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ContemporaryEthiopian
ChristianArt
fromtheSobaniaCollection
LivingTradition
KruizengaArtMuseum,HopeCollege
LivingTra
ditio
nC
ontemporaryE
thiopianC
hristia
nA
rt
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
fromtheSobaniaCollection
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
(Ethiopian,born1947)
1997
Paintoncanvas
GiftofNealandElizabethSobania,
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
(Ethiopian,born1947)
1997
Paintoncanvas
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,2018.25.4
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
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.
15
SaintYaredandKingGebreMeskel
HaleqaHailuGebreMedhin(Ethiopian,born
1959)
2001
Paintoncloth
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,
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
QesAdamuTesfaw(Ethiopian,born1933)
1993
Paintoncloth
GiftofNealandElizabethSobania,2018.25.8
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
QesAdamuTesfaw(Ethiopian,born1933)
1993
Paintoncloth
GiftofNealandElizabethSobania,2018.25.8
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
GiftofNealandElizabethSobania,
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
QesAdamuTesfaw(Ethiopian,born1933)
2011
Paintoncloth
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,2018.25.11
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
HaleqaHailuGebreMedhin(Ethiopian,born1959)
2000s
Paintoncloth
GiftofNealandElizabethSobania,2018.25.11
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
GiftofNealandElizabethSobania,2018.25.12
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
GiftofNealandElizabethSobania,2018.25.13
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
GiftofNealandElizabethSobania,2018.25.13
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
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,
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
HaleqaHailuGebreMedhin(Ethiopian,born1959)
2012
Paintonwood
GiftofNealandElizabethSobania,2018.25.15
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
HaleqaHailuGebreMedhin(Ethiopian,born1959)
2002
Paintonwood
GiftofNealandElizabethSobania,2018.25.16
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
GiftofNealandElizabethSobania,2018.25.17
DiptychIconwithScenesfromtheLifeofChrist
DanielBerhanemeskel(Ethiopian,born1980)
1998
Paintonwood
GiftofNealandElizabethSobania,2018.25.18
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
GiftofNealandElizabethSobania,2018.25.19
PendantIconwiththeCrucifixionandResurrectionofChrist
GardGidey(Ethiopian,born1976)
Ca.2002
Paintonwood
GiftofNealandElizabethSobania,2018.25.20
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
GiftofNealandElizabethSobania,2018.25.21
Mostpendanticonshaveintricatelycarvedexterior
surfaces.Thequalityoftheexteriorcarvingisoftenas
importantasthepaintingfordeterminingtheicon’s
value.Pendanticoncasesarejudgedbasedonthe
styleanddepthofthecarving,thetypeofwoodused,
andotherdistinctivequalitiesthatdemonstratethe
maker'sskill.QesKellemisapriestfromtheTembien
regionineasternTigrayprovince.Heiswidely
regardedasoneofthefinestcarversofpendanticon
casesactiveinEthiopiatoday.[NinaKay‘19]
42
ViewofFrontViewofBack
PendantIconCase
QesKellemHaileSelassie
(Ethiopian,born20thcentury),carver
Ca.2001
Wood
GiftofNealandElizabethSobania,2018.25.21
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
(Ethiopian,born20thcentury),carver
1997
Paintonwood
GiftofNealandElizabethSobania,
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
GardGidey(Ethiopian,born1976)
1997
Paintonwood
GiftofNealandElizabethSobania,
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
GardGidey(Ethiopian,born1976)
1997
Paintonwood
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,2018.25.24
50
51
IconwithImagesofChristand
SaintMary
DanielBerhanemeskel
(Ethiopian,born1980)
1990s
Paintonwood
GiftofNealandElizabethSobania,
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
(Ethiopian,born1980)
1990s
Paintonwood
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,2015.39.12
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
GabraSellaseAbadiWoldemariam
(Ethiopian,early1900s-1986)
Ca.1970
Paintoncardboard,cottonthread
GiftofNealandElizabethSobania,2015.39.12
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
GabraSellaseAbadiWoldemariam
(Ethiopian,early1900s-1986)
Ca.1970
Paintoncardboard,cottonthread
GiftofNealandElizabethSobania,
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
GabraSellaseAbadiWoldemariam
(Ethiopian,early1900s-1986)
Ca.1970
Paintoncardboard,cottonthread
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,
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
HaleqaHailuGebreMedhin(Ethiopian,born1959)
2012
Paintonparchment
GiftofNealandElizabethSobania,2018.25.27
Datingbacktothe17thcentury,sensularefolding
iconspaintedonparchmentthatcanbeusedforprivate
devotions.Thesesensulpaintingsjuxtaposeimagesof
St.GeorgeandSt.MarywithimagesofChrist’s
crucifixionandresurrection,followinganiconographic
programalsocommonlyseeninwoodeniconpaintings.
