmericanSouthwestandtheHopiworldof

katsinasandtheircarvers,andNavajofolkart.AndnowthatweliveinthestateofWashingtonsurroundedbythebeauty

ofNorthwestCoastart….

NealW.Sobania

July11,2018

NealSobaniaisaprofessoremeritusofhistorywhotaughtatHopeCollege(1981-1995)andatPacificLutheran

University(1995–2015),whileatthesametimeservingatasDirectorInternationalEducationatHopeandExecutive

DirectoroftheWangCenterforGlobalEducationatPLU.Asahistorianhehaswrittenandpublishedonaspectsof

Ethiopianvisualculture,andonKenya’shistory,usingoraltraditiontowriteonethnicidentity,migration,and

environmentalissues.Heisco-authorwithRaymondSilvermanoftheforthcomingbook,IconsofDevotion/IconsofTrade.

CurrentprojectsincludeabookonhistoricalstereoscopicimageryofAfricaandahistoryandcultureofEthiopiathrough

stamps.

Inthefieldofglobaleducationhehaswrittenextensivelyonstudyaboard,servedonregionalandnationalboardsof

directors,andconsultedwidely.Hismostrecentpublicationisthebook,PuttingtheLocalinGlobalEducation:Modelsof

TransformativeLearningthroughDomesticOff-CampusPrograms.

75

SectionThree:

LiturgicalObjects

76

SectionThree:

LiturgicalObjects

77

78

LiturgicalVestmentsforanEthiopianPriest

Ethiopian

2018

Silk,silkembroidery,cotton

GiftofDanielBerhanemeskel(‘03),2018.27

Whenperformingchurchservicesorother

religiousceremonies,EthiopianOrthodox

priestsanddeaconstypicallywearbrightly

colored,elaboratelydecoratedrobes,hats,

capes,stolesandsashes.Thesplendorof

thesevestmentsisintendedtohonorGodand

tocelebrateGod’spresenceintheworld.Asin

otherChristiandenominations,thecolorsand

designsofEthiopianclericalvestmentschange

accordingtothedifferentseasonsofthe

churchcalendar.Religiousvestmentsmustbe

blessedbyabishoporpriestbeforetheycan

beworninachurchceremony.These

vestmentswereacquiredfortheKruizengaArt

Museumatareligiousmarketthatisheldin

AksumeveryyearduringtheEasterseason.

Thegarmentshavenotbeenblessedbya

bishoporpriestandthereforecanbe

displayedinthisexhibitionwithoutviolating

Ethiopianchurchlaw,whichotherwiseholds

thatsacredvestmentsshouldnotbewornor

usedoutsideofareligiouscontext.

79

80

Censer

Ethiopian

20thcentury(before1971)

Brass


2018.25.34

IncensehasbeenusedinJudeo-

Christianworshipforthousandsof

years.Themostcommontypeof

incenseburnedinEthiopianchurch

ceremoniesisfrankincense,whichis

derivedfromtheresinoftreesinthe

genusBoswelliathatgrowin

Ethiopia,SomaliaandtheArabian

peninsula.Highlyvaluedasasymbol

ofholinessandrighteousness,

frankincensewasoneofthegifts

offeredtothebabyJesusbythethree

magiaccordingtotheGospelof

Luke.Thiscenserwasdesignedtobe

carriedinchurchprocessionsandis

fittedwithmetalchainsandbellsthat

produceapleasantjinglingsound

whenitisswungbackandforth.

81

82

Sistra

Ethiopian

20thcentury

Brass

GiftsofNealandElizabethSobania,

2018.25.35and.36

OriginatinginancientEgypt,sistraarepercussion

instrumentsusedintheEthiopianOrthodox

Churchtoestablishacadenceforliturgicalchants

anddances.TheytypicallyhaveU-shapedmetal

frameswithhorizontalcrossbarsandmetalrings

thatcreateclankingorjanglingsoundswhen

shaken.Manyofthereligioussongsanddances

inwhichsistraareusedtodayarecreditedtothe

6th-centurypriestandmusicianSaintYared.

