The find took place in Poland.
Archaeologists from the Polish Center for Mediterranean Archeology at the University of Warsaw have discovered an enigmatic complex of rooms made of sun-dried bricks, the interiors of which were covered with figurative scenes unique in Christian art. The discovery was made at the medieval monastery of Old Dongola on the banks of the Nile, more than 500km north of Khartoum. Old Dongola (Tungul in Old Nubian) was the capital of Makuria, one of the most important medieval African states. He had converted to Christianity in the late sixth century, but Egypt was conquered by Islamic armies in the seventh century. An Arab army invaded in 651 but was repelled and the Treaty of Baqt was signed, establishing a relative peace between the two sides that lasted until the 13th century. The discovery was made during the exploration of houses dating back to the Funj period (16th-19th century AD). Within the main monastery complex, the Polish mission unearthed a well-preserved second church with vibrant wall paintings and inscriptions in Greek and Old Nubian.
Surprisingly, under the floor of one of the houses was an opening that led to a small chamber with walls decorated with unique representations. The paintings inside depicted the Mother of God, Christ, and a scene with a Nubian king, Christ and the Archangel Michael. This was not, however, a typical depiction of a Nubian ruler under the protection of saints or archangels. The king bows and kisses the hand of Christ, who is seated in the clouds. The ruler is aided by the Archangel Michael, whose outstretched wings protect both the king and Christ. Such a scene has no parallel in Nubian painting. The dynamism and intimacy of the representation contrast with the hieratic nature of the figures depicted on the side walls. Similarly, the figure of the Virgin Mary on the north wall of the chamber does not fall within the standard repertoire of depictions of Mary in Nubian art. The Mother of God is dressed in dark clothes and takes a dignified pose. She has a cross and a book in her hands. On the opposite wall Christ is depicted. Her right hand is shown in a blessing gesture and her left hand holds a book, which is only partially preserved.
Dr Agata Deptua of PCMA UW is currently studying the inscriptions accompanying the paintings. A preliminary reading of the Greek inscriptions revealed that they were texts from the Liturgy of the Presanctified Gifts. The main scene is accompanied by an Old Nubian inscription that is extremely difficult to decipher. The researchers learned from a preliminary reading by Dr. Vincent van Gerven Oei that it contains several references to a king named David and a prayer to God for the city’s protection. The city mentioned in the inscription is most likely Dongola, and the royal figure depicted in the scene is most likely King David. David was one of the last rulers of Christian Makuria and his reign marked the beginning of the end of the reign. For unknown reasons, King David attacked Egypt, which retaliated by invading Nubia, resulting in the sacking of Dongola for the first time in its history. Researchers think the painting may have been made as the Mamluk army was approaching or the city was under siege. The complex of rooms in which the paintings were discovered, however, is what puzzles people the most. The actual rooms, made of dry bricks and covered by vaults and domes, are rather small. Although the painted room depicting King David is seven meters above medieval ground level, it looks like a crypt. The structure is next to a sacred structure known as the Great Church of Jesus, which was arguably the cathedral of Dongola and the most significant church in the Makurian kingdom. According to Arab sources, the Great Church of Jesus instigated King David’s attack on Egypt and the capture of the ports of Aidhab and Aswan. These and other questions about the enigmatic structure can be answered by further excavations. However, safeguarding the distinctive wall paintings has been the main focus this season. After the discovery, the conservators began work under the supervision of Magdalena Skaryska, MA. The Polish Center for Mediterranean Archaeology, the University of Warsaw and the Department of Conservation and Restoration of Works of Art of the Warsaw Academy of Fine Arts collaborated in managing the conservation team.