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This ornate stone throne, dated to the 5th century B.C.E. and standing 1 meter 40 cm. in height, was discovered at a town called Hawulti (home of a small pre-Aksumite site near Aksum). The seat is hidden by the side panel which is covered in bas relief decoration, including a frieze of ibex (a sacred animal to the lunar god Ilumquh), two figures (the larger one honoring the smaller one, with a name or title inscribed above, consisting of the three consonants RFS - Sabaean - RFSh, read in this case from right to left, and pronounced REFESH), and a representation of the seat they appear to be standing on. A small statue was found in the same location, which looked very much like the smaller figure, and it has been suggested that the throne may have served as a reliquary or shrine for such a statue. The photo is from a 1967 tourism pamphlet, Ancient Sites of Northern Ethiopia, written by Francis Anfray, with photography by Kebbede Bogale. The small photo (below - click for larger view), from an Ethiopian postcard, shows the statue from Hawulti that might have stood within the throne when it served its original purpose.
Hawulti - statue



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Skip Dahlgren, unless otherwise credited.

 


 

 

 

 

 

 

 


 

 

 

 

 

 

 


 

 

 

 

 

 

 


 

 

 

 

 

 



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Hawulti - statue

This statue (left, seen on display in the archaeological museum in Addis Abeba) was found near the throne (below - click for larger view) in the town of Hawulti (see sketch map). The proximity of the throne and the statue suggested that in fact they may have been related. It's likely that the throne was intended as a shrine to hold the statue. This type of statue of an individual fully and richly dressed and seated in a formal pose, probably some sort of votive statue, is quite common in pre-Aksumite art, to the extent that rough copies were commonly made for the tourist trade during the years when I lived in Asmara. The similarity of the statue to the smaller figure (identified with the inscribed name RFS - Sabaean - REFESH) on the throne suggests that they may represent the same person, of whom unfortunately nothing further is known, but it's safe to assume that the figure appears to portray either a woman of some importance, perhaps a priestess or noblewoman, or else a deity. The photo is from a postcard I sent in 1972.
Hawulti - throne



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Skip Dahlgren, unless otherwise credited.

 


 

 

 

 

 

 

 


 

 

 

 

 

 

 


 

 

 

 

 

 

 


 

 

 

 

 

 


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Hawulti - Ilumquh symbol
Matara hawulti Melazo - inscription

The icon or symbol incised in the top of this Aksumite period hawulti at Matara (left) is the disk and crescent sign of Ilumquh (Ilumquh - Sabaean), the masculine lunar deity of the Sabaeans and the pre-Christian Aksumites, unlike most Semitic pantheons, or in fact most pantheons in polytheistic societies throughout Europe and Asia, in which lunar deities were nearly universally feminine. The icon was commonly placed atop monuments, and was the symbol on the reverse of a large percentage of the Aksumite coins prior to the official conversion of Aksum to Christianity. The small photo (below left) shows the entire hawulti as it appeared prior to its destruction by Ethiopian troops during their occupation of the archaeological site at Matara in 2000 (visit my Matara website for further information). Click the photo of the inscribed stone plinth from Melazo (below right), a site south of Hawulti and Aksum (see sketch map) for a larger view of the inscription, which is dedicated to Ilumquh, and much more information about the Sabaean inscriptions that were left by the people of Da'amat.


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Skip Dahlgren, unless otherwise credited.

 


 

 

 

 

 

 

 


 

 

 

 

 

 

 


 

 

 

 

 

 

 


 

 

 

 

 

 


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Mat hawulti - Ilumquh icon

This small Sabaean inscribed stone artifact (left) from Melazo, a pre-Aksumite site near Aksum (see sketch map), dates from the 5th century B.C.E. and demonstrates a number of characteristics commonly found in materials associated with the kingdom of Da'amat, as well as with other Sabaean sites. First is the stepped plinth, a nearly universal architectural design element in the foundations of Sabaean buildings such as Enda Abuna Afse and Grat Ba'al Gibri at Yeha, as well as on monuments, altars, and other structures. Next is the text of the short dedicatory inscription. The first line identifies the person making the dedication, the second links the person named on the previous line to Marib (marib - Sabaean), most likely the ancient capital of the South Arabian kingdom of Saba, although the name also could refer to the river which flows from central Eritrea past Yeha and Aksum on its way toward the Blue Nile, or perhaps to an ancient city in Da'amat also named Marib (although none is known at this time), and the third names the Sabaean lunar god Ilumquh (Ilumquh - Sabaean), whose disk and crescent symbol was frequently used on Aksumite monuments such as the Matara hawulti (below left - click for larger view and a complete view of the monument, as well as more information about Ilumquh) and coins. Finally, the inscription itself employs a technique called boustrophedon, (roughly translated as "plowing the field," because the lines of text alternate direction, the first reading right to left, the second left to right, and so on, much like a farmer plowing a field back and forth). Most of the characters of the alphabet are directional, so one can see clearly which direction to read a line by the direction the letters are pointing. Note that the word Marib (marib - Sabaean) consists of the letters MRYB reading from left to right, while the word Ilumquh (Ilumquh - Sabaean) contains the letters 'LMQH (the first being a simple glottal stop) from right to left. Note especially the letter "M" which appears in both words, reading in both directions. This same boustrophedon writing technique was seen elsewhere, such as in early Phoenecian and archaic Greek texts, but while abandoned in most other languages, it survived far longer in Sabaean inscriptions. (The single verticle lines which appear throughout the inscription are word spacers.) The photo is from a 1967 tourism pamphlet, Ancient Sites of Northern Ethiopia, written by Francis Anfray, with photography by Kebbede Bogale.


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All photos, graphics and text copyright © 1966-2005,
Skip Dahlgren, unless otherwise credited.