83

84

PrayerStaffFinials

Ethiopian

20thcentury

Brass


Ethiopianprayerstaffsaretypicallybetweenfourandfivefeet

longandconsistofastraightwoodenshafttoppedbyaT-

shapedfinial.Asthenamesuggests,prayerstaffsareusedby

priestsanddeaconstosupporttheirbodiesduringlongperiods

ofprayerandworship.Thestaffsarealsousedtokeeptimein

liturgicalchantsanddancesbymovingthemforwardandback

aswellastappingthemontheground.Prayerstaffsare

sometimessaidtosymbolizethestaffofMosesandthus

functionasremindersofearlychurchlaw.Anotherexplanation

saysthatthestaffssymbolizethecudgelsthatwereusedtobeat

Jesusbeforehisexecutionandthereforeserveasremindersthat

Christsufferedanddiedforoursins.

85

ProcessionalCross

FitsumGebrehiwot


2001

Brass


Sobania,2018.25.40

Thiselaboratecrosswas

likelymadeusingthelost

waxtechnique,whereby

thecrosswasfirstmodeled

inwaxbeforebeingpacked

inclay.Whentheclaywas

firedinakiln,thewax

meltedawayleavingahard

ceramicmoldthatwas

filledwithmoltenbrassto

createthefinishedcross.

86

ProcessionalCross

Ethiopian

20thcentury

Brass


Sobania,2018.25.39

AstheydoinotherChristian

denominations,crossesplay

animportantroleinthe

EthiopianOrthodoxChurch,

symbolizingnotonlythe

sufferingofChristbutalsohis

triumphoverdeathandthe

hopeheoffersusforsalvation.

Processionalcrossesare

mountedonlongshaftsand

areusedinreligious

ceremoniesbothinsideand

outsideofchurches.Theirbold

formsandshinysurfacesare

designedtoattracttheeyesof

worshipers.Thevisualimpact

ofthecrossesisfurther

enhancedbyadorningthem

withbrightlycoloredscarves

thataresaidtosymbolizethe

burialwrappingsleftbehindby

Christafterhisresurrection.

Processionalcrossesareoften

commissionedbypatronswho

donatethemtochurchesin

gratitudeforblessings

receivedorsinsabsolved.

87

HandCrosses

Ethiopian

20thcentury

Ironandsteel

GiftsofNealandElizabethSobania,2018.25.41and.42

Handcrossesarecarriedbyindividualpriestsandmonksandareusedbythemwhenadministering

benedictionsorofferingabsolutionofsins.Theyaretypicallymadeofmetalorwoodandtheirformscanrange

fromsimpletocomplex.Somehandcrossesaremadebypriestsandmonksfortheirownusewhileothersare

madebyskilledartisanswhoeithersellthemorgivethemtotheclerics.

88

HandCrosses

Ethiopian

20thcentury

Ironandsteel

GiftsofNealandElizabethSobania,2018.25.41and.42

Handcrossesarecarriedbyindividualpriestsandmonksandareusedbythemwhenadministering

benedictionsorofferingabsolutionofsins.Theyaretypicallymadeofmetalorwoodandtheirformscanrange

fromsimpletocomplex.Somehandcrossesaremadebypriestsandmonksfortheirownusewhileothersare

madebyskilledartisanswhoeithersellthemorgivethemtotheclerics.

89

90

91

92

CodexManuscriptwithGospelofJohnandSelectedLettersof

QesAragawiTaklaHaimanot(Ethiopian,bornmid-20thcentury)

2012

Inkandpigmentsonparchment


Acodexisabookconstructedofmultiplesheetsofpaperor

parchmentthataresewntogetheralongoneedgeandprotectedbya

setofwoodorleathercovers.MostreligioustextsinEthiopiahave

historicallybeenhandwrittencodices,anddespitetheintroductionof

printedbooksduringthe20thcentury,codexmanuscriptsarestill

beingmadeandusedinEthiopiatoday.Thiscodexcontainsthe

GospelofJohnalongwithsomeofthelettersfromSaintPaulthatare

foundintheNewTestament.ThetextiswritteninGe’ez,theancient

languageofEthiopiathatceasedtobespokenmorethanathousand

yearsagobutthatremainsinuseforreligiousartandsacred

documents.Becausecodexmanuscriptsarebulkyandtime-

consumingtoproduce,mostcontainonlyafewtextsselectedfrom

theEthiopianBiblethatareofparticularinteresttothebooks’owners.

