Boat Iconography at the British Museum #1: Egypt

When it comes to studying the earliest watercraft, direct archaeological evidence, in the form of artefactual boats and ships, is extremely rare and fragmentary. In contrast, the iconography of ancient boats -- in the form of models, relief carvings, images on pottery, etc. -- is relatively abundant, and often well-preserved. If you read enough nautical history or archaeology, you'll come across a number of oft-used images that provide some of our best clues about the design and construction of early watercraft. Although subject to differing interpretations, these mostly well-known examples of boat iconography are crucial to current understandings of such fundamentals as when sails were first used, how Egyptians built reed, and then wooden, boats, and what Greek and Roman galleys looked like. Interpretation of fragmentary shipwrecks can be greatly hampered by a lack of relevant iconography.

On a visit to London in January, I realized for the first time how so many of these "iconic examples of iconography" are held in the British Museum. It was like walking into a well-illustrated textbook, and a thrill to see these classic examples up close and in 3D. There are too many to include in a single post, so I'll begin with the Egyptian boat models, all of which are from funerary contexts. Later posts will examine examples from other areas and cultures. Photos were taken through display case glass, so image quality is poor, for which I apologize.

From tomb 56 at the necropolis of Asyut, the burial of Hetepnebi, a local official, 1st Intermediate Period, about 2090 BC. I'm unsure if this represents a papyrus raft or a plank-built boat. Two masts are present (possibly used as towing posts?). Aboard are the owner, a pilot, six oarsmen, who I believe are kneeling, and five soldiers, who stand. Shields and staves are stacked amidships. Paddles and a steering oar have been lost. (Click any image to enlarge.)

From the same tomb: crews of two papyrus rafts. The raft on the left is a replica of the original, which disintegrated. Unlike the oared craft above, these are propelled by forward-facing paddlers, who work from a crouching posture. A pilot originally stood at the bow, and a figure of the owner at the stern.

The museum's online catalog search isn't working and the display signage only indicates that this and the next model are from a tomb from "the end of the Old Kingdom to the mid Twelfth Dynasty", which is roughly 2181 BC to 2000 BC. This model appears to represent a wooden boat, propelled with 8 oarsman, with a pilot in the bow and a helmsman astern. The oarsmen wear a skirt-like garment that covers their legs, making it difficult to say if they crouch or kneel. The model once included a mast, sail, and rigging as well.

Apparently found with the previous model, this one is set up strictly for sail, although two of the crew were apparently using poles (lost) as well. Three other crew manage the rigging, and again there's a pilot forward and a helmsman aft. The owner sits with boxes of cargo beneath the decorated canopy. The rudder arrangement is interesting. The upper end of the stock rests on a post forward of and high above the helmsman; the lower end, just above the blade, rests on top of the transom. A tiller (lost) extended down from the stock between these two pivot points. The significance of the grid-like lines painted on the deck of this and all of the models below is unclear. Did they represent removable deck panels? Perhaps thwarts and a longitudinal strength member?

This funerary boat (12th Dynasty, about 1850, from Thebes) carries the deceased owner's mummy. attended by a mourner, a priest, and provisions for the afterlife. The boat represented was probably wooden, but the upturned ends are reminiscent of papyrus rafts, a design holdover from the older, more "traditional" technology. Twin quarter-rudders are supported at the upper end by an A-frame that is topped by a carved falcon head, and managed by a single helmsman who has two tillers to manage. 

This top view of the previous model shows a painted grid pattern on the deck, similar to the previous two models.

12th Dynasty, about 1985-1795 BC, provenance unknown. With the crew sitting on boxes and posed for rowing, and the boat is rigged for sail, the deceased's soul will be able to travel both upstream and down. 

The same model as in the previous photo.  The square-profile squaresail rig has a yard with multiple lifts and a boom with multiple halyards.The rudder has lifting tackle to raise it in shallow water or for beaching. 

Buckminster Fuller's Model Boat Collection, Part 1

Buckminster Fuller is normally associated with technological modernism, but it seems he had a penchant for preindustrial technology too. His granddaughter recently donated Fuller's collection of boat models to Penobscot Marine Museum, the bulk of it representing boats "outside the Western tradition," as we put it.

Collections Manager Cipperly Good kindly granted us access to the collection, which the museum received with almost no accompanying documentation. Being brand new to the museum, it has not yet been carefully studied, so most of the vessels represented have yet to be identified. Of the roughly 15 models in the collection, one is American (an early 20th century powerboat hull) and three are European (20th century Greek and Danish vessels). The rest represent preindustrial types: seven are from Asia, two from Oceania, one appears to be from Africa, and one is a mystery even at the continental level.

