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Wall Painting and Stucco in Jordan: from Miniature to Megalography

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Wall Painting and Stucco in Jordan: from Miniature to Megalography Dr. Claude Vibert-Guigue, Claude Vibert-Guigue UMR 8546, CNRS-ENS, AOROC Ecole Normale Supérieure 45 Rue d’Ulm Wall Painting And Stucco In Jordan: F-75005 Paris From Miniature To Megalography France Introduction 407-432); From the Decapolis to the Umayyad Every year new painted or stuccoed Palaces (Tell 1995: 375-382); Quṣayr ‘Amra decorations appear in Jordan, dating from (Vibert-Guigue and Bisheh 2007: 3-23). the Nabataean and Hellenistic periods to the The 2013 ICHAJ colloquium in Berlin Umayyad Caliphate1. For example, Petra was an opportunity to remind ourselves of regularly brings up new Nabataean examples and the archaeological importance of stucco and at Gerasa a recent late Hellenistic discovery on painted art in ancient Jordan. Three main points the lower terrace of the Zeus temple represents can be made. First, the transition from ‘art an important development in the history of stucco’ (mortar decoration with finishing relief) ancient wall-painting. In addition, conservation and ‘art painting’ (smooth surface, without interventions have brought new iconographic relief)4. Initially, under Greek influence, the indications and readings to light, as at Quṣayr plastering or coating imitated monumental ‘Amra whose Umayyad paintings are inscribed ashlar masonry in stucco, within the context on the UNESCO World Heritage list. Known of interior decoration. Stucco block work since Musil’s publication (1907), from 2011 modelled in relief with drafted marginal onwards new pictures and inscriptions hidden masonry and well- fitting joints were considered under excessive conservation measures dating essential. Second, figurative subjects can be back to the mid-1970s have been spectacularly discussed as a significant evolution over time revealed2. The bibliography is also increasing, and in different contexts. Human or animal thanks to archaeological reports, articles, representations seem to appear at the end of the theses on so on3: e.g. Peintures et mosaïques Hellenistic period and subsequently increased mythologiques en Jordanie (Zayadine 1986: in size. This can be illustrated by comparison of 1. This survey is based on fieldwork started in the late 1970s at the 3. Many others could be listed: Petra (MacKenzie 1991); Qasṭal French Institute of Archaeology in ‘Ammān at the request of the (Bisheh 2000); Qaṣr al-Ḥallābāt (Arce 2009); Deir ‘Ain ‘Abata Department of Antiquities (Abila, ‘Ammān, Bayḍāʼ, Jarash, Pe- (Politis 2012) etc. Complementary bibliographical references tra, Quṣayr ‘Amra etc.), focusing here on archaeological rather are in the text and a selective bibliography is included; a map than historical evidence. shows sites (a single point could indicate one site or many, as at 2. Quṣayr ‘Amra is the subject of a new conservation program run Petra, Jarash, Abila etc.). by the DoA in partnership with the World Monuments Fund® 4. There is a problem of vocabulary in the various modern languages. and the Istituto Superiore per la Conservazione ed il Restauro Most of the time, only analyses can differentiate mortar (sand; wa- in Rome. The Jordanian - French documentation survey (DoA – ter; lime) from plaster (gypsum), or fresco from tempera (painting IFAPO [1989 – 1997]) was the first to highlight problems with on wet or dry mortar). As techniques could be combined, this is- the 1970s restoration, which included modern repainting. sue must be studied carefully with appropriate methods. – 329 – CLAUDE VIBERT-GUIGUE two examples at opposite ends of the temporal interesting pavements still displaying Roman spectrum, viz. the late Hellenistic painted mythological and cultural influences (Zayadine biclinium at Bayḍāʼ (ca. 15 cm-high figures) 1986). Byzantine mosaics with human or and the Umayyad bathhouse at Quṣayr ‘Amra animal figures were subsequently an important (life-size figures). In short, figures go from area of transition for artisans working on the miniature to megalography. Third, Jordan offers later Umayyad residences. many opportunities to analyze in situ mural The number of sites amounts to approximately decoration. The surface base for painters could 30, ranging in date from the Hellenistic period be built or cut into rock, outside, underground to Umayyad times (FIG. 1). From north to south or mid-cliff. there are three main zones: north Jordan with Paintings in monuments are common, but the Decapolis, a central zone around Amman although painted tombs offer a vast field of and a third extending from the southern end research, ancient housing is under-represented. of the Dead Sea to the Red Sea. A fourth zone This might be explained by the fragility of the in the east covers the Umayyad residences in mortar, which was unable to survive successive the bādiya. As space precludes a systematic reoccupations of a city. Plaster is also less presentation, this article will focus instead on strong than flooring. As a result, antique wall a quick chronological overview of some well- paintings in association with mosaic floors known