SaintPaul

93

94

ModelofanEthiopianChurch

ToleraTafa(Ethiopian,born1971)

1990s

Sorghumstalks


Ethiopianchurchesexistinawiderangeofforms.This

modelrepresentsapolygonalchurchformthatcanbe

foundthroughoutEthiopia.Followingthelayoutofancient

Hebrewtemples,Ethiopianchurchestypicallycontain

threeconcentricallyarrangedinteriorspaces.Theouter

ringofthechurchisanambulatorywherecantorssing

hymnsandlaycongregantswhohaverituallypurified

themselvesgatherduringservices.Themiddleringis

wherethepriestsanddeaconsperformtheworship

ceremoniesandoffercommuniontothosewhoqualifyto

receiveit.Theinnermostspace,whichisusuallysquare,

containsthechurch’sconsecratedaltarandisonly

accessibletoordainedpriests,monksandbishops.This

modelchurchismadeofsorghumstalksthatwereleft

overfromtheharvestontheartist’sfamilyfarm.Usinga

razorbladeashisonlytool,theartistcreatedthechurch

bycuttinglengthsofthesorghumstalk’ssoftinnerpith

andtackingtheminplaceusingshortnarrowpiecesofthe

plant’shardouterskin.Sorghum-stalkmodelsofbuildings,

vehicles,airplanes,andotherthingswereapopularform

offolkartinEthiopiafromthe1960stothe1980s,and

helpedtosupplementtheincomesofruralfamilies.

95

SectionFour:

WomenandtheChurch

TheplaceofwomenwithintheEthiopianOrthodoxChurchiscomplex.Althoughwomen

maynotbeordainedaspriestsordeaconsintheEthiopianchurch,theymaybecome

nuns.Womenarepermittedtotakeholyordersearlyintheirlives,butmosttypically

becomenunslaterinlifeafterthedeathsoftheirhusbands.Ethiopiannunswear

distinctiveyellowrobesandoftenlivetogethernearchurchesandmonasterieswhere

theyengageinlivesofprayerandservice.Opportunitiesforlaywomentoparticipatein

thechurcharealsolimited.Ethiopianchurchbuildingsaregendersegregated,with

womenandmenhavingtheirownentrancesandworshipareas.Thewomen'sentrance

islocatedonthesouthsideofthechurchbuilding,andthepaintingsonthesanctuary

wallfacingthisentrancetraditionallyfeatureaheavyconcentrationofVirginMary

images.Theabilityofbothwomenandmentoenterachurchandparticipatein

communionisgovernedbystrictrulesaboutcleanliness,includingdietarylawsand

thoseregardingsexualintercourse.Sincefemalemenstruationisregardedasunclean,

womenwhoaremenstruatingmustalsorefrainfromenteringchurchbuildings.Instead,

thosewomenandmenwhoareexcludedcongregateoutsidechurchbuildingsto

participateinworshipceremonies,includingsomeledbypriestswhoperformservices

especiallyforthem.Itisthuscommontoseecrowdsofpeople,especiallywomenin

traditionalwhitedressesandshawls,standingoutsidechurchcompounds.[NinaKay‘19]

96

SectionFour:

