Ancient Egyptians
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Egyptian Quiz
Glasgow Museums Resource Centre Ancient Egypt Quiz Notes Round 1 - Life in Ancient Egypt Question 1 The Nile is the longest river in the world at over 4000 miles long Question 2 Khemet - The Black Land, named after the black tar-like silt that was dredged up when the Nile flooded every year, bringing nutrients to the soil and allowing crops to grow Interesting point - the word ‘Deshret’ is where we get our word for ‘desert’ from Question 3 There are different ways of measuring it, but most scholars will say around 760 hieroglyphs Hieroglyphs can be read up, down, left and right - you look at which way the figures are looking to guide you. The figures will always be looking towards the beginning of the ‘sentence’. Object notes This limestone stela fragment was given to Glasgow Museums by Miss J. May Buchanan in 1912.It preserves parts of six columns of a hieroglyphic inscription separated by vertical lines. The surviving text is part of a hymn to the sun in the form of the god Ra-Horakhty, a combination of the sun-god, Ra, with the falcon god, Horus-of-the-Two-Horizons. The inscription reads: '[Giving praise to Ra]-Hor-akhty, when he goes to his rest in life in this his great mountain […] he says, ‘Hail to you, great one of the Ennead, who comes into being […] in peace to the land of the Western mountain […]' '[… when] he rises in the eastern horizon of the sky, by the servant / deputy […] praise […]' Hymns invoking Amun-Ra-Horakhty do not appear before the 20th Dynasty, suggesting a date of the 20th Dynasty for this fragment. -
In Ancient Egypt
THE ROLE OF THE CHANTRESS ($MW IN ANCIENT EGYPT SUZANNE LYNN ONSTINE A thesis submined in confonnity with the requirements for the degm of Ph.D. Graduate Department of Near and Middle Eastern Civiliations University of Toronto %) Copyright by Suzanne Lynn Onstine (200 1) . ~bsPdhorbasgmadr~ exclusive liceacc aiiowhg the ' Nationai hiof hada to reproduce, loan, distnia sdl copies of this thesis in miaof#m, pspa or elccmnic f-. L'atm criucrve la propri&C du droit d'autear qui protcge cette thtse. Ni la thèse Y des extraits substrrntiets deceMne&iveatetreimprimCs ouraitnmcrtrepoduitssanssoai aut&ntiom The Role of the Chmaes (fm~in Ancient Emt A doctorai dissertacion by Suzanne Lynn On*, submitted to the Department of Near and Middle Eastern Civilizations, University of Toronto, 200 1. The specitic nanire of the tiUe Wytor "cimûes", which occurrPd fcom the Middle Kingdom onwatd is imsiigated thrwgh the use of a dalabase cataloging 861 woinen whheld the title. Sorting the &ta based on a variety of delails has yielded pattern regatding their cbnological and demographical distribution. The changes in rhe social status and numbers of wbmen wbo bore the Weindicale that the Egyptians perceivecl the role and ams of the titk âiffefcntiy thugh tirne. Infomiation an the tities of ihe chantressw' family memkrs bas ailowed the author to make iderences cawming llse social status of the mmen who heu the title "chanms". MiMid Kingdom tifle-holders wverc of modest backgrounds and were quite rare. Eighteenth DMasty women were of the highest ranking families. The number of wamen who held the titk was also comparatively smaii, Nimeenth Dynasty women came [rom more modesi backgrounds and were more nwnennis. -
Temples and Tombs Treasures of Egyptian Art from the British Museum
Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators this is max size of image at 200 dpi; the sil is low res and for the comp only. if approved, needs to be redone carefully American Federation of Arts Temples and Tombs Treasures of Egyptian Art from The British Museum Resource for Educators American Federation of Arts © 2006 American Federation of Arts Temples and Tombs: Treasures of Egyptian Art from the British Museum is organized by the American Federation of Arts and The British Museum. All materials included in this resource may be reproduced for educational American Federation of Arts purposes. 212.988.7700 800.232.0270 The AFA is a nonprofit institution that organizes art exhibitions for presen- www.afaweb.org tation in museums around the world, publishes exhibition catalogues, and interim address: develops education programs. 122 East 42nd Street, Suite 1514 New York, NY 10168 after April 1, 2007: 305 East 47th Street New York, NY 10017 Please direct questions about this resource to: Suzanne Elder Burke Director of Education American Federation of Arts 212.988.7700 x26 [email protected] Exhibition Itinerary to Date Oklahoma City Museum of Art Oklahoma City, Oklahoma September 7–November 26, 2006 The Cummer Museum of Art and Gardens Jacksonville, Florida December 22, 2006–March 18, 2007 North Carolina Museum of Art Raleigh, North Carolina April 15–July 8, 2007 Albuquerque Museum of Art and History Albuquerque, New Mexico November 16, 2007–February 10, 2008 Fresno Metropolitan Museum of Art, History and Science Fresno, California March 7–June 1, 2008 Design/Production: Susan E. -
Mechanical Engineering in Ancient Egypt, Part 45: Birds Statues (Falcon and Vulture)
International Journal of Emerging Engineering Research and Technology Volume 5, Issue 3, March 2017, PP 39-48 ISSN 2349-4395 (Print) & ISSN 2349-4409 (Online) http://dx.doi.org/10.22259/ijeert.0503004 Mechanical Engineering in Ancient Egypt, Part 45: Birds Statues (Falcon and Vulture) Galal Ali Hassaan (Emeritus Professor), Department of Mechanical Design & Production, Faculty of Engineering, Cairo University, Giza, Egypt ABSTRACT The evolution of mechanical engineering in ancient Egypt is investigated in this research paper through studying the production of statues and figurines of falcons and vultures. Examples from historical eras between Predynastic and Late Periods are presented, analysed and aspects of quality and innovation are outlined in each one. Material, dynasty, main dimension (if known) and present location are also outlined to complete the information about each statue or figurine. Keywords: Mechanical engineering, ancient Egypt, falcon statues, vulture statues INTRODUCTION This is the 45th paper in a scientific research aiming at presenting a deep insight into the history of mechanical engineering during the ancient Egyptian civilization. The paper handles the production of falcon and vulture statues and figurines during the Predynastic and Dynastic Periods of the ancient Egypt history. This work depicts the insight of ancient Egyptians to birds lived among them and how they authorized its existence through statuettes and figurines. Smith (1960) in his book about ancient Egypt as represented in the Museum of Fine Arts at Boston presented a number of bird figurines including ducks from the Middle Kingdom, gold ibis from the New Kingdom and a wooden spoon in the shape of a duck and lady from the New Kingdom [1]. -
Raising of the Djed-Pillar
RAISING THE DJED PILLAR, THE RAMESSEUM DRAMATIC PAPYRUS Adapted by Stuart Tyson Smith from the translation & commentary of Kurt Sethe (1964, German translation by Jessika Akmenkalns), Henri Frankfort (1948), & Edward Wente (1980). Amenhotep III raises the Djed during his Heb-Sed in the tomb of Kheruef at Thebes. The annual ritual of “Raising the Djed” was the culmination of the larger “Mysteries of Osiris,” which commemorated the resurrection of Osiris after his murder by Seth and the restoration of the throne to Osiris’s son Horus. During the Coronation and Heb-Sed festival, Pharaoh took the place of Horus in the ritual, emphasizing the stability of his rule and his connection with the Osiris myth. Its phallic overtones alluded to the renewal of Pharaoh’s potency as ruler like Osiris in the myth. The Djed appears already in Predynastic art and was probably originally a fetish consisting of a pole with sheaves of grain attached. The Djed is described later on as the “Backbone of Osiris” in the Book of the Dead, but the original harvest and renewal symbolism was retained in the ritual. Although probably originally part of Ptah’s cult, the two gods were associated through a syncretism with Sokar, and the ceremony resonated with Osiris’s role as a god of the agricultural cycle. Cast: Lector Priest, Thoth, Geb, Horus/the King, Children of Horus, Osiris (as the Djed), Seth, Isis, Nephthys, Descendants of the King/Followers of Horus/Great Ones of Lower Egypt (royal princes and princesses), Musicians, Dancers and Singers, Followers of Seth/Great Ones of Upper Egypt, Spirit Seekers and the Keeper of the Two Feathers. -
