DOCSLIB.ORG

Museum of Fine Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Museum of Fine Arts BULLETIN OF THE MUSEUM OF FINE ARTS VOLUME XLVII BOSTON, OCTOBER, 1949 No. 269 Fig. 1. Crucifixion, Bolognese School Last Quarter of Thirteenth Century Gift of Edward Jackson Holmes PUBLISHED QUARTERLY SUBSCRIPTION ONE DOLLAR XLVII, 42 BULLETIN OF THE MUSEUM OF FINE ARTS Two Heads of the New Kingdom WITH the expulsion of the Hyksos invaders W from the Nile Valley and the rise of Dynasty XVIII (1580-1340 B.C.) Egypt became, in the course of a hundred and fifty years, a world power which dominated the Orient from the foot- hills of the Taurus in northern Mesopotamia to GebelBarkal in what is today the Anglo-Egyptian BULLETIN OF THE MUSEUM OF FINE ARTS XLVII, 43 Sudan. Since the outer reaches of the Empire the end, the freedom of Amarna and the exag- were never wholly subservient to the central au- gerated splendor of Tut-ankh-amen's display were thority for any extended period of time, many to be based. In a sense, perhaps, the period of campaigns of successive warring pharaohs were Amenhotep III is one of decline, but, as has been necessary in order to keep the foreign nations in noted elsewhere in the history of the arts, the their tributary state. The inevitable booty of the transitional stage of incipient decadence often be- royal forays as well as gifts and presents from the trays more liveliness and is far more attractive conquered added to the wealth of Egypt which than the earlier, stricter style from which it de- then, as always in times of well-integrated central- viates. From this fascinating period date two ized administration, experienced great prosperity. heads in the Museum of Fine Arts which are well The majestic temples of Thebes and many tombs worth a close examination. with fine decorations in relief and painting still The first head to be published here (Figs. 1-4) bear witness to this first flowering of New King- is made of dark grey granite.¹ It was acquired in dom art. Cairo in the early years of the century; its prov- By the time Amenhotep III ascended the enance is not known. The crown of the head is throne (ca. 1405 B.C.) the Egyptian Empire was somewhat worn away as if by the touch of many at its height. For a few years the new king fol- hands; a good indication that it once formed part lowed the pattern set by his predecessors and en- of a statue placed in a temple and not in a tomb.² gaged in at least one foreign campaign to impress The tip of the nose and the chin are badly dam- his royal power upon the Kushites to the south of aged, and the clean break along the line where the Egypt. But then a change took place and the fringe of the wig touches the shoulders suggests king s interests turned toward a life of luxury and that the head broke off when the statue fell over enjoyment rather than of statesmanship and mil- forward. It represents a man of youthful ap- itary expeditions. Amenhotep I I I undertook the pearance who wears the elaborate wig which be- erection of magnificent palace and temple build- came fashionable in the latter half of Dynasty ings, and the records of his personal life commem- XVIII.³ This coiffure consists of two distinct orate his marriages, hunting expeditions in the parts. The upper part is marked by parallel pursuit of lions and wild bulls, and the construc- waves which from the crown of the head down are tion of a pleasure lake for his queen Tiy.¹ The repeated in a number of concentric circles. The preoccupation of the king and his obvious indif- strands of the hair are indicated by slightly undu- ference to some of his traditional duties had far- lating incised lines and are terminated by four or reaching effects. The heresy of his son Amen- five slanting cross-lines which suggest that the end hotep IV, who later assumed the name Akhen- of each braid was tied in individually. The lower aten and founded Tell el Amarna, was made pos- part of the wig, protruding from beneath the up- sible only through the leniency, not to say weak- per part at an angle below ear level, is formed by ness, of the father. And the loss of Egyptian heavy echeloned curls. In this case they are prestige abroad, of which the Amarna Letters treated as so many rectangular upright plaques. speak so vividly and which later necessitated the Only the lower part of the ear is left free by the costly campaigns of the kings of Dynasty XIX, wig; the ear lobes bear an indentation, signifying was the direct result of Amenhotep III's