WomenandtheChurch

TheplaceofwomenwithintheEthiopianOrthodoxChurchiscomplex.Althoughwomen

maynotbeordainedaspriestsordeaconsintheEthiopianchurch,theymaybecome

nuns.Womenarepermittedtotakeholyordersearlyintheirlives,butmosttypically

becomenunslaterinlifeafterthedeathsoftheirhusbands.Ethiopiannunswear

distinctiveyellowrobesandoftenlivetogethernearchurchesandmonasterieswhere

theyengageinlivesofprayerandservice.Opportunitiesforlaywomentoparticipatein

thechurcharealsolimited.Ethiopianchurchbuildingsaregendersegregated,with

womenandmenhavingtheirownentrancesandworshipareas.Thewomen'sentrance

islocatedonthesouthsideofthechurchbuilding,andthepaintingsonthesanctuary

wallfacingthisentrancetraditionallyfeatureaheavyconcentrationofVirginMary

images.Theabilityofbothwomenandmentoenterachurchandparticipatein

communionisgovernedbystrictrulesaboutcleanliness,includingdietarylawsand

thoseregardingsexualintercourse.Sincefemalemenstruationisregardedasunclean,

womenwhoaremenstruatingmustalsorefrainfromenteringchurchbuildings.Instead,

thosewomenandmenwhoareexcludedcongregateoutsidechurchbuildingsto

participateinworshipceremonies,includingsomeledbypriestswhoperformservices

especiallyforthem.Itisthuscommontoseecrowdsofpeople,especiallywomenin

traditionalwhitedressesandshawls,standingoutsidechurchcompounds.[NinaKay‘19]

97

TwoNunsVisitingAksum

NealSobania(American,born1946)and

RaymondSilverman(American,born1953)

2005,Colorphotograph

CourtesyofNealSobania,DSCN0071

98

SittingNun,BahirDar



2009,Colorphotograph

CourtesyofNealSobania,DSC0476

99

WomenGatheringOutsidetheArbaat

EnseseChurch,Aksum



2009

Colorphotograph


100

WomenPrayingOutsideEndaIyesusChurch,

AksumNealSobania(American,born1946)and


2009

Colorphotograph


101

YoungWomanwithPectoral

Cross,Aksum

NealSobania(American,born1946)

andRaymondSilverman(American,

born1953)

2001

Colorphotograph

CourtesyofNealSobania,ethp0198

GenetGidofaandHerMother,Leta

BirhanSelassie,WearingTraditional

JewelryandCruciformTattoos



1998

Colorphotograph


102

YoungWomanwithPectoral

Cross,Aksum

NealSobania(American,born1946)

andRaymondSilverman(American,

born1953)

2001

Colorphotograph

CourtesyofNealSobania,ethp0198

GenetGidofaandHerMother,Leta

BirhanSelassie,WearingTraditional

JewelryandCruciformTattoos



1998

Colorphotograph


103

PectoralCrosses

Ethiopian

Late19th-early21stcenturies

Silver

GiftofNealandElizabethSobania,2018.25.50-53

Pectoralcrossesarewornoncordsaroundtheneckasexpressions

offaithandtoprotecttheirwearersfromharm.Thereistextual

evidencefortheuseofpectoralcrossesinEthiopiaasearlyasthe

15thcentury,butmostofthecrossesfoundinEthiopiatodaydate

fromthelate19thand20thcenturies.Bothmenandwomenmay

wearpectoralcrosses,buttheyaremorecommonlyseenon

women.Theyaretypicallymadeofcastsilverandarefoundwitha

widevarietyofengraved,openworkandfiligreedesigns.

104

105

FemaleArtists

AlthoughwomenhavebeenpatronsofreligiousartinEthiopiafor

centuries,thenumberofwomenwhohavemadereligiousartinEthiopia

hashistoricallybeenquitesmall.Onereasonforthisisthatwomen

havegenerallylackedaccesstoadvancededucationinreligionandthe

arts.Mostmaleartistswhomakereligiousartreceiveyearsof

theologicalandartistictrainingundertheauspicesoftheEthiopian

OrthodoxChurch.Becausewomenhavelimitedaccesstothechurch

whiletheyaremenstruatingorsexuallyactive,andbecausetheyare

typicallyexpectedtomarryandattendtodomesticdutiesaftermarriage,

mostwomensimplydonothavethesameopportunitiesasmento

becomereligiousartists.Womenareabletoparticipatemore

prominentlyinotherareasofartisticactivity,suchasbasketmaking,

textileembroidery,andpottery.However,becausetheseartsarenot

imbuedwiththesamespiritualandculturalsignificanceasreligiousart,

thewomenwhoparticipateinthesefieldsgenerallydonotenjoythe

samestatusandprestigeasmalechurchartists.[NinaKay‘19]