Most of the models appear to have been built for the tourist trade and, as such, may not be detailed or accurate enough to associate with real, specific vessel types. Some of them are fanciful, intended more as an artistic expression than an accurate representation.

Here we present our photos the non-Western types that are not from China. (We'll look at the Chinese models in our next post.) Our identifications of types and provenances are largely speculative. As we learn more, we'll update the captions. Please help us identify the models by writing to us in the Comments. As always, click any image to enlarge.

Double-hull voyaging canoe. An identification tag found inside the deckhouse (the roof lifts off in the manner of a trinket box) reads "Bora-Bora. Given to R.B.F - 1966 by native chief" (Richard was Fuller's first name.) The hulls are carved from solid, dense hardwood. The horsehead figureheads and all other features are glued on. The proper location of the spar on the table in the foreground is unknown. Many of the glued parts are coming loose but the model is otherwise in good condition.

A rudder under the aft deck is steered by a massive rudder post with tillers extending from both sides. The tillers would be far too short to steer the real vessel. Horses, of course, were unknown in the Society Islands before European contact, and we doubt that they were ever used as figureheads in Bora Bora even after they were known. 

Samoan outrigger paddling canoe. ("Samoa" appears as part of the carved decoration on the starboard bow.) The hull is solid hardwood. The maker used the heartwood/sapwood division of his workpiece to advantage in creating a two-toned hull, with the lower half darker than the upper. Incised carving in the lower half was accentuated by rubbing in some light-colored material.

Although it was made for the tourist trade, the model strives toward accuracy in some details. The outrigger extends further forward than it does aft, beginning just short of the waterline at the cutwater, but ending just past the aft outrigger struts. The complex configuration of the struts appears to be accurate. Crudely carved paddles with pointed, leaf-shaped blades are lashed to the tops of all three outrigger booms.

Canoe, probably Southeast Asia. The hull and the long bow and stern decks are carved from a single piece of lightweight wood, but the model may represent a dugout or a boat with stitched or metal-fastened planks. Deck extensions or seats located just inboard of and slightly lower than the decks were added separately, as were three sitting thwarts. All of these added pieces rest on a ridge carved on the hull's inner surface.

UPDATE: This information provided by Mick Allen:

(This model) is an abstraction of sampans from Tonle Sap Lake in Cambodia or from that connected section of the Mekong river. These boats range in size from about 12 ft [4 m.] to about 25 ft [8m]. Each end is smoothly carved from one log piece with stepped insets for each level of planking of the main body. The keel connecting the two carved ends is also deeply shaped following the a curved cross section. The minimum number of planks each side of the keel is 3 with 1 washstrake plank increasing to 4 or 5 with 2 washstrake planks. Most planking is carvel on frames, decks are planked parallel to the gunwales. Washstrakes stop either short of both ends or one end only with the other end resolving to the carved ‘stems.’ Most examples seem to be more curvaceous in plan that the model, but the inset carving on the model does not seem to be present on the common examples that I’ve seen, however they are painted in varying colours: blue for the exterior, reds and oranges for the upper stem facets and the rest left uncoloured. Whatever the case, these sampans are supremely elegant. 

We thank Mick for the input and agree with his identification. In fact, we blogged about the paddle-propelled boats of Tonle Sap here and here, and several of them are indeed clearly of the type that the model depicts.

Most upper surfaces are decorated with incised carvings of geometric and floral designs. The two long-shafted paddles have bulbous end-grips and blunt leaf-shape blades. From the shape of the raised bow and stern and the style of the decorations, we believe this represents a Cambodian, Thai, or Vietnamese type.

A small passenger vessel, possibly a water taxi. We believe to be from Southeast Asia. The hardwood hull seems to represent a plank-built hull with a flat central bottom part and fore and aft bottom pieces that rise from it at angles. The thwart-seats and coach roof are carved with a geometric, possibly floral, design. The low main passenger seat (for two?) and the "floor" in front of it are upholstered with fabric. A pair of paddles or oars with heart-shaped blades are held in sockets directly behind the house. Two empty sockets in the thwart aft of them may have held another set at one time.

Our guess is that the vessel operators would have stood on the aft deck. The gunwales rise to two points adjacent to the cabin and are reminiscent of the arrangement of tholepins on a Thames skiff, but we believe this is a superficial similarity only. In a real vessel of this type, the coach roof would probably have been lighter in relation to the rest of the boat -- probably of matting or cloth.

A dugout (?) canoe. The men appear to be wearing fezzes and have negroid features. We assume this model is African. Alternately, the boat's shallow shape is reminiscent of some bark canoes of Australian Aborigines, but then the "fezzes" would have to be interpreted as a hairstyle instead.