disregard that the owner probably wore earrings in real life. for a firm foreign policy. The beauty of the narrow, almond-shaped eyes On the other hand Egyptian art, in his time, is accentuated by the curve of the eyebrows, benefited greatly from the hedonistic inclinations worked in low relief. The fold of the upper lid is and the aestheticism characteristic of the ruler. marked by a single incised line. The mouth ap- The crisp, fresh style of early New Kingdom art pears quite small and slightly protruding; its had begun to disappear even under Amenhotep tragic, almost bitter, expression is produced by II, resulting in a lack of vitality in sculpture in the deep line running down from each corner. the round. With the reign of Amenhotep III a With its oval shape the face conforms to an ideal new spirit manifested itself, and the works of art of the period, frequently represented until the created during that period are distinguished by a time of Ramesses I. delicacy and an elegance hardly ever surpassed in For dating the head accurately the elaborate Egypt's history. The paintings of the palace in wig is only of limited help. Its component features western Thebes, enlivened by the happy integra- can be traced back to the time of Hatshepsut, and tion of foreign elements in Egyptian style, the in the manner of our granite head it was fashion- relief carvings of the tombs of Kha-emhat and Ramose, the delightful products of arts and crafts made during those years, all reflect the sen- ¹Acc. NO.42.467. Gift of Mrs. Richard M. Saltonstall. Height 17.5 cm.; width 20.3 cm. sitive approach to beauty and form on which, in ²H. Kayser, Die Tempelstatuen (1936). passim. ³e.g. British Museum 448 (No. 632) and 423 (No. 1210). and many ¹E.Drioton. in Annales du Service des Antiquitesdel’Egypte45 (1947). other examples cited in this article: in relief, for instance, in Theban tombs 85-92. 55 and 57. XLVII, 44 BULLETIN OF THE MUSEUM OF FINE ARTS Fig. I. Granite Head Dynasty XVIII Gift of Mrs. Richard M. Saltonstall able from the times of Amenhotep II¹ to well into the head is inclined (Fig. 4) so that the face looks DynastyXX,² not considering some archaizing ex- down rather than straight ahead. At once its in- amples from the Late Period.³ Yet it was first telligent expression becomes pensive as behooves widely used under Amenhotep I I I and, leaving a learned man and scribe, and the look of the eyes the facial expression aside for the moment, a point softens and appears to be turned inward. This, can be made on purely external grounds for at- then, must have been the original attitude of our tributing the head to the time of that resplendent granite head, bowed as in a number of well-known king. From pieces of sculpture as well as from scribe's statues and statuettes. It occurs rarely reliefs it appears that the concentric circles of the from Dynasty V on,¹ but is most frequently found wig were approximately horizontal when the head under Amenhotep III.² During this reign the at- was represented in a vertical position and the face titude of the scribe lowering the head gains an in- as looking straight ahead. Placed in such a posi- ner meaning. It is not merely that of a man con- tion, the granite head leans too far back, and the cerned with writing and recording, with account- lower part of the wig projects to such a degree ing and reading, but one which expresses a deeply that, were the missing part restored, it would ex- founded humility in the presence of god. This tend much too far in front of the chest on which it becomes most apparent in those statuettes,³ dat- should lie. Also, the upper part of the wig able to the time of Amenhotep 111, which repre- bulges out over the back of the head and its fringe sent scribes sitting, with bowed head, before the would meet the shoulder blades at a distinct angle. All these incongruities disappear when ¹Cairo83; W. S. Smith, A History of Egyptian Sculpture and Painting in the Old Kingdom, p. 80. ¹e.g.Cairo 566. ²e.g. Cairo 592; Berlin 2294 and 22621;Copenhagen, Ny Carlsberg Glyptotek,A65; Detroit Instituteof Arts 31.70; New York. MMA 31.4.1; ²Statuesof Remry, Mahuhy, and the third Bakenkhonsu in the Cairo also the objects cited in note 3 below and note 3 on p. 45 right. Museum; see G. Lefebvre, Histoire des Grands Pretres, pp. 256-261. ³e.g. Louvre E 11153 and E 11154; Berlin 20001;Journal of Egyptian ³e.g. Cairo 42236. Archaeology 19 (1933). p. 117, pl. XVII-XVIII. BULLETIN OF THE MUSEUM OF FINE ARTS XLVII, 45 Fig.