Eachpaintingisborderedbyelaborateendlessknot
designsthatsymbolizeeternallife.Calledharagin
Ge’ez,theecclesiasticallanguageofEthiopia,such
knotdesignshavebeenusedinEthiopianpaintingand
manuscriptilluminationsincethe14thcentury.
ImagetoRight
OurMotherMaryandHerBelovedSon
HaleqaHailuGebreMedhin(Ethiopian,born1959)
2012
Paintonparchment
GiftofNealandElizabethSobania,2018.25.28
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
GiftofNealandElizabethSobania,2018.25.29
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
GiftofNealandElizabethSobania,2018.25.29
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
(Ethiopian,born1959)
2001
Paintonparchment
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,
2018.25.31
MemherLegesseMengistuwasan
ordainedpriestandformerchurch
painterwhobeganmakingartforthe
overseastouristmarketinthe1960s.
Hespecializedinpaintingon
parchmentanddepictedboth
religiousandsecularsubjects.This
paintingofthefourevangelists
recallsthetraditionalpracticein
Ethiopianilluminatedmanuscriptsof
insertingportraitsoftheGospel
writersatthebeginningoftheirtexts.
68
SaintMaryBlessedSaint
EphraimwithHerCross
MemherLegesseMengistu
(Ethiopian,1932-2009)
1993
Inkandpaintonparchment
GiftofNealandElizabeth
Sobania,2015.39.19
SaintEphraimwasa
4th-centurySyrianmonk
knownforhispoems,hymns
andsermons.Thispainting
showsSaintMaryblessing
Ephraimwithahandcross.
69
70
JesusInvitedtheDisciplesonThursdayNight
MemherLegesseMengistu
(Ethiopian,1932-2009)
1993
Inkandpaintonparchment
GiftofNealandElizabethSobania,2015.39.18
Easteristhemostimportantholidayinthe
EthiopianOrthodoxreligiouscalendar.The
celebrationofEasterbeginswithJesus’sentry
intoJerusalem,calledHosannainEthiopia,and
continuesinearnestwiththeFeastoftheLast
Supper,whichcommemoratesthefinalmeal
sharedbyChristandhisdisciplesonthenight
beforehisarrestandexecution.
FollowingPages
Left
SaintGeorgeSlayingtheDragon
MemherLegesseMengistu
(Ethiopian,1932-2009)
1993
Inkandpaintonparchment
GiftofNealandElizabethSobania,
2018.25.32
Right
SaintGebreManfasQeddusand
SaintTaklaHaymanot
MemherLegesseMengistu
(Ethiopian,1932-2009)
1993
Inkandpaintonparchment
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,
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
GiftofNealandElizabethSobania,2018.25.37and.38
Ethiopianprayerstaffsaretypicallybetweenfourandfivefeet
longandconsistofastraightwoodenshafttoppedbyaT-
shapedfinial.Asthenamesuggests,prayerstaffsareusedby
priestsanddeaconstosupporttheirbodiesduringlongperiods
ofprayerandworship.Thestaffsarealsousedtokeeptimein
liturgicalchantsanddancesbymovingthemforwardandback
aswellastappingthemontheground.Prayerstaffsare
sometimessaidtosymbolizethestaffofMosesandthus
functionasremindersofearlychurchlaw.Anotherexplanation
saysthatthestaffssymbolizethecudgelsthatwereusedtobeat
Jesusbeforehisexecutionandthereforeserveasremindersthat
Christsufferedanddiedforoursins.