UPDATE: Mick Allen also identified this one as a carving from Kenya. He found a listing on Amazon of a nearly identical model here. It's so close that it appears to have been made by the same artist. Thanks again, Mick.

The model builder was not trying to achieve a literal depiction of a canoe and its passengers. The hull is extremely shallow and hollowed only slightly. Aside from their heads and faces, the passengers are represented mainly as flowing shapes that merge smoothly into the bottom of the boat; they have no hands, and their feet and arms are only vaguely suggested. A paddle is suggested in the form of a heavy shaft that extends to the left of the bow paddler, although it has no blade at its end and does not extend beyond the gunwale. Lozenge-shaped objects at the bow and stern may represent cargo.

Boat propelled by a kneeling paddler. The blade of the long-shafted paddle is broken off. We have no guesses about the provenance of the model or the type of boat it refers to.

The exaggerated rise of the bow does not reflect any real boat's design and is the model maker's artistic vision in a piece that is intended only as a decorative item. The sides and top surface of the hull are decorated with vine-and-leaf carving. Although crudely formed, the human figure's posture does a nice job depicting the vigorous, muscular, yet graceful movement of paddling.

Bark Canoe and Skin Kayak Items at L.C. Bates Museum

Although founded in the early 20th century, the L.C. Bates Museum, in Hinckley, Maine, is a throwback to an even earlier time, when many museums were more or less random collections of oddities. Here you will find biological specimens, works of art, and anthropological artifacts side by side, many of them labeled poorly or not at all and too many deteriorating from a lack of care due, apparently, to a paucity of funds.

Nevertheless, it's a fun place to browse on a short visit, it's cheap ($3 for adults), it's on the way to good canoeing and rafting in northern Maine, and it contains a couple exhibits of interest to us. One is about Native American (primarily Maine) birchbark technology; the other displays Greenland Inuit artifacts from the first decade of the 20th century.

This bark canoe model is over 3' long. It's decorated with hundreds of dyed porcupine quills, both ends of which are tucked into small holes pre-punched in the bark. Although the exhibit card says that it's "likely mid-west in origin," the ends are exaggerated representations of those on Canadian fur trade canoes. 

From the exhibit card: "This old, well-made model is an example of the thousands sold to Maine tourists in the late 19th and early 20th century (sic). This canoe shows how heated tree resin was used to seal and waterproof the birch bark joints. The word for canoe in all Abenaki languages in Aquiden."
Below the canoe model is a moose call, also made of birch bark.

An Abenaki canoe paddle, "of a size suited for teaching a young person the art of propelling a canoe."

A 19th century box with hinged covers, probably Penobscot, probably made for the tourist trade and intended for use as a picnic hamper. The crossed paddles and tepee designs -- of poorer quality than the box itself -- are incised in the bark in the same manner that canoes were decorated. 

Perspective view of the same box, with a round covered box, also of birch bark, behind.

The exhibit card identifies the miniature kayaks in this and the following photo as toys, made for indigenous children. This may be incorrect: except for the wooden one (above, right), they were probably made for the tourist trade and/or upon the request of researchers or collectors. The one above left is ivory, and the kayaker's hand is made to hold the harpoon that rests across the cockpit coaming.  

Two nicely authentic skin-on-frame kayak models.

The Greenland kayak was essentially a hunting tool, used primarily in the pursuit of seals and walruses. The main hunting weapon was a harpoon with a detachable head or foreshaft. The largest of these bone harpoon points and fragments are only about 4" long. 

From Pacific Islands: Peabody Museum #7

Let's look at some more maritime-related objects from several Pacific cultures on display at Harvard University's Peabody Museum of Archaeology and Ethnology. (Earlier posts in this series on the Peabody looked at Baffinland Inuit, Aleut, other Alaskan Eskimo, and Chinook, Coast Salish, et al, other Pacific Northwest exhibits, and a large stitch-planked monohull canoe from the Solomon Islands.)

This canoe model from New Zealand was collected prior to 1850. Its origin is probably Maori. The base of the hull appears to be carved from a single log, as would have been the real canoe that it represented. It measures approx. 108" LOA. (Click any image to enlarge.)

Elaborately carved stern decoration on the Maori canoe model. 

Bow decoration on the same model. The carved washstrakes are stitched to the dugout hull, and a black half-round batten is captured by the stitches. On a real canoe, some kind of vegetable fiber and mastic would have been placed beneath the batten to make the seam watertight.

The museum has an impressive display of adzes from various Pacific cultures, most with stone blades. The adze is the primary tool for dugout canoe construction.