106

EtsubdinkLegesse

107

108

St.Mark

EtsubdinkLegesse(Ethiopian,born1968)

2012



EtsubdinkLegesseisthedaughterofthepriest-

painterMemherLegesseMengistu.Thoughshe

trainedandworkedasanaccountant,Etsubdink

wasalwaysinterestedinherfather’spainting.

Fromthetimeshefirstbegantoassisthimduring

summerschoolvacationstothetimesshepainted

withhimasanadult,hewasalwaysteachingher

tobeanartist.Assherecalls,heleftherallhis

parchmentpaintingssoshecouldcontinuetopaint

andlearn.“Theyareavisualdictionaryforme.”

ThispaintingoftheGospelwriterSaintMark

showshowcloseEtsubdink’sstyleistoherfather’s

style.OneofLegesse’ssixchildren,Etsubdinkis

theonlyonewhopaints.Todayshelivesand

worksinAddisAbabaasafull-timeartistandis

occasionallyassistedbysomeofherchildren.

109

110

MeskelScene


2012



MeskelisthefirstmajorholidayoftheEthiopian

religiouscalendar.CelebratedinlateSeptember,

itcommemoratesthefindingoftheTrueCrossby

QueenHelena,motheroftheRomanEmperor

Constantine.Largebonfiresareburnedaspartof

theMeskelceremony,whichusuallyalso

coincideswiththeendofEthiopia’srainyseason.

111

112

NativityScene


2012



Tomakeparchmentfromeithersheep-or

goatskinishardwork.Etsubdinkdoesnotmake

theparchmentonwhichshepaints,but

purchasesitreadymade.However,shestillmust

cutittosizeandifitnotasrefinedasshewould

like,shesmoothsitwithsandpaperuntilitalmost

hasthequalityofheavypaper.Onthesepieces

ofparchmentshecarriesonherfather’stradition

ofpaintingeventsfromJesusChrist’sbirthto

resurrection,aswellasthemesofculturaland

historicalsignificanceandscenesofdailylife.

113

114

VillageChurchSchool


2012



Formanycenturies,thevillagechurchschool,taught

byapriestormonk,wastheonlysourceofeducationin

Ethiopia.Intheseschools,childrenfirstlearnedthrough

constantrepetitionthebasiccharactersofGe’ez,the

ecclesiasticallanguageoftheEthiopianOrthodox

Church.Latertheylearnedtoread,writeandchantthe

Psalms.ThefirstchapteroftheFirstEpistleofJohn

wasthetextusedbychildrentolearnhowtoread.For

mostchildrenthiswastheendoftheireducation,

althoughsomeboyscontinuedtostudytheologyand

liturgicalmusiconthepathtobecomingadeaconor

priest.Opportunitiesforeducationhaveexpanded

sincetheearly20thcenturywiththeestablishmentof

non-churchpublicandprivateschools,buteconomic

statusandgenderstillplayalargeroleindetermining

whoreceivesschoolinginEthiopia.

