Cup, c2600–2500 Mesopotamia/Sumerian from Nippur Now in the MET

 

Cup, c2600–2500 Mesopotamia/Sumerian from Nippur
Now in the MET

The cup, dating to approximately 2600–2500 BCE, originates from Nippur, an ancient city in Sumer, Mesopotamia, located in present-day Iraq. This piece, now part of the collection at The Metropolitan Museum of Art, is a small and simple artifact, measuring 4.49 inches (11.4 cm) in height. It can be viewed through the museum’s online collection here.

Made from clay, the cup is unadorned and reflects a utilitarian purpose rather than ceremonial or funerary use. The surface appears smooth, likely the result of careful shaping and finishing before firing, though it retains the natural texture of its material without evidence of buffing or polishing. The lack of painted decoration or intricate designs indicates it was probably crafted for everyday use, serving practical needs in a household or community setting rather than as a grave good or symbolic object.

The cup’s form is simple, with a functional shape designed for holding liquids or small quantities of substances. It lacks representational or abstract designs, and no space or forms are delineated on its surface. This contrasts with more elaborately decorated pottery from the same period, which often includes geometric or symbolic patterns. The absence of such detail underscores the cup’s everyday function, aligning it with items used in the daily life of ancient Sumerians rather than in ritualistic or high-status contexts.

Its historical context provides further insight into its role and significance. Nippur was a major religious and cultural center in Sumer, and objects like this cup would have been part of the material culture of its inhabitants. While some artifacts from this era were included as grave goods, this cup’s simplicity and lack of adornment suggest it was not created for ceremonial or afterlife purposes. Instead, it likely reflects the everyday tools of ordinary Sumerians, offering a glimpse into daily life in an early Mesopotamian city-state.

Provenance is the history of ownership and origin of an artifact, tracing where it came from, who owned it, and how it ended up in its current location. It’s important because it helps establish an artifact’s authenticity, cultural context, and legal ownership, while also providing insight into its historical and archaeological significance.

The provenance of the cup ties it to Nippur, a site extensively excavated by archaeologists since the late 19th century. Many artifacts from Nippur, including this cup, were removed during these excavations and distributed to museums worldwide. While this has raised ethical questions about the removal of cultural heritage, such objects have allowed for significant advances in the study of Mesopotamian history and daily life. The cup remains in good condition, with no visible signs of significant restoration, reflecting the durability of the fired clay and the care with which it was made.

Although the cup’s maker is unknown, it was likely crafted under conditions typical of early Sumerian pottery production, involving skilled artisans who shaped and fired clay by hand or with rudimentary tools. Its lack of decoration does not diminish its historical value, as it provides important evidence of the practical objects used by ancient Sumerians in their daily lives.

Clay and the Development of Pottery

Clay and the Development of Pottery

Pottery has always been one of the earliest crafts developed by ancient cultures due to its practical uses. In Mesopotamia, clay and mud were abundant resources, really the only resources, thanks to the region’s geography. The prevalence of reeds suggests that the people of Mesopotamia may have also had a strong weaving tradition, which could have influenced the decorative patterns seen on some pottery.

The earliest pottery was created using the coil method, where clay was shaped into vessels by layering coils of clay and smoothing them together. These early pots were fired at low temperatures, making them relatively fragile. Everyday pottery was often simple and undecorated, while vessels intended for tombs or special purposes featured more elaborate designs. Over time, advancements in technique led to the coil and turn method, in which a pot was rotated slowly (using a rudimentary wheel-like device) to shape and join the coils more precisely. The potter’s wheel, as we know it today, was a later innovation.

Decorated pottery in ancient Mesopotamia was incised, etched with patterns, or finished with glazes. Much of this decorated pottery is classified as slipware, which refers to ceramics coated with a thin liquid clay mixture (slip) or a similar material called engobe:

• Slip: A mixture of clay and water applied to pottery for decoration or as an adhesive layer. Slip can be colored or left natural and typically provides a smooth surface for additional decoration.
• Engobe: A type of colored slip mixed with metallic oxides or other pigments. It is more opaque than regular slip and is often used to create a base coat or decorative designs before firing.

Examples of Ancient Pottery

            Pottery is a great starting point for understanding ancient cultures, and there are several reasons why it’s so important. For one, pottery is one of the most common artifacts found in archaeological digs. It’s incredibly durable—made from fired clay, which can last for thousands of years. Even when broken, archaeologists and curators can often reassemble the pieces to study their original form. Pottery offers insights into everyday life, showing us what people used for cooking, storage, and rituals, as well as what they considered visually significant or beautiful.

The four pots I’m introducing here highlight a range of uses, from practical to decorative. They also show how pottery designs reflect broader cultural patterns. The decorations and imagery on these vessels, such as incised patterns or painted motifs, often resemble or overlap with forms seen in other media, such as cuneiform. Through pottery, we can see connections between functional objects and the symbolic or artistic traditions of the cultures that made them.

Many of the pottery pieces and artifacts we study were found in funerary contexts, meaning they were recovered from burial sites or tombs. These artifacts were often created for significant individuals, though occasionally items from the tombs of less prominent figures have also been preserved. The state and decoration of the pottery—whether simple or elaborate—help us understand not only the daily routines of the people who used it but also their spiritual or cultural practices surrounding death and the afterlife.