remains, as well as others that have not are unusual. The discoveries have instead been well-documented or have been forgotten. involved Byzantine churches or palaces, with These constraints mean that apologies are 1. Sites with paintings or stuccos in Jordan (Vibert- Guigue). – 330 – WALL PAINTING AND STUCCO IN JORDAN: FROM MINIATURE TO MEGALOGRAPHY offered to scholars whose discoveries have not (Aslan and Shaer 1996; Shaer 2003), a fact been included5. known for many years (Zayadine 1987: 131). Before presenting a preliminary inventory, Using computer reconstruction (FIG. 3), two examples deserve special mention because evidence from many small patches of colour they approach the issue of of wall-covering in on facade tomb 826, which has a terminus ante different ways. Qaṣr al-‘Abd at ‘Irāq al-Amīr quem of 50 AD (McKenzie 1990: 110), has (Wādī as-Sīr) is one of the few mid-period been considered. Do these decorations belong Hellenistic monuments preserved in the Near to the first occupation of the tombs, and how East. It is well known for its megalithic building did the colours or plaster stop around each techniques and larger than life-size sculpted carved facade? Some of these facade tombs are animals (lions; eagles; panthers). Dating back very close to each other, so we wonder how this to 175 BC and notwithstanding the fact that it polychromatic ‘vicinity’ was understood. is uncompleted, the monument preserves some In both these examples, there is a strong fragments of Hellenistic painted stucco within link between the architecture and the coating, the south vestibule (FIG. 2). A few pieces regardless of whether the structure is of classical represent an ornamental moulding, imitating or oriental inspiration (or mixed), or built or a masonry frame. It may be one of the earliest rock-cut. We have also to remember that the examples of imitation masonry (‘structural, or action of coating is typically the final phase of incrustation style’ according to some scholars) any architectural project, aimed at finishing the inspired by the Greek koinè that extended from surfaces and protecting the structure. It should Macedonia to Asia. In 1991, Will wrote that the also be borne in mind that a single construction stucco plasterers’ team began to coat the first could see changes of mural decoration through level of the castle around the windows and time, or that the original decoration might Corinthian capitals (Will 1991: n. 33, 309)6. survive even if the function of the construction The second example is from a rock-cut changed. Paintings that remained in situ force context at Nabataean Petra. A recent study has us to consider later people from other cultures reiterated that carved facades were painted or religions who may still have accepted them. 2. ‘Irāq al-Amīr: (left) reconstruction (Larché 2005: ill. 24); (right) fragmentary painted stucco (Will 1991: fig. 40; Vibert-Guigue). 5. Pella (Smith 1981), Gadara (Kerner 2002), Tall Jawa (Daviau ‘plaster house’ in the village in front of the cliffs, a few kilome- 2010), Machareus (Vörös 2013) etc. ters north-east of the castle (Lapp 1963; Groot 1980). Column 6. The building was reoccupied during the late Roman period and drums display stucco decoration in imitation of fluted columns during Byzantine times it was decorated with painted plaster. (unpublished). The ‘Iraq al-Amīr Hellenistic area makes it possible to study a – 331 – CLAUDE VIBERT-GUIGUE 3. Petra - polychrome study of a tomb façade: (left) “Map- ping of plaster and paint re- mains on the facade of Tomb 826”; (right) “Hypothetical reconstruction of the facade of Tomb 826” (Shaer 2003: figs 25 and 28). In view of these issues and dating problems at stucco decoration known in Jordan is at Pe- many sites, particularly in rock-cut contexts, tra. Located in the middle of the eastern cliff this paper takes a broad chronological approach of al-Ḥabīs, the large stucco remains of two without strict limits. back walls belonging to two adjacent rooms are now out of context. An earthquake destroyed Stucco-Painting Evolution at Petra and this part of the cliff, in which a now inacces- Bayḍāʼ: From ‘Masonry Style’ to other sible luxurious dwelling cave was once situated Stuccoed Features and From Non-Figurative (Zayadine 1987: 135-136). For this reason the to Figurative Stuccos or Wall Paintings exact dimensions of the walls are unknown. Jordan gives us the possibility of analysing The hypothesis is that the smaller room (left) the Greek imprint at the Nabataean city of Petra, could be ‘around 3.70’ metres high and the larg- under Hellenistic - Alexandrian influence, er (right) ‘around 6.12’ metres. Both examples followed by late Republican Roman impact. This have stucco masonry. On the left wall, from the period, which sees a shift from non-figurative bottom up, a narrow plinth, orthostats, a string masonry to figurative styles, can be analyzed course and stone courses (opus isodumum) al- from the theoretical perspective of chronology ternate with horizontal cornices, smooth cours- and ornamental evolution in six categories, the es and vertical niches or windows with moulded last concerning stuccos and wall paintings in frames.
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