This side-hafted adze from the Carolina Islands has a blade of sea-turtle bone and bindings of twisted coconut fiber.

This adze from Kirapuno, New Guinea, has a reversible stone blade held in place with nicely woven rattan binding.

Navigation chart from the Marshall Islands, made of the midribs of palm leaves, shells, and hibiscus and banana fibers.

Collected prior to 1903, this model Philippine double-outrigger sailing canoe has a squaresail rig, a dugout base and trifurcated ends, with two of the horns at each end turned up sharply. The outrigger floats are attached directly to the straight outrigger booms, placing the floats quite high -- possibly above the load waterline.

The struts on this Hawaiian double canoe model (wa'a kaulua) curve up between the hulls before passing through the washstrakes just above the gunwales of the dugout bases. Naturally-grown, curved timbers were used on real canoes. The curvature raises the struts above some splashing waves.

The unadorned simplicity of this single-outrigger Hawaiian paddling canoe model clearly identifies it as a workboat for inshore fishing and/or transportation.  

Whereas the two previous canoe models from Hawaii were representational, this delicately carved canoe-shaped effigy vessel from Indonesia probably had a ceremonial purpose. 

Composite fishhook of bone, fiber and wood. The display card says it's from the "Sandwich Islands": one wonders why the museum chose to use this antiquated name for Hawaii. A leader is bound to the shank of the hook, the bindings tightened by an inserted wooden wedge.

Bengal Boat Model Exhibit

Model of a sewn-planked, lug-rigged double-ended Bengali boat on display at Tarani Majhir Ghat, Salt Lake Stadium (Photo courtesy Swarap Bhattacharyya. Click to enlarge.)

Swarup Bhattacharyya maintains a fine blog, Noukoghar: Abode of Bengal Boat. He's written to draw attention to his latest post, about a great little exhibit of Bengali boat models at the Tarani Majhir Ghat, Salt Lake Stadium, organized by the intriguingly-named "Backward Classes Welfare Department, Govt. of West Bengal." Swarup's post has nice photos depicting a variety of interesting native craft -- I only wish there was some detail about the models and the boats they represent.

Model Hawaiian Canoes

Hawaiian sailing canoe model by Jeremy Reyes.

I was contacted recently by Jeremy Delos "Romes" Reyes, a Hawaiian wood carver and high school carpentry teacher whose interest in Hawaiian outrigger canoes has taken him in at least two -- possibly three -- interesting directions.

Taking part in Maui's annual Festival of Canoes, he and his shop class build a full-size single-outrigger dugout canoe, as described here.

At the other end of the size spectrum, Romes builds model canoes. Working at a scale of 1:12 (i.e., 1 inch = 1 foot), he builds both full models and "wall" models -- essentially a half-hull model of the main hull with an outrigger attached (maybe we should call this a 2/3-hull model?). Although the photos on his website are rather small, it appears that he does very nice work.

Along with sailing canoes, Reyes seems to devote special attention to modeling racing (paddling) canoes. Looking at the arms on this fellow, it wouldn't surprise me if actual canoe racing represents a third expression of his interest in Hawaiian outrigger canoes.

"Romes" Reyes

Two Shows, Two Canoe Models

Two consumer shows (exhibitions) this weekend yielded some photos of two very different canoe models. The Pinetree State Sportsman Show, in Winslow, Maine, is mainly for the hunting/fishing crowd. The Maine Boatbuilders Show, in Portland, is a boat show with a difference: a focus on craftsmanship, not glitz. (Click any photo to enlarge.)

 

This four-foot long model, by Burt Libby, was on display in the booth of Kimball Pond Boat Barn, the only canoe exhibitor at the Pinetree State Sportsman Show. Burt is a well-known builder of full-size cedar-canvas canoes, and this model shows excellent craftsmanship and close adherence to scale in most respects. Not for sale, the model was an attention-getter for the Northeast (i.e., Maine) chapter of the Wooden Canoe Heritage Association, which Kimball Pond owner Bob Bassett was making room for in his booth. Kimball Pond Boat Barn is a builder and restorer of small boats, primarily cedar-canvas canoes.

This bark canoe model with two paddles was on sale at the Maine Boatbuilder Show by Jeff Pearson Antiques. I didn't have a chance to learn much about it, but a booth attendant thought it represented a Malecite style canoe. Price was thought to be around $1200. I don't know if that's accurate, nor if it's reasonable, but it does have a nice aura of authenticity.

The longer of the two paddles was in better condition.

The shorter paddle had a bad crook in the shaft and a big chip out of the blade.