Load more

Recommended publications
  • Newsletter 29
    TheRundle Foundation forfgyptian fuchaeology NEWSLETTERNo 29 July 1989 Undisturbed Burial at El-Hagarsa Archaeologistsusuallyhavelittleornoexpectationof too discovering undisturbed burials in Egypt. They know only recent well that tombs have been robbed in both antiquity and was times. The discovery of an undisturbed burial of El-Hagarsa and therefore a most rew-arding find for the Macquarie expedition the find was unusual in many ways. while burial chambers usually - as it was sealed after the burial- not to be contain one coffin - r.-sfeneo - t,his tomlc contained 6 coffins 5 adults and a child' The 5 adults were 3 men and 2 women, this is clear in the well as cartonnage covering over the upper part ot the body as whose from the inscrtptiois recorded on the coffins. The child, sex is undetermined at present. is placed in .an un-j-nscribed coffin which may suggest Lhat it was not yet officially named. Above t,he male coffins were placed staffs of office, sandals and bows and arrows. This last feature may explain the curious (The co:-rective burial of all members. of this fanily. similarity of nanes of sons and daughters to those of father and mother i,-,gg""t, according to Egyptian traditlons, that aII are related.) ii-i" possible tnit tney died in the wars which raged in the area during the First tntermediate Period. An application has been tot the Egyptian Antiquj-ties Organisation for X-ray of all""U*iit"a 6 mummj-es with the purpose of establishinq whether the cause of death in all cases was lnjury.
    [Show full text]
  • A Relief of the Royal Cup-Bearer Tja-Wy
    68 1. Statue of the royal cup-bearer Tja-wy. Egyptian Museum no. CCG 632. (L. Borchardt, Statuen und Statuetten, pt. 2, pl. 116.) A Relief of the Royal Cup-Bearer Tja-wy WILLIAM KELLY SIMPSON The extensive Egyptian collection of the Museum of Fine Arts encompasses a range matched by that of few others in this country, for it extends from predynastic times through the Coptic period in Egypt and the Meroitic period in the Sudan. In sculpture and relief of the New Kingdom (Dynasties 18-20), however, it is excelled by several other collections, and it is particularly in this area that we hope to make the collection more representative for our audience of scholarly and casual visitors. A recent acquisition extends the collection in a most useful fashion, for it brings us a relief of a royal cup-bearer of late Dynasty 18 or the early Ramesside period (Dy- nasty 19) with an extensive series of scenes of absorbing interest. Although the tomb from which the block derives cannot be located, two statues and a relief of the same royal cup-bearer have long been known. They attest to his preoccupation with the re- ligion of his times in a rather remarkable way. The first is an unusual herm-like statue said to have been found at Karnak in the First Hall of the Temple of Mut in June 1858 and now in the Egyptian Museum in Cairo. The statue is in the form of a pillar inscribed on four sides, and the top consists of the head of the official with his hands resting on his shoulders (fig.