85
ProcessionalCross
FitsumGebrehiwot
(Ethiopian,born1953)
2001
Brass
GiftofNealandElizabeth
Sobania,2018.25.40
Thiselaboratecrosswas
likelymadeusingthelost
waxtechnique,whereby
thecrosswasfirstmodeled
inwaxbeforebeingpacked
inclay.Whentheclaywas
firedinakiln,thewax
meltedawayleavingahard
ceramicmoldthatwas
filledwithmoltenbrassto
createthefinishedcross.
86
ProcessionalCross
Ethiopian
20thcentury
Brass
GiftofNealandElizabeth
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
GiftofNealandElizabethSobania,2018.25.43
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
GiftofNealandElizabethSobania,2018.25.44
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
NealSobania(American,born1946)and
RaymondSilverman(American,born1953)
2009,Colorphotograph
CourtesyofNealSobania,DSC0476
99
WomenGatheringOutsidetheArbaat
EnseseChurch,Aksum
NealSobania(American,born1946)and
RaymondSilverman(American,born1953)
2009
Colorphotograph
CourtesyofNealSobania,DSC0630
100
WomenPrayingOutsideEndaIyesusChurch,
AksumNealSobania(American,born1946)and
RaymondSilverman(American,born1953)
2009
Colorphotograph
CourtesyofNealSobania,DSC0605
101
YoungWomanwithPectoral
Cross,Aksum
NealSobania(American,born1946)
andRaymondSilverman(American,
born1953)
2001
Colorphotograph
CourtesyofNealSobania,ethp0198
GenetGidofaandHerMother,Leta
BirhanSelassie,WearingTraditional
JewelryandCruciformTattoos
NealSobania(American,born1946)and
RaymondSilverman(American,born1953)
1998
Colorphotograph
CourtesyofNealSobania,DSC0243
102
YoungWomanwithPectoral
Cross,Aksum
NealSobania(American,born1946)
andRaymondSilverman(American,
born1953)
2001
Colorphotograph
CourtesyofNealSobania,ethp0198
GenetGidofaandHerMother,Leta
BirhanSelassie,WearingTraditional
JewelryandCruciformTattoos
NealSobania(American,born1946)and
RaymondSilverman(American,born1953)
1998
Colorphotograph
CourtesyofNealSobania,DSC0243
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
Inkandpaintonparchment
GiftofNealandElizabethSobania,2018.25.45
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
EtsubdinkLegesse(Ethiopian,born1968)
2012
Inkandpaintonparchment
GiftofNealandElizabethSobania,2018.25.47
MeskelisthefirstmajorholidayoftheEthiopian
religiouscalendar.CelebratedinlateSeptember,
itcommemoratesthefindingoftheTrueCrossby
QueenHelena,motheroftheRomanEmperor
Constantine.Largebonfiresareburnedaspartof
theMeskelceremony,whichusuallyalso
coincideswiththeendofEthiopia’srainyseason.
111
112
NativityScene
EtsubdinkLegesse(Ethiopian,born1968)
2012
Inkandpaintonparchment
GiftofNealandElizabethSobania,2018.25.46
Tomakeparchmentfromeithersheep-or
goatskinishardwork.Etsubdinkdoesnotmake
theparchmentonwhichshepaints,but
purchasesitreadymade.However,shestillmust
cutittosizeandifitnotasrefinedasshewould
like,shesmoothsitwithsandpaperuntilitalmost
hasthequalityofheavypaper.Onthesepieces
ofparchmentshecarriesonherfather’stradition
ofpaintingeventsfromJesusChrist’sbirthto
resurrection,aswellasthemesofculturaland
historicalsignificanceandscenesofdailylife.
113
114
VillageChurchSchool
EtsubdinkLegesse(Ethiopian,born1968)
2012
Inkandpaintonparchment
GiftofNealandElizabethSobania,2018.25.48
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
GiftofNealandElizabethSobania,2018.25.49
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
GiftofNealandElizabethSobania,2018.25.49
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
fromtheSobaniaCollection
LivingTradition
KruizengaArtMuseum,HopeCollege
LivingTra
ditio
nC
ontemporaryE
thiopianC
hristia
nA
rt
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