115

ReverenceforMary

Inthelate14thand15thcenturies,KingDawitandKingZaraYaqob

beganpromotingvenerationoftheVirginMaryasawaytounify

differenttheologicalandethnicfactionswithintheEthiopianOrthodox

Church.KingDawitcommissionedthefirsttranslationintoGe’ezofa

4thor5thcenturyArabictextcalledTheMiraclesofMarythatrecounted

numerousstoriesofMary’smercifulnatureandsaintlypowers.King

ZaraYaqobintroducedaliturgicalroleforiconpaintingsofMaryin

churchservicesandencouragedpeopletouseimagesofMaryintheir

personaldevotionsaswell.ThegreatreverenceforMarycontinuedto

growinsubsequentcenturies,suchthatsheisnowveneratedaboveall

othersaints,becausehersonsodearlylovedherthathewillgranther

everyprayer(TheCovenantofMercy).MoreEthiopianchurchesare

dedicatedtoMarythantoanyothersaintandsheiscelebratedon

thirty-threefeastdaysthroughouttheyear.Nevertheless,thegreat

respectgiventoMaryhasnottranslatedintoequaltreatmentforwomen

intheEthiopianOrthodoxChurchorinEthiopiansocietymorebroadly.

Ethiopianwomenfacemanychallengeswithrespecttoeducation,

healthcareandemploymentandmuchworkisneededforthemto

achievegreaterparitywithmeninthoseareas.[NinaKay‘19]

116

ReverenceforMary

Inthelate14thand15thcenturies,KingDawitandKingZaraYaqob

beganpromotingvenerationoftheVirginMaryasawaytounify

differenttheologicalandethnicfactionswithintheEthiopianOrthodox

Church.KingDawitcommissionedthefirsttranslationintoGe’ezofa

4thor5thcenturyArabictextcalledTheMiraclesofMarythatrecounted

numerousstoriesofMary’smercifulnatureandsaintlypowers.King

ZaraYaqobintroducedaliturgicalroleforiconpaintingsofMaryin

churchservicesandencouragedpeopletouseimagesofMaryintheir

personaldevotionsaswell.ThegreatreverenceforMarycontinuedto

growinsubsequentcenturies,suchthatsheisnowveneratedaboveall

othersaints,becausehersonsodearlylovedherthathewillgranther

everyprayer(TheCovenantofMercy).MoreEthiopianchurchesare

dedicatedtoMarythantoanyothersaintandsheiscelebratedon

thirty-threefeastdaysthroughouttheyear.Nevertheless,thegreat

respectgiventoMaryhasnottranslatedintoequaltreatmentforwomen

intheEthiopianOrthodoxChurchorinEthiopiansocietymorebroadly.

Ethiopianwomenfacemanychallengeswithrespecttoeducation,

healthcareandemploymentandmuchworkisneededforthemto

achievegreaterparitywithmeninthoseareas.[NinaKay‘19]

117

118

IconwithImagesfromTheMiraclesofMary

YordanosBerhanemeskel(Ethiopian,born1983)with

DanielBerhanemeskel(Ethiopian,born1980)

1999

Paintonwood

LoanfromthecollectionofPhilipandNancyMiller

FirstwrittendowninEgyptorSyriasometimearoundthe

4thor5thcenturyCE,TheMiraclesofMaryisa

collectionofstoriesaboutthemysticalappearancesand

saintlyworksoftheVirginMary.Thetextquicklygained

popularityinEthiopiaafteritwasfirstintroducedthere

duringthe14thcenturyandithasprovidedinspirationfor

manychurchmuralsandiconpaintingseversince.This

iconwaspaintedbyYordanosBerhanemeskel,daughter

ofthefamedchurchpainterBerhanemeskelFissehawho

begantrainingintheartofpaintingatageten.She

paintedthisiconatagesixteenwithassistancefromher

brotherwhosignedthepainting.Shopkeepersknew

Daniel’sworkandaniconbyhimwouldhavebeenmore

salablethanonepaintedbyayounggirl.Today

Yordanosismarriedandraisingthreechildren,butshe

stillpaintsandreceivedcommissionsinherownright.