    [Show full text]
  • Prayers of Renunciation EGYPTIAN GODS
    Prayers of Renunciation: EGYPTIAN GODS Ephesians 6:10-12 “10 Finally, my brethren, be strong in the Lord, and in the power of his might. 11 Put on the whole armour of GOD, that ye may be able to stand against the wiles of the devil. 12 For we wrestle not against lesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.” Amanda Buys’ Spiritual Covering This is a product of Kanaan Ministries, a non-profit ministry under the covering of: • Roly, Amanda’s husband for more than thirty-five years. • River of Life Family Church Pastor Edward Gibbens Vanderbijlpark South Africa Tel: +27 (0) 16 982 3022 Fax: +27 (0) 16 982 2566 Email: [email protected] There is no copyright on this material. However, no part may be reproduced and/or presented for personal gain. All rights to this material are reserved to further the Kingdom of our Lord Jesus Christ ONLY. For further information or to place an order, please contact us at: P.O. Box 15253 27 John Vorster Avenue Panorama Plattekloof Ext. 1 7506 Panorama 7500 Cape Town Cape Town South Africa South Africa Tel: +27 (0) 21 930 7577 Fax: 086 681 9458 E-mail: [email protected] Website: www.kanaanministries.org Office hours: Monday to Friday, 9 AM to 3 PM Kanaan International Website Website: www.eu.kanaanministries.org 2 contents Preface ... 5 Declaration of confidence in GOD’s Protection ... 8 Sealing-off prayer before deliverance ... 9 1) Egyptian deities ..
    [Show full text]
  • The Four Winds on the Coffin of Soter
    MINISTÈRE DE L'ÉDUCATION NATIONALE, DE L'ENSEIGNEMENT SUPÉRIEUR ET DE LA RECHERCHE BULLETIN DE L’INSTITUT FRANÇAIS D’ARCHÉOLOGIE ORIENTALE en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne BIFAO 106 (2006), p. 315-332 Christina Riggs Archaism and Artistic Sources in Roman Egypt. The Coffins of the Soter Family and the Temple of Deir el-Medina. Conditions d’utilisation L’utilisation du contenu de ce site est limitée à un usage personnel et non commercial. Toute autre utilisation du site et de son contenu est soumise à une autorisation préalable de l’éditeur (contact AT ifao.egnet.net). Le copyright est conservé par l’éditeur (Ifao). Conditions of Use You may use content in this website only for your personal, noncommercial use. Any further use of this website and its content is forbidden, unless you have obtained prior permission from the publisher (contact AT ifao.egnet.net). The copyright is retained by the publisher (Ifao). Dernières publications 9782724708288 BIFAO 121 9782724708424 Bulletin archéologique des Écoles françaises à l'étranger (BAEFE) 9782724707878 Questionner le sphinx Philippe Collombert (éd.), Laurent Coulon (éd.), Ivan Guermeur (éd.), Christophe Thiers (éd.) 9782724708295 Bulletin de liaison de la céramique égyptienne 30 Sylvie Marchand (éd.) 9782724708356 Dendara. La Porte d'Horus Sylvie Cauville 9782724707953 Dendara. La Porte d’Horus Sylvie Cauville 9782724708394 Dendara. La Porte d'Hathor Sylvie Cauville 9782724708011 MIDEO 36 Emmanuel Pisani (éd.), Dennis Halft (éd.) © Institut français d’archéologie orientale - Le Caire Powered by TCPDF (www.tcpdf.org) 1 / 1 Archaism and Artistic Sources in Roman Egypt The Coffins of the Soter Family and the Temple of Deir el-Medina christina riggs In memoriam Dominic Montserrat rchaism can be defined as the intentional revival and reworking of artistic forms and styles from the past.1 In both the visual arts and in language, archaism is characteristic of ancient Egypt, whose cultural expressions were essentially conservative.
    [Show full text]
  • A Global Tarot Perpetual Egyptian Solar-Lunar Calendar (Kemetic
    Kemetic Calendar © Douglass A. White, 2008 V110103 1 A Global Tarot Perpetual Egyptian Solar-Lunar Calendar (Kemetic Calendar) Designed by Douglass A. White What is This Calendar? Before you read about the “Kemetic Calendar” that I describe in this article, please note that it NOT a reconstruction of the calendar that the ancient Egyptians used. Such a calendar, while interesting from an academic viewpoint, is no longer suitable for our global civilization. What I am doing in this project is extracting certain universal principles from the ancient Egyptian calendar that we can adapt for use in our modern global society. This calendar commemorates the sacred culture of ancient Egypt in a system of timekeeping that we can use for thousands of years by adapting certain features to local customs and environments. This calendar is suitable only for planet Earth, because it tracks time according to the relation of the Earth to the Sun and the Moon. As we move into the Space Age, we will have to develop creative new timekeeping methods for space stations and societies on other planets. We will also have to devise ways of translating from one system to another. The days of the Gregorian calendar are nearing an end. It will gradually integrate with several traditional calendars and new creative calendars. Time is melting in a great cultural thaw. Time will be fluid in the Age of Aquarius and adaptable to a vast range of lifestyles and environments. This Global Tarot Perpetual Egyptian Solar-Lunar [PESL] Calendar is a toy to amuse and an exercise in time management.
