Studenica Monastery

The Studenica monastery is a 12th-century Serbian Orthodox monastery in Serbia. This UNESCO World Heritage Site is one of the largest and richest Serb Orthodox monasteries. The monastery is best known for its collection of 13th- and 14th century Byzantine-style fresco paintings.

The Studenica Monastery was established in the late 12th century by Stefan Nemanja, founder of the medieval Serb state, shortly after his abdication. It is the largest and richest of Serbia’s Orthodox monasteries. Its two principal monuments, the Church of the Virgin and the Church of the King, both built of white marble, enshrine priceless collections of 13th- and 14th-century Byzantine painting.

Medieval fresco from Studenica monastery



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The Crucifixion of Jesus Christ and the life of Bishop Selama

The Crucifixion of Jesus Christ and the life of Bishop Selama, painting by an unknown artist

Height: 230 cm
Width: 180 cm

Donated by James Theodore Bent

1893,11-12.1

Around AD 1855
From Tigray, Ethiopia

Ethiopia has a very long and rich tradition of painting. As early as AD 620 two wives of The Prophet Mohammed described the beauty of the murals of St Mary Zion Church at Aksum. Most painters were priests and monks who learnt the art of painting under the guidance of an experienced church artist. Their work was commissioned by wealthy Ethiopians and illustrated and explained stories from the Bible and of the lives of saints. Church art was intended to be both informative and to inspire devotion.

This painting was made for the church of the Saviour of the World at Adwa in northern Ethiopia. As with most Ethiopian church paintings we do not know the name of the artist.

The main purpose of this painting was to inspire devotion through the depiction of Christ's crucifixion. It shows several episodes from the crucifixion story as if taking place at the same time. Christ’s followers are shown at the foot of the cross with tears running down their faces. The Virgin Mary is supported by St John the Evangelist, and Mary Magdalene embraces Christ’s feet.

Near the base of the cross is the skull of Adam – according to the Bible, the first man on earth. The crucifixion took place at Golgotha, the exact place where Adam was believed to be buried. Christ’s blood pours into the skull, indicating that the blood of Christ will bring salvation to everyone.

Around the edge of the painting there are 11 smaller scenes which celebrate the life of Bishop Selama, Head of the Ethiopian Orthodox Church from 1841 to 1867. The painting also depicts the coronation of Emperor Tewodros II  in 1855. Dejazmatch Wube and Biru Goshu, key political figures in the mid nineteenth-century Ethiopian politics of church and state are also shown.

Church paintings at this time were an important means of communication and observers would have been able to identify the recent events shown.

The painting was donated to the British Museum by the archaeologist James Theodore Bent in 1893 and is part of a comprehensive collection of Ethiopian material he put together while travelling in Ethiopia.

British Museum conservators have recently relined the painting and mounted it on a flat board. This helps preserve it, while a full analysis of the painting carried out by Museum scientists has allowed a greater understanding of the construction of the painting.


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Painting of a Religious Procession

19th century AD, Ethiopia

Painting of a Religious Procession

Length: 79.000 cm
Width: 65.000 cm

Given by Mrs Speedy

AOA 1912,11-20,5

Room 66: Ethiopia and Egypt
'The object reminded me about a religious procession in my country. I also remembered about a story my dad told me about the cultural ceremony that his great grandparents used to do; a procession where everyone has to take part. It happened once a year. The priests carry a processional cross, sing and dance in procession to the place of worship. The only thing I don't like about the picture is the rifle. I don't know the meaning of the rifle in the picture.' Antoinette M. Kanyako, of Sierra Leonean origin

This nineteenth-century painting vividly recalls the rich pageant of religious procession in Ethiopia. It shows priests carrying hand crosses, a processional cross and a censor. They sing and dance in procession with a sacred Tabot, the symbolic representation of the biblical Ark of the Covenant. Every Ethiopian church has at least one Tabot which sanctifies the building in which it is placed. Only certain priests are allowed to see the Tabots and when they are taken outside the church to celebrate festivals they are concealed beneath richly decorated cloths, as shown here.

The painting may show the festival of Timkat, Epiphany or perhaps the feast day of St George, as the saint is represented riding above the procession on a white horse. St George is one of the most important saints in Ethiopia. Paintings of St George were taken into battle ahead of the Ethiopian army to ensure the defeat of their enemies. He is seen as a protector and was closely associated with Ethiopian royalty. The scene is completed by the image of an angel in a cloud of blue, representing the Holy Spirit and signifying the presence of God.

The painting seems to reflect the description in the Bible of King David's triumphant return with the Ark of the Covenant. Processions like this can still be seen throughout Ethiopia today.

B. Burt, Africa in the world: past and (London, British Museum Press, 2005)

J. Mack (ed.), Africa: arts and cultures (London, The British Museum Press, 2000)


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