Ancient Egyptians Believed in an Afterlife
Note To the Teacher This kit is designed to help your students learn more about Ancient Egypt by viewing images from the Walters Art Museum collection. The scope ranges from the Middle Kingdom (Dynasties ca. 2061-1640 BCE) through the Ptolemaic Period (332-30 BCE). You will find ten images of objects from Ancient Egypt. In addition to the images, there is a timeline, essays about the museum objects; lesson plans for elementary, middle grades and high school, and bibliographies with resources to assist you in your class presentation. Resources include: a vocabulary list, books for you and your students, websites, videos and other art tools. TRK Borrowing Policy Please… 1. Return this kit in person or by mail on or by its due date. A valid credit card number is required to borrow Teacher Resource Kits. A $25.00 fee will be charged for kits that are returned up to one month late. Borrowers will be assessed the pur- chase cost of kits borrowed if materials are returned more than one month late. The box the TRK was sent in can be reused for its return. 2. Keep your TRK intact and in working order. You are responsible for the contents of this kit while it is in your possession. If any item is miss- ing or damaged, please contact the Department of School Programs at 410.547.9000, ext. 298, as soon as possible. 3. Fill out the TRK Evaluation so that kits can be improved with your input and student feedback. Please return the Teacher Resource Kit to: Department of School Programs Division of Education and Public Programs The Walters Art Museum 600 North Charles Street Baltimore, MD 21201-5185 Copyright Statement Materials contained in this Education kit are not to be reproduced or transmitted in any format, other than for educational use, without specific advance written permission from the Walters Art Museum. -
Ancient Egyptian Dieties
Ancient Egyptian Dieties Amun: When Amun’s city, Thebes, rose to power in the New Kingdom (1539-1070 B.C.), Amun became known as the “King of the Gods.” He was worshipped as the high god throughout Egypt. Able to take many shapes, Amun was sometimes shown as a ram or goose, but was usually shown in human form. He is fundamentally a Creator God and his name, Amun, means “The Hidden One.” Amun-Re: Originating in the Middle Kingdom, (2055 - 1650 B.C.), Amun-Re is a fusion of the Gods Amun and Re. He combined the invisible power of creation and the power visible in heat and light. Anubis: Usually represented as a black jackal, or as a human with a canine head, Anubis was a guardian of mummies, tombs, and cemeteries, as well as an escort of the deceased to the afterlife. Atum: According to the most ancient Egyptian creation myths, Atum is the creator of the world. He also brought the first gods Shu (air), Tefnut (water), Geb (earth), and Nut (sky) to Egypt. He is also god of the setting sun. Atum was represented in many forms such as a human, a human with the head of a ram, and a combination of an eel and a cobra. Bastet: Originating as early as Dynasty II (2820-2670 B.C.), Bastet was represented as a cat or a woman with a lioness’s head. She eventually became Egypt’s most important “cat goddess.” If Bastet took the form of a cat she was considered content, but if Bastet was a lioness she was considered an angry goddess. -
Contents Introduction to the Touch Tour