    [Show full text]
  • A Bronze Representing Tapsais of Kellis*
    A BRONZE REPRESENTING TAPSAIS OF KELLIS* [PLANCHES IX-XI] BY OLAF E. KAPER and KLAAS A. WORP Netherlands Institute for Archaeology University of Amsterdam and Arabic Studies Archaeological-Historical Institute 1, Dr. Mahmoud Azmi Street Oude Turfmarkt 129 Zamalek CAIRO – EGYPT N-1012 GC AMSTERDAM The site of Ismant el-Kharab, ancient Kellis, has been a focus of excavations by the Dakhleh Oasis Project since 1986. The period of occupation attested at the site covers the first to the fourth centuries AD. In 1991 the temple complex of Kellis was chosen for further investiga- tion. Its main temple was dedicated to the god Tutu, a late addition to the Egyptian pantheon of whom no other shrines have been discovered1. It consists of a small, three-roomed stone temple with a contra temple of two rooms, surrounded by a vast complex with mud-brick chapels and other subsidiary buildings. This article will focus upon one of the small finds from the temple, which sheds some light upon the local deities worshipped at Kellis. Description A bronze statue (Pl. IX) was found in 1992 in the contra temple against the back of the sanctuary of the Main Temple at Kellis2. A preliminary description of the archaeological context of the find was published by Colin A. Hope3. The bronze was still lying in the place where it had fallen in antiquity, on the surface of damaged floor material in which a stone pedestal was set, in the north-eastern corner of the inner room of the contra temple4. Owing to the frequent pouring of libations in this room, the statue had become covered by a thick crust built up from the libations and dust.
    [Show full text]
  • The Place Where Huni Probably Buried Bohai,Xu
    The Place where Huni probably Buried Bohai,Xu Address: Suzhou Industrial Park, Suzhou, China Abstract: From the paper , we can speculate that Huni is exactly 吴回 (wuhui). Besides, the pronunciation of Huni resembles 吴回(wuhui). From the paper I speculate that the eagle in the statue unearthed in Taibo's tomb and the eagle in a statue of a man, dating from the State of Yue era, the eagles in the two statues resemble the God Horus in Egypt, so I can also get a conclusion that Wuxi(无锡) and Zhejiang(浙江) was once Egypt’s colony. I can also get a conclusion that Zhangshan Hill(嶂 山)means Egypt governor or pharaoh had come to Wuxi. Besides, we can get a conclusion that Chanshan Hill(产山)is a man-made pyramid, and Heliekou(河埒口)means enclosure around the man-made pyramid- Chanshan Hill, this pyramid complex looks like Djoser's Pyramid Complex which has enclosure around it. From the paper, we can conclude that Huishan clay figurines（惠山泥人）are ushabtis with Chinese characteristic, it indicates that Wuxi（无锡）was the colony of ancient Egypt. So Wuxi（无锡）means binding spot, Mount Xi（锡山） means a binding hill. And the ruins of Mount Xi(锡山) resemble "Pyramid of Khufu" in Giza pyramid complex. So we can get a hypothesis that Mount Xi(锡山) is a man-made pyramid. Furthermore, Wuxi （无锡）is the cradle of Chinese Wu culture（吴 文化）, I think this is owing to Huni. So from the above, we can speculate that Huni probably buried in Mount Xi , Wuxi(无锡锡山).
