The sense of being seen: Ocular effects at Sutton Hoo

Abstract

I consider the mnemonic agency of the art adorning a diverse range of artefacts interred in one of Europe’s most famous archaeological discoveries. The early seventh-century AD burial chamber constructed within a ship beneath Mound 1 at Sutton Hoo, Suffolk, UK, was uncovered in 1939. I identify a theme linking the prestige artefacts placed within this ‘princely’ grave: many are covered with eyes or eye-like forms. I argue that this ocular quality to the art — not simply visually striking but affording the sense of animated, watching presences — was integral to the selection of artefacts for burial. I argue that the beastly, monstrous and humanoid eyes commemorated the dead person as all-seeing. Those witnessing the staged wrapping and consignment of the artefacts were afforded the sense of being all-seen. By exploring art in this elite mortuary context, the article presents a case study in the early medieval archaeology of the senses.

Encountering Imagery: Materialities, Perceptions, Relations

“…Instead, we must recognise the eye-catching and animated qualities of artefacts so decorated and the relationship between this art found on many different types of artefact and the commemorative contexts in which it was deployed. These are the qualities of the artefacts that may have made them efficacious singly, and in combination, when assembled during mortuary theatrics and deposition (see Williams 2011).…”

“…Funerals were performances that impacted upon all the senses in order to honour and transform the dead and render them memorable to survivors. In particular, it is possible that cremation was a special use of fire that, rather than releasing or dispersing body and spirit, created and sustained a belief in the dead as sensing beings within the cremains and within the cemetery (Williams 2011).…”

“…Animal representations on urns (as argued for Style I animal art on late fifth and sixth-century metalwork) afforded the vessel and its cremains with ocular beings staring out at the viewer (see also Williams 2011). Moreover, combination and placement of motifs were sometimes arranged to create a sense of watching face-masks.…”

Rituais: afetos, sentidos e memórias. Uma proposta.

“…Se um objeto ou evento impressiona nossos sentidos, maior a possibilidade de criação de memórias. Williams (2011), por exemplo, analisando a materialidade identificada no sítio arqueológico de Sutton Hoo na Inglaterra, tem trabalhado com a ideia da agência mnemônica dos objetos, ou seja, a habilidade os objetos de impressionar a memória através da estimulação sensorial. Segundo o autor, um aspecto interessante no artefatual identificado durante as escavações é que grande parte dos objetos, principalmente os escudos, era decorada com olhos ou assumiam a forma de olhos.…”

“…Williams acredita que isso é uma referência clara aos mitos nórdicos, principalmente a Odin e à ideia de clarividência. Segundo Williams (2011), os objetos decorados com olhos podem ter servido como proteção ou como uma ferramenta para legitimar as ações e discursos daqueles que utilizavam tais artefatos. Acima de tudo, diz o autor, a estimulação sensorial que os escudos causavam, tanto naqueles que os utilizavam como proteção quanto para aqueles do exército inimigo, criava uma excitação sensorial que não apenas afetava emocionalmente as pessoas mas impregnava a memória dos indivíduos validando os discursos de poder.…”