Travel Reference
In-Depth Information
ILLUMINATED MANUSCRIPTS
Without doubt, illuminated manuscripts represent one of Ethiopia's greatest artistic achievements. The best-qual-
ity manuscripts were created by monks and priests in the 14th and 15th centuries. The kings, the court and the
largest and wealthiest churches and monasteries were the main patrons. The manuscripts were characterised by
beautifully shaped letters, attention to minute detail and elaborate ornamentation. Pictures included in the text
brought it to life and made it more comprehensible for the uneducated or illiterate.
Bindings consisted of thick wooden boards often covered with tooled leather. The volume was then placed into
a case with straps made of rough hides so that it could be slung over a shoulder.
On the blank pages at the beginning or at the end of the volume, look out for the formulae
fatina bere
(literally
'trial of the pen') or
bere' sanay
(literally 'a fine pen'), as the scribes tried out their reeds. Some are also dated
and contain a short blessing for the owner, as well as the scribe.
Sadly, due to the Muslim and the Dervish raids of the early 16th and late 19th centuries respectively, few
manuscripts date earlier than the 14th century. Modern times have seen huge numbers being pillaged by soldiers,
travellers and explorers.
Painting
Traditionally, Ethiopian painting is largely limited to religious subjects, particularly the
life of Christ and the saints. Every church in Ethiopia is decorated with abundant and col-
ourful murals, frescos or paintings.
Much Ethiopian painting is characterised by
a naive realism. Everything is expressed with
vigour and directness using bold colour, strong
line and stylised proportions and perspective.
Like the stained-glass windows in European
Gothic churches, the paintings served a very
important purpose: to instruct, inspire and instil awe in the illiterate and uneducated.
Though some modern artists (particularly painters of religious and some secular work)
continue in the old tradition (or incorporate ancient motifs such as that of the Aksumite
stelae), many artists have developed their own style. Borrowing freely from the past, but
no longer constrained by it, modern Ethiopian painting shows greater originality of ex-
pression and is now a flourishing medium.
For a full translation of the Kebra Negast, check out