    [Show full text]
  • On the Orientation of Ancient Egyptian Temples: (5) Testing the Theory in Middle Egypt and Sudan
    JHA, xli (2010) ON THE ORIENTATION OF ANCIENT EGYPTIAN TEMPLES: (5) TESTING THE THEORY IN MIDDLE EGYPT AND SUDAN JUAN ANTONIO BELMONTE, Instituto de Astrofísica de Canarias, MAGDI FEKRI, Minufiya University, YASSER A. ABDEL-HADI and MOSALAM SHALTOUT, National Research Institute of Astronomy and Geophysics, Egypt, and A. CESAR GONZÁLEZ GARCÍA, Universidad Autónoma de Madrid In a series of papers published in this journal in recent years, some of the authors, members of the Egyptian-Spanish Mission for the Archaeoastronomy of Ancient Egypt, have made a number of interesting discoveries relating to the way in which the ancient Egyptians might have orientated their sacred buildings.1 In Paper 4, the last of the papers and an overview, a simple theory was postulated,2 according to which a series of facts were established that clearly connect temple orientation to the local landscape, landscape being understood to include both the earth and the sky. Hence simple astronomical patterns or families were basically defined in relation to the stations of the sun (solstitial, equinoctial or seasonal, notably New Year’s Eve or Wepet Renpet),3 the brightest stars of the Egyptian skies (notably Sirius, ancient Egyptian Sopdet) and the cardinal directions. On several occasions, these patterns were in agreement with local topographic landmarks such as the course of the Nile. We considered our sample of 330 alignments to be statistically representative beyond doubt, and we were convinced that new data would serve only to reinforce (or slightly modify) our results. The moment has now arrived to attempt to falsify this statement. Two experiments have been selected with this purpose.
    [Show full text]
  • Chapter 4 74
    73 CHAPTER 3 74 72 CHAPTER 3 THE E()PTIAN CA9ENDAR: KEEPIN( MADAT ON EARTH Juan Antonio Belmonte Summary. The ancient Egyptians had just one ca endar in operation0 the civi one0 during most of their history and before the overwhe ming inf uence of Fe enic cu ture. This ca endar may have been invented for a specific purpose in the first ha f of the third mi ennium ..C.0 when the previous oca Ci eEbased unar ca endars were rendered use ess0 as the resu t of the unification of the country and new socia 0 economic and administrative reLuirements. The civi ca endar a ways started at the feast of wpt rnpt in the first day of the first month of the Inundation season AI Axt 1). Its pecu iar ength of 362 days might have been estab ished from simp e astronomica Apresumab y so ar) observations. Lunar festiva s were articu ated within the framewor3 of the civi ca endar0 which had a we documented set of 12 month names from the beginning of the Cew Kingdom0 if not ear ier0 but in the Ramesside period or ater0 severa of these months a tered their names0 probab y for socia or re igious reasons. 3.1. Introduction E3a tly 0hen the se ond lunar year 0as introdu ed remains un ertain, but it 0as probably not too long after the divergen e bet0een the t0o forms of the year ( ivil and lunarI be ame apparent. A good guess might be to put it in the neighbourhood of 2O00 B.C.