119

TheFlightintoEgypt

AbbaGebreMeskelMebrathom

(Ethiopian,born20thcentury)

2009

Paintoncanvas


TheEthiopianOrthodoxChurchcelebratesthe

FeastoftheHolyFamilyeveryyearinlateOctober

orearlyNovember.Thefeastfollowsaperiodof

fortydaysduringwhichpeoplearesupposedto

reflectonthedifficultiesexperiencedbytheHoly

FamilywhentheyfledtoEgypttoescapethe

murderouswrathofKingHerod.Maryinparticular

isveneratedduringtheFeastoftheHolyFamilyfor

herroleasaprotectorofbothChristandChrist’s

followers.AlongwiththeexpectedfiguresofMary,

JosephandJesus,EthiopianpaintingsoftheFlight

intoEgyptoftenincludethenurse-maidMary

Salome,SaintMary’ssister,whosepresenceon

thejourneyismentionedinseveralearlybutnon-

canonicalChristiantexts.TheinclusionofSalome

intheseimagesmakesperfectsensetoEthiopian

audiences,whoareusedtoseeingchildrenraised

inextendedfamiliesthatincludeaunts,sistersand

cousins.ThetitleAbbainfrontoftheartist’sname

andhisyellowrobeindicatethatheisamonk.Neal

Sobaniaacquiredthepaintingin2009directlyfrom

theartistatanannualreligiousfestivalmarketheld

inAksumduringHolyWeek.

120

TheFlightintoEgypt

AbbaGebreMeskelMebrathom

(Ethiopian,born20thcentury)

2009

Paintoncanvas


TheEthiopianOrthodoxChurchcelebratesthe

FeastoftheHolyFamilyeveryyearinlateOctober

orearlyNovember.Thefeastfollowsaperiodof

fortydaysduringwhichpeoplearesupposedto

reflectonthedifficultiesexperiencedbytheHoly

FamilywhentheyfledtoEgypttoescapethe

murderouswrathofKingHerod.Maryinparticular

isveneratedduringtheFeastoftheHolyFamilyfor

herroleasaprotectorofbothChristandChrist’s

followers.AlongwiththeexpectedfiguresofMary,

JosephandJesus,EthiopianpaintingsoftheFlight

intoEgyptoftenincludethenurse-maidMary

Salome,SaintMary’ssister,whosepresenceon

thejourneyismentionedinseveralearlybutnon-

canonicalChristiantexts.TheinclusionofSalome

intheseimagesmakesperfectsensetoEthiopian

audiences,whoareusedtoseeingchildrenraised

inextendedfamiliesthatincludeaunts,sistersand

cousins.ThetitleAbbainfrontoftheartist’sname

andhisyellowrobeindicatethatheisamonk.Neal

Sobaniaacquiredthepaintingin2009directlyfrom

theartistatanannualreligiousfestivalmarketheld

inAksumduringHolyWeek.

43

1

5

76

2

Berhanemeskel,5,6and7

QesKellem,3and4

BerhaneGebreIyesus,1and2

43

1

5

76

2

Berhanemeskel,5,6and7

QesKellem,3and4

BerhaneGebreIyesus,1and2

8 9 11

10

GebraMerha,8,9,10and11

13

14

15

16

17

18

Tolera,13,14

HaleqaHailu,16,17and18

HaleqaTeklai,15

Allimages,textanddesigncopyright2018HopeCollege,Holland,MI,nopartmaybeusedorreproduced

foranypurposewithoutthewrittenpermissionofHopeCollege

KruizengaArtMuseumMission

ThemissionoftheKruizengaArtMuseumistoeducate,engageandinspire

thestudents,faculty,staffandalumniofHopeCollege,aswellasthebroader

communitiesofHollandandWestMichigan.Bypresentingartfromawide

rangeofculturesandhistoricalperiods,themuseumfostersthequalitiesof

empathy,toleranceandunderstandingthatareessentialcomponentsofHope

College’smissiontoprovideanoutstandingChristianliberalartseducation

whilepreparingstudentsforlivesofleadershipandserviceinaglobalsociety.

ContemporaryEthiopian

ChristianArt


LivingTradition

KruizengaArtMuseum,HopeCollege

LivingTra

ditio

nC

ontemporaryE

thiopianC

hristia

nA

rt

Documents

Download the Living Tradition catalog (PDF)