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. In this essay, the development of Christian Ethiopian art is broadly divided into the eight periods listed below, but it must be kept in mind that the dates for the earlier periods are still debated and we have very limited evidence prior to the early Solomonic period (1270-1527).
The term “Christian Ethiopian art” therefore refers to a body of material evidence produced over a long period of time. It is a broad definition of spaces and artworks with an Orthodox Christian character that encompasses churches and their decorations as well as illuminated manuscripts and a range of objects (crosses, chalices, patens, icons, etc.) 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.
A small number of Ethiopian churches, such as Debre Damo (above) and Degum, can be tentatively ascribed to the Aksumite period. These two structures probably date to the 6th century or later. Still standing pre-6th century Aksumite churches have not been confidently identified. 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.