Contents Introduction to the Touch Tour................................2 Description and plan of Room 4 ............................4 1. Seated statue of Amenhotep III .........................6 2. Lion statue of Amenhotep III ..............................8 3. Sarcophagus ...................................................... 10 4. Statue of King Senwosret III ............................11 5. Left arm from a colossal statue of Amenhotep III .......................................................... 13 6. Seated statue of the goddess Sekhmet ........14 7. Block statue of Amenhotep ............................. 16 8. Boat sculpture of Queen Mutemwia ............. 18 9. Colossal scarab beetle .................................... 20 1 Introduction to the Touch Tour This tour of the Egyptian Sculpture Gallery is a specially designed Touch Tour for visitors with sight difficulties. This guide gives you information about nine highlight objects in Room 4 that you are able to explore by touch. The Touch Tour is also available to download as an audio guide from the Museum’s website: britishmuseum.org/egyptiantouchtour If you require assistance, please ask the staff on the Information Desk in the Great Court to accompany you to the start of the tour. The sculptures are arranged broadly chronologically, and if you follow the tour sequentially, you will work your way gradually from one end of the gallery to the other moving through time. Each sculpture on your tour has a Touch Tour symbol beside it and a number. 2 Some of the sculptures are very large so it may be possible only to feel part of them and/or you may have to move around the sculpture to feel more of it. If you have any questions or problems, do not hesitate to ask a member of staff. -
Ancient Egypt Handling Box
Ancient Egypt Handling Box Ancient Egypt handling collection Teacher Notes Welcome to the National Museum of Scotland. This box contains handling objects and resources designed to support learning about ancient Egypt. It contains 33 real and replica objects relating to the ancient Egyptian collections of National Museums Scotland. The objects are grouped into four themes: 1. Life 2. Mummification 3. Afterlife 4. Egyptology This Teachers Resource Pack for the Ancient Egypt handling collection is also available to download from our website: www.nms.ac.uk/nmosvisit#handlingbox National Museums Scotland Teachers’ Resource Pack Ancient Egypt handling collection Introduction The ancient Egyptian collections of National Our ancient Egyptian collections were begun Museums Scotland comprises around in 1819, and many of the objects derive from 6,000 items, including many unique and archaeological excavations by Alexander Henry internationally significant objects, such as Rhind (Fellow of the Society of Antiquaries royal statuary, reliefs, mummies, coffins, papyri, Scotland), the Egypt Exploration Society, British furniture, jewellery and textiles. School of Archaeology in Egypt, and Oxford Ancient Egypt was one of the earliest and and Liverpool Universities. The museum also longest-lived civilisations, spanning almost has the only intact ancient Egyptian royal burial 4000 years of history. The River Nile and the group outside of Egypt. surrounding desert shaped ancient Egyptian The ancient Egyptian collections of National culture and how they saw the world. Egypt’s Museums Scotland are represented in this success derived from its natural resources, such informative and interactive learning resource. as fertile agriculture from the annual flood, Use the handling objects to create an exciting stone for building monuments, and precious and educational experience for your group and gold. -
17 the Bull Hunt Scarab of Amenhotep III