    [Show full text]
  • Finishing the 22Nd Dynasty 545 Ch
    The Reconstructed Chronology of the Egyptian Kings M. Christine Tetley Volume One The Ebers Calendar is probably the most valuable chronological tool from Egypt that we are ever likely to possess. M. Christine Tetley ISBN 978-0-473-29338-3 www.egyptchronology.comm The Reconstructed Chronology of the Egyptian Kings – Volume One Author: M. Christine Tetley Publisher: Barry W. Tetley Address: 14 Workman Way, Onerahi, Whangarei, New Zealand 0110 Publication Date: July 2014 ISBN: 978-0-473-29338-3 ALL RIGHTS RESERVED © B.W. Tetley, 2014 [email protected] Contents i Contents Author’s Preface iii Editor’s Note v Tables vii Figures xvii General Abbreviations xix Bibliographic Abbreviations xxi Synopsis xxv Ch. 1. Introduction to Problems with the Historical Chronology of Ancient Egypt 1 Ch. 2. Fixing the Chronology for Israel, Judah, and Egypt 19 Ch. 3. Investigating Ancient Egyptian Calendars 39 Ch. 4. Reviewing Gardiner's and Parker's Calendars 55 Ch. 5. Dating by Lunar Months and Phases 75 Ch. 6. Pondering Egyptian Calendar Depictions 85 Ch. 7. Revisiting Gardiner and Parker 103 Ch. 8. Recovering a Calendar with Wep Renpet as the First Month 119 Ch. 9. Exploring the Ebers Calendar 135 Ch. 10. Resolving the Eponymous Month Conflict 153 Ch. 11. Studying Sesostris III and Illahun - Sesostris III's Seventh Year 171 Ch. 12. Studying Sesostris III and Illahun - Feast Dates 179 Ch. 13. Studying Sesostris III and Illahun - the W3gy Feast 191 Ch. 14. Securing Neferefre's W3gy Feast Date 199 Volume Two Ch. 15. Working with Egyptian King Lists 205 Ch. 16. Recasting the 5th and 6th Dynasties 227 Ch.
    [Show full text]
  • Contextualizing the Osiris Shaft at Rosetau (Giza) in Archaeological History
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2021 The Lost Histories of the Shetayet of Sokar: Contextualizing the Osiris Shaft at Rosetau (Giza) in Archaeological History Nicholas Edward Whiting University of Montana, Missoula Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Archaeological Anthropology Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Let us know how access to this document benefits ou.y Recommended Citation Whiting, Nicholas Edward, "The Lost Histories of the Shetayet of Sokar: Contextualizing the Osiris Shaft at Rosetau (Giza) in Archaeological History" (2021). Graduate Student Theses, Dissertations, & Professional Papers. 11693. https://scholarworks.umt.edu/etd/11693 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. The Lost Histories of the Shetayet of Sokar: Contextualizing the Osiris Shaft at Rosetau (Giza) in Archaeological History By Nicholas Edward Whiting Bachelor’s Degree in Anthropology, University of Montana, Missoula, Montana, 2015 Bachelor’s Degree in Legal Studies, Kaplan University, Chicago, Illinois, 2009 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology/Archaeology Option The University of Montana Missoula, MT Official Graduation Date January 2021 Approved by: Scott Whittenburg, Dean of The Graduate School Graduate School Dr. Kelly Dixon, Chair Professor of Anthropology Dr.
    [Show full text]
  • A Study of Babies' Scenes in the Ancient Egyptian Private Tombs
    Journal of Association of Arab Universities for Tourism and Hospitality Volume 12 - June 2015 - No 1 - Pages: (25 : 34) A Study of Babies’ Scenes in the Ancient Egyptian Private Tombs Mona Ezz Faculty of Tourism and Hotels - Mansoura University Abstract Tombs scenes reflected how the ancient Egyptians be concerned with their babies. According to the instruction of any; the baby should be suckled for about three years to strengthen his immunity; this was to reduce the chances of the mother to be pregnant. Babies were to grow up with their mothers who superbly concerned with them during this period.1 From the tombs’ scenes; it is obvious how the ancient Egyptians cared about their babies on the contrary to the babies of the foreign women. Moreover, such scenes reflected the different positions in which the babies appear, and the difference between the babies of the common people, high class, and the babies of the foreigners and the slaves. Furthermore, these scenes also depict the scenes of deities while nursing the kings. Keywords: Babies, private tombs, Ancient Egypt. ……………………………………………………………………………………………………………………………… Introduction The ancient Egyptians used many terms to refer to the child like inpw, sif, sri, Xrd, ms, aDd, nfr, idw, kti, Hwn, nxn wdH , x, TAi, idw, idiit, mnH. However, it seems that x, wdH, and TAi were specifically referring to the newborn babies.2 The ancient Egyptians used to hire wet nurses, especially, the royal families and the elites as they considered this is more prestigious. In other cases, wet nurses were hired when the mother had been died or suffered from the shortage in her milk.
    [Show full text]