The Arab expansion into Northern Africa cut off the kingdom’s access to the Red-Sea waterway (and to the markets which could be reached through it and on which a large part of the kingdom’s prosperity had been based). There is also evidence to suggest that some of the kingdom’s natural resources, such as gold and ivory, had been depleted. Very little is known about this phase of Ethiopian history and scholars even disagree on the dates of its beginning and end.
The political center of Ethiopia seems to have gradually shifted to the southern and eastern parts of the Tigray region (the northernmost of the nine regions of Ethiopia) in the Post-Aksumite period.
However, archaeologists believe that a small number of now-ruined structures dating to the 4th or 5th century functioned as churches—a conclusion based on features such as their orientation. A large stepped podium in the compound of the church of Mary of Zion in Aksum (considered by the Ethiopians as the dwelling place of the Ark of the Covenant), probably once gave access to a large church built during this period.
Aksumite churches adopted the basilica plan (with a long central aisle, sometimes with a shorter wing crossing it, forming the shape of a cross). These churches were constructed using well-established local building techniques and their style reflects local traditions.
which were used for the liturgy (public worship), for learning, or which simply expressed the religious beliefs of their owners. We can infer that from the thirteenth century onwards works of art were for the most part produced by members of the Ethiopian clergy.
Periodization
Artworks from Ethiopia can and should be contextualized within the country’s historical development. Scholars still disagree on how to divide and classify the development of Christian Ethiopian art into chronological phases.
