Lamp
1st century B.C.–4th century A.D.
The heart-shaped, smiling face of a Black African on this mold-made lamp fixes its gaze at the viewer. The figure’s eyes are deeply indented, giving the face depth and intensity of expression, and the eyebrows are turned down and inward. The nose has a small bridge, but flares out with wide nostrils, while the protruding ears mark the lamp’s broadest extent. At the top of the head, six rows of stamped dots indicate curly hair.
The filling-hole is located at the middle of the figure’s forehead, and a round-tipped nozzle extends from the chin. A leaf-shaped handle rises up from the back, concealing a holding ring, and the lamp rests on a flat base marked off by one circular groove.
Lamps made possible a range of activities after dark, including reading, working, and socializing, and also played a key part in religious practices and burial rites. They were produced in large quantities through the use of molds, and the flat upper surface provided a convenient field for decoration. Common subjects include geometric patterns, animals, divinities, and scenes from daily life. The depiction of a Black African’s face finds a number of parallels (see [83.AQ.377.486](https://www.getty.edu/art/collection/objects/17168/unknown-maker-lamp-roman-1st-century-bc-4th-century-ad/); [83.AQ.377.492](https://www.getty.edu/art/collection/objects/17174/unknown-maker-lamp-roman-1st-century-bc-4th-century-ad/); [83.AQ.438.342](https://www.getty.edu/art/collection/objects/26293/unknown-maker-lamp-greek-nd/); [83.AQ.377.340](https://www.getty.edu/art/collection/objects/16988/unknown-maker-lamp-greek-2nd-1st-century-bc/)), and typifies the commodification of their bodies in Roman visual media. In this context, there may also be a play of word and image. Black Africans were known to the ancient Greeks and Romans as Aethiopians, from the Greek for “burnt-faced.” Depicted upon the surface of a lamp, this Aethiopian’s face would – literally - be darkened by fire.
The filling-hole is located at the middle of the figure’s forehead, and a round-tipped nozzle extends from the chin. A leaf-shaped handle rises up from the back, concealing a holding ring, and the lamp rests on a flat base marked off by one circular groove.
Lamps made possible a range of activities after dark, including reading, working, and socializing, and also played a key part in religious practices and burial rites. They were produced in large quantities through the use of molds, and the flat upper surface provided a convenient field for decoration. Common subjects include geometric patterns, animals, divinities, and scenes from daily life. The depiction of a Black African’s face finds a number of parallels (see [83.AQ.377.486](https://www.getty.edu/art/collection/objects/17168/unknown-maker-lamp-roman-1st-century-bc-4th-century-ad/); [83.AQ.377.492](https://www.getty.edu/art/collection/objects/17174/unknown-maker-lamp-roman-1st-century-bc-4th-century-ad/); [83.AQ.438.342](https://www.getty.edu/art/collection/objects/26293/unknown-maker-lamp-greek-nd/); [83.AQ.377.340](https://www.getty.edu/art/collection/objects/16988/unknown-maker-lamp-greek-2nd-1st-century-bc/)), and typifies the commodification of their bodies in Roman visual media. In this context, there may also be a play of word and image. Black Africans were known to the ancient Greeks and Romans as Aethiopians, from the Greek for “burnt-faced.” Depicted upon the surface of a lamp, this Aethiopian’s face would – literally - be darkened by fire.
Images courtesy of The Metropolitan Museum of Art (CC0)