So another change in climate, like the one that around 10,000 years ago brought us agriculture in the first place, may now be threatening our survival as a global species.
7
Ain Sakhri Lovers Figurine
Stone sculpture, found at Wadi Khareitoun, Judea, near Bethlehem
9000 BC
As the latest Ice Age came to an end, somebody picked a pebble out of a small river not far from Bethlehem. It’s a pebble that must have tumbled downstream and been banged and smoothed against other stones as it went, in the process that geologists poetically describe as ‘chattering’. But about 11,000 years ago, a human hand then shaped and chipped this beautifully chattered, rounded pebble into one of the most moving objects in the British Museum. It shows two naked people literally wrapped up in each other. It’s the oldest known representation of a couple having sex.
In the Manuscripts Saloon at the British Museum, most people walk straight past the case that contains the carving of the lovers. Perhaps it’s because from a distance it doesn’t look like very much; it’s a small, muted, greyish stone about the size of a clenched fist. But when you get nearer to it, you can see that it’s a couple, seated, their arms and legs wrapped around each other in the closest of embraces. There are no clear facial features, but you can tell that these two people are looking into each other’s eyes. I think it’s one of the tenderest expressions of love that I know, comparable to the great kissing couples of Brancusi and Rodin.
At the time this pebble was shaped by human hands, human society was changing. As the climate warmed up across the world and people gradually shifted from hunting and gathering to a more settled way of life based on farming, our relationship to the natural world was transformed. From living as a minor part of a balanced ecosystem, we began trying to shape our environment, to control nature. In the Middle East the warmer weather brought a spread of rich grasslands. Until then people had been moving around, hunting gazelle and gathering the seeds of lentils, chickpeas and wild grasses. But in the new, lusher savannah, gazelle were plentiful and tended to stay in one place throughout the year, so the humans settled down with them. Once they were settled, they started gathering grass grains that were still on the stalk, and, by collecting and sowing these seeds, they inadvertently carried out a very early kind of genetic engineering. Most wild grass seeds fall off the plant and are spread easily by the wind or eaten by birds, but these people selected seeds which stayed on the stalk – a very important characteristic if a grass is to be worth cultivating. They stripped these seeds, removed the husks and ground the grains to flour. Later, they would go on to sow the surplus seeds. Farming had begun – and for over 10,000 years we’ve been breaking and sharing bread.
These early farmers slowly created two of the world’s great staple crops – wheat and barley. With this more stable life, our ancestors had time to reflect and to create. They made images that show and celebrate key elements in their changing universe: food and power, sex and love. The maker of the ‘lovers’ sculpture was one of these people. I asked the British sculptor Marc Quinn what he thought of it:
We always imagine that we discovered sex, and that all other ages before us were rather prudish and simple, whereas in fact – obviously – human beings have been emotionally sophisticated since at least 10,000 BC, when this sculpture was made, and I’m sure just as sophisticated as us.
What’s incredible about this sculpture is that when you move it and look at it in different ways, it changes completely. From the side, you have the long shot of the embrace, you see the two figures. From another side it’s a penis, from another a vagina, from another side breasts – it seems to be formally mimicking the act of making love as well as representing it. And those different sides unfold as you handle it, as you turn this object around in your hand, so they unfold in time, which I think is another important thing about the sculpture – it’s not an instant thing. You walk round it and the object unfolds in real time. It’s almost like in a pornographic film, you have long shots, close-ups – it has a cinematic quality as you turn it, you get all these different things. And yet it’s a poignant, beautiful object about the relationship between people.
What do we know of the people captured in this lovers’ embrace? The maker – or should we say the sculptor? – of the lovers belonged to a people that we now call the Natufians, who lived in a region that straddled what is today Israel, the Palestinian territories, Lebanon and Syria. Our sculpture came from south-east of Jerusalem. In 1933 the great archaeologist Abbé Henri Breuil and a French diplomat, René Neuville, visited a small museum in Bethlehem. Neuville wrote:
Towards the end of our visit, I was shown a wooden casket containing various items from the surrounding areas, of which none, apart from this statuette, was of any value. I realized immediately the particular significance of the design involved and asked the source of these objects. I was told that they had been brought by a Bedouin who was returning from Bethlehem towards the Dead Sea.
Intrigued by the figure, Neuville wanted to know more about its discovery and sought out the Bedouin he had been told about. He managed to track down the man responsible for the find, who took him to the very cave – in the Judaean desert not far from Bethlehem – in which the sculpture had been discovered. It was called Ain Sakhri, and so these sculpted figures that had so captivated Neuville are still known as the Ain Sakhri lovers. Crucially, the sculpture had been found with objects which made it clear that the cave was a dwelling rather than a grave, and so our sculpture must have played some kind of role in domestic everyday life.