17 The Bull Hunt Scarab of Amenhotep III He lunged from side to side Watching for his chance to seize the horns. The bull frothed in its rage at this dance And suddenly Enkidu seized its tail And twisted it around, until the bull Stood still, bewildered, out of breath, And then Enkidu plunged his sword behind its horns Into the nape of the bull’s neck, and it fell dead. Gilgamesh, translated by Herbert Mason Hsbt 2 xr Hm n anx Hrw kA nxt xa m mAat nbti smn hpw sgrH tAwi Hrw-nbw aA xpS Hw sstiw (n)sw(t)-bit(i)nb tAwi NB-MAa&-Ra zA ra IMN-@&P HqA-wAst di anx Hmt-(n)sw(t) wrt Tiy anx.ti biAit xprt n Hm.f iw(t).tw r Dd n Hm.f iw wn smAw Hr xAst nt w n St(a) nat Hm.f m xd m wiA-(n)sw(t) xa-m-mAat Hr tr n xAwi Szp tp-wAt nfrt spr m Htp r w n St(a) Hr tr n dwA xat Hm.f Hr ssmt mSa.f tm m xt.f sHnt srw mSa anxw nw mSa r Dr.f mi qd.f Xrdw n kAp r irt rsw Hr nA n smAw ist wD.n Hm.f rdit itH.tw nn smAw m sbti Hna Sdy wD.in Hm.f r nn smAw r Aw.sn rxt iri smAw 170 rxt in.n Hm.f m bHs m hrw pn smAw 56 wAH.in Hm.f hrw 4 m wS rdit srf n ssmwt.f Xat Hm.f Hr ssmt rxt nn smAw in.n.f bHs smAw 40 tmt smAw 96 The Bull Hunt Scarab of Amenhotep III. -
Ancient Egypt: Symbols of the Pharaoh
Ancient Egypt: Symbols of the pharaoh Colossal bust of Ramesses II Thebes, Egypt 1250 BC Visit resource for teachers Key Stage 2 Ancient Egypt: Symbols of the pharaoh Contents Before your visit Background information Resources Gallery information Preliminary activities During your visit Gallery activities: introduction for teachers Gallery activities: briefings for adult helpers Gallery activity: Symbol detective Gallery activity: Sculpture study Gallery activity: Mighty Ramesses After your visit Follow-up activities Ancient Egypt: Symbols of the pharaoh Before your visit Ancient Egypt: Symbols of the pharaoh Before your visit Background information The ancient Egyptians used writing to communicate information about a person shown on a sculpture or relief. They called their writing ‘divine word’ because they believed that Thoth, god of wisdom, had taught them how to write. Our word hieroglyphs derives from a phrase meaning ‘sacred carvings’ used by the ancient Greek visitors to Egypt to describe the symbols that they saw on tomb and temple walls. The number of hieroglyphic signs gradually grew to over 7000 in total, though not all of them were used on a regular basis. The hieroglyphs were chosen from a wide variety of observed images, for example, people, birds, trees, or buildings. Some represent the sounds of the ancient Egyptian language, but consonants only. No vowels were written out. Also, it was not an alphabetic system, since one sign could represent a combination of two or more consonants like the gaming-board hieroglyph which stands for the consonants mn. Egyptologists make the sounds pronounceable by putting an e between the consonants, so mn is read as men. -
Egyptian Celebrationthe Kit
EGYPTIAN CELEBRATIONTHE KIT AN EVENT KIT IN CELEBRATION OF THE NEW YORK TIMES #1 BEST-SELLING SERIES FROM RICK RIORDAN | thekanechronicles.com 1 GREETINGS, EGYPTOLOGISTS! The Kane Chronicles, Book Three: The Serpent’s Shadow is the thrilling conclusion in the adventures of Carter and Sadie Kane. In this third installment, the Kanes find themselves faced with Apophis, the Chaos snake, in a battle to save the world from eternal darkness! Where Carter and Sadie’s adventures end, yours can begin with our Kane Chronicles Egyptian Celebration Kit! Inside this kit you’ll find party ideas, reproducible activity sheets, discussion questions, and more to create the ultimate Kane Chronicles Egyptian celebration. So dust off your favorite pharaoh gear, study up on your favorite Egyptian gods, and get ready to party with The Kane Chronicles! Have fun, 2 | thekanechronicles.com Kane cHronicLes cHaracter cHallenge Test the Kane Chronicles character knowledge of your guests with this interactive trivia game! On the next few pages you’ll find sets of questions about the major characters in the series. Break your guests into two teams, and host a trivia contest with these multiple choice questions, assigning two points to each correct answer. The team with the most points at the end of the game is the winner! carter sadie 1. On occasion, Carter has received assistance 1. Prior to joining Carter in his quest to save the by allowing this god to work through him. world, Sadie felt: a. Set b. Zeus c. Horus d. Ra a. abandoned by her father and brother b. unhappy that she had to live with her 2.