Researchers from European and Sudanese institutions have utilized eye-tracking technology to investigate how cultural background influences the perception of medieval art. The study, conducted at a monastery in Old Dongola, northern Sudan, compared the viewing patterns of local Sudanese participants with those from Western cultural backgrounds. The site, once the capital of the Kingdom of Makuria, contains well-preserved medieval paintings depicting biblical scenes and local dignitaries.
The research team, including academics from the University of Szczecin and Sudanese partners, invited 48 Sudanese residents and 19 Western participants to view the monastery’s wall paintings while wearing specialized eye-tracking glasses. The goal was to map where participants directed their gaze, for how long, and in what sequence. The study aimed to move beyond laboratory settings to understand how culture shapes visual engagement with heritage in its original historical context.
According to AllAfrica, the data revealed that while both groups spent similar total amounts of time looking at faces, bodies, attributes, and context, they arrived at these elements through different visual routes. Western participants initially focused more strongly on human bodies and faces, often skipping an in-depth exploration of the background during the first twenty seconds of viewing. In contrast, Sudanese participants first directed their attention to attributes, such as objects held by figures, before shifting to faces and the wider contextual setting.
The researchers suggest these differences reflect varying cultural priorities in interpreting images. Post-study interviews indicated that Sudanese participants often connected with attributes representing objects found in everyday life, such as keys. Western participants, many of whom had higher education or heritage-related backgrounds, appeared more likely to recognize biblical figures by their faces due to familiarity with Christian iconography. The study highlights that similar viewing times can emerge from very different visual strategies.
The findings, reported by AllAfrica, indicate that heritage presentations could be adapted to be more responsive to different ways of looking. By recognizing that local and Western visitors engage with the art differently, curators can develop narratives that acknowledge these distinct approaches. This approach marks a shift from presenting the past in a single, predetermined way toward creating inclusive heritage interpretations that reflect the diverse ways people encounter and make sense of their cultural history.