We don’t know exactly what that role might have been, but we do know that this dwelling belonged to people who were living at the dawn of agriculture. Their new way of life involved the collecting and storing of food. The result was as profound a transformation for human beings as any revolution in history. This process of settling down did, of course, make them more vulnerable than hunters or nomads to crop failure, pests, diseases and, above all, to the weather; but while things were good, society boomed. A guaranteed abundant food source fuelled a sustained population explosion, and people began to live in large villages of between two and three hundred – the densest concentration of people the world had yet seen. When larders are stocked and the pressure is off, there is time to think, and these rapidly growing, settled communities had the leisure to work out new social relationships, to contemplate the changing pattern of their lives and to make art.
Looked at from different angles, the figurine changes completely
Our little sculpture of the entwined lovers may embody a key response to this new way of living – a different way of thinking about ourselves. In the depiction of the sexual act in this way and at this time, the archaeologist Ian Hodder, of Stanford University, sees evidence of a process he calls the ‘domestication of the mind’:
The Natufian culture is really before fully domesticated plants and animals, but you already have a sedentary society. This particular object, because of its focus on humans and human sexuality in such a clear way, is part of that general shift towards a greater concern with domesticating the mind, domesticating humans, domesticating human society, being more concerned with human relationships, rather than with the relationships between humans and wild animals, and the relationships between wild animals themselves.
As you hold the Ain Sakhri pebble and turn it round, it is striking not just that there are clearly two human figures rather than one, but that it’s impossible, because of the way the stone has been carved, to say which is male and which is female. Could that generalized treatment, that ambiguity which forces the engagement of the viewer, have been a deliberate intention on the part of the maker? We just don’t know, but we don’t know either how this little statue would have been used. Some scholars think it might have been made for a fertility ritual, but Ian Hodder takes a different view:
This object is one that could be read in many ways. At one time it would probably have been thought t
hat these notions of sexual coupling, and sexuality itself, were linked to ideas of the mother goddess, because it’s been assumed that the first farmers’ main concern is the fertility of the crops. My own view is that the evidence doesn’t really support this idea of a dominant mother goddess very early on, because there are now exciting new discoveries that really have no representations of women at all – most of the symbolism is very phallocentric – so my view at the moment is that sexuality is important in these early farming societies, but not in terms of reproduction/fertility, children and mothering and nurturing. It’s really more clearly about the sex act itself.
To me, the tenderness of the embracing figures certainly suggests not reproductive vigour, but love. People were beginning to settle and to form more stable families, to have more food, and therefore more children, and perhaps this is the first moment in human history when a mate could become a husband or a wife.
All these ideas may be present in our sculpture of the lovers, but we’re still largely in the realm of historical speculation. On another level, though, it speaks to us absolutely directly, not as a document of a changing society but as an eloquent work of art. From the Ain Sakhri lovers to Rodin’s sculpture The Kiss there are 11,000 years of human history, but not, I think, much change in human desire.
8
Egyptian Clay Model of Cattle
Painted model, found at Abydos (near Luxor), Egypt
3500 BC
Mention excavation in Egypt, and most of us see ourselves entering Tutankhamun’s tomb, discovering the hidden treasures of the pharaohs and at a stroke rewriting history. Aspiring archaeologists should be warned that this happens only very rarely. Most archaeology is a slow, dirty business, followed by an even slower recording of what has been found. And the tone of archaeological reports has a deliberate, academic, almost clerical dryness, far removed from the riotous swagger of Indiana Jones.
In 1900 a member of the Egypt Exploration Society excavated a grave in southern Egypt. He soberly labelled his discovery Grave A23 and noted the contents:
Body, male. Baton of clay painted in red stripes, with imitation mace-head of clay. Small red pottery box, four-sided, 9 inches × 6 inches. Leg bones of small animal. Pots and stand of 4 clay cows.
The four horned cows stand side by side upon fertile land. They’ve been grazing on their simulated patch of grass for about five and a half thousand years. That makes them really ancient Egyptian, more ancient even than the pharaohs or the pyramids. These four little clay cows, hand-moulded out of a single lump of Nile river clay, are a long way from the glamour of the pharaohs, but you could argue that cows and what they represent have been far more important to human history. Babies have been reared on their milk, temples have been built to them, whole societies have been fed by them, economies have been built on them. Our world would have been a different and a duller place without the cow.
On these models you can still see faint traces of black and white paint applied after the clay had been lightly baked, making them like toy farm animals of the sort many of us played with as children. They stand only a few centimetres high, and the clay base that they share is roughly the size of a dinner plate. Like other objects we will encounter, the presence of these artefacts in Grave A23, where they were buried with a man in a cemetery near the small village 0f El Amra in southern Egypt, speaks of the consequences of climate change and human responses to it.
All of the objects found in this grave were intended to be useful in another world, and, in a way never imagined by the people who placed them there, they are. But they’re useful for us, not for the dead. They allow us profound insights into remote societies, because the way of death casts light on the way of life of those people. They give us some idea not just of what people did but of what they thought and believed.
Most of what we know about early Egypt, before the time of the pharaohs and the hieroglyphs, is based on burial objects like these little cows. They come from a time when Egypt was populated only by small farming communities living along the Nile Valley. Compared to the spectacular gold artefacts and tomb ornaments of later Egypt, these little clay cows are modest. Funerals at that point were simpler; they didn’t involve embalming or mummifying, a practice that wouldn’t come for another thousand years.
The owner of our four clay cows would have been laid in an oval pit, in a crouched position and lying on a mat of rushes, facing the setting sun. And around him were his grave goods – items of value for his journey into the afterlife. Cow models like this one are quite common, so we can be quite confident that cows must have played a significant part in Egyptian daily life – such a significant part that they couldn’t be left behind when the owner passed through death and on into the afterlife. How did this humble beast become so important to human beings?
The story begins more than 9,000 years ago, in the vast expanses of the Sahara. Then, instead of today’s landscape of arid desert, the Sahara was a lush, open savannah with gazelles, giraffes, zebras, elephants and wild cattle roaming through it – happy hunting for humans. But around 8,000 years ago the rains that nourished this landscape dried up. Without rain, the land began to turn into the desert that we know today, leaving people and animals to seek ever-dwindling sources of water. This dramatic change of environment meant that people had to find an alternative to hunting. Of all the different animals these humans had hunted, only one could be tamed: cattle.
Somehow they found a way to tame wild cattle. They no longer had to chase them down, one by one, for food; instead they learnt how to gather and manage herds, with which they travelled and from which they could live. Cows became almost literally the lifeblood of these new communities. The needs of fresh water and pasture for the cattle now determined the very rhythm of life, as both human and animal activity became ever more intertwined.
What role did these early Egyptian cattle play in this sort of society? What did they keep cows for? Professor Fekri Hassan has excavated and studied many of these early Egyptian graves, and the villages associated with them. He and his colleagues found remains of animal enclosures, as well as evidence for the consumption of cattle. They found the bones of these animals. And he concludes that these particular items, these four models of cattle, were probably produced a millennium or more after cattle were introduced into Egypt.
Study of the cattle bones shows the ages at which the animals were killed. Surprisingly, many of them were old, too old if they were being kept only for food. So unless the early Egyptians enjoyed tough steak, these were not in our sense beef cattle. They must have been kept alive for other reasons – perhaps to carry water or possessions on journeys. But it seems more likely they were tapped for blood, which, if it is drunk or added to vegetable stews, provides essential extra protein. This is something we find in many parts of the world, and it is still done today by the nomadic peoples in Kenya.
Our four cows may well therefore represent a walking blood-bank. We can rule out what seems at first sight the more obvious answer, that they were dairy cows, because for several reasons milk was unfortunately off the menu. Not only did these early domesticated cows produce very little milk but, more importantly for humans, getting nutrition by drinking cows’ milk is an acquired skill. Martin Jones is an expert in the archaeology of food:
There is a range of other foods that our distant ancestors would not have eaten as readily as we do. Humans evolved the capacity to tolerate drinking milk as adults after cattle were domesticated, presumably because the ability to gain nutrients from cows’ milk helped individuals to survive and to pass on that ability to their children. But even today a great number of modern peoples around the world can’t tolerate drinking milk as adults.
So drinking cows’ milk would probably have made these early Egyptians very ill, but over centuries their descendants and many other populations eventually adapted to it. It is a pattern repeated across the world: substances that are initially very hard for us to digest become, by slow adaptation, centr
al to our diet. We are often told that we are what we eat; it might be truer to say that we are what our ancestors, with great difficulty, learnt to eat.
In early Egypt, cows were probably also kept as a kind of insurance policy. If crops were damaged by fire, communities could always fall back on the cow for nourishment as a last resort; perhaps not the best thing to eat, but always there. They were also socially and ceremonially significant, but, as Fekri Hassan explains, their importance went even deeper:
Cattle have always had religious significance, both the bulls and the cows. In the desert a cow was the source of life, and we have many representations in rock art where we see cows with their calves in a more-or-less religious scene. We also see human female figurines, also modelled from clay, with raised arms as if they were horns. It seems that cattle were quite important in religious ideology.
The cattle from Grave A23 don’t show any outward signs of being particularly special. On closer inspection, however, they don’t look like the cows you find on the farm today, anywhere across Europe, North America or even modern Egypt. Their horns are strikingly different – they curve forwards and are much lower than those of any cows that we know.
A History of the World in 100 Objects Page 6