An Ethiopian “renaissance” queen? Mentewab as protector of arts and patron of iconography

Abstract

In Ethiopia, the period from the late 16th and 17th Centuries has caused a controversy because some consider this period as Ethiopia’s recovery from religious, civil conflicts as well as sectarian discord, while others including Kofi Darkwah (1975), define it as a continued descent prosses for the empire. In line with this disagreement, factual information can speak for itself in the course of this study. Emperor Susenyos (1572-1632 CE) was a strong supporter of Catholicism, yet his son, Fasilidas (1603-1667 CE) as his successor, reinstated Ethiopian miaphysite Orthodoxy. The establishment of Gondar as the permanent capital in 1636, is an event heralded by Henze (2000) as the onset of an Ethiopian Renaissance, particularly in artistic, architectural, and musical domains. After Fasilidas’s demise, his son, Yohannes I reigned from 1632-67 CE. Yet, it was Fasilidas’s grandson, Iyasu I the Great (r. 1682-1706 CE), who distinguished himself through extensive architectural projects, notably transforming Gondar into a captivating city. Iyasu I’s assassination caused significant turmoil in Gondar, subsequently resulting in a gradual loss of political power. When Iyasu I’s son, Bakaffa (r. 1721-1730 CE) ascended to the imperial throne, the arts - namely, chant (zema), poetry (qene), interpretation (tergum) and refinement of the court minstrels’ music had already been supported and vigorously promoted. However, it was Bakaffa’s wife and later widow, Mentewab (1706-1773 CE), who emerged as the pivotal figure in this Ethiopian “Renaissance”. Additionally, the diverse styles of Ethiopian iconography sponsored by Mentewab, some adorned with elements reminiscent of the decorative style of the Rococo period, illustrate the queen’s remarkable aesthetic standards. The research on Mentewab, also known as Welete Giyorgis, has been guided by portrayals in iconographies, chronicles, paintings, testimonials from church builders and castles, and indirectly by information provided in texts such as Kebre Negast, and Fetha Nagast. To this end, special attention has been drawn on Mentewab’s legacy as the founder, protector, and patron of the Ethiopian Orthodox Tewahedo Church Narga Selassie, renowned for its resplendent Qwara style that fused European, Islamic, and Indian elements while retaining strong Ethiopian traits. With special attention to the iconographic representations of Queen Mentewab as the ktetor of Narga Selassie Church, the study explores symbolic significances embedded within relevant creations and artistic styles. By contextualising them within their historical framework, this analysis explores Mentewab’s influence on her contemporary politics, religion, art, and literature in Ethiopia.