Eastern Desert in detail

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Coptic Art 101

Coptic art refers to the distinct Christian art of Egypt. Although it originated from the ancient Egyptian and Greek heritages, it has also been influenced by the Persians, Byzantines and Syrians. In fact, because of its myriad influences, the exact nature of Coptic art can be difficult to define, though it is fortunately easy to identify. Since early Christian artisans were extremely utilitarian in their aims, Coptic art typically manifests itself in daily items such as textiles and religious illustrations. Furthermore, Coptic art has a strong tradition of painting, particularly portraits and wall paintings.


The Coptic Church inherited a strong textile-making tradition from the ancient Egyptians, particularly loom- and tapestry-weaving. For the most part, Coptic textiles are made from linen, though there is some evidence of sophisticated silk-weaving as well. In regards to design, Coptic textiles borrow heavily from Greek-Egyptian themes, and include traditional pattern motifs such as cupids, dancing maidens and animals. These are typically incorporated with specific Christian motifs such as fish, grapes and biblical scenes, especially the Immaculate Conception.

Religious Illustrations

Religious illustration originated in ancient Egypt when pharaohs started adorning papyrus texts with liturgies and prayers. Coptic Christians retained this tradition, and early papyrus texts maintained the original Egyptian design of protective illustrations surrounded by elaborate borders and text. Like the Egyptians, Coptic artisans used bright colours for vignettes, and striking black ink for all texts. Later on, however, Coptic illustrations began to take on greater complexity as they started to incorporate religious imagery, landscapes and intricate geometric designs.


In comparison to other early Christian movements, the Coptic Church is unique in regard to its abundance of martyrs, saints and ascetics. Since the actions and deeds of these individuals helped to form the foundation of the church, their images were immortalised in portraits, and hung in every chapel and church throughout the land. In these paintings the human figure is usually depicted from the front, with placid, almond-shaped eyes and idealised expressions. Coptic portraits of Jesus Christ are unique in that they usually depict him enthroned by saints and angels as opposed to suffering on the cross.

Wall Paintings

Early Coptic wall paintings were unsophisticated in comparison to later endeavours, primarily because ancient Egyptian temples were being converted into churches. To complete the transformation, Pharaonic reliefs were covered with layers of plaster, and Christian themes were painted on top. As Coptic art developed and prospered, however, wall painting became increasingly complex, particularly following the mastery of dye mixing and gold stencilling. Some of the finest Coptic wall paintings depict spiritual scenes that are awash with vibrant colours and accented with gold.

Coptic Art Today

Long overshadowed by both ancient Egyptian and Islamic themes, Coptic art does not receive much attention in Egypt despite its lengthy history and established tradition. Fortunately, this cultural heritage has been preserved in museums, churches and monasteries throughout Egypt and the world, and the artistic traditions continue to flourish among communities of modern-day Copts.

The Father of Monasticism

Although St Paul is honoured as the earliest Christian hermit, it is St Anthony who is considered the father of monasticism. Anthony was born around AD 251, the son of a provincial landowner from a small Upper Egyptian town near Beni Suef. Orphaned with his sister at the age of 18, he was already more interested in the spiritual than the temporal and soon gave away his share of the inheritance to the poor. After studying with a local holy man, Anthony went into the Eastern Desert, living in a cave and seeking solitude and spiritual salvation. Word of his holiness soon spread and flocks of disciples arrived, seeking to imitate his ascetic existence.

After a brief spell in Alexandria ministering to Christians imprisoned under Emperor Maximinus Daia in the early 4th century, Anthony returned to the desert. Once again, he was pursued by eager followers, though he managed to flee even further into the desert in search of solitude. After he established himself in a cave on a remote mountain, his disciples formed a loose community at its base, and thus was born the first Christian monastery.

The number of Anthony’s followers grew rapidly, and within decades of his death, nearly every town in Egypt was surrounded by hermitages. Soon after, the whole Byzantine Empire was alive with monastic fervour, which by the next century had spread throughout Italy and France.

It is ironic that, for all his influence, Anthony spent his life seeking to escape others. When he died at the advanced age of 105, his sole wish for solitude was finally respected and the location of his grave became a closely guarded secret.

Nomads of the Eastern Desert

Although the desert of the southern Red Sea may seem empty and inhospitable, the area has been home to nomadic Ababda and Besharin tribes for millennia. The Beja, a nomadic tribe of African origin, are thought to be descendants of the Blemmyes, the fierce tribespeople mentioned by classical geographers. Until well into the 20th century, the extent of the territory in which they roamed was almost exactly as described by the Romans, with whom they were constantly at war some 2000 years earlier.

Expert camel herders, the Ababda and Besharin lived a nomadic lifestyle that hardly changed until the waters of Lake Nasser rose and destroyed their traditional grazing lands. While most Besharin, many of whom do not speak Arabic, live in Sudan, most of the Arabic-speaking Ababda are settled in communities in the Nile Valley between Aswan and Luxor. A small number continue to live in their ancestral territory, concentrated in the area from Marsa Alam to Wadi Gimal, as well as on the eastern shores of Lake Nasser.

If you spend time in the region, you’ll still likely see traditional Ababda huts, lined inside with thick, handwoven blankets, or hear Ababda music, characterised by rhythmic clapping and drumming and heavy use of the five-stringed lyre-like tamboura. At the centre of Ababda social life is jibena – heavily sweetened coffee prepared from fresh-roasted beans in a small earthenware flask heated directly in the coals.

With the rapid expansion of tourism along the southern Red Sea, long-standing Ababda lifestyles have become increasingly threatened. Tourism has begun to replace livestock and camels as the main source of livelihood, and many Ababda men now work as guards or labourers on the resorts springing up around Marsa Alam, while others have started working with travel companies, offering camel safaris to tourists.

There are differing views on the impact of tourism in this region. On one hand, revenue from tourism can play a vital role in the development of the region, particularly through the sale of locally produced crafts or payment for services of a local guide. However, indigenous tourism sometimes becomes exploitative, and visits can take on an unfortunate ‘human zoo’ quality. If you are considering a visit, ask questions about the nature of your trip and consider the potential positive and negative